Concert Programs Research Articles

ОРГАНИЗАЦИЯ И ПРОВЕДЕНИЕ ЗАРУБЕЖНЫХ ГАСТРОЛЕЙ МОСКОВСКОГО ГОСУДАРСТВЕННОГО СИМФОНИЧЕСКОГО ОРКЕСТРА П/У В.Б. ДУДАРОВОЙ В 1970-Е ГГ.

The article considers the reasons for foreign tours of the Moscow State Symphony Orchestra’s headed by V.B. Dudarova in the 1970s, the specifics of those tours, as well as their results both from the point of view of popularizing symphonic music and from the point of view of popularizing Soviet ideology abroad. Among the most important reasons for the organization of the first foreign tours by the Moscow State Symphony Orchestra of V.B. Dudarova in the 1970s, one can mention the active participation of the orchestra in numerous Soviet festivals, competitions for young performers, the preparation and performance of new works by Soviet composers, the expansion of the repertoire of performed musical works, the work with foreign conductors, Also the participation of V.B. Dudarova as a guest conductor in foreign tours with other orchestras, the musical community positive reviews and reports on the work of the orchestra as well as increasing the status and prestige of the orchestra in the general range of symphony orchestras of the USSR. The organization and conduct of foreign tours in the Polish People’s Republic and the GDR included the briefing, the development of a concert program, which provided for concerts in several major cities with a developed musical culture, as well as in the capitals of the countries selected for the foreign tour. In addition to the concerts themselves, the organization of the tour included a meeting of the Orchestra’s direction with the cultural intelligentsia of the People’s Republic of Poland and the GDR after each of the concerts, advertising concerts and the orchestra’s work in the media of the People’s Republic of Poland and the GDR, selling souvenirs and recordings of the orchestra. Thus, the concerts of the Moscow State Symphony Orchestra conducted by V.B. Dudarova were only a part, or rather one of the instruments, of the national program of Soviet propaganda and the maintenance of a favorable image of the USSR abroad.

Індивідуальний виконавський стиль австралійського гітариста-віртуоза Томмі Еммануеля

Research objective. The aim of the study is to determine the parameters that provide the individual performing style of the Australian guitar virtuoso T. Emmanuel. The methodological basis of the work is historical, organological and interpretive approaches that helped to identify the background and evolution of performance, as well as features of instruments and sound equipment of the Australian guitarist, the typology of individual performance styles in the communicative space. The scientific novelty of the work is that for the first time the specifics of the performing work of T. Emmanuel-guitarist are revealed and the typology of performing styles that are dominant in the musician’s thinking is determined. Conclusions. T. Emmanuel’s individual performance style began to take shape in the first years of his musical activity under the influence of American country musicians – M. Travis, H. Williams, C. Atkins, as well as instrumental rock bands “The Shadows” and “The Ventures”. Based on the style of M. Travis in technological terms (Travis-picking), as well as the style of C. Atkins, characterized by “vocal” type of melody, the availability of compositions for more listeners, T. Emmanuel expands the “sound image” of the guitar, a variety of colors due to the original percussive manner of the game, increases the dynamic «threshold». It should also be noted that the performance style of the Australian virtuoso is more free. Extensive use of dynamic, textured colors of acoustic guitar, brilliant timbre techniques, multiplied by the modern use of sound equipment - all this distinguishes the sound of T. Emmanuel’s guitar and its “sound image”. T. Emmanuel’s performance style combines two types of performance – classical and romantic. Signs of the romantic type are the lack of musical literacy (reliance on tabular thinking) and the operation of musical images; the need to communicate with the public and “a game for the audience”; expressiveness and temperament of the performance style. In turn, the construction of concert programs in terms of drama; methods of rehearsals, discipline; competent and smooth work of the playing apparatus in the best traditions of the academic guitar school speaks of the presence of the classical performance type of T. Emmanuel-guitarist.

Organization and staging of concert programs as a laboratory of student creativity

Organization and staging of concert programs as a laboratory of student creativity

Francois Devienne – «the artist worthy of respect and favorable attitude»

The article is dedicated to Francois Devienne, one of the first flute teachers at the Paris Conservatory. The purpose of this scientific article is determination of the performing, pedagogical and compositional achievements of Francois Devienne, their influence on the development of French flute art in the second half of the 18th century. The tasks of scientific research are aimed at highlighting Francois Devienne’s role in the creation of flute classes at the Paris Conservatory and the formation of a repertoire for the instrument. The research methods includes historical-genetic, historical-biographical, historiographical, comparative and chronological ways of scientific knowledge. The scientific novelty of the article is to reveal the main directions of Francois Devienne’s creative activity and to detail the artist’s achievements in the formation of the French flute school at the end of the 18th century. Conclusions. Francois Devienne together with his predecessors Jacques Hotteterre and Michel Blavet, belongs to a constellation of prominent French composers and educators, whose creative achievements had a significant impact not only on the development of French flute art, but also European in general. As a virtuoso performer and multi-instrumentalist, he confidently presents the flute and bassoon at the best concert venues in Paris, consolidating their position as solo instruments. François Devienne’s pedagogical achievements were most vividly manifested in the development of technological and artistic principles of flute didactics. The solo and chamber-instrumental repertoire for flute and other wind instruments created by him remains in demand by modern performers and is increasingly heard in concert programs.

Traditional References of the Modern Ballade by Akses

The pioneer composers of contemporary classical music in the Republic of Turkey (aka Contemporary Turkish Music) created their first musical compositions by incorporating some of the components of traditional Turkish music — scale, rhythm, motif, and style — and abstracted forms thereof. The Ballade, a one-part orchestral piece dating back to 1947, composed by one of the first-generation composers, Necil Kazım Akses, is an example of this approach to composition. Both the concert program notes and various concert criticisms give an idea about the structures of traditional Turkish music in the Ballade. However, the Ballade, as an example of programmatic music, requires a more detailed analysis, especially in terms of motif and rhythm. In this study, which aims to establish the connection between the composition at hand and primarily traditional Turkish music, I examine the composition in terms of rhythm, motif, scale, and style, and the findings are correlated with the original structures of traditional Turkish music. The findings showed that Akses used rhythmic (usûl) abstractions in his work more than the modal (maqam) structures. When examining the modal structure of the work, I also detected that the composer preferred to abstract the motifs exhibited by the maqams, instead of abstracting the maqam structures directly. The study especially reveals Akses’s creative approach to motivic abstraction, with the explanation of how the basic motif of Ballade was created.

Un profano di fronte ai tecnicismi musicali: qualche riflessione linguistica

The article focuses on the degree of transparency of musical technical terms for the lay reader. The sample texts examined show that the vast majority of technical terms, starting from indications of duration and pitch, are untranslatable. Enthusiasts who have not studied music can, however, obtain an overall understanding through context, or even their familiarity with the piece described in a concert program or in a popular, widely accessible book.

Conference in modern Ukrainian pop music: problems and prospects

The aim of the work is to determine the features of the conference in modern Ukrainian pop music as an integral part of the performing arts, to outline the elements of the conference, to characterize the features of the structure of the conference components. The research methodology consists in the application of methods that provide analysis, research of the creative work of the entertainer on the script of the variety theatrical form of the concert. The scientific novelty of the study is to expand ideas about the specifics of the work of entertainers in the field of modern Ukrainian pop. Analysis of the development of the art of conference, its structure and characteristics provides an opportunity to understand the features of the profession of entertainer in modern society, as well as to determine the prospects for its development. Conclusions. As a result of the research, it was established that the pop conference is a special genre of performing arts. Given the peculiarities of the art of the conference, it should be noted that in the practice of performing arts, you can learn not only to properly build a cultural and leisure concert program, but also to professionally use a variety of skills and abilities of conferences for their implementation. In the context of this issue, the entertainer is the figure who is to some extent responsible for maintaining the overall temporitum of the spectacle. Appearing on stage between concert numbers, he performs the compensatory, combining and constructive function of the entire variety program.

The Felix Meritis Concert Programs Database, 1832–1888: From Archival Ephemera to Searchable Performance Data

Abstract The Felix Meritis Concert Programs Database 1832–1888 (fmcp Database) provides a full digitisation of the concert programs collection of the most long-standing Dutch concert hall in the nineteenth century: Felix Meritis. Formerly hidden in boxes with archival ephemera, the content of this collection is now unlocked by manually entering the program details into a searchable dataset. The programs give an extremely rich account of a local concert practice, the performed repertoire, and the musicians involved. However, archiving concert programs at item-level presents a challenge: due to inconsistencies in and incompleteness of work descriptions it is often hard to identify and categorize the musical works performed. For the fmcp database, the authors have developed a possible solution to this problem; a strategy for structuring and categorizing concert programming data that aims to include incomplete work descriptions and reflect genre categorizations used in local concert practice. In this paper, the authors will present this categorization method and discuss the attributes and the basic structure of the fmcp database.

Rescuing a Heritage Database: Some Lessons from London Concert Life in the Eighteenth Century

Abstract The paper outlines the genesis and subsequent transformation of the database Calendar of London Concerts 1750–1800, now available as a dataset at https://www.doi.org/10.17026/dans-znv-3c2j. Originally developed during the 1980s, the database was used as a primary research tool in the preparation of articles and a 1993 monograph: the first comprehensive study of London’s flourishing public concert life in the later eighteenth century, which culminated in Haydn’s London visits in 1791–5. The database itself, extending to over 4000 records, was derived from an exhaustive study of London newspapers. Following the obsolescence of the relational database in which the material was initially stored, it has recently been transferred to a spreadsheet in csv format, publicly available with free open access. Issues arising out of the standardisation of concert data are explored, especially regarding the layout of complete concert programmes, and the strengths and limitations of the original design are analysed, within the context of the newly available version.

Searching, sharing and singing: understanding the information behaviors of choral directors

PurposeThis article aims to help music librarians and other information professionals effectively understand and support communities of choral directors and other groups dependent on networking and serendipitous information encounters. In addition, through discussion and comparison of theories of information behavior, research articles and analysis of events and experiences, the article encourages thoughtful and practical applications of information behavior research.Design/methodology/approachThis conceptual paper uses different theories of information behavior to outline three distinct modes of learning and knowing within communities of choral directors: individual searching, community expertise and serendipitous encounters.FindingsThe choral directing community is one that benefits not only from information support systems that emphasize individual information seeking, but also collaborative networking and serendipitous encounters with other community members. Librarians and other information professionals can best help this group discover new repertoire, plan concert programs, improve rehearsals and support other relevant activities through understanding and helping to provide access to professional music networks and being creative in providing opportunities for serendipitous information discovery.Originality/valueLittle information behavior research and discussion have focused specifically on the information practices of choral directors and how the format and schedule of a professional choral conference illuminate such practices and needs.

ХУДОЖНЯ СТРУКТУРА ТЕМАТИЧНОГО ЖІНОЧОГО ОБРАЗУ З ФОЛЬКЛОРНИМИ МОТИВАМИ: ЕТАПИ СТВОРЕННЯ

The aim of the article. The aims of the article are to provide the integrated study of the art structure features of the thematic image development for cultural events by means of makeup, costume, additions; to determine the specifics of the make-up artist vision influence on the image character; its correspondence to the general concept of the event.Historical method, analytical method and comparative analysis method have been used in the pre-project research. The art-associative method, which provided the combination of the female image from the Slavic mythology calendar rites with the modern vision of fashion and female canons of beauty, has been used in the research project process. The sequence of a thematic image creation process for the event with competitional and concert program has been highlighted in the article. The image creation process can be implemented in three stages: the search for an idea and the thematic female image conceptual content definition; the expression means search and necessary materials preparation; the stylization and realization of the image. The importance of external associations, that arises, according to the concept of the event, as a reflection in minds of historical folklore heritage about the autumn calendar cycle customs and rites, on the stage of the image idea search have been determined. The project idea is to embody the interaction of a young, direct perception of the world by a young girl with the cultural experience of ancient Ukrainians and is implemented on the principle of using contrasts – shape, color and texture. The thematic image of the event has been formed with the help of associations with ancient Slavic mythology female images. The scientific novelty is in the definition of the concept, design methods and means of thematic female image development based on the appeal to the ancient Ukrainian cultural heritage. The art-associative method has been identified as the most effective method for the folklore motives based image formation. The art structure of the thematic female image for the cultural event has been revealed; the modern author vision in the expression means selection has been actualized. The sequences of thematic female image development for the cultural and art event, which embodies the concept of the event and perform the strengthening function of the impression and influence on visitors, have been represented. Three stages of project implementation from the conception stage to realization stage have been stated and implemented.

Die Karlsbad-Reise des Ferdinand Krackowizer im Jahre 1909. Anmerkungen zu einer Kulturgeschichte der bürgerlichen Badereise

In May 1909, Ferdinand Krackowizer (1844–1933), an archival councillor from Linz, took a trip to the spa in Karlovy Vary. He kept a travel diary as well as a memory album where he stored all sorts of documents: postcards, concert programmes, tickets, menus, a report from his attending physician, etc. By analysing these documents we are able to reconstruct in detail Krackowizer’s stay at the spa and gain deeper knowledge of the everyday spa culture in Karlovy Vary at the turn of the century. In addition, the analysis takes into account the opinions and assessments provided by the traveller himself in his travel diary. The diary further facilitates reconstructing Krackowizer’s networks and understanding different aspects of cultural practices connected to spa travel. Finally, these primary sources show the importance which Krackowizer attributed to his spa trip as a form of external representation.

Сэмплирование как процесс интеграции новых технологий в музыкальную культуру Казахстана

Use of the sampling method has been gaining momentum in composition of music for films and other commercial concert programs outside of Russia. A world premiere of music composed by means of samples has taken place in Kazakhstan as the music for a series of documentary films endowed with a philosophical and didactic context, titled “Bolmys” (Genesis). The young wrote Olzhas Baibekov, who composed the music for these films, has been compared to the musical work «Tulpar» by the modern composer Galia Bisengalieva “Tulpar,” who also to a certain degree incorporates musical samples and lives in Great Britain. The authors arrive at interesting conclusions about the position of sampling in music and its correspondence with the mental and psychological background of the people. The degree of mastering sampling in professional music depends on the context in which it is implemented and presented to the listeners. The technique of sampling is demonstrated in comparison with the sound of authentic folk instruments which reflect the spirit of the people, and its onomatopoeic moments and genetic context correspond to the spirit and inner content of the musical composition. Keywords: sampling, authentic sounds and instruments, mentality, technology, psychological impact, information code.

Media Technologies to Present Concert Programs: Between Show and Academicism

The article considers the presentation of modern concert programs with involving media technologies. The close relationship is revealed between the development of technologies from the industrialized to post-industrialized society, as well as their impact on art. It is noted that information and computer technologies have led to a change in the value guiding lines of society, the growing role of purely material things and the formation of a view of art works as a «product». The easily accessible popularization of musical works by digital means contributed to the preponderance of the artistic sphere with simulacra.At the same time, it is proven that the usage of modern media technologies in the realm of professional music allows artists to create projects of a high artistic level, interesting for a wide audience. The authoress’ research methods are aimed at substantiating the expediency of employing media technologies in modern academic music. Namely, systematic and culturological methods consist in considering the influence of a technological process over all social spheres and related transformations, including those in academic music. The method of analysis lies in studying the peculiarities of staging concert programs with the involvement of media technologies. The interviewing method is in gaining an understanding of conceptual ideas for creating an action, a show programs in which the musical component dominates the spectacle.The article analyses the premiere performance of the fantasy mystery show “Lords of the Elements”. It is demonstrated that to create a scenic program, the stage director has used elements of show: interactivity with the auditorium, gamification, and modern choreography. At the same time, the mystery did not “degrade” to the level of an ordinary show. It is concluded that the synthesis of media technologies with a thrilling dramatic conception, professional music, a high level of performance, as well as elements of show, help directors to create a huge-grade artistic “product”. This format gives a new significance to musical works and draws public attention to professional musical activities. It is shown that media technologies play the role of artistic expression means that are conducive to revealing an artistic idea. Among modern digital technologies in concert programs, particularly the fantasy mystery show “Lords of the Elements”, applied were video projections, luminous effects, electronic sound processing, etc.

The Vocal Cycle of Vitalii Hubarenko “Hold Out The Palms” in a Modern Musical Project

An individual performing project dedicated to the anniversaries of the CherkashinHubarenko family, which is consisted of a series of concerts, a program “Family Album” and a studio recording of an audio CD called “Poetry and Music” (performed by Valeria Tulis (vocals) and Olena Shchoholieva (piano)), was considered. A detailed report was made on the approbation of this concert program, which had included bright examples of chamber and vocal music by Vitaliy Hubarenko and Iryna Hubarenko, as well as Mykhailo Shukh (based on poems by Iryna Hubarenko). Particular attention was drawn to a new wave of interest in the work of father and daughter. In this regard, other concert programs in Ukraine and abroad with the participation of various performers were mentioned. Attention was focused on the vocal cycle of V. Hubarenko “Hold on the palms” to the words of V. Sosiura op. 26 which is one of the works of the presented concert program. The latest research on the life and work of V. Hubarenko in general, and the selected work in particular, were analysed. The vocal cycle “Hold out the palms” already has its own performance history, so the multiple performances of the past years were mentioned, where it was performed as part of the anniversary author's concerts during the composer's life. Oleksandr Vostryakov became the most famous interpreter of the cycle and the performer whom V. Hubarenko especially appreciated. The most important features of his performance version accompanied by an orchestra are emphasized, in particular the attraction to the opera style of singing, scale, dramatics of expression. The vocal cycle “Hold on the palms” by V. Hubarenko, written in the original for tenor and piano, was analysed in the new performance aspect. The poetic text was edited, which made it possible to perform a tenor cycle in the female version and determined its individual creative understanding. New approaches in the interpretation of this cycle were identified, namely: the creation of a touching female image, the emphasis on the song-chamber, intimate-lyrical tone of this music. Attention was paid to the subordination of all means of musical expression to the composer's own perception and understanding of the poetic source. Emphasis was placed on the importance of the piano part in revealing a wide range of feelings and emotional states, in giving more metrorhythmic freedom to the soloist. The role of ensemble interrelation, “creative tandem” of performers in the formation of the general figurative impression was determined

Interpretative aspect of C. Saint‑Saëns’s piano music

Interpretative aspect of C. Saint‑Saëns’s piano music

Tracking intracellular forces and mechanical property changes in mouse one-cell embryo development.

Cells comprise mechanically active matter that governs their functionality, but intracellular mechanics are difficult to study directly and are poorly understood. However, injected nanodevices open up opportunities to analyse intracellular mechanobiology. Here, we identify a programme of forces and changes to the cytoplasmic mechanical properties required for mouse embryo development from fertilization to the first cell division. Injected, fully internalized nanodevices responded to sperm decondensation and recondensation, and subsequent device behaviour suggested a model for pronuclear convergence based on a gradient of effective cytoplasmic stiffness. The nanodevices reported reduced cytoplasmic mechanical activity during chromosome alignment and indicated that cytoplasmic stiffening occurred during embryo elongation, followed by rapid cytoplasmic softening during cytokinesis (cell division). Forces greater than those inside muscle cells were detected within embryos. These results suggest that intracellular forces are part of a concerted programme that is necessary for development at the origin of a new embryonic life.

Directions of concertmaster activity of Oleksandr Nazarenko

Directions of concertmaster activity of Oleksandr Nazarenko

ВИТОКИ НАСНАГИ ТА ТВОРЧИХ ЗВЕРШЕНЬ ЗНАНОГО МАЙСТРА БАЯННО-АКОРДЕОННОГО МИСТЕЦТВА

У статті розкривається творчий та педагогічний потенціал видатного педагога, професора кафедри народних інструментів Донецької консерваторії, засновника донецької баянно-акордеонної школи, фундатора кафедри народних інструментів цієї консерваторії, який взяв активну участь у її становленні та формуванні, «Відмінника освіти» В.М. Протопопова.Наголошується на унікальності його постаті, яка в період сьогодення належить до несправедливо забутих, попри неоціненний вклад, як у сценічний розвиток інструментів (баян-акордеон), так і в базу методичних розробок викладання гри на цих інструментах. Серед випускників педагога чимало відомих у культурно-музичному світі людей, про яких ми можемо знайти набагато більше інформації, ніж безпосередньо про їхнього вчителя та наставника. Автором статті було виконано низку завдань для розкриття багатогранності і неповторності особистості великого майстра баянно-акордеонного мистецтва – Віктора Миколайовича. На основі історичних матеріалів, спогадів учнів та друзів про культурне надбання, методичних праць та результатів педагогічної діяльності висвітлено цю видатну постать як знаного майстра баянно-акордеонного мистецтва.Уроки Віктора Протопопова були справжніми майстер-класами для всіх, хто був присутній в аудиторії та бажав вслухатись у кожне слово педагога, отримати поради цього майстра, що були цінними для всіх студентів консерваторії. Віктор Миколайович був для своїх студентів викладачем, майстром, наставником і просто хорошим другом. Паралельно з педагогічною діяльністю В. Протопопов здвйснював активну виконавську діяльність у багатьох ансамблях, був учасником колективів (ансамблі та оркестри народних інструментів) та безпосередньо їх керівником.Як виконавець цей видатний музикант володів професійною технікою, виявляв особливу схильність до ансамблевого виконання. У його концертних програмах завжди були твори різних епох та стилів, він мав багато записів на обласному радіо та телебаченні.В.М. Протопопов проводив активну науково-методичну роботу. Він написав понад 90 навчально-методичних і творчих робіт (біля 50 друкованих аркушів, багато з яких надруковані). Серед них: перекладення музичних творів для ансамблів баяністів, концертні обробки народних мелодій, оригінальні п’єси для баяна-акордеона. Його науково-методичні роботи відрізняються сучасними поглядами з методики гри на баяні-акордеоні. В.М. Протопопов надавав методичну допомогу викладачам музичних шкіл, училищ, читав доповіді з проблем удосконалення методики навчання гри на баяні-акордеоні слухачам курсів підвищення кваліфікації. Неодноразово був запрошений головою Державної екзаменаційної комісії в музичні училища та училища культури міст Дзержинськ, Дніпропетровськ, Донецьк.

Three Preludes for piano by G. Gershwin in the context of the composer’s instrumental creativity

Three Preludes for piano by G. Gershwin in the context of the composer’s instrumental creativity