Choral Art Research Articles

MODERNISTIC SOUND RECORDING IN BORYS LIATOSHYNSKYIʼS FIVE CHOIRS BY MAKSYM RYLSKYIʼS POEMS: STYLISTICS OF CHORAL THINKING

The creative heritage by Borys Liatoshynskyi as one of the musical modernism founders in Ukrainian music belongs to the best national culture pages and it has been studied by musicology, mostly, in symphonic and chamber genres. Instead, choral works are itʼs less studied pearls, in particular, two cycles on the poems by Maksym Rylskyi op. 64 and op. 65 (1964), which are examples of the high level modernistic sound recording in Ukrainian choral art. It gives grounds for their vision in the pan-European musical art panorama in the 20th century. Thus, the study this topic on the example of the Five Choirs cycle op.64, has a high relevance and significance degree for modern science and art practice. The aim of the article is to reveal the characteristic stylistics features of choral thinking in Borys Liatoshynskyi’s Five Choirs a cappella ор. 64 by Maksym Rylskyiʼs poem and to substantiate the modernistic sound recording model in Ukrainian choral music in the middle of the 20th century. The research methodology is related to the following problems: 1) analysis the main studies by B. Liatoshynskyiʼs choral works; 2) analysis the Five Choirs cycle by B. Liatoshynskyi on M. Rylskyiʼs poem through the choral style thinking prism; 3) the typology of modernist sound recording in the specified cycle and the determining a prospects for further research in the declared problem. Scientific novelty. As a result of the style choral thinking analysis in the Borys Liatoshynskyiʼs Five Choirs cycle by Maksym Rylskyiʼs poem it typologize the modernistic sound recording features and substantiate the realization model in the Ukrainian choral music of the 20th century. Conclusions. Modernistic sound recording model that presented in the choral cycle op. 64 by B. Lyatoshynsky was formed on the basis of four stylistics choral thinking types, namely: 1) the polyphonic, quasi secession arabesque lines interweaving («Autumn», «Rain was Noises»); 2) the variant work with melodic formulas on the modern ornamentation example, it creates the special vertically interval phoneme («Rain»); 3) the soft-expressionist harmonic color and polytonality («Wide field»); 4) the sound imagery and modal alteration («Lullaby»). The prospects for further research on the declared topics are the artistʼs choral work analise in the European context and understandingon on this basis the main trends in Ukrainian music as a European phenomenon of the 20th century.

CONTEXTUAL AND STYLISTIC SIGNS OF THE MANIFESTATION OF IDEOLOGICAL ASPECTS IN UKRAINIAN CHORAL CREATIVITY FROM THE 1930 TO 1941

The purpose of the article is to highlight the peculiarities of choral works written between 1930 and 1941, from the point of identifying ideological concepts, as well as the nature of dialogue with social and cultural realities of the time. One indirect objective is to cover cultural and ideological factors in order to enrich the general understanding of the reasons for the use of texts and images. The methodology is based on an interdisciplinary approach, which ensures the productive application of art, textual, cultural and statistical methods, taking into account intertextual factors and the psychology of creativity. To better understand ideological mechanisms, contextual analogy is used in specific works contextual analogy was applied, as well as a musical analysis of the cycle «Two choirs on the texts of Iv. Franco» written by B. Lyatoshinsky. The scientific novelty of the research consists in the identification in choral works (in particular in their names) of direct ideological conceptions, as well as stylistic techniques which give special meaning to individual parts of poetic texts. It proposes ways of determining hypothetically probable motivations for strengthening obvious or creating hidden concepts and symbols in composer's interpretations. The conclusions state that there are concepts in Ukrainian choral art of the 1930s and the first years of the next decade which were used in ideologically different conditions as the deep engines of social consciousness with a view to attracting audience to public interest trends. It is indicated that such intentions have been intensified in the case of the commemoration of the anniversaries of cultural figures. It is noted that the complexity and sequencing of such studies, which enrich general perceptions with significant nuances, understanding of patterns and the conditionality of individual cases, will show the important achievements of the chosen period and their significance for creativity in the following periods.

An Analysis of the Influence of Internet Plus on Chorus Art

The main contents of this paper include analyzing the current form of “Internet plus”, combining with some problems in the development of choral art in China, putting forward some useful and targeted ideas, expounding the trend of chorus development, the form and characteristics of virtual chorus under the background of “Internet plus”, and proposing some thoughts on some problems in the process of “Internet plus Chorus”.

Syncretic Trends in Contemporary Western European Vocal and Choral Art: The Challenge of Today

"The aspects covered in the article proved the topicality of the research, in particular the analysis of contemporary Western European vocal and choral art presented the meanings embedded in the musical work, programmed interactive dialogue in the author-performer, listeners system, clearly demonstrating its syncretic trends in the modern conditions of development. The article reveals the essential features of syncretic trends of Western European contemporary vocal and choral art, indicates their significance for society. The foregrounding of the research is aimed at activating not only the creative mastery of certain boundaries, but also the expansion of the boundaries of personal experience. The aim of the research is achieved, namely the mechanism of integrating creativity of the representatives of contemporary Western European musical art in relation to art space is revealed on the example of creativity of the Italian composer Sciarrino, Italian composer Berio, Spanish composer and pianist Simarro. A retrospective coverage of the history of musicological thought in European humanities is presented, syncretic tendencies in modern Western European vocal and choral art are identified, its discourse is proposed as a challenge to the present. The study involved the following research methods: observations and conversations. The obtained research results can be further used as a developed model of forming vocal and choral thesaurus, which is in line with the current state of music, vocal and choral culture. Analysis of the peculiarities of the current state of choral art in Western Europe in the 20th — early 21st centuries is a promising area for further research. Keywords: Choral art. Harmonisation. Musical Art. Vocal work. Artistic image. Syncretism in music. "

Meters of Ukrainian children's choral art: Eleonora Vinogradova (on the occasion of the 90th anniversary)

The purpose of the article is to analyze the creative activity of the outstanding representative of the national choral culture Eleonora Vinogradova. To substantiate the importance of the choral conductor's personality and its influence on the formation of modern children's choral performance. To outline the multifaceted activity of E. Vinogradova as a choral conductor, teacher, music, and public figure in the context of active universalism. Understand that the biography of a creative person is an expression of the most typical features of the era, its basic ideas, and is a reflection of historical and socio-cultural events. Methodology. Features of the biographical approach allow us to explore the artist's biography as a way of reconstructing the cultural-historical concept. A systematic chronological approach is being implemented. The scientific novelty lies in the expediency of research and replenishment of new facts of E. Vinogradova's biography from the point of view of the development of choral culture. An attempt was made to recreate for the first time, full of selfless work, the creative path of the artist with an awareness of the essential characteristics of a particular historical period, its culture. Conclusions. According to archival documents and other information sources, the process of formation and formation of professional principles, as well as stylistic features of E. Vinogradova's creative activity is analyzed. The leading sphere of creative activity is defined, namely, the activity of the choral conductor. It is emphasized that the outstanding choral conductor and teacher, the representative of the Kyiv conducting and choral school Eleonora Vinogradova is an active participant of the Ukrainian artistic life with high professional potential. The high cultural potential of the universal creative personality of the conductor-teacher in the processes of formation and development of the national musical culture is proved.

Spiritual concert in the work of Ukrainian composers

The last decades in the post-Soviet space are characterized by spiritual searches, growing interest in spiritual heritage, in musical art – the blossoming of spiritual creativity, in music science – by increasing attention to genres of spiritual music. The relevance of the problem stated in the article is caused by the need to highlight the development of the genre of spiritual choir concert as an exceptionally important and illustrative for Ukrainian musical art. The purpose of the research is to reveal evolutional tendencies of the genre archetype throughout its history of presence in Ukrainian music art. The leading method of this investigation is a genre-style method, which provides detection of different levels of transformations of genre invariant, connected to historical and style conditions and peculiarities of individual styles of composers. The results of the study can be useful to researchers of choral art and choral conductors, can be used in the pedagogical process – in educational courses on music history, choral literature, music culturology.

The Formation of the Professional Arts and Entertainment Music Development Paradigm on the Case of Album Home Music of the ХІХ - Beginning the ХХ Century

Relevance of the study. Through the prism of the tradition of home music of the 19th - beginning of the 20th centuries, the music albums that formed the basis of the repertoire of home music salons are considered. The example of two noble families from Lviv and Odessa shows the importance of such collections for the formation of the individual's personality, perception of the world and spiritual development, as well as influence on the formation of aesthetic tastes. The genre features of the works included in the collections as well as the quantitative correlation of professional composers and amateur composers are analyzed. The main ground in the development of amateur art was home music. Professional music activity for Ukrainians Galicia was almost inaccessible, so they played mainly in a home atmosphere and could reach only the level of amateurism. Families of composer-priests, who essentially made up the elite of the Ukrainian milieu, played a decisive role in this, and accordingly, a special role in the development of Galician musical culture belongs to them. On the example of the tradition of home music, the stratification of the development of musical art into professional and entertaining is explored. The influence of representatives of the "peremyshl school" on professional art, spiritual creativity and entertaining, salon music is considered. The influence of the Austro-German popular Leadertafel songs and Biedermeier style, which, on the example of the albums analyzed, formed the basis of music collections and, in general, had a direct impact on the formation of both professional choral and spiritual composer art and "light" music. The combination of samples of "high", "low" culture and kitsch played an important role in the process of final creation of the "style face" of national music art and the establishment of the paradigm of the national composing school.

FORMATION OF CULTURAL AND EDUCATIONAL ENVIRONMENT OF ART INSTITUTIONS OF HIGHER EDUCATION

In the article, based on the theoretical analysis of the leading groups of sources and work experience of the Communal Institution of Higher Education «Uzhgorod Institute of Culture and Arts» of the Zakarpattia Regional Council, the essence of the concept of «cultural and educational environment» of the artistic institution of higher education is investigated and substantiated, and the ways of forming such an environment are outlined.
 Based on the works by O. Pilevych, O. Rebrova, H. Buchkivska, E. Mertens, and other scientists, it is found that the cultural-educational environment of art institutions of higher education is a complex integrated concept. It characterizes the spiritual space of the institution and the set of educational and cultural-educational pedagogical conditions and means those develop and shape the personality of the future specialist in the field of culture. The specifics (features of an art institution, the role of the environment in the process of education and upbringing of young people, a resource that enables their professional creative growth) and characteristics of such an environment are determined, and examples of the implementation of the tasks of its formation by means of the work of vocal and choral art collectives are given.
 Conducting and researching the peculiarities of the formation of a cultural and educational environment in the conditions of an art institution of higher education made it possible to identify the main trends and characteristics of the development of such an environment. They are the following: the formation of the spiritual culture of youth, the assimilation of universal and national values, professional development, the formation of performing skills, the realization of individual creative abilities, and moral and aesthetic education in the conditions of the artistic collective and through the collective, readiness for active artistic and creative activity.

Сhoir conductor Mykola Hobdych: the facets of a creative personality

The purpose of the article is to analyze the creative personality of Mykola Hobdych, to consider the directions of his multifaceted activity for 30 years, to confirm the significant contribution of the artist to the revival of the national choral art of Ukraine, to draw the attention of musicologists to the study of the creative work of the master of choral performance. Methodology. Historical and general scientific methods were used in the analysis of the choral movement in Ukrainian society during the period of state independence, the comparative method revealed a significant contribution of the Kyiv Chamber Choir to the revival of national traditions of spiritual singing, the systematic method was used to assess the activity of the choir leader Gobdich. The scientific novelty is that for the first time M. Hobdych's creative interaction with such modern composers as Lesya Dychko, Viktor Stepurko, Myroslav Skoryk, Romuald Tvardovsky, Valentyn Silvestrov was noted, the importance of his organizational, publishing, and scientific activity was emphasized. Conclusions. At the turn of the XX and XXI centuries, the flourishing of spiritual choral creativity is strongly connected with the creative activity of M. Hobdych and the Kyiv Chamber Choir, as the founders of the International Festival "Golden-Domed Kyiv", which was able to revive the links between past and present. M. Hobdych's creative activity as a choirmaster. arranger, editor, and cultural figure deserves the more meticulous attention of musicologists.

Sonata for violin and piano as a Serafim Orfeyev’s creative views

The purpose of the article is to identify the intonation-content complex of the Sonata for Violin and Piano by the representative of the Odesa School of Composers Serafym Orfeyev in the area of the performer's interpretation of the symbolism of the sonata, comparison of similar works of Ukrainian composers in a specific historic period and identifying the original artistic concept of Orfeyev's work in accordance with his mindset. The scientific novelty is based on the fact that for the first time the work of Orfeyev, which has not yet been the subject of scientific research, is considered, and the significance of the composer's contribution to the development of the instrumental sonata of the XX century is revealed. Methodology. The personal features of the artist's creative preferences are determined through a complex of musical symbolism and reflection of the multiple meaning of the Orthodox church tradition of choral art, mythological information of folk-historical archaism in combination with professional achievements in the development of the chamber sonata genre. Conclusions. Sonata's analysis points to the signs of S. Orfeyev's stylistic search, which was expressed in the spread of the specifics of choral writing, to the comprehension of which (on the example of the works of Mykola Leontovych and Anatolii Lyadov) the composer paid great attention; in instrumental thinking, which was reflected in the saturation of the fabric of the ensemble work with a polyphonic plexus of voices, and especially hidden polyphony. The connection with folk art influences the reproduction of an expressive dynamic picture of a folk holiday. A rather complex synthesis of the dramatic and the lyrical creates a unique, deeply emotional concept of a musical work, which vividly complements the genre of the instrumental sonata with new features in the traditional romantic color.

Ways of Choirmaster Art Development in Azerbaijan

The article is devoted to the history of the choral music development in Azerbaijan and to highlighting the ways of choirmaster art formation. The development of choral art in Azerbaijan began, firstly, with the formation of the composer creative activity. The introduction of classical choral samples with the emergence of the first opera and the formation of an ensemble for performing it are considered to be the first step in this area. Later, the emergence of professional choral collectives, the development of the opera genre, as well as the activity of music education institutions included a new stage of development. Therefore, the formation of choral music genres allowed the development of the art of conducting, especially the areas such as an opera choirmaster who leads a choir collective, a chapel choirmaster. The purpose of the research is to highlight the formation of choral conducting in Azerbaijan, to study the ways of high-level development of choirmaster art and to explore the creative path of professional opera choirmasters. The research methodology is based on historical and theoretical principles, with the help of which the position of choral art in the musical culture of Azerbaijan, the history of the formation of choral art is considered. The theoretical and methodological basis of the study was the existing works of Russian and Azerbaijani musicologists in this field. The scientific novelty of the research is connected with the fact that for the first time in Azerbaijan the ways of development of choir art are comprehensively covered. Conclusions. The involvement of Azerbaijani choral art in the research and the study of the issue mainly in terms of the conducting and choirmaster art formation have shown that the development of this art was primarily connected with composer creativity. Since the emergence of classical samples of choral music is associated with the opera genre, the art of conducting and choirmaster has entered its stage of formation, in parallel. The professional development of choirmaster art took place in parallel and mutually with the art of conducting and it was associated with the high-level organization of music education in the country. Consequently, such professional choirmasters as L. V. Frolova, A. A. Yurlov, N. Malikov, L. Atakishiyeva, E. B. Novruzov, B. Vakilova, S. Agayeva, N. Mardanov, N. Nabiyev, Z. Ismayilova, Y. Adigozalov, G. Imanova and L. Mammadova have been trained in Azerbaijan. Besides, areas such as a chapel and opera choirmaster have also developed within choirmaster art.

5. Historical and Theoretical Foundations of the Development of Vocal and Choral Culture in Moldova

Abstract The origins of the national choral art are based on Church singing, which has been widely developed since the founding of the Putnyansky and Nyametsky monasteries. In the further development of the centuries, Church singing intertwined with folk choral singing, which was reflected in the works of such conductors and composers as G. Muzichesku, M. Berezovsky, A. Kristya, M. Byrke, V. Popovich. Special attention is paid to the creative and conducting activities of Gavriil Muzichesku, all of whose initiatives were innovative and progressive, later becoming the leading ones in the national choral activities of Romania and Moldova. This article identifies and systematizes the main trends related to the process of creating vocal and choral works and their application in the system of Romanian and Moldovan musical education. Their analysis shows that the composer worked on the theoretical generalization of his own experience, turned to the best ideas of domestic and foreign pedagogy, including Russian, and thanks to this he was able to bring his knowledge and experience into a fairly coherent and integral system of musical education and education through vocal and choral culture.

Guest Editor’s Introduction

Guest Editor’s Introduction Chris van Rhyn Presenting this collection of articles about new music from Africa requires contextualization and reflection on its composition and contents, and the definition of “new music.” Although the idea was never to be representative (any such attempt on a continent this large and diverse would be futile and misguided), the contributions I received turned out to focus on and come from smaller subsections of the continent than anticipated: Sub-Saharan, English-speaking Africa, and particularly Ghana, Nigeria, and South Africa. (However, not all the authors come from or are based in Africa.) On the one hand, this speaks to where my contacts are situated and context as an academic in the English-speaking world. On the other hand, it speaks to the significant disconnect between African countries where the business of music academia is concerned—some favor looking towards the global North; whereas, others aim their research mostly at local audiences. Also, in some African countries, there is almost no such business of which to speak. The establishment of Conservatories or University Music Departments based on the Western model depended on the priorities of colonial powers or post-independence governments’ colonial-inspired nationalist ideals, and socio-economic circumstances. In South Africa, the Apartheid government facilitated the disproportionately wide establishment of such training facilities. Despite Egypt [End Page 5] having a long history of formal musical training in the Western guise, North Africa is notably absent from this volume. The contributions’ contents may or may not depart from what is usually seen in Perspectives of New Music for various reasons. The extensive, unexplored archive of works by composers from Africa that do not yet form part of broader discourses sometimes requires basic research that would otherwise not have been necessary. In other cases, where composers have had more international exposure or have been the subjects of detailed scrutiny at a national level, authors could engage in more detailed analyses at a higher level of abstraction. Music studies in Africa are known for purposefully disregarding strict divisions between Music Theory, Analysis, Musicology and Ethnomusicology, which is evident in the articles presented here. The definition of “new music” (or “art music” or “contemporary classical music”) is fluid. It includes film music, contemporary choral music with strong roots in Western hymn traditions, and music of pre-colonial origins performed outside their traditional contexts or applied in new musical contexts. The first two contributions both focus on aspects of language in West African choral art music. Joshua Amuah and Hilarius Wuaku consider code-switching—a linguistic-compositional strategy already familiar in popular Ghanaian music—in choral art music by contemporary Ghanaian composers. Their article aims to tease out the reasons for these composers’ implementation of this strategy and how it aids in communicating with audiences. Short biographies of the composers in question serve to inform readers less familiar with the Ghanaian art music composition scene. Aaron Carter-Enyi considers the significance of contour and transformational theory in settings of tone language texts through his analyses of two secular choral works by Nigerian composers. These works, Óbì Dím̀kpà (1980) by Laz Èkwúèmé and Ọmọlúàbí (2018) by Ayọ̀ Olúrántí, are based on local proverbs. Issues concerning musical style and identity are approached in three diverse ways. Wilhelm Delport aims to draw Schoenberg’s notion of Abfallmaterials into conventional harmonic analysis by outlining the critical role quartal compounds play in the South African composer Hendrik Hofmeyr’s compositional language. The author analyzes Hofmeyr’s Sonata per Pianoforte (2011) for this purpose. William Fourie presents a reading of Andile Khumalo’s Bells Die Out (2013), an ensemble work by a young, Black South African composer who received European and American compositional training. Fourie’s reading argues for viewing Khumalo’s music as challenging racially defined expectations, not simply through a wholesale adoption of a European style, but by cautiously resisting the conventionalities of [End Page 6] what appears to be a European style on the surface. Emaeyak Sylvanus explores the interconnectedness between Nollywood film music identity formations and three contexts in which these identities manifest. Following this, he proposes the notion of the “Nollywood persistent...

On the revival of the unfinished opera by M. Leontovich "Water Nymph's Easter"

The purpose of the article is to determine the peculiarities of the revival of the unfinished N. Leontovich's opera “Water Nymph's Easter.” The methodology consists of the application of methods of historiographic analysis and synthesis, comparison and generalization, personology, personality theory, cultural studies, and hermeneutic approaches. This made it possible to collect and investigate unknown and little-known facts about the writing of N. Leontovich's opera “Water Nymph's Easter,” to reveal and characterize the stages of its revival. The scientific novelty of the work consists in identifying the innovative style of the musical language of the opera N. Leontovich “Water Nymph's Easter,” its place and role not only in the musical work of the composer but also in the entire operatic art of Ukraine. Conclusions. The activities of the prominent Ukrainian composer N. Leontovich, despite the persecution, state, and censorship oppression, made a significant contribution to the development of national musical art, promoted the folklore foundations and traditions of the Ukrainian people. His opera “On the Mermaid Easter” became a natural continuation of choral art, which is considered to be a composer’s laboratory, where the skills of a polyphonist, an interpreter of poetic content were perfected, and an innovative search for a combination of national and universal human values ​​took place.

Viacheslav Palkin: the road to success (dedicated to the 85th anniversary of his birth)

Problem statement. One of the most important directions of modern choral studies is the research on the life and creative path of outstanding choirmasters, while understanding their performing experience, pedagogical approaches and taking into account their aesthetic and artistic beliefs. One of the most honorable places among artists is occupied by Viacheslav Palkin (1935–2008), who contributed greatly to the development and prosperity of both, the choral culture of Slobozhanshchyna and Ukraine. The relevance of topic lies in the necessity to study the creative experience of the remarkable choral conductor V. S. Palkin, to understand the contribution of the luminary of the Kharkiv conducting and choral school to the development of national art. Theoretical background includes the articles of O. Batovska (2005), H. Parfonova (2008) and the thesis of H. Savelieva (2012), N. Bielik(2007), which examines Palkin’s pedagogical approaches, his achievements as the head of the Choral Conducting Department of the Kharkiv I. P. Kotlyarevsky Institute of Arts, as well as the performing style of the Сhamber Сhoir led by him as an artistic director and choirmaster. Other sources of study embody the materials of the national conference, methodological works and articles by V. S. Palkin collected and published in I. Palkin’s book “Viacheslav Palkin. By the roads of choral art” (2011). The objective of the work is to define a periodization of Palkin’s life and career to identify the stages of his professional growth to the crowning achievements at the height of his creative career. The research methodology lies in the application of the principles of historicism, phenomenological and acmeocentric approaches, biographical method and the method of typological analysis. The periodization of the life and career of the distinguished choral conductor, teacher and educator V. S. Palkin is presented for the first time in art studies. Conclusions. The analysis of V. Palkin’s life and career resulted in the periodization. The following criteria were taken into account: biographical, geographical, evolutionary-performing and age-specific. The first period (1935–1951) covers childhood, the second one (1951–1960) represents his years of education. This period is characterized by his desire to comprehend and embrace all the subtleties of choir conducting. The third stage (1960–1978) is the accumulation of choirmaster, pedagogical, and life experience. The fourth one (1978–2008) is the culmination of the master’s life and career, his finest hour and acme phase, when he created a chamber choir, which reached the highest level of choral art under his leadership. It was established that choirs led by V. Palkin reflect changes in his artistic career path. The four stages reflect the evolution of the artist as a conductorinterpreter, organizer and leader of numerous choral groups, teacher and educator.

Opera and Choral Performance in Mykhailo Krechko’s Work

The article considers some aspects of opera and choral performance on the example of analysis of the theatrical period of creativity of one of the prominent figures of Ukrainian choral culture, founder of the choir of the State Children’s Musical Theater — People’s Artist of Ukraine, Professor Mykhailo Krechko (1925–1996). M. Krechko as the first chief choirmaster of the theater built his individual principles of work and theatrical traditions inherent in such a unique opera choir. SCMT is the second in the world and the only professional opera and ballet theater in Ukraine for children and youth).The established traditions and peculiarities of the choir’s work in SCMT are analyzed, based on the repertoire of the newly created Theater and the genre range of performances of choir artists (opera, ballet, musical, cantata and oratorio works, a cappella music performance).Formulation of the problem in general. The relevance of the chosen subject is due to the lack of basic scientific research into the life and work of the famous Ukrainian choral conductor M. Krechko. This is the first comprehensive appeal to the activities of an outstanding master of choral work, active propagandist and collector of folk songs, composer, publicist, teacher and music and public figure, who devoted his entire creative life to the development of national choral culture. A separate task is to study and analyze the basis of the traditions of opera and choral performance initiated by M. Krechko during his work at the State Children’s Musical Theater. Also, it is important to systematically study the methodology and means of educating opera choristers on the example of the work of M. Krechko.
 Analysis of research and publications to solve the problem. General characteristics of the life and work of Mikhail Krechko are examined in the works of O. Bench-Shokalo, M. Kravchuk, A. Lashchenko, L. Mokanu. The issues of choir and opera choir are analyzed in the works of L. Butenko, O. Letychevska, B. Pokrovsky, K. Pigrov, P. Chesnokov, which explores the functioning of the choir and the nuances of managing this process, as well as the work of specialists in the opera house.The problem of the specifics of M. Krechko’s work with the opera choir was not raised in the scientific literature, which determined the relevance of this article. The research materials of the archive of the “Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth” — programs of performances and concerts, reviews; family archival materials of the Krechko family; publications by M. Krechko and devoted to the work of M. Krechko (booklets, articles in newspapers and magazines, author’s books and reference books). Also, below are a number of personal conclusions of the author of the article while working as a choir artist under the direction of M. Krechko.The purpose of the article is to study the life and work of M. Krechko as an opera choirmaster, his methodology and practical implementation of the multitasking of choir artists in a wide range of synthesis of arts in the opera house.Conclusions and prospects for further exploration in this direction. The article explores for the first time the theme of opera and choral performance in the works of the outstanding Ukrainian choirmaster — People's Artist of Ukraine, Professor Mykhailo Krechko. The above facts from archival materials and analysis of the maestro's artistic activity allow to learn more about the master's contribution to the choral art of Ukraine and its important role in the formation of the vector of development of the State Children's Musical Theater. Emphasis is placed on the specifics and universalism of the theatrical choir. Summarizing all the above, we can say that the modern creative life of the choir Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth is fundamentally based on the high artistic principles laid down by the founder of the choir — Mykhailo Krechko. The Maestro’s great love for the Theater Choir, which he called his “swan song”, high performing skills and a wide range of genres of repertoire, education of followers and like-minded people, and deep traditions established by the choirmaster are a strong foundation and guide to new artistic victories.

Synthesic aspects of the national spirituality of painting and choral art (on the example of the paintings of Ivan Marchuk and the choir composition of Hanna Havrylets)

Synthesic aspects of the national spirituality of painting and choral art (on the example of the paintings of Ivan Marchuk and the choir composition of Hanna Havrylets)

ТЕОРЕТИКО-МЕТОДОЛОГИЧЕСКИЕ ПОДХОДЫ К ФОРМИРОВАНИЮ ГРАЖДАНСКО-ЭСТЕТИЧЕСКОЙ КОМПЕТЕНЦИИ ПОДРОСТКОВ В ХОРОВОМ КОЛЛЕКТИВЕ

The article focuses on the need to take into account the potential of choral art for the formation and strengthening of civic identity, the preservation of Russian cultural, moral, aesthetic values and the unity of the cultural space. As a result, the problem of the formation of civil-aesthetic competence of adolescents in the choir arises. The author draws attention to the theoretical and methodological basis of this process. The totality of culturological, systemic, competence-based, activity-creative approaches underlies the eff ectiveness of the pedagogical process. The totality of culturological, systemic, competence-based, activity-creative approaches underlies the eff ectiveness of the pedagogical process. The main provisions of the selected approaches are presented in the corresponding principles: cultural (the principle of cultural conformity, nationality, continuity, innovation); systemic (the principle of integrity, duality, integration); competence-based (the principle of professional orientation, modeling, continuity of education); activity-creative (the principle of personal conditioning, interiorization, development of the creative principle).

Specific features of realization of Ivan Franko’s poetry in the choral art of Mykola Lastovetskyi

Specific features of realization of Ivan Franko’s poetry in the choral art of Mykola Lastovetskyi

Italian Vocal and Choral Music of the Twentieth Century as a Phenomenon of Artistic Traditions

This article is an attempt to study the leading trends of Italian vocal and choral art of the twentieth century. The main stylistic features of the musical art of the twentieth century were convincingly manifested in Italian choral music and embodied in two important tendencies in its evolution. The first tendency was focused on a conscious rethinking of traditions, the second one – on a radical technological renewal of stylistic features of musical creativity. The stimulus for updating the content, genre, and stylistic components of vocal and choral music was the “dialogue” between epochs and artistic traditions. The main results of that process were as follows: a combination of spiritual biblical themes and a modern musical language as well as stylistic innovations; the revival of the mystery genre based on texts and plots of the Holy Scriptures; the reproduction of sublime drama per musica style; the revival of the traditions of the late Renaissance madrigal and combining these traditions with new means of expression and modern techniques of composition. One of the ‘iconic’, most significant representatives of Italian musical culture of the twentieth century was Goffredo Petrassi, a composer, teacher, and conductor. G. Petrassi's choral music had an enormous effect on the development of vocal and choral music in Italy in the second half of the twentieth century. The appeal to the national heritage in Petrassi's work was associated with the revival of vocal and choral genres and manifested itself in the use of stylistic features of the late Renaissance madrigal, characteristic techniques of ancient vocal music. On the other hand, studying works of Renaissance polyphonic schools combined with a deep interest in modern experiments in the field of musical composition, allowed the composer to create an amazing phenomenon of new Italian choral music, which in composition is close to both avant-garde and neoclassical works of the first half of the twentieth century.