Contemporary Composers Research Articles

The Strait and the Sea Unsettling Scores

In this inquiry I build on my previous work on contemporary aesthetics to engage the media practices and bio-acoustic mappings of cetacean scientists, as well as fishers’ video diaries and sound cartographies of interactions with cetaceans. To these, I also juxtapose a contemporary composer, sound engineer, and media artist’s sonographic records of encounters with these decidedly intriguing marine mammals alas too often reduced to the moniker “charismatic”. Concretely, I zoom in on three media practices: the sound compositions of Ariel Guzik, founder of the Nature Expression and Resonance Lab, who designs and engineers instruments to communicate with grey whales, sperm whales, and bottle nose dolphins in the Sea of Cortez; the hydrophone recordings, spectrograms, drone footage, and photo-identifications by a team of cetacean ethologists and communication scientists who run a research vessel and a marine ecology lab in the Tyrrhenian Sea; and the multimedia online platforms of fishers who produce video diaries of potentially fatal interactions with orcas in the Strait of Gibraltar. These carefully selected and juxtaposed audiovisual practices are the graphic, acoustic, and musical fragments that compose the de-territorialized cartography I am calling The Strait and The Sea.

Contemporary music in the strategies of R. Tureck’s creative activity

Statement of the problem. Rosalyn Tureck is a significant figure in the history of twentieth-century piano art, whose multifaceted activities had a significant impact on both performance and composing. Her achievements in actualizing Bach’s music cannot be over estimated. At the same time, it was R. Tureck who did much to popularize contemporary art. The pianist’s discography contains many opuses by composers of her time, including those dedicated to her. Objectives, methods, and novelty of the study. The purpose of the study is to outline the directions of R. Tureck’s creative activity as a vivid example of the consistent and successful implementation of an actualizing performance strategy. The study is based on traditional methods of musicology (historical, genre-stylistic, systemic) as well as the method of interpretive analysis. In the research process, we used works that can be divided into 3 groups: R. Tureck’s autobiography; books on the work of American composers and those who contributed to the development of the country’s musical culture (D. Kämper, E. Z. Posell, J. W. Polisi, W. Simmons, S. Swayne, V. J. Kimberling), as well as W. J. Ton’s thesis; and comments to the CD “Premiere Performances”. The performance and structural analysis of the works on R. Tureck’s CD “Première Performances” (Two Studies for Violin and Piano by L. Dallapiccola, Concerto for Piano and Small Orchestra by W. Schuman, and Sonata No. 1 for Piano by D. Diamond), is the first such attempt in Ukrainian musicology. Results. At the time of R. Tureck’s active performing career, musical life was saturated with interesting ideas, discoveries, and new names. However, the avant-garde searches of American composers often remained unheeded by performers. In this regard, the creative activity of R. Tureck, who in 1948 created a society to popularize contemporary music, is exceptional. Her album “Première Performances” with works by contemporary composers was released in 1995. It contains recordings of premiere performances of opuses by D. Diamond, L. Dallapiccola and W. Schuman, the analysis of which is presented in the article. Conclusions. The popularization of contemporary music was an integral part of R. Tureck’s creative activity, due to which many American composers of the twentieth century got a chance to be “heard”. The basic strategies of this vector of her activity are determined: - mandatory performance of new works; - rethinking of contemporary music through previous historical periods; - direct cooperation with artists.

“The Ballad of War” by Oleksandr Bilash as a National Example of the Mono-Opera Genre

The Ballad of War mono-opera (1971) by the outstanding Ukrainian composer-songwriter Oleksandr Bilash, based on The Ballad of Genes poem by Ivan Drach, is studied in the article. It is emphasized that the work of O. Bilash – I. Drach is extremely relevant today, as it reveals the painful and tragic theme of war and its destructive impact on human destinies. It is defined that O. Bilash’s mono-opera has become a part of a general trend in the Ukrainian musical theatre of the 1960s–1970s associated with the tendency to chamberization and psychologization of opera. It has caused the exceptional popularity of the one-act monodrama genre among contemporary composers (V. Hubarenko, H. Zhukovskyi, Y. Ishchenko, etc.). It is described that I. Drach’s poetic text is used as the basis for the mono-opera with minor modifications (the changes have affected the title and only a few phrases). The structure of the poetic text has a significant impact on the composition of the mono-opera (the central episode is the protagonist’s story about the circumstances surrounding her birth, the extreme sections contain her beloved addresses). The connection between the opera’s system of leitmotifs and key phrases in the poetic text is detected. The leitmotifs are important in cementing the form of the mono-opera – it is in their repetition that the unifying role of the principle of through refrain is revealed. The Ballad of War contains two figurative and intonational spheres of war (scherzo, sharp dissonance, cluster consonances, chromatisation, grotesque syncopated rhythms, «cold» orchestral origin) and peace («warm» vocal origin, ariosity, melodic recitative, songfulness, vocalisations, luxurious Bilash’s melodies). O. Bilash has used various household genres actively: alullaby (an image of the incessantness of Life), a march («military» heroics), a cancan (personification of the image of aggression and spirituality), a Boston waltz (lyrical reflection and psychological solution). The composer uses the technique of stylizing church singing. The technique of sound imitation (movement of a steam locomotive, steam claps) is equally important. O. Bilash’s The Ballad of War mono-opera is a bright, original work and plays an important role in the development of the mono-opera genre both in the composer’s heritage and in Ukrainian music of the 1960s–1970s in general.

Amplifying the Anomaly: How Humans Choose Unproven Options and Large Language Models Avoid Them

ABSTRACT Both large language models (LLMs) and the human brain develop internal models of reality to make accurate predictions. Both typically prefer choices with the strongest track records. However, when faced with a creative challenge, LLMs remain committed to high-probability options while humans can opt for unproven ones. This paper delves into one way of making unlikely events plausible—“amplifying the anomaly.” The concept involves extrapolating viable consequences from an unlikely proposition. Rather than being treated as oddball events or “one-offs,” the anomaly permeates the creative work. Notably, novelty and appropriateness can be in tension with each other, with high utility coming at the cost of low novelty. Amplifying the anomaly aligns these competing demands. It enhances originality: the rarer a proposition and the more thoroughly it is worked out, the more unique and surprising the result. At the same time, the effectiveness and value of the unproven option also rises: thorough elaboration in the creative product establishes its fitness. Musical examples by Beethoven, Schubert, and contemporary composer Skye Macklay, along with creative products from other domains, illustrate this principle. Classic LLMs have several limitations that make it difficult to amplify the anomaly: they are steered toward norm-driven outcomes, make short-term decisions, and are not designed to self-evaluate. As a result, they have difficulty of developing unusual propositions in a non-obvious way without human guidance. Alternatives approaches, including adversarial networks and team AI, are briefly examined. Implications for the future of computational and human creativity are discussed.

Space in Music: what we call ‘space’ in music and what it really is

This article proposes a division of the concept of space in music into four spaces, namely the internal, external, intrinsic and extrinsic spaces. Having reviewed these concepts in texts from numerous authors and composers, we aggregate a variety of concepts into these four main categories of space in music. We also present possible transgressions of the boundaries of these concepts, with the understanding that these transgressions are common practice for contemporary composers. Currently, these practices of transgression tend to be confused because of the lack of a clear definition for the spaces in question.

Contemporary composers’ changing “practice in context”: What can higher music education learn from Theodore Schatzki’s practice theory?

While musical practice is more often than not considered through musical repertoires, genres, and traditions, in higher music education, musical practices are further narrowed down to music profession-specific, craft-based competences and learning outcomes. This narrow understanding encompasses the intertwined social and material dimensions that—according to practice theories—constitute and determine all practices. This study seeks a new understanding for practice-based, relational, professional education in context. By “practice in context,” we refer to Theodore Schatzki’s practice theory, in which practices are understood as organized, materially mediated, spatiotemporal nexuses of activities, and in which human coexistence is inherently tied to a context and “sites” of events and entities— site-ness. The empirical material consists of interviews of 10 bigenerational, experienced contemporary composers in Finland, including both males and females. By thinking composing practice with Schatzkian practice theory, three intertwined site-nesses are unveiled, comprising emerging locations (such as small-scale venues and local festivals); wider scenes or nonspatial sites (such as digital platforms and the festival scene); and extended realms (political, economical, educational, and policy). In this theory, various elements of practice-arrangement bundles constitute the site-ness and the complex practice plenum for composing. The site-ness thus becomes part of contemporary composers’ professional practice and higher music education which challenges the musical autonomy discourse which disentangles music from people and society. By posing a critique toward higher music education as a merely transmissive mediator of musical craft, this study seeks for a new understanding for practice-based, relational, “music professionalism in context.” It advances theoretical underpinnings of Schatzkian studies in the arts, by arguing that practice theory can bridge the individualistic past- and competence-oriented higher music education with the present- and future-oriented social understanding of musicians’ changing “practice in context.”

Modern Music- -A Brief Analysis <Romeo and Juliet Violin Suite, Op.64> by Prokofiev

Sergey. Prokofiev is one of the very important representatives in the history of modern music, Russian music, His work with his contemporary composer Shostakovich is listed as a modernist composer of social realism, That is, while inheriting the traditional classical creation techniques, With the innovation techniques of this era, And to produce a form of music creation, That is to say, it is not divorced from the traditional classical music creation techniques, Unlike contemporary composers like Stravinsky and Schoenberg, Has been largely divorced from the creative tonality and basic framework of classical music, Observe the world from multiple angles with a sick, mentally unsound character, And with this as the writing motivation to develop the medieval style and twelve-tone scale creation system, Then there was occasional music and differential music. In the late romance, some French composers, Debussy and Ravel, who painted the pictures in music, were soft, colorful, sunny and harmonious. In Prokofiev s works, you can see the shadow of other contemporary composers, with a sense of trance and erratic infiltration, but not completely separated from the creative framework of classical music.

"The Sun Shadow IV" Breaks the Musical Language, Artistic Interest and Universal Technical Techniques of Guzheng Composition.

This paper mainly describes the development of the expression of traditional zheng music in China. Since the1980s, and particularly in the 21st century, Chinese composers have emerged as a significant force in the global music industry. Qin Wencheng, as one of the most influential contemporary composers, has successfully blended elements of Mongolian music with Western modern compositional techniques, resulting in his unique artistic style and sonic experiences. This research paper focuses on his composition "Shadow of the Sun IV" and aims to analyze the creation of new sounds and the logical structure within the piece. Furthermore, it seeks to elucidate the influence of Chinese aesthetic concepts on Qin's musical compositions, uncovering his distinctive creative techniques and musical ideas. Additionally, this paper provides an analysis and interpretation of the historical significance and position of Qin Wencheng within the development of modern Chinese music. By delving into the depths of the musical score and exploring the connections between the internal and external aspects of the music, this study aims to establish a broader understanding of contemporary music composition and offers valuable insights for both composers and music analysts.

Prelude Op.3No.2 by S.V. Rachmaninoff and prelude Op.11No.10 by A.N. Scriabin : two facets of drama

The two considered dramatic preludes were written by the young S.V. Rachmaninov and A.N. Scriabin almost at the same time, with a difference of two years. The article examines the interrelationships and features of these two plays. The basis for the joint study of these miniatures is the same tonality (C-sharp minor), one genre definition, as well as a number of similar features in imagery (drama) and in the dramatic idea (the juxtaposition of the "fatal" beginning and the pleading voice). The interrelations are manifested in form, texture, harmony, and specific compositional techniques. On the other hand, distinctive features are also studied in the form, texture, harmony, concert scale, and features of the melodic relief of these compositions. An attempt is made to substantiate the specificity of the figurative and semantic content of the plays by the peculiarities of the musical language. S.V. Rachmaninov's prelude Op.3No.2 and A.N. Scriabin's prelude Op.11 No.10 are studied by comparison. The method of sequential comparison makes it possible to study in detail the interrelationships, as well as to clearly identify the features, individuality of the figurative and semantic content and musical language of each of the miniatures. For the first time, these two famous preludes are considered in comparison with each other in detail, sequentially in the context of each part. It can be argued that preludes have a number of similar features (dramatic, compositional, textural) that have not been discussed before. As a result of the comparison, both the peculiarities of imagery and the peculiarities of musical language are highlighted in a new way. A number of these features will later, in the course of the evolution of creativity, become distinctive features of the compositional styles of each of the authors. Due to these individual characteristics, one dramatic idea is embodied in each of these preludes in its own way: the idea of contrasting and further interaction of two contrasting images - "rock" and "supplication" is embodied in each prelude in its own way. These features emphasize the difference in the nature of the drama of each of the plays. This difference is related to the individuality of the emotional, figurative, semantic content of creativity and the specifics of the aesthetic positions of the two Russian contemporary composers.

Signs of the Style of Early Romances by N. S. Golovanov

Abstract. The article is devoted to the early romances of N. S. Golovanov, a great Russian and Soviet conductor and composer, who, due to circumstances, is not familiar to the general public. The work explores a wide range of stylistic features of the composer’s music and the infl uence of the contemporary composers’ styles, often very contradictory, on his work. Golovanov’s legacy is explored within the framework of the synthesis of the Russian classical tradition and modernist movements of the early 20th century. The principles of choosing a poetic basis and the genre sphere of their implementation are studied.

A Choral Meditation: Fusing Past and Present in the Sacred Music of Eoghan Desmond

Choral music and the sacred have been intertwined since the Middle Ages. With the increasing secularisation of society, it is notable that the sacred choral canon continues to expand and attract audiences in religious and secular spaces, underlining the enduring importance of tradition and the human desire to search for something beyond our existence. The practice of setting sacred texts to music abounds in the work of contemporary composers, continuing the historic tradition into the present day via a wide range of compositional and stylistic approaches. In his sacred works, Irish composer Eoghan Desmond achieves a sound that fuses the past and present, exhibiting both the visceral and meditative aspects associated with the texts that he sets. This article focuses on the composer’s choral work Nothing in Vain (2021), a setting of John Henry Newman’s ‘A Meditation on Trust in God’. Through critical score analysis, I highlight Desmond’s ability to reflect Newman’s devotion to God and to evoke a sense of the spiritual through his formal organisation and application of harmonic, rhythmic, and textural techniques, drawing on influences from the Renaissance tradition, the contemporary style of ambient music, and the work of well-known composer James MacMillan. Desmond’s synthesis of ancient and contemporary compositional practices invites all listeners to engage in this musical meditation and contemplate the message of the spiritual text.

Sborovým zpěvem k regionálním pramenům a etnické různorodosti hudby

The paper deals with the educational role and function of choral singing in Waldorf schools. On a general level, it will describe the function of singing in teaching and the anchoring of choral singing at Waldorf schools in the Czech Republic. At a specific institution - Waldorf Elementary School and Secondary School Ostrava – Poruba, contributory organization - it will describe in detail choral singing with the presentation of musical projects related to regional sources and ethnic diversity of music. It will focus on the period of the 2022/2023 school year and the activities of the secondary school choir Avis igneus. Ethnic music will be presented here on behalf of various projects, such as cooperation with the Finnish Waldorf High School as part of Erasmus+ or an African musical project of choral settings of unknown songs of the Mandenk tribe in cooperation with the professional Ostrava drumming band Camara, which focuses on African rhythms. Unique projects have been created, which will be presented in the paper. As part of the regional inspiration, a composition by the Ostrava contemporary composer Milan Báchorek – Frenštátská vonička písní will be presented in the interpretation of the choir Avis igneus.

Spiritual-semantic approach as a methodological basis for the analysing religious music (on the example of V. Stepurko’s cycle “Monologues of the Ages”)

Spiritual-semantic approach as a methodological basis for the analysing religious music (on the example of V. Stepurko’s cycle “Monologues of the Ages”)

Orchestration as a factor of genre reproduction (on the example of analysing Zoltan Almashi’s Concerto Grosso no. 4 “Seasons”)

Statement of the problem. Among the many trends in the creative search in music of the XX–XXI centuries, one of the leading ones is the appeal to the ideas and models of the past. This has led to the revival of previous centuries musical genres. The accuracy of a genre’s reproduction is determined by its constituent elements, such as musical themes, harmony, form structure, etc. Orchestration plays an important role in this process, as it forms a timbre-textural complex that has structural, organisational and semantic functions in musical work. The considered piece, Z. Almash’si Concerto Grosso No. 4 “Seasons” for violin and orchestra, is an example of the use of the early genre in contemporary music. Despite the genre classification mentioned in the title, the composition has its own unique features that indicate a free interpretation of the genre model. In this regard, it seems necessary to to identify the features characteristic of the concerto grosso genre. Among them, orchestration can be considered the key one. Objectives, methods, and novelty of the research. The existing scientific sources do not pay enough attention to the orchestration in «Seasons» by Z. Almashi, as wee as its role in the reproduction of the genre, which determines the scientific novelty of this study. The purpose of the article is to identify the orchestration features attributable to concerto grosso in Z. Almasy’s work and to determine the specific principles of the structure of the orchestral texture. The study uses: the historical-typological method – to understand the contextual and socio-cultural belonging of Z. Almashi’s piece, the genre method – to reveal its typological and individual features with a projection on the orchestration, the stylistic method – to determine the artistic and aesthetic, linguistic and technological properties, a structural and functional method – to disclose the peculiarities of the organization of an orchestral texture. Recent research and publications. The work is based on sources devoted to the relationship of genre and orchestration (Korobetska, 2011; 2013), the use of contemporary composers with genre models of early music (Tukova, 2003), the formation and development of the instrumental concerto (Rakochi, 2021), to the orchestral style of Baroque composers (Borodavkin, 1998), orchestration as a component of compositional technique (Savchenko, 2021), and to the definition of the position of timbre and texture in orchestration (Kashyrtsev, 2021; Klebanov, 2019). Research results and conclusion. The analysis revealed those features in the orchestration that correspond to the genre of concerto grosso. First of all, it is the availability of two instrumental groups with different orchestral functions. The first ‘concertino’ group includes the principale violin, ocarina, flute, clarinet in B and piano; the second ‘ripieno’ group includes the string orchestra. Nevertheless, instruments from the first group (primarily woodwinds and piano) can be combined with stringed instruments in accompaniment of solo violin. When these groups of instruments interact, there is a juxtaposition of timbres, volumes and sound densities. Also, the contrast is enhanced due to the virtuosity of the parts in the ‘concertino’ group. This creates dialogue and competition, which necessary for the realization of the genre. A variety of orchestration techniques, among which are timbre mixtures, duplication, re-colouring, swinging, and sound painting, embodies the concerto principle. They form a timbre dramaturgy, which is essential for actualising the concert genre and the program title of the piece.

Simulating Chromatic Harmony in Romantic Era Music using Diophantine Approximation

The Romantic period of music is known for its intricate and emotionally expressive harmonic style. Nevertheless, recreating authentic melodies of the Romantic period in contemporary compositions poses a considerable challenge for composers and musicians. In this paper, we present a method for simulating chromatic harmony in Romantic Era music through the use of Diophantine Approximation. Inspired by the works of renowned composers of that period, such as Richard Wagner, Franz, Liszt, and Frederic Chopin, my transitional model was constructed to preserve the essence of the preceding melody as the harmonic progression unfolds. The model helps with the creation of harmonic progressions that contain the nuances of the preceding harmonic structure and musical style, providing composers with a novel way to explore a wide range of musical possibilities. Experimental validation involving human hearing shows that the model is successful in imitating authentic Romantic-era harmonic structures. This finding suggests that the model is a promising tool that could inspire contemporary composers to create almost authentic chromatic harmonic progressions.

Features of the early tintinnabuli style in the works by Arvo Pärt: interaction а word and a number

Relevance and scientific novelty of the selected topic of the research. The work of Arvo Pärt is regularly covered in Ukrainian musicology, however, the issue of the interaction of his compositional technique with the verbal text used to be a part of a broader scientific problem—such as the author's style, modern choral writing, etc. At the same time, a comparison of the methods of applying the tintinnabuli technique in works with and without text was not undertaken yet. Indeed, the comparative method allows a better understanding of how word and number—two main compositional factors in the works of A. Pärt—work. The opportunity to clarify our ideas about the creative method of one of the most performed contemporary composers, as well as the use of rare works by A. Pärt as research material, ensures the relevance of the article. In addition, the performer's view of the choral work of A. Pärt, reflected in the article, has a certain novelty.
 The aim of the article is to identify the specifics of the composer's work with the verbal text, to establish the ways of interaction between the number and the word in the choral works of A. Pärt, to substantiate the choice of performing means that are adequate in terms of style.
 Main results and conclusions: 1) both instrumental and choral works by A. Pärt are algorithmic compositions based on numerical series as the fundament of the melodic voice; 2) in both groups of works, the numerical series are not formed on immanent musical patterns, but are borrowed from outside; 3) the numerical series of the instrumental compositions “Für Alina” and “Cantus in Memory of Benjamin Britten” are increasing and/or decreasing arithmetic progressions: each subsequent modus-block of the melodic voice contains a tone more/less than the previous one; 4) the numerical sequences of works with verbal text are based on the syllabic structure of the word: in the works "Missa Syllabica", "Cantate Domino" the number of sounds in each modus-block corresponds to the number of syllables in the word. A hypothetical judgment is made that the work “Summa” is a creative experiment of Arvo Pärt: the composer uses the method of forming numerical series not on the basis of the word (as in other choral compositions), but on the basis of number (as in instrumental compositions). Later, the composer revised this approach to working with the word, he’s created an instrumental version of this work for string quartet. The way the tintinnabuli technique presents in A. Pärt's choral works emphasizes the priority of the verbal text.

Choral ballad by Peteris Vasks «Litene»: aspects of sound and pitch organization

The relevance of the article lies in highlighting the basic principles of organizing the sound tissue in the central work of the middle period of the Latvian composer Peteris Vasks' creativity, namely a ballad «Litene» for mixed choir a сappella.
 The main purpose of the article is to identify the peculiarities of the sound and pitch organization of the choral tissue in the ballad «Litene» by Peteris Vasks and to determine its influence on the process of genre renewal.
 The methodology includes methods of structural-functional and historical analysis to: trace the characteristic features of the ballad genre at different stages of development and identify individual features of its embodiment in the choral works of Peteris Vasks; establish the constructive features of the organization of the musical tissue and ways of its correspondence with the textual basis of the piece.
 Results and conclusions. Thus, in the context of contemporary musical thinking, the pitch structure becomes an object of creativity, along with themes, rhythm and timbre, and this opens up and fills new gaps in the interaction of compositional techniques in the search field. Peteris Vasks, like many other well-known contemporary composers, is looking for his own individual and stylistic aspects of the pitch organization of the sound tissue and, choosing combinations of individual elements from the well-known composition techniques of the twentieth century, transforms them into a new sound «palette». The composer lets them into his own sound world, where they subsequently become an integral part, acquire stylistic features.
 In the context of the unfolding of tragic events, the ballad «Litene» presents an array of expressive means that has already been used in previous choral ballads, namely, a combination of aleatoric movement that provokes the formation of sonorous phenomena and reliance on artificial symmetrical harmonic formations. However, it is here that the interaction of these techniques has the most impressive effect. The symmetrical soundscapes, built from a series of low-tertiary links using interval steps of «semitone-tone», are revealed first horizontally in each of the voices. Gradual vertical textural compaction, thickening is localized in the zones of climaxes, which are accompanied by an increase in tension. The activation of aleatory movements, the thickening of sonorous and sonorous phenomena, which supplant pitch manifestations with sound-image elements and streams of external noise (shouts, whistling, speaking, grotesque laughter, glissandos to extremely high and extremely low sounds), contribute to the embodiment of emotions of a huge tragic range. It contains the swirling waves of unbearable pain, despair and fear of an inevitable tragedy, the death of an entire nation from a criminal destructive force, and reflects the path to oblivion until the last, desperate collective groan. The work is imbued with such catastrophic feelings and meanings, its sound space created by Peteris Vasks on the fragments of phrases, words, exclamations, whispers, wails, screams and terrible, frozen, dead silence.
 The choral ballad «Litene» occupies a special place in the work of P. Vasks. This work is about human pain, about terrible injustice, about suffering and death. At the end of the work, there is no prayerful enlightenment characteristic of the composer's music. In the preface to the work, the composer said that he chose a number of techniques that he believed most truthfully reflected the unhealed wounds of his people—the pain that does not go away.

Anagram in the Work of S. Gubaidulina (the case of works for bayan)

This article examines the phenomenon of anagramming in the works of the famous contemporary composer Sofi a Gubaidulina. The authors of the article note that for the composer the technique of anagramming is an integral part of her philosophical views. As a result, the authors of the article come to the conclusion that this phenomenon is clearly refl ected in music for bayan. Gubaidulina’s creativity in this sense not only became an expression of the creative Self, but also brought the instrument to a new level.

MAIN ACTIVITIES AND SPECIFICITY OF THE CONCERT REPERTOIRE OF MODERN RUSSIAN MILITARY BANDS

The article examines the main trends in the development of the concert repertoire of modern Russian military bands. At the beginning of the 21st century, the complexity and multidimensionality of military band art is obvious. Modern bands perform the task of providing music for military rituals, state, political, public, cultural and sports events, and take part in concerts and festivals. In this aspect, the issues of adapting music of various genres and directions for a brass band performance are of particular relevance. In the post-Soviet period, military bands retained their value guidelines. At the same time, they not only preserve traditions but also develop them in new conditions. In Russia, military bands are the most widespread musical embodiment of military culture, as well as an important element of military infrastructure which helps maintain morale. Currently, as before, they are widely used as a propaganda tool, including during public events. The article notes the variety of directions in the development of military band repertoire. In this context, it is important for the author to consider the main factors in the formation of the repertoire of the Central Military Band of the Ministry of Defense of the Russian Federation. The band’s repertoire range is extremely wide — from works of Russian and foreign classics to music by contemporary composers. The recognized reference sound recording of the Russian National Anthem was made by this band. Moreover, the study of the repertoire of educational groups seems significant. The band of the Valery Khalilov Moscow Suvorov Military Music College consists of young Suvorov students; nevertheless, despite the age of the musicians, it is a highly professional group that has demonstrated its performing skills not only in Russia but throughout the world. In conclusion, the significance of directions for actualizing the creative activity of modern military bands and the importance of studying the art of arrangement, which makes it possible to create adaptive forms of presenting historical memory, are noted. The preservation of the traditions of performing academic music is a crucial role of military bands. The concert activity of modern military bands, as a tool for adapting music of various styles to traditional for military culture performance conditions, seems to be an important way of transfering musical culture values in situations of social change.

Steve Reich’s Style and Componistic Concepts Reflected in Tehillim Score

"The present article traces the way compositional conceptions and writing style are highlighted in the creation of Tehillim belonging to one of the most prolific contemporary composers – Steve Reich. The research starts from the composer’s ideas about what the compositional journey means, continues with a musical analysis that emphasizes the ways of development of the musical data, and ends with the observation of how the principles of composing are objectified in realities and musical choices. I chose this score because it differs from the previous ones with original elements, with musical parameters that Reich did not use in his career, so it is very interesting to find the composer’s specific compositional archetypes in this specific work. Keywords: componistic concepts, style, Steve Reich, vocal music, 21st century music, Tehillim. "