Genre Features Research Articles

서울·경기지역 국악의 갈래별 특성에 따른 초등 국악 감상 교수학습 방안

The purpose of this paper is to prepare an educational plan linking genre characteristics for traditional music in Seoul and Gyeonggi Province. In this article, Korean traditional music was classified into ceremonial music of the court, performing art music of musicians, music of scholars, and living music of the general public. In addition, learning plans were prepared so that the characteristics of each genre were sufficiently reflected in the teaching method and content so that students could understand music in a balanced way. Music of court rituals and music performed by Yangban are recorded as sheet music and have formal stability and fixation as ensemble music. On the other hand, art music and music such as folk songs are characterized by fluidity, improvisation, and creativity as an oral tradition.

SPORTS NEWS MEDIA EVENT FROM THE POINT OF VIEW OF THE THEORY OF RHETORICAL STRUCTURES

The article points out the relevance of studying the discourse that constitutes a sports media event for its taxonomic definition in terms of format and genre. The structure of news media events was studied using a machine learning model that draws on rhetorical structure theory. A corpus of 25 texts was used for the study, a total estimate of about 15 000 tokens. News items were selected randomly, without preliminary analysis of the topic of the message, but keeping in mind the number of word forms in the text, to form a corpus of approximately equal texts. It is shown that the emerging rhetorical relations and, in general, the structure of the discourse are one of the key elements in the formation of the stylistic features of a sports media event. Research into the structure of media texts is essential for a better understanding of how genre features are formed in the traditional and social sports media. The study of the discursive structure of a media event allows us to identify the features of its formation in traditional and social media and to assess the degree of influence of media convergence on it.

CONNOTATIONS OF CONTEXTUAL SYNONYMS IN TEXTUAL COHERENCE

The article examines various approaches to the classification of connotation as a semantic component of linguistic units within the communicative domain. It also analyzes the classification of connotation from the perspectives of linguistics, stylistics, logic, and philosophy. Connotation is regarded as a significant means of semantic construction in discourse. From a typological standpoint, the study identifies expressive, emotional, evaluative, duration, and other semantic components within the semantic structure. At the level of connotation and modality expression in texts, the issue of contextual synonyms is also addressed. Synonyms are considered tools for text cohesion, and their usage is analyzed within specific textual frameworks. Additionally, the expression of semantic properties is discussed concerning the genre characteristics of the text and the communicative situation. The functional significance of synonyms as textual creation tools is explored from the perspective of semantic cohesion. Furthermore, synonyms are examined in terms of their role in ensuring content accuracy and the selection of linguistic expressiveness. In studying the linguistic and textual modalities of synonyms, it is deemed appropriate to analyze them from structural, semantic, and functional perspectives. Observations from these perspectives should incorporate necessary contextual inclusivity, account for linguistic, i.e. stylistic features, and clarify the pragmatic “value” of discourse. Such approaches not only refine the practical material of the research but also enhance the robustness of the evidential basis presented.

Memoirs of a researcher as a literary fact (based on V. Ivanov’s memoirs about the East)

The article examines the memoirs of Vladimir Alekseevich Ivanov (1886–1970), a prominent Russian orientalist, the founder of Ismaili studies, a branch of Islamic studies that explores Ismailism as a religious and ideological movement within the Shiite branch of Islam. Written in the mid-1960s, these memoirs cover the period from 1918 to 1968 and convey the researcher’s impressions of the Eastern countries he visited (Central Asia, Iran, Iraq, India, Egypt, Syria and Palestine). The handwritten notes of the scientist are kept in the archival collection of the Institute of Oriental Manuscripts of the Russian Academy of Sciences (Moscow, St. Petersburg). In 2015, they were published as a separate book with a preface and comments by B. Norik, a Russian Iranian scholar, translator, textual critic, employee of the Institute of Oriental Studies of the Russian Academy of Sciences (Moscow). The memoirs of V. Ivanov have so far been studied as a fact of his scientific life and fate, as a certain addition to the researcher’s work, a kind of appendix to them, explaining what usually lies beyond strict studies, in the field of subjective experience and impressions. Meanwhile, it seems that they represent a completely independent literary work, so that the circle of their readers cannot be limited only to narrow specialists. The literary part of the memoirs is determined by a whole set of features: its language (style register), the image of the author and his subjective position, genre features of the work combining elements of diary prose and detective story, as well as a conditionally “hagiographic” canon (ancient Russian literature) with the traditions of ethnographic descriptions of everyday life, which dates back to “Walking across Three Seas” by Afanasy Nikitin. The memoirist, as a rule, records the past selectively (this is due not only to the conscious desire of the author to highlight some events, obscuring others, but also to the specifics of human memory as such). V. Ivanov was no exception, for him of primary nature was the opinion taken from the point of view of the interests of science.

A Visigoth Chief Alaric and the Sack of Rome by the Visigoths in 410 AD as Viewed in the “Chronicle” of John of Nikiu: Narratives of a Catastrophe or Religion-Political Clashes?

A Coptic bishop of the city of Nikiu in the Nile Delta John of Nikiu (the second half of the 7th c. AD) is famous for his only text – “Chronicle”, which is narrating about events from the Creation to the 640s, but it’s hard to treat the genre peculiarities of this work. Anyway, John intensively used the works of Greek-speaking church historians of the first half of the 5th c., that of Socrates Scholasticus and Hermias Sozomenos, in this way, a comparison of their evidence will enable not only to scan genre features of John’s “Chronicle”, but also to represent special points of his world-view. To make this comparison, the author of present paper chose an event prominent for the Late Roman Empire – a sack and capture of Rome by Visigoth chief Alaric in 410 AD. Describing Alaric’s deeds, John paid main attention not to plunders and destructions made by Goths in Rome, but to plots of the Senators against West Roman Emperor Honorius (395–423), while Greek church historians (including even Arian Philostorgius) depicted in depth strictly a siege and plundering of Rome. In this way, the author of the paper attempts to clear, why John neglected a meaning of destructions made by Alaric in Rome. In contrast to Greek historians, John doesn’t label Alaric as barbarian, he even doesn’t think on capture of Rome as on turning-point and tragic event, to John’s view it’s a routing event happened in the frameworks of political clashes and strife within West Roman Empire. What is most essential is that John doesn’t see in Rome’s capture a sign of God’s Providence, Alaric for him is a tool only of political clash between the Senators and the Emperor. To sum up, John actively combined traditions of two genres – secular and church history-writing, his work may be assessed not as chronicle as such, but rather as a mixture of church and secular (pagan) histories.

Authorial communicative strategy in female English-language literary nonfiction discourse

The paper explores functions of communicative strategies in the female English-language biographical discourse in the second half of the 20th century. The analyzed works are biographies written by British and American women writers: “Emily Bronte. Her Life and Work” by M. Spark (1953), “Sartre: Romantic Rationalist” by I. Murdoch (1953), “Saint-Exupéry. A Biography” by S. Schiff (1994) and “Blonde” by J.C. Oates (2000). The objectives of the study were to analyze the genre characteristics of the texts, to identify their linguistic and extralinguistic means of presenting the main character and to reveal the gender-marking of English-language biographical discourse. In the course of the analysis, we formulated the main verbalization techniques of the female view on the image of the Other in its historical, national, social and cultural perspective. The article focuses on the ways authorial communicative strategies affect the reader’s perception of the main character in the presented biographies. We have come to the conclusion that the gender-marked text is characterized by the accentuated female subjectivity and the domineering evaluative component in creating the image in the realistic discourse (M. Spark, S. Schiff) and gamification in the postmodernist one (I. Murdoch, J.C. Oates). The choice of the main character is determined by national features, so while the English biographical discourse is characterized by its appeal to the phenomenon of creative consciousness, American biographers focus on the mechanisms of mythologization and demythologization of a cult personality.

«Душа моя Павел» Алексея Варламова: роман и постановка в РАМТе

The article examines A. Varlamov’s novel “My Soul Pavel” and its production at the Russian Academic Youth Theater (RAYT). The research methodology is based on the hermeneutical approach, and also relies on the techniques of narratological and intertextual analysis. As a result of the analysis, the features of the genre nature of the work are established; its mythopoetic basis; the functioning of the intertext in the novel; the ratio of the author and the hero. The author shows a change in the dramatization of the original conception of the novel by his grandmother. In the structure of the novel, the author refers to the artistic possibilities of such techniques as intertextuality and autocitation. These techniques are aimed at an educated audience and connect the text with routine postmodern poetics. Varlamov’s scientific erudition and writing professionalism are manifested in a demonstrative reliance on a liminal plot and an initiation scheme. The genre characteristic of the work given by the author is ‘the novel of growing up’. In addition, the novel uses the plug-in genre of vision. In the image of the main character Pavel Nepomiluyev, such important features of the Russian mentality as the traditional idea of wandering and the cult of power formed by the Soviet era are combined. The relationship between the author and the hero is considered through the prism of M. M. Bakhtin’s concept and is classified as characteristic of romantic literature. The hero’s growing up implies his discovery of the negative aspects of Soviet reality: such as irresponsible management, theft, national problems, and the death of the village. The novel establishes an understanding of the elite of society as people who are first and foremost distinguished by their love for their Motherland. In the play “My Soul Pavel” in RAYT, playwright Polina Babushkina changed the concept of the novel, shifting the focus to criticism of the Soviet way of life. The mystical storylines of the text have been eliminated from the production, including an important episode of the vision for the meaning of the whole. However, there are interesting staging solutions in the play: reading a fragment of “The Tale of Igor’s Campaign”, an independent musical series involving a variety ensemble. As a conclusion, it is said about the modernity and artistic independence of the novel, as well as that the play is able to live on the stage of the theater, having internal resources for modification.

Illuminating the Cinematic Palette: A Comparative Analysis of Lightning Techniques and their Emotional Impact in Horror Films

Aim of the Study: This study investigates the critical role of lighting and its ability to establish mood and enhance emotional responses. The study examines how these elements contribute to the defining characteristics of the horror genre, including tension, fear, and suspense. Methodology: The research employs a comparative analysis of lighting techniques, using case studies from iconic horror films to illustrate their application and effect. This approach combines qualitative analysis of visual elements with a theoretical exploration of their psychological and emotional impact on audiences. Findings: The study reveals that specific lighting techniques play a pivotal role in emphasizing narrative themes such as isolation, horror, anxiety, and suspense. Techniques like low-key lighting and the interplay of shadows amplify feelings of unease, while color temperature and light direction heighten emotional intensity. Additionally, it uncovers how modern lighting innovations are shaping the visual language of horror films, catering to evolving audience expectations and cultural nuances. Conclusion: The study concludes that lighting is an essential tool in the horror genre, directly impacting both the emotional involvement of the audience and the overall narrative atmosphere. With an examination of current lighting trends and their use across various subgenres and cultural contexts, the study offers valuable insights into the evolving techniques in cinematic horror, benefiting filmmakers, scholars, and enthusiasts alike.

კლასიკური თოქ-შოუს ძიებაში: შემეცნებითი და გასართობი თოქ-შოუების ფუნქციური და სტრუქტურული ასპექტები "დღის კოდისა" და "ეკა ხოფერიას შოუს" მაგალითზე

Based on the qualitative research methods, this article will study and analyze the genre characteristics of two talk shows in the Georgian television space to determine how the mentioned genre adapts to the realization of two different functions - entertainment and cognition –, how Georgian TV showmen (show presenters) use the authentic features of the genre when presenting a topic that requires a multifaceted vision. Georgian television media uses various mechanisms to expand the audience and maintain interest in their creative products. In the globalized media world, Georgian television journalism borrowed „ from the American media at the end of the 90s, then developed and adapted several genres of television shows to its audience. One such genre is the talk show, which occupies a place in the network of all broadcasting companies. At the dawn of the appearance of talk shows in Georgia, it was believed that having a talk show in primetime was equal to quality nonsense. There was also an opinion that the most sought-after person in the TV media of that time was the host of the evening talk show; despite these performances today, the rating of watching TV channels is decreasing, one of the reasons for which may be the quality of Georgian talk shows. To narrow the selection spectrum of programs, two types of talk shows on the most popular topics in Georgia – recreational and cognitive were found. Even though there is quite a large selection of shows on Georgian television, the number of programs of the classic talk show genre is scarce, and most of them are mentioned in my dissertation. Based on the above, I searched for TV projects launched in the recent past for the mentioned research: • “Eka Khoferia's talk show“, which carried signs of recreational direction transmission and enjoyed great popularity on the TV channel „Imedi“; • „Day code”, which carried signs of cognitive direction transmission, enjoyed great popularity on the TV channel „Public Broadcaster“. The paper is based on comparing the “day code” and Eka Khoferia's programs. Critical structural monitoring is the main research tool. The discussion of empirical data is preceded by a theoretical part, in which the genre spectrum of television programs, in particular, the specifics and directions of the talk show, is described. Structural monitoring of both programs includes formal and compositional elements: principles of selecting invited guests, details of conducting dialogue, and interesting presentation of problematic topics. The mentioned study criteria were the basis for determining how high-quality talk shows are broadcast on Georgian television. When analyzing both types of Georgian programs and comparing them with Western classic talk shows, it was revealed that certain parameters necessary to ensure the high quality of the talk show are not met. The absence of a golden mean in the formation of the content and form of the talk show was revealed, which led to a decrease in interest in the satellite product.

Musical Performance in the Context of the Development of Contemporary Musical Art

The study aims to determine the specifics of musical performance in the context of the development of contemporary music, considering various musical genres. The methods of analysis, comparison, calculation of the Cronbach's coefficient, and Fisher criterion were used to achieve this goal. It has been established that the most characteristic elements of classical music are an academic approach to interpretation and the embodiment of artistic and aesthetic components. It has been proven that the characteristic features of contemporary music performance are improvisation (α=0.837), emotional expressiveness (α=00.823), and non-standard note combinations (0.819). The practical significance of the work lies in the possibility of using the established features of musical genres for their qualitative interpretation during the educational process.

Narrative Character of the Vocal Ballad in The Example Of Yuliy Meitus' "Three Were Shot"

The purpose of the research is to determine the specifics of narrative in a vocal work using the genre of the vocal ballad as an example. The research methodology is based on a combination of semantic and hermeneutic analysis and systemic, structural, functional, and comparative methods. The scientific novelty lies in the analysis of a vocal work that is narrative in nature in order to identify narrative manifestations. Conclusions. The article reviews the main narratological works and identifies the elements of the narrative text. The main characteristics of the ballad genre and its correspondence to the narrative are identified. The author analyses the literary and musical basis of the vocal ballad by Y. Meitus (words by V. Korotych), “Three were shot”, for the presence of narrative features on different levels. Attention is focused on the interplay of poetic and compositional interpretations of the main narrative elements of the ballad, as well as on the manifestations of narrativity in purely musical terms. The characteristics of narrativity at the level of the form and structure of the vocal ballad are revealed, in particular the destruction of the vertical organisation of the verse in favour of the linearity of the narrative plot and the asymmetry of the form. The presence of the narrator and the formation of his personality by the author-poet and author-composer are established. The opinion of the narrator and his influence on the presentation of events and their perception by the narrators are indicated. It is emphasised that the combination of literary and musical techniques creates the effect of the narrator’s distance and proximity to the events described. The role of tonalities that support literary characters and also come into conflict in purely musical terms, thus creating their own storyline, is determined. It is emphasised that each piece of music has its own unique way of revealing a narrative. In this respect, the need for further research on this topic in other vocal and instrumental genres is demonstrated.

Transformation of the Archetype: A Return to Fairy Tale

The paper is devoted to the study of archetypal images in the genre of literary fairy tales. Any author's work has a certain set of archetypal images that have their own special national meaning. Each image has its own specific functions that embody artistic, emotional, psychological, social and philosophical tasks. These tasks form the author's final vision when choosing a particular image. One of such bright and frequent images in folklore studies, which transferred to the literary fairy tale is the image of a young neophyte, a boy or a girl. A boy often personified in the image of a bald - Tazsha, which has been successfully transformed into the genre of a literary fairy tale. In the same way, the images of animals, which are the first characters in fairy tales as a whole, and the analogue of their visions have often been and still are indicative. Also, the article discusses the genre features of the folklore fairy tale, which have preserved and left their mark on modern fairy tale texts. The author's thinking operates with the collective consciousness, reflected in archetypal images and motifs, and the consciousness of the reader, reflecting cognitive dissonance. The methodology of the research involves the continuity of scientific approaches, as well as the use of traditional and innovative methods of literary analysis: content analysis, comparative typological method, mythopoetics and psychoanalysis.

Genre diffusion in the chamber-instrumental creation of the composer Boris Dubosarschi (on the example of the sonataballad for viola and piano)

Genre experiments in the modern musical art are characterized by a huge variety, reflecting the individual author’s approach to the interpretation of the genre means. One of the manifestations of the “mixed” genre in the music of the 20th and early 21st centuries is “genre diffusion”, combining the features of several genres. Genre diffusions have become widespread in Moldovan music, including the chamber instrumental creation of B. Dubosarschi. One of these works is the ”Sonata-Ballad” for viola and piano, in which the classical sonata cycle, as a series of complete sections and parts connected by a common idea, simultaneously obeys the laws of a Romanticism ballad, in which the epic narrative is combined with the dramatic plot development.

마스코트 호러 게임 장르의 트랜스미디어 스토리텔링 연구

This study aims to define the ‘mascot horror’ genre, which has recently gained a lot of popularity among players in the horror game market, as an alternative genre and analyze its use of transmedia storytelling. Mascot horror is a game genre that transforms familiar mascot characters into objects of horror to induce psychological discomfort and fear in players, and we found the possibility of realizing sustainable transmedia storytelling in its characteristics. Transmedia storytelling is more than just telling a narrative, it is a way to expand the world and characters through various mediums and engage fans. In particular, mascot horror games have been utilizing original worlds and characters in various media such as games, movies, music, and other secondary creation to expand their content and engage fans. This study analyzes the worldview, characters, etc. of the mascot horror genre to argue that its genre characteristics can contribute to strengthening the sustainability of game content, and to study the ways in which they are utilized. In addition, we will examine the limitations and problems of the mascot horror genre as experienced by players. By doing so, we hope to establish the mascot horror genre as a subcategory of horror games and identify its potential to expand into transmedia content.

시 이미지에 대한 영화적 이해 : 정지용의 「카ᅋᅦ·ᅋᅳ란스」와 김광균의 「夜車」 를 대상으로

This study attempted to examine the development of poetry images and their structure by utilizing the unique characteristics of the cinema genre. This shows a different approach from the attitude of discussing modernist poetry by limiting it to the level of painting. If a painting is structured as a single overall screen, a cinema has the characteristic of assembling fragmentary screens to structure the whole. Therefore, the attitude of understanding poetry images cinematically requires appropriate use and analysis of free viewpoint changes that allow the screen to be divided into several parts and editing methods necessary to effectively assemble the results that appear through this. In addition, the appropriate use and arrangement of sound effects are also elements that should be examined. This cinematic understanding of poetry images not only helps in understanding the intimate structuring method of poetry images, but also confirms that it can be a good means for examining the continuation and deepening of the emotions that the poem is trying to convey.

Concerto for domra and orchestra No. 3 by Valery Ivko: vectors of intonational development and genre features

The relevance of the study consists in highlighting a kind of synthesis of general features of the concert genre and individual features of V. Ivko's compositional style in Сoncerto No. 3 for domra and orchestra. Main objective of the study is to characterize Concerto No. 3 for Domra and Orchestra by V. Ivko, with emphasis on the vectors of intonational development and the embodiment of the genre's characteristic features. The methodology includes methods of historical and biographical (to clarify the circumstances of the Concerto's composition), as well as structural-functional, genre, and intonationaldramaturgical methods (for a comprehensive analysis of the work). Results and conclusions. A detailed analysis of the Concerto No. 3 for Domra and Orchestra by the outstanding Ukrainian performer, educator and composer Valery Ivko has been conducted. This piece summarizes the composer’s long-term work in the concerto genre while showcasing meticulous intonational-thematic development, characteristic of his overall creative method. The principle of continuous intonational development in the concerto is traced at two levels: working with microelements — motifs or even intervals on which these motifs are based — and the repetition or variation of more elaborate structures — musical themes or their relatively complete fragments. The specific features of the compositional organization of the concert cycle and each of its parts have been examined in detail. The relationship between the solo domra part and the orchestra part has been analyzed, highlighting the aspiration for their equality in dramaturgical unfolding. Attention is drawn to the extreme virtuosity of the solo domra part, which requires exceptional technical preparation from the soloist and makes mastery of the technique of intonated virtuosity — a method introduced by V. Ivko in the educational process — almost a prerequisite for adequate performance. The concerto embodies the principle of play, represented by a mosaic structure and realized through the combination of intonational-thematic elements. It is concluded that Concerto No. 3 is the final homage of the outstanding musician to his beloved instrument, revealing the rich potential of the domra while also reflecting virtuosity as the essence of the Master’s life and creativity

Composer’s interpretation of Guo Wenjing of Chinese traditional opera «Si Fan»

Relevance of the study. Chinese traditional opera is one of the important treasures of the world musical culture. Now there are about 360 regional varieties of this opera in China, which indicates the active continuation of its public life. At the current stage, Chinese traditional musical art became the focus of attention of many Chinese composers-representatives of “The New Wave”. In their creativity, there is a revival of traditional Chinese music and, at the same time, saturation of traditional genres of modern methods of compositional writing. The subject of the consideration in the article is the composer’s interpretation of Chinese traditional opera “Si Fan”, which was made by Guo Wenjing in 2015. Creating arrangement, the composer aims to enrich the thesaurus of Western musician and listener with intonations of Sichuan traditional opera. Its access to the international level actualizes the research of peculiarities of modern interpretive versions of opera compositions of Sichuan traditional theatre. The main objective of the study is to reveal the specifics of transformation of Sichuan traditional opera “Si Fan” in the composer's interpretation of Guo Wenjing. Methodology. In the research of historical origin of the original source of the studied opera, the role of Sichuan traditional opera in modern musical life, the historical method of analysis is applied. In order to identify the specifics of the transformation of an opera of traditional origin in the modern composer's interpretation of Guo Wenjing, the comparative method of analysis was used. Results and conclusions. The historical origin of the original source of the studied opera is traced. The specifics of changes in the semantic load in operas of the traditional theater are revealed in a historical section, using the example of the opera “Si Fan”. The importance of mutual exchange of musical experience between European and Chinese cultures as the important means of actualizing Chinese traditional theater for modern society is highlighted. The specifics of the transformation of the Sichuan traditional opera “Si Fan” in the composer's interpretive version by Guo Wenjing have been researched. It can be traced in the orientation to the maximum preservation of the natural, authentic sound of gaoqiang chants, which would at the same time become accessible to the modern foreign audience. For this purpose, the following means are used: 1. distinct genre features of Chinese traditional theater are preserved; 2. the acoustic sound of instrumentation is not opposed, but acts as a supplement to the sound standard of traditional Chinese music; 3. the ensemble interaction of the traditional composition of gaoqiang performers is not disrupted with the introduction of an academic instrumental ensemble; 4. five-line and hieroglyphic notation is combined. In Guo Wenjing's arrangement, we observe the genre expansion of traditional opera, according to which the composer leaves the basis of the traditional Sichuan opera, but enriches its expressive possibilities, bringing it closer to the perception of the European listener. According to the results of the analyses of the performance version of the opera “Si Fan” of 2015, the peculiarities of live communication of the performers are summarized, in which the central and leading role of the soloist is emphasized. A conclusion is made regarding the stabilizing influence of musical notation, the presence of an auxiliary instrumental ensemble and a conductor on the architectural construction of the opera. The search of new resources to diversify the musical and expressive language of the traditional heritage of Chinese culture is characteristic of the work of many modern composers, which certainly provides prospects for further analytical investigations and awaits further scientific coverage.

Guitar music by Heitor Villa-Lobos: genre traditions of Brazilian choro

The relevance of the article is to consider Brazilian guitar music as an important component of the modern South American repertoire. On the example of choros of famous composer Heitor Villa-Lobos connections with the folklore traditions of the country, Afro-Brazilian, AfroCuban primary and derivative patterns of the genre have been revealed. The main objective of the study is to discover in H. Villa-Lobos's guitar music metrorhythmic and intonation-melodic archetypes of the Brazilian choro genre as an essential component of the southeastern regions of the country. The novelty of the article consists in the introduction to the Ukrainian musicological circulation of the genre-style analysis of the guitar works of H. VillaLobos, which, thanks to the names, are defined by the author as representatives of the specifics of this genre phenomenon. The methodology is based on an interdisciplinary approach and methods of historical, cultural, musicological, systemic, structural, and functional analysis, applied to the study of the genesis of the choro rhythmic archetype, primary ethnic sources, intonation-melodic manifestations and stylistic interactions in the composer's music. Results and conclusions. Choro is considered as one of the main heraldic genres of Brazilian musical culture, spread to a large extent in the southeastern regions of Rio de Janeiro and São Paulo. Among the local folk traditions of music-making in the middle of the 20th century choro (ancient wailing) and samba belong to the hybrid field of genres of Afro-Brazilian roots. The genesis of choro is connected with the local folklore of street musicians (choroens), as well as with tropical soundscapes and noise signals of the "polyphony of the city". Choro is characterized as a genre model, an instrumental composition of performers, singing, dancing and a figurative state of suffering. Linguistic and genre features of choro are revealed in the example of guitar works from the "Popular Brazilian Suite" by Heitor Villa-Lobos and his solo guitar composition from the largescale cycle of the same name "Chôros" for various ensembles of performers. Connections of choro with mazurka, ecossaise (scottish), waltz, gavotte are determined. The means of creating sound effects of ensemble playing thanks to the idiomatic resources of the solo guitar are considered. In the process of analytical research, a schematic generalization of the rhythmic choro archetype is proposed. The basic and derivative patterns of the archetype create a system of variant means of alternating rhythmic formulas that generalize the features of Afro-Cuban, Afro-Brazilian habanera, African lundu and batuk, European and Brazilian polka. The modernist means of choro representation are characterized thanks to the comparison of the guitar version with the language findings of the following parts of the grandiose cycle "Chôros": the use of Indian ritual-tribal folklore elements, techniques of sound imitation, stylistic allusions, a modern language arsenal, which together with the further development of the fundamental technique of playing the guitar with movements of the same positions along the guitar neck formed their individual and stylistic platform of musical thinking.

Fazil Say’s «Shahmeran»: the metamodern paradigm of an Eastern myth in the music of a Turkish composer

The relevance of the study The relevance of this study stems from the insufficient scholarly exploration of Turkish academic music, particularly its contemporary manifestations, which integrate Eastern traditions with Western compositional techniques. The musical legacy of Fazıl Say, one of the most prominent representatives of 21st-century Turkish music, showcases a unique synthesis of national identity and global musical trends, reflecting Turkey's broader cultural context as a crossroads of civilizations. The main objective of the study is to examine the stylistic features of Fazıl Say’s symphonic poem «Shahmeran» as a realization of an Eastern myth in the context of global cultural trends of modernity, particularly metamodernism as a contemporary artistic paradigm. The methodologу includes the following approaches: the biographical method (to analyze the impact of the composer’s sociocultural environment on his creativity), the genre-stylistic method (to determine the genre characteristics of the composition and its connection with the traditions of Western instrumental music), the intonational-dramaturgical method (to explore the construction of the musical narrative), as well as cultural-historical and theoretical generalization methods (to define the place of the composition within the contemporary musical discourse). Results and conclusions. The symphonic poem «Shahmeran» by Fazıl Say is analyzed through the lens of the metamodern artistic paradigm as a multilayered composition that synthesizes elements of Eastern mythology, Turkish musical traditions, and contemporary compositional techniques. The central role of the myth of Shahmeran is identified as a tool for reinterpreting cultural heritage and generating new meanings within a globalized world. Emphasis is placed on the capacity of myth to function as a dynamic cultural code, adapting to modern challenges while maintaining its connection to archetypal structures, aligning with the key characteristics of metamodernism. The preconditions for the development of Turkish academic music are outlined, and the main factors that contributed to its rapid growth in the second half of the 20th century are determined. Fazıl Say’s creative method is examined, highlighting the influence of his active career as a pianist and his overseas education. Say’s compositional style is characterized as synthetic, seamlessly integrating Western compositional techniques with the distinctiveness of national musical traditions. The genre status of «Shahmeran» is identified as ambiguous, blending elements of a single-movement symphonic poem and a cello concerto under the framework of a programmatic title. The compositional features of the work are analyzed, including its fragmentary structure and non-linear form. The role of modalintonational and rhythmic specificities in shaping its distinct Eastern modality is emphasized. The significance of oriental instruments (kudüm, waterphone) and unique performance techniques (aleatory glissandi, the use of strings as percussion, and cello timbres approximating traditional instruments) is revealed, highlighting their contribution to the creation of a distinctive sonic landscape. It is demonstrated that the composer employs methods of «new simplicity», presented through the prism of oriental intonations.

PERFORMING FEATURES OF CHAMBER VOCAL WORKS OF UKRAINIAN COMPOSERS

This study considered performing features of chamber vocal works of Ukrainian composers. The relevance of the study is conditioned by the fact that the issue of research in the music industry is determined by the cultural and social transformations that have taken place in the world and in Ukraine over the past decades. The purpose of this study is to understand the specifics of chamber vocal music by Ukrainian composers and identify the features of the process of mastering this genre of vocal music. The following methods were applied to achieve the research objective: analysis of scientific sources, logical and comparative analysis, descriptive and structural methods, scientific objectivity, and systematisation. The paper identifies and describes the main genre features of chamber vocal works of Ukrainian composers, which are mandatory for creating a performing interpretation. The methods of Ukrainian and foreign teachers in musicology, their systematic positions of understanding the specifics of chamber vocal works, and awareness of the tasks of performing musical works facing song performers are considered. The importance of a systematic approach in the practice of vocalists studying the features of chamber vocal works is emphasised. The analysis of studies allowed characterising possible methods of working on chamber vocal works of Ukrainian composers. The practical significance is conditioned by the possibility of applying the results in preparation for teaching the course of the history of Ukrainian musicology, cultural studies, and the history of vocal art in educational institutions. The scientific information contained in the paper can be used in writing methodological works, textbooks on Ukrainian musicology, and for the study of future research papers.