Choir Research Articles

Астраханский Архиерейский хор в концертах духовной музыки

In the post-Soviet period, there was a noticeable increase in interest in the church singing art. Professional musicians were given the opportunity to perform and study music that had not been so widely distributed until that time. For many, another direction for self-realization has opened up. Spiritual music has increasingly begun to go beyond the scope of worship and is performed everywhere by both secular and church choirs on the stage. Thus, this kind of the richest Russian cultural heritage became more accessible not only for the parishioners of churches, but also for the listeners of concert halls.Traditions of concerts of Orthodox music, with the joint performance of church and secular choirs have been laid in Astrakhan since the early 1990s. The organization of such events is one of the directions of concert and educational activities of the Astrakhan Metropolis. The Astrakhan Bishops' Choir has always been an indispensable participant in these concerts. He is in many ways a model for other singing groups of the city, such a format of activity has a great influence on the professional state of choir choirs, repertoire preferences, manner of performance and much more.In this article we will consider the concert style of singing of large cathedrals on the example of the bishops' choir of the Intercession and Assumption cathedrals, their concert and festival activities.

Православная певческая традиция Сахалина

This article is devoted to the formation of the Orthodox singing tradition in one of the youngest diocesan formations - the South Sakhalin and Kuril dioceses of the Russian Orthodox Church of the Moscow Patriarchate. The quantitative ratio of the existing religious views and beliefs of the ethnic groups of the island region is touched upon. The features of the historical processes of the development of Orthodoxy in the region, which have determined the range of problems that exist in the dynamics of the formation of the liturgical and singing tradition of the region and its transmission, are considered. Three typological types of worship (in relation to the singing component) in the Sakhalin region are considered: monastic, cathedral and parish. The repertoire preferences in liturgical chants of cathedrals and branches are analyzed. As a result of the research, the author reveals that for one daily liturgical circle of a separate temple or cathedral, in the singing relation, a kind of synchronous cut is characteristic, represented by chants of different eras, styles and directions in simultaneity, leading to stylistic eclecticism, however, difficult to differentiate by the ear of an unprepared parishioner. The existing organizational problems in the regency-singing business are analyzed. The concert and educational activities of choirs and vocal ensembles of the parishes of the Yuzhno-Sakhalin diocese are covered. The conclusion is made about the incompleteness of the described processes and the unstable current state of the Orthodox singing tradition of Sakhalin, which is in the initial period of its formation.

Art and science: impact of semioccluded vocal tract exercises and choral singing on quality of life in subjects with congenital GH deficiency.

Currently, not much is known about the interactions between voice and growth hormone (GH). We have described large kindred with isolated GH deficiency (IGHD) due to a GHRH receptor mutation, resulting in severe short stature and high-pitched voice. These IGHD individuals have little interest in GH treatment, as they consider themselves "short long-lived people", rather than patients. Interestingly, they report normal general quality of life, but they rate their Voice-Related Quality of Life (V-RQOL) as low. Here, we assessed the social and auditory-perceptual impacts of artistic-intervention voice therapy with semioccluded vocal tract exercises (SOVTE) and choral singing, on their voices. Seventeen GH-naïve adult IGHD individuals were enrolled in a single-arm interventional pre-post study with 13 weekly sessions of choir singing over 90 days. Outcome measures were V-RQOL scores, self-assessment of voice, and auditory-perceptual analysis (GRBAS scale, G: grade of the severity of dysphonia; R: roughness; B: breathiness; A: asthenia; and S: strain). Marked improvements in total (p = 0.0001), physical (p = 0.0002), and socioemotional (p = 0.0001) V-RQOL scores and in self-assessment of voice (p = 0.004) were found. The general grades of vocal deviation (p = 0.0001), roughness (p = 0.0001), breathiness (p = 0.0001) and strain (p = 0.0001) exhibited accentuated reductions. Voice therapy with semioccluded vocal tract exercises and choral training improved social impact and perceptual voice assessments in IGHD subjects and markedly improved their voice-related quality of life. This is particularly important in a setting where GH replacement therapy is not widely accepted.

Genre context of Ihor Shamo’s choral creativity

The purpose of this paper. The purpose of the study involves a thorough study on the genre system of choral heritage I. Shamo, as understanding the genre essence of choral work is an essential component of performing interpretation.
 The methodology. Methodological principles are the principle of historicism, historical-contextual method, genre-style analysis and acmeological method in musicology, used to understand the top achievements of I. Shamo in the context of the evolution of artistic thinking of the artist.
 The results. The genre system of I. Shamo’s choral heritage consists of the genres of choral song, suite, choral cycle, cantata, cantata-poem, cantata-oratorio, choral opera a cappella, oratorio (concert-performance). The directions of the composer’s creative search in the genre of choral song are connected with the usage of different choral compositions, appeal to the genres of lyrical song, stylization of ritual songs, romanticization of patriotic song. It is determined that the semantics of the first cycle of choirs a cappella by I. Shamo in the poem by I. Franko reveals the theme of the cycle of the seasons, drawing a parallel with the stages of human life. For the choral cycle “Flying Cranes”, the name of which is a symbol of unattainable happiness and, at the same time hope, the composer improves the techniques of sound recording, creates expansive melodic lines based on a synthesis of folk and romantic intonations. The third cycle of I. Shamo “10 choirs on the poems of Ukrainian poets” demonstrates the latest achievements of the artist in choral writing, timbre drama, the implementation of the principles of working with folk poetic sources, characteristic of the “second wave of folklore”. It is substantiated that the unity of the “Carpathian Suite” of the composer is promoted by: tonal plan, contrasting tempo drama and artistic sound images, intonational unity based on the theme of Ukrainian folk models. Based on the author’s genre definitions of the “Yatran Games”, it is determined that in I. Shamo’s choral opera a cappella there is a synthesis of genres: suite, choral scenes originated from folk life and ceremonial action under the auspices of the opera genre. It was found that among the genres of orchestral and choral compositions of the artist — cantata, cantata-poem, cantata-oratorio, which is dominated by civic themes. Innovative is the work of I. Shamo “Skomoroshyny”, which synthesizes the genres of oratorio and concert, with theatricalization of these genres. The choral opuses showed such features of the artist’s style as the synthesis of genres, the tendency to cyclicality, reliance on national roots, the creation of author’s melodies, where deep folklore manifestations, sprechstimme, sonorism, aleatorics.
 The scientific creativity lies in the analysis of the components of the genre system of I. Shamo’s choral heritage, in the awareness of the genre phenomenon of each choral work and in the identification of the evolution of the artist’s style.
 The practical significance of the obtained results is due to the need to determine the genre of choral work to create a performing interpretation.

Choral Singing and the Subjective Sense of Life Satisfaction

Leisure has a rich social, psychological and educational potential. Choral singing is one of the most common organized musical leisure activities, which is, according to numerous studies, in addition to the obvious primary musical function, unattributed to various psychological, therapeutic, educational and other benefits. This paper presents the results of research aimed at determining the relationship between quality leisure time spent participating in choir activities, determinants and dimensions of subjective and psychological well-being and elements characteristic of the sense of life satisfaction (global and situational). The aim of the research was to determine the level of the subjective feeling of life satisfaction of choir singers, to point out possible benefits arising from active and organized music engagement in choirs and to check whether there is a connection between these activities and the subjective sense of life satisfaction in active singers of different ages, genders, and professional or amateur groups. The results indicate that choir singers show a relatively high level of life satisfaction and that there are certain differences in relation to their age, gender and status, but not in relation to the duration of their participation in the activity.

A Missionary Inheritance: Tonic Sol-fa in India

Choral singing was embraced by many missionaries as a means of attracting potential converts to Christianity. A principal choral singing method in 19th century Britain, Tonic Sol-fa, was introduced by missionaries and others to the Indian subcontinent where it was used as both a pedagogical method and a music notation system. Building on the inherent musicality of the Mizo people in Assam, a fine choral singing tradition developed. Hymnbooks were published with Mizo words and Tonic Sol-fa notation. Although aspects of Tonic Sol-fa are utilized in some contemporary school music teaching methods, there is now little or no use made of the original Tonic Sol-fa method for community choral singing in Britain. Nevertheless, it is still used in some former British colonies, particularly for congregational hymn singing in Sub-Saharan Africa and the Asia-Pacific. Tonic Sol-fa has been, and remains, the mainstay of choral music making in Mizoram and neighboring areas. As such, it is a worthy inheritance from the missionary presence in India during the 19th century.

Хоровые произведения Шамиля Шарифуллина как импульс к развитию профессиональной хоровой музыки в Татарстане

The paper analyses the way of creating unique choral compositions by the talented Tatar composer of the XX century Shamil Sharifullin. The aim of the study is to shed light on the features of Shamil Sharifullin’s choral creative work, which served as an impetus to the development of professional choral music in the Republic of Tatarstan. The authors have determined the relationship of the composer with national folklore and the methods of mutual enrichment of folk and professional music in the choral genre by Sh. Sharifullin, which accounts for the scientific novelty of the study. As a result, it has been proved that Sh. Sharifullin’s original choral compositions opened up new opportunities for the development of Tatar choral art in the future.

Semantics of literary-textual sources in polyphonic works for a cappella chorus by the Russian composers of the late XX – early XXI centuries

This article aims to determine a close "polyphonic" connection between lyrics and music in choral music. The subject of this research is the synergism of literary-textual sources and polyphonic form. The object of this research is the consideration of polyphonic works for a cappella chorus by the contemporary Russian composers. Using the synthesis of research methods, which includes musicology, poetics and choral studies, the author reveals the parameters of a musical composition: literary-textual source and musical form. Detailed analysis is conducted on the dialectical interaction of constructive and destructive formants of the architectonics of musical form of polyphonic compositions for chorus. Special attention is given to differentiation of the structure of the literary-textual source and attribution of the polyphonic forms of motet, madrigal, fugue, and fugato. The main conclusion lies in the paradigm of artistic correlations between the literary and musical text as paralinguistic means that are the bearers of heterogeneous information and add additional colors to the content of the composition. Emphasis is placed on the need to explore the problematic associated with the architectonics of modern choral composition, substantiated not only by the general artistic-historical potential of choral culture, but its crucial importance for modern musical art as well. The novelty lies in the analysis of polyphonic forms of a cappella choral works as multimodal texts, synthesizing the scientific achievements of linguistics and musicology. The author’s special contribution consists in examination of the compositions for a cappella chorus of A. Koroleva and Y. Evgrafov that have not previously been the object of special research, and their introduction to modern scientific discourse.

Amateur singing benefits speech perception in aging under certain conditions of practice: behavioural and neurobiological mechanisms.

Limited evidence has shown that practising musical activities in aging, such as choral singing, could lessen age-related speech perception in noise (SPiN) difficulties. However, the robustness and underlying mechanism of action of this phenomenon remain unclear. In this study, we used surface-based morphometry combined with a moderated mediation analytic approach to examine whether singing-related plasticity in auditory and dorsal speech stream regions is associated with better SPiN capabilities. 36 choral singers and 36 non-singers aged 20-87years underwent cognitive, auditory, and SPiN assessments. Our results provide important new insights into experience-dependent plasticity by revealing that, under certain conditions of practice, amateur choral singing is associated with age-dependent structural plasticity within auditory and dorsal speech regions, which is associated with better SPiN performance in aging. Specifically, the conditions of practice that were associated with benefits on SPiN included frequent weekly practice at home, several hours of weekly group singing practice, singing in multiple languages, and having received formal singing training. These results suggest that amateur choral singing is associated with improved SPiN through a dual mechanism involving auditory processing and auditory-motor integration and may be dose dependent, with more intense singing associated with greater benefit. Our results, thus, reveal that the relationship between singing practice and SPiN is complex, and underscore the importance of considering singing practice behaviours in understanding the effects of musical activities on the brain-behaviour relationship.

Ед’ютейнмент у формуванні цифрової компетентності майбутнього керівника вокального ансамблю

The article considers the problem of forming the digital competence of the future leader of a vocal ensemble on the basis of edutaiment. The author explores the essence of the concepts "digital competence", "edutaiment", "future leader of the vocal ensemble", determines the meaning of these concepts. The analysis of the key research concepts in the works of domestic and foreign scientists is highlighted. It is investigated that in the current continuous digital progress and digitalization of the society, digital competence is of paramount importance for the successful implementation of both educational-and-scientific and pedagogical activities, especially in distance learning, when students are not in the classroom, but are away from the teacher and one another meanwhile implementing the educational process at an individual pace. The relevance of acquisition of digital competence and edutaiment by the future leader of a vocal ensemble as factors of a successful educational process and professional activity is substantiated. An analysis of software, including "cloud services" (Zoom, Google Meet, Skype, Viber, Telegram) is accomplished. Examples of integration of the principles of digital competence and edutainment in the formation of the methodological competence of the future leader of a vocal ensemble are given. In the process of writing the article, the functioning and peculiarities of the educational process were monitored, including distance learning using the "cloud" software of the Moodle system in the Institute of Arts of Borys Hrinchenko Kyiv University. Its major task is to make the education process mobile and reduce the discomfort of students, including future leaders of a vocal ensemble, owing to the formed digital competence and implementation of edutainment.

The Psychological and Biological Impact of "In-Person" vs. "Virtual" Choir Singing in Children and Adolescents: A Pilot Study Before and After the Acute Phase of the COVID-19 Outbreak in Austria.

Psychobiological responses to music have been examined previously in various naturalistic settings in adults. Choir singing seems to be associated with positive psychobiological outcomes in adults. However, evidence on the effectiveness of singing in children and adolescents is sparse. The COVID-19 outbreak is significantly affecting society now and in the future, including how individuals engage with music. The COVID-19 pandemic is occurring at a time when virtual participation in musical experiences such as singing in a virtual choir has become more prevalent. However, it remains unclear whether virtual singing leads to different responses in comparison with in-person singing. We evaluated the psychobiological effects of in-person choral singing (7 weeks, from January to March 2020, before the COVID-19 outbreak) in comparison with the effects of virtual choral singing (7 weeks, from May to July 2020, after schools partly re-opened in Austria) in a naturalistic pilot within-subject study. A group of children and young adolescents (N = 5, age range 10–13, female = 2) from a school in Salzburg, Austria were recruited to take part in the study. Subjective measures (momentary mood, stress) were taken pre- and post-singing sessions once a week. Additionally, salivary biomarkers (cortisol and alpha-amylase) and quantity of social contacts were assessed pre- and post-singing sessions every second week. Psychological stability, self-esteem, emotional competences, and chronic stress levels were measured at the beginning of in-person singing as well as at the beginning and the end of the virtual singing. We observed a positive impact on mood after both in-person and virtual singing. Over time, in-person singing showed a pre-post decrease in salivary cortisol, while virtual singing showed a moderate increase. Moreover, a greater reduction in stress, positive change in calmness, and higher values of social contacts could be observed for the in-person setting compared to the virtual one. In addition, we observed positive changes in psychological stability, maladaptive emotional competences, chronic stress levels, hair cortisol, self-contingency and quality of life. Our preliminary findings suggest that group singing may provide benefits for children and adolescents. In-person singing in particular seems to have a stronger psychobiological effect.

Poetic Historiosophy ("The Alps") by F.I. Tyutchev in choral works a cappella

The author of the article attempts to take an innovative look at the problem of the interaction of poetry and music in a synthetic whole: choral composition a cappella. The object of the study is the historiosophical poetry of F.I. Tyutchev: the poetic text of the poem "Alps", embodied in choral compositions a cappella. The subject of the study is the peculiarities of the interaction of poetic and musical texts in the creation of a figurative system of a cappella choirs created by composers of the XIX – XXI century on the historiosophical poem by F.Tyutchev. The purpose of the study is to study the ways of analyzing the logos and melos of texts, to identify the specifics of their interaction in choral compositions a cappella on the poem "The Alps" by F.Tyutchev. The article considers in this way the question of interpretation of the historiosophical poetry of F.I. Tyutchev (on the example of the poem "Alps") in choral compositions created by composers of different schools: P.G. Chesnokov, S.I. Taneev, M.V. Koval.     The path of analytical thought is shown: from penetration into the poetic primary source, which is only at first glance a landscape lyric, but representing a separate layer of the poet's historiosophical poems; to the nature of the interaction of logos and melos in choral compositions a cappella by composers of different schools at the level of perception by the composer of figurative matter, at the level of perception of metrics and rhythmics of verse, at the level of transformation of figurative matter (theme, idea), at the highest level (meditative thought). The analysis of the interaction of musical and poetic texts allows the conductor to take into account the peculiarities of the composer's reading of the poem when interpreting choral works. To date, such a way of analyzing choral compositions has not been used

Performing a culture, staging the revolution: Choral singing and traditional music as nation‐building tropes in post‐colonial Mozambique

AbstractThis article aims to evaluate the cultural policy of Mozambique's Liberation Front (FRELIMO), focusing on music and dance during the liberation war and transitional period (1964–1975), and during the first 5 years after independence from Portugal (1975–1980). For the first period, we will focus on a repertoire entitled ‘revolutionary anthems’ and for the second, we will analyse Mozambique's sonorous representations in three national and international events: FESTAC77 (1977), the First National Festival of Popular Dance (1978) and the First National Festival of Song and Traditional Music (1980). Building on fieldwork data gathered through several interviews with politicians, radio broadcasters, producers, musicians and archival work, we aim to explain the significance of musical performance for the ‘sonorous construction’ of the ‘new Mozambican man’ project, as envisioned by FRELIMO.

ЕМПАТІЙНИЙ ВЕКТОР У ПІДГОТОВЦІ МАЙБУТНІХ УЧИТЕЛІВ МУЗИЧНОГО МИСТЕЦТВА У КНР

The article substantiates the relevance of the formation of empathy in future music teachers. The essence of the concept of «empathy» and the content of empathy of a music teacher are determined. Separate ways of forming a certain quality in the process of professional training of a future music teacher in the People’s Republic of China (choral singing, folk music tools, pedagogical practices, etc.) are presented

METHODS OF PARALITURGICAL CHORAL COMPOSITIONS IN STUDENT CHOIR CLASSES

The article focuses on revealing the methodology methods of paraliturgical choral compositions in student choir classes, namely, phonetic features of Church Slavonic hymns, nature of sound production, dynamic ensemble, vocal and timbre ensemble, and phrasing. The role of religious and spiritual culture, spiritual choral art is highlighted. The importance of spiritual choral music in the repertoire of the student choir is substantiated, and the system of Christian values is singled out. It was determined that currently, one of the urgent issues of art education is the revival of the spirituality of the nation, the search for new landmarks, a new system of values. The positive effect of spiritual singing on a person has been proven as well. It was determined that paraliturgical chants have a pedagogical and psychotherapeutic effect on the formation of personality, occupy an important place in the repertoire of student choirs. The interdisciplinary connections between the study of paraliturgical choral works and the subjects of the musical cycle are analysed, e.g., history of music, solfeggio, harmony, voice production, conducting. It was emphasized that in working on paraliturgical choral works, it is important for leaders of educational choral groups to master the special skills and abilities. Choral singing is a carrier of enormous informational and educational potential, containing interdisciplinary communicative connections of the main subjects of the musical cycle: solfeggio, music theory, harmony, polyphony, history of music, analysis of musical forms, solo singing, conducting. The article examines the main problem in the work of choirmasters, namely, the lack of knowledge of the traditional style of sacred music, its genre affiliation, and stylistic features.

Choral Singing as a Source of Health

Choral Singing as a Source of Health

ЦЕРКОВНО-МУЗИЧНЕ ЖИТТЯ В КРАКОВІ КІНЦЯ ХІХ – ПЕРШОЇ ПОЛОВИНИ ХХ СТОЛІТЬ

The article examines the historical and political location of Galicia and the specificity of its cultural environment. The peculiarities of the musical life of the Galician city Kraków at the end of the 19th and the first half of the 20th centuries were noted. The predominance of the Catholic faith in «Polish Rome» is noted. The activities of musical educational institutions and musical societies, which held classes in choral singing and playing the organ, were noted. The church and musical life of the Roman Catholic population of Kraków at the end of the 19th and the first half of the 20th centuries is highlighted. New for liturgical musicology was getting to know the educational process in teachers' seminaries and in the Krakow Theological Seminary, where a men's choir, a string quartet and an orchestra operated. Much attention is paid to women's and men's monasteries, whose activities significantly influenced the development of church performance. In particular, a number of teaching aids were presented, attention was paid to the mastery of the brothers and sisters in choral, classical one- and two-part and polyphonic singing. The textbooks used to study Gregorian monody are noted and several nuns who became authors of sacred music are noted. The article reveals for the first time the most important schools attached to monasteries and their music groups. Data on the emergence of the Academic Choir and singing societies «Sokil», «Lute», «Haslo», «Worker's Lute», «Symphony», and the Society of Municipal Scribes, which cultivated church Roman Catholic music, were systematized. Particularly interesting are the facts about the combination of church and secular activities of the men's choir «Haslo» and «Cracow Lute». The repertoire of the leading groups and concert programs are also indicated, forming a holistic view of the church and musical life of Kraków at the end of the 19th – the first half of the 20th centuries.

The Lost Liturgical Books of Iceland. Understanding the Aspiciensboekr

The surviving charters of late medieval Iceland record the books owned by many parish churches. These small collections contained mostly liturgical books, described by a variety of Latin and Old Norse terms, among which the term aspiciensbók is common. The argument is here put forth that aspiciensbók refers to an Antiphonal, a category of Office book for use by church choirs. The name comes from the fact that the Latin word aspiciens is the first word of the responsory following the first lesson of the first Sunday of Advent. Antiphonals appear to be identified by several other words, including the ambiguous term söngbók, but are clearly distinct from Breviaries, another important type of Office book. This conclusion stands in contrast to a long history of scholarship, going back to Guðbrandur Jónsson, that has identified aspiciensbók as a type of Breviary. This study corrects this misidentification and points the way forward for new research into the liturgical book collections of medieval Icelandic churches.

FEATURES OF PROFESSIONAL TRAINING OF VOCAL ENSEMBLE LEADERS

The article considers the question of the peculiarities of professional training of bachelors of music art to lead a vocal ensemble. Insufficient coverage of this issue and the lack of appropriate methodological support in the modern system of training leaders of vocal ensembles has actualized the choice of topic. The purpose of this study is to analyze the specific features of the training of future leaders of vocal ensembles, to determine the main stages and methods of work on vocal works. To achieve this goal, the following tasks were set: to analyze the practical work of the head of the vocal ensemble, to describe the main stages of work on musical works. Scientific novelty lies in the development and characterization of the main stages of the vocal ensemble, namely: the preparatory stage, which includes the selection of repertoire, theoretical and practical analysis; technological stage, in the process of which the educational and rehearsal work on intonation, metro-rhythmic, artistic and performing difficulties in the vocal work, the development of vocal and ensemble skills; the final (artistic and creative) stage, aimed at creating a creative concept, a bright artistic and musical image, concert-educational and festival-competition activities. Note that during the training and rehearsal activities with the team it is important to practice vocal and technical skills, aimed at the systematic development of theoretical concepts and practical skills, principles, patterns that introduce participants to the process of creative improvement. These characteristics and properties of vocal work are aimed at developing artistic and creative, aesthetic and value attitude to creative activity. Thus, as a result of the study, the following conclusions were drawn: the future specialist, as the leader of the vocal ensemble must have natural abilities, sound theoretical and practical knowledge. Note that the development of certain stages of work on the work of art will contribute to the formation of professional competence of leaders of vocal ensembles, professional and creative growth of future professionals. The duration of the stages, the degree of detail in the work, the choice of methodological techniques will depend on the complexity of the work, the goals of performance, the level of mastery of vocal and technical skills, individual characteristics of performers. The ability of the leader to involve participants in joint vocal and creative activity will form in participants confidence in the forces, will increase selfestimation, will cause desire to self-expression, self-affirmation, realization of internal potential forces.

Musiktheoretische Implikationen im Briefwechsel zwischen Elisabeth von Herzogenberg und Johannes Brahms

Elisabeth von Herzogenberg’s letters to Johannes Brahms express her deep admiration and devotion to the composer’s work, but she also tentatively formulated criticism, mostly in cases when she was encouraged by Brahms to do so. What were the issues of music-theoretical relevance discussed in this correspondence? Was Elisabeth von Herzogenberg really a discussion partner on equal terms and were her views accepted by the composer? In several of Herzogenberg’s letters detailed analyses of Brahms’ vocal works can be found, especially of his songs with piano accompaniment and his choral compositions. Because of her broad musical experience in these fields, Brahms valued her opinion highly. Elisabeth von Herzogenberg had enjoyed a comprehensive education in musical practice and theory. She was an excellent pianist and singer, had a beautiful voice and was praised for her perceptive skills. Her statements on Brahms’ vocal works, which concern harmonic, melodic and rhythmic aspects, exhibit aesthetical criteria deeply rooted in the Classical-Romantic tradition. Above all she pays attention to a sensitive relationship of poetry and music. She disapproves “visualizing” effects in music, which according to her disturb the integrity of a composition. Herzogenberg noticed the increasing success of Brahms’ works with deep satisfaction and at the same time – in agreement with Brahms – refused to accept Anton Bruckner’s music. This article sheds light on the music-theoretical details discussed in the Brahms-Herzogenberg correspondance in paratactic manner and suggests that their systematic documentation forms a desideratum of Brahms research.