Genre Style Research Articles

Mykola Stetsiun’s creativity for bandura in the anniversary context

Statement of the problem. Recent research and publications. A significant event for the bandura community was the 80th anniversary of the Honored Artist of Ukraine Mykola Hryhorovych Stetsiun (b. 1942), whose composer’s work represents a new stage in the development of the bandura art. The artist’s professional development began in the urbanized Eastern region of Ukraine, where the folk instrumental performance was represented exclusively by the domra, balalaika, and accordion arts. The composer’s practical acquaintance with the bandura took place in his mature years in Kharkiv, which prompted him to expand the original bandura repertoire and include the timbre of the instrument in orchestral compositions. M. Stetsiun’s composer work has been covered in the number of scientific studies. His life and creative path is described by A. Vynohradova (2019), S. Bilousova (2016), and L. Shekita (2013) who characterized M. Stetsiun’s work in the context of the development of folk instrumental art. The performing interpretation some of the composer’s works is characterized in the studies of M. Tushchenko (2019) and A. Aulova (2021). I. Lisniak (2014) offered the genre style review of the composer’s work for the bandura. The relevance of the proposed study determines by insufficient research of M. Stetsiun’s bandura works. Objectives, methods, and novelty of the study. The purpose of the study is to characterize the development of M. Stetsiun’s bandura creativity in the context of the enriching the modern bandura repertoire. For the first time, the evolution of M. Stetsiun’s interest in bandura sound was traced in the context of significant for folk instrumental art the events and creative communications. Ways of formation and creative transformation of M. Stetsiun’s composer style in the field of bandura music have not yet been the object of research. A panoramic overview of the composer’s genre and style searches, aimed at expanding the performance repertoire for bandura, was carried out. The following methods was used in the research: 1) biographical to characterize significant events in M. Stetsiun’s life and work; 2) genre and stylistic to reveal the characteristic peculiarities of his music works; 3) interpretive to analyse performance tasks in the works for bandura. Research results. Thanks to the activities of V. Andrieiev and H. Khotkevich, bands of bandurists appeared in Kharkiv alongside the domra and balalaika orchestras. In 1921, the first orchestra of Ukrainian folk instruments was created. The cultural and musical environment of the Ukrainian Donbas in the middle of the 20th century was influenced the Soviet narratives. The bandura did not sound there. Therefore, since childhood, M. Stetsiun showed himself as the domra performer and talented arranger. During his studies at the Kharkiv State Conservatory (in the domra class of V. I. Mikhelis, in the composition class of I. K. Kovach), bandura performance declined. M. Stetsiun’s close acquaintance with the bandura took place at the turn of the 1980--90s, when the bandura class was renewed at the Kharkiv State Institute of Arts. There are several genre and style models to which the composer turns to in his work for this instrument: 1) vocal-instrumental compositions, 2) orchestral works with the inclusion of the bandura part, 3) arrangements for bandura solo, 4) original works for bandura, 5) compositions for the ensemble of bandurists. M. Stetsiun’s arrangements for bandura – “Elegy in Memory of Hnat Hotkevych” and “Etude-Impromtu” are very popular among the performers. The “Dance in the Form of a Rondo” stands out among his original works for bandura. Conclusion. M. Stetsiun continues the traditions of the Kharkiv school of composers, as evidenced by the bright individual stylistic appearance of most of his opuses. Conscious reception of the bandura as a national musical instrument by the composer took place in adulthood, when, thanks to the high level of compositional skill, he was able to embody organically the specifics of orchestral thinking in the solo and ensemble sound of the bandura using the traditional and the modern melodic-harmonic, textural and articulation means. The perspective of the research consists in the musicological understanding of the resent opuses of Ukrainian composers for the bandura as a complete artistic phenomenon and the important component of folk-instrumental Ukrainian art.

Semantics of Louis Durey’s vocal-instrumental cycle “Songs on Saint Léger Léger’s poems” (“Images à Crusoé”)

Statement of the problem. The article aims to investigate the semantics of the vocal-instrumental cycle “Songs on Saint Léger Léger’s poems” by Louis Edmond Durey (1888–1979), one of the representatives of the French “Group of Six”. This composition, which also has another name – “Images à Crusoé”, written in 1918, belongs to the period of formation of French modernism. The primary literary source, the poem of the same name by Alexis Saint Léger Léger, better known under the pseudonym Saint John Perce, has certain features of surrealistic aesthetics, which also influenced the musical dramaturgy of the cycle. Objectives, methods, and novelty of the research. Until today, this composition by Louis Durey has not been considered in domestic musicology, therefore, the task of the study is to describe the figurative sphere of the work, to identify its main intonation-semantic constructions and, ultimately, a more thorough explore of the individual style of the composer. The research was carried out using historical-contextual, comparative, and systemanalytical methods. Results and conclusion. According to his results, it was established that Louis Durey embodied not so much the content of Saint John Perce’s poetic stanzas as his personal attitude to his poetic images and metaphors. The composer operates with a whole semantic system of leit-intonemas and through- genre models (polka, lullaby, chorale, hymn) and builds semantic arches between numbers of the cycle. Cross-cutting musical and semantic elements also become components of arch dramaturgy: intonations of circles, “spindles”, bells, sighs, and the instrumental texture of all numbers of the cycle contains quarto-quint steps. Pentatonic, whole-tone and natural scales contribute to the reproduction of the atmosphere of the exotic nature of the deserted island, as well as the sound imaging techniques used by Durey. The dramaturgy of the cycle is built according to the montage principle, which is mostly subordinated to the type of verse and the semantic content of Saint John Perce’s poetry. Division of the musical form is carried out by changing the size, tempo, genre style. Thus, each number of the cycle consists of short sections connected to each other thanks to the collage technique. The rhythmic and thematic variety in the collage of episodes“frames” indicates the presence of game logic in L. Durey’s cycle. Certain influences on the music of the cycle of illustrations for Daniel Defoe’s novel “Robinson Crusoe”, created in the second half of the 19th century by Carl Offendinger, in perspective, allow us to consider the work in the context of the problem of the synthesis of arts as of a component of modernistic aesthetics.

Genre loss and narrative dilemma: Comparative analysis of the Chinese and Korean versions of the film Door Lock

The two versions of the Chinese and South Korean films "Door Lock" are both realistic suspense films. The two films use audio-visual means to describe the problem of women living alone, highlighting the plight of women being watched and the dangerous situation that they cannot escape. By carefully disassembling the mirror language and narrative techniques of the two films, this paper focuses on thinking about the elements that determine the form and style of the suspense film, discusses the genre style shaping of the film from the mirror image, explores the narrative motivation from the character design, and considers the realistic expression of the film from the social background.

Decolonising Bengali Theatre: A Study of Selim Al Deen’s Kittonkhola and Chaka as Postcolonial Resistance Drama

Selim Al Deen, a prominent figure in Bengali theatre, questions the hegemony of Western forms in literature through his dvaitadvaita (dualistic dualism) theory and fusion theory of art and literature. Modern art and literature in Bengal, since the beginning of the nineteenth century, was shaped by European art and literature in its form, structure, and content. Modernity imposed literary styles that undermined the potential of Bengal’s own ancient literary traditions, which include the rich rural forms of literature, such as jatragan, palagan, puthi, pachali, geetnatyo, natyogeet, kothokota, etc. The well-defined and static genres of European tradition pushed these literary traditions to the margins of Bengali literature, where these were regarded as forms of low culture or low literature, in contrast to the literary “highs” created through the modern traditions. Selim Al Deen in Bengali theatre and drama counters this modernity by resisting its genre style, structure, form, and content. The subaltern literary forms rooted in rural Bengali tradition and in the lives of marginal people come to the centre in Deen’s literary experimentations since 1980s. Kittonkhola (1985) and Chaka (1991) are two well-known among many such dramatic works by Deen, where attempts to decolonise Bengali theatre and drama through newer forms, structures, subject-matters, and even punctuation are obvious. This paper, by studying Kittonkhola and Chaka, explores Selim Al Deen’s counter-modernist struggle for self-identity of Bengali theatre and drama. Deen’s use of dvaitadvaita style, fusion, and non-western punctuation are, on the one hand, a postcolonial resistance to European modernity and, on the other hand, stylistically postmodern. Further, they symbolise his search for a distinct identity of Bengali theatre.

갈래의 양식은 어떻게 재형성되는가 ― 사설시조에서 서정과 실존의 문제

갈래의 양식은 어떻게 재형성되는가 ― 사설시조에서 서정과 실존의 문제

Extraction and recognition of music melody features using a deep neural network

The music melody can be used to distinguish the genre style of music and can also be used for retrieving music works. This paper used a deep learning algorithm, the convolutional neural network (CNN), to extract the features of musical melodies and recognize genres. Three-tuple samples were used as training samples in the training process. Orthogonal experiments were conducted on the number of music segments and the type of activation function in the algorithm in the simulation experiments. The CNN algorithm was compared with support vector machine (SVM) and traditional CNN algorithms. The results showed that there were obvious differences in the pitch and melody curves of different genres of music; the recognition performance was best when the number of music segments was six and the activation function was relu; the CNN algorithm trained by three-tuple samples had better recognition accuracy and spent less recognition time.

The Influence of Dutch Genre Painting in Emblematic Prints: Jan Luyken’s Des Menschen, Begin, Midden en Einde (1712)

This paper examines Dutch printmaker Jan Luyken’s visual strategy represented in his emblem book, Des Menschen Begin, Midden en Einde (1712). As a poet as well as a printmaker, Luyken wrote a poem in this book and produced image prints by himself. Jan Luyken has long been omitted from surveys of Dutch art due to the absence of archival evidence about his life and works. The themes that Luyken employed in his prints, such as parents’ virtue, mother and child, and children’s play, and his genre style, including doorsien, are all examples of contemporary pictorial devices of genre painting prevalent in Luyken’s time. An analysis of the similarities between Des Menschen Begin, Midden en Einde and contemporary genre paintings demonstrates that Luyken’s prints coincided with the development of Dutch Golden Age art. Luyken consciously employed a strategy of incorporating trendy interior items and idealized figures to make his pieces more attractive to his contemporaneous buyers. This is contrary to evaluations of him as an outdated artist indifferent to the contemporary art world.

Poetics of chamber-vocal creativity of Ch. Gounod: the performing aspect

Formulation of the problem. The study of the national musical tradition in its individual and stylistic manifestations is one of the relevant areas of modern science. To do this, one can apply different coordinate systems, some of which are measured by special phenomena: communicative regularities, emotional and creative energy, synergy, phenomenology of creativity. Among such concepts, a separate place is occupied by poetics, which in the field of musical art has specificity at different levels of creation and existence of a musical composition. From this point of view, it is possible to consider both the newest phenomena of musical art and the familiar ones, such as, for example, the chamber and vocal compositions by Ch. Gounod. The analysis of publications on the chosen topic shows that Ch. Gounod’s chamber and vocal work in musicology has, as a rule, a traditional historical and compositional-stylistic dimension. Its performing profile is not involved, which requires correction of the research situation with the help of the prism of the poetics of creativity – both composing and performing. Moreover, the concept of poetics of musical art is presented by scientists quite powerfully (E. Arefyeva, N. Belichenko, I. Vavshko, E. Nazaykinsky, Yu. Nikolaievska, I. Romanyuk, N. Ryabukha, S. Shchelkanova, J. l. Kreiling, J. Malek, etc.). Therefore, there is a need to update the creative work of composers of the past with the help of characteristics of the poetics of both composing and especially performing creativity. All this determines the scientific novelty of the presented research, which is related to the characteristic of the poetics of the chamber-vocal creative work of Ch. Gounod from the perspective of performing specificity. The purpose of the scientific work is to identify the main parameters of performing specificity related to the poetics of Ch. Gounod’s chamber and vocal creative work. The research methodology is based on a complex combination of several scientific directions: studies devoted to poetics in music in general, as well as in the creative work of individual composers; scientific works related to Ch. Gounod’s creativity. Research results and conclusions. One of the concepts that should be used to understand Ch. Gounod’s vocal style is precisely poetics as a combination of the general parameters of the composer’s style, the figurative and semantic plan of the composition and a complex of specific means of expression, including purely performing ones. The embodiment of the immediate feeling of being in its lyrical perspective of everyday French music in academic genres forms the basis of the poetics of Ch. Gounod’s vocal creative work. The combination of the poetics of academic and everyday vocal art is the core of the poetics of Ch. Gounod’s vocal style, which ensures both simplicity and complexity of its embodiment. Ch. Gounod’s vocal style (both composing and corresponding performing ones) can be defined as a genre style, taking into account the total correspondence to French everyday vocal genres.

Construction and Application of Music Style Intelligent Learning System Based on Situational Awareness

Contextual representation recommendation directly uses contextual prefiltering technology when processing user contextual data, which is not the integration of context and model in the true sense. To this end, this paper proposes a context-aware recommendation model based on probability matrix factorization. We design a music genre style recognition and generation network. In this network, all the sub-networks of music genres share the explanation layer, which can greatly reduce the learning of model parameters and improve the learning efficiency. Each music genre sub-network analyzes music of different genres, realizing the effect of multitasking simultaneous processing. In this paper, a music style recognition method using a combination of independent recurrent neural network and scattering transform is proposed. The relevant characteristics of traditional audio processing methods are analyzed, and their suitable application scenarios and inapplicability in this task scenario are expounded. Starting from the principle of scattering transform, the superiority and rationality of using scattering transform in this task are explained. This paper proposes a music style recognition method combining two strategies of scattering transform and independent recurrent neural network. In the case that the incremental data set is all labeled, this paper introduces the solution of the convex hull vector, which reduces the training time of the initial sample. According to the error push strategy, an incremental learning algorithm based on convex hull vector and error push strategy is proposed, which can effectively filter historical useful information and at the same time eliminate useless information in new samples. Experiments show that this method improves the accuracy of music style recognition to a certain extent. Music style recognition based on independent recurrent neural network can achieve better performance.

Genre expectations and discourse community membership in listener reviews of true crime-comedy podcast My Favorite Murder

Genre definitions by Swales (1990) and Miller (1984) include the communicative purpose of a text as an indicative feature of its genre. Genre studies have also identified how expert members of discourse communities possess professional expertise in genre styles. This article shows that beyond discourse community expert members, ordinary audiences also have conceptions of genre and use those conceptions to evaluate texts. Through a corpus-assisted discourse analysis of listener reviews of the true crime-comedy podcast My Favorite Murder, the analysis shows that negative reviews view the true crime-comedy categorisation as two separate genres, evaluating the podcast based on expectations of true crime and expectations of comedy. Positive reviewers accept the true crime-comedy genre as a new, mixed genre and evaluate the podcast from an in-group perspective, identifying themselves as members of the My Favorite Murder discourse community. Through this analysis, I show that audiences implement some form of genre analysis in text evaluations and that membership of the discourse community influences how they apply genre expectations to evaluations of texts.

Application of Multilevel Local Feature Coding in Music Genre Recognition

When the current method is used to recognize music genre style, the extracted features are not fused, which leads to poor recognition effectiveness. Therefore, the application research based on multilevel local feature coding in music genre recognition is proposed. Features of music are extracted from timbre, rhythm, and pitch, and the extracted features are fused based on D-S evidence theory. The fused music features are input into the improved deep learning network, and the storage system structure is determined from the advantages of cloud storage availability, manageability, and expansibility. It is divided into four modules: storage layer, management layer, structure layer, and access layer. The model of music genre style recognition is constructed to realize the application research based on multilevel local feature coding in music genre recognition. The experimental results show that the recognition accuracy of the proposed method is always at a high level, and the mean square error positively correlated with the number of beats. After segmentation, the waveform is denser, which has a good application effect.

Młody człowiek nie pachnie współczesnością. O portretowaniu postaci w filmie Jana Komasy na podstawie obrazów „Boże Ciało”, „Miasto 44” i „Sala samobójców”

The purpose of this article is to show the genre continuity of portraiture in the next medium and to identify its new features and elements based on three pictures directed by Jan Komasa: Corpus Christi, Warsaw 44, and Suicide Room. The research used content analysis, comparative analysis, and analysis of the structure of the film work. The semantic trend indicating the importance of portrayal in the film was also used. The above analysis showed that film portraiture based on elements of film language still has much in common with classical painting or photographic portraiture. It characterizes the protagonist, his likeness, and description, and at the same time, the action of the film is a dramatic element. The way it is used reinforces the aesthetic and genre style of the film story, and portraits are not only a registration of the character's image but have artistic functions.

Personalised popular music generation using imitation and structure

Many practices have been presented in music generation recently. While stylistic music generation using deep learning techniques has became the main stream, these models still struggle to generate music with high musicality, different levels of music structure, and controllability. In addition, more application scenarios such as music therapy require imitating more specific musical styles from a few given music examples, rather than capturing the overall genre style of a large data corpus. To address requirements that challenge current deep learning methods, we propose a statistical machine learning model that is able to capture and imitate the structure, melody, chord, and bass style from a given example seed song. An evaluation using 10 pop songs shows that our new representations and methods are able to create high-quality stylistic music that is similar to a given input song. We also discuss potential uses of our approach in music evaluation and music therapy.

Свадебные песни села Селиверстово Волчихинского района Алтайского края: путь от записи до сцены

The article discusses the stages of work on the study and development of wedding songs in the village of Seliverstovo, Volchikhinsky district, Altai Territory, by teachers and students of the Altai State Institute of Culture: recording of the folk songs material, its decoding, analysis, arrangement and stage embodyment. The necessity of carrying out creative work with authentic material, taking into account the specifics of the regional and genre style of songs, is emphasized.

A Study on Modern Pansori Narrative and Composition in Joseon Pop Music

최근 판소리는 대중적 인기를 얻고 사람들이 즐길 수 있는 한국(조선) 고유의 흥겨운 감성을 가진 음악으로 표현된다. 본 연구는 판소리의 대중음악성을 부각하며 등장한 서도밴드(sEODo밴드)의 ‘조선팝’ 음악을 분석하여 판소리 대중화와 창작판소리의 생산과정의 의미와 서사성의 맥락을 논의하였다. 판소리 대중화는 다양한 방식으로 시도된 판소리의 변화를 지칭하며 근래 시도된 대부분의 판소리 창작 현상을 포괄하는 명칭으로서 창의성과 다양성을 실험하는 이 시대 소리꾼들의 예술정신을 포용하려는 의미를 담아 왔다. 시도와 모험을 격려하는 열린 개념에서 점차 규준의 필요성이 대두되고 있으며, 판소리의 대중화는 음악적 요소와 외적 양식에 무게를 두기보다 창작판소리의 완성도를 높일 수 있는 역량을 갖춘 소리꾼이 서사성의 현대화와 동시대적 더늠의 확보라는 책임감 있는 재맥락화를 달성할 때 가능하다. 서도밴드의 조선팝이 갖는 차별성은 춘향가 한바탕을 노래하고 판소리의 더늠과 동일한 음악을 생산하여 자신만의 스타일을 만들어가는 것에 있다. 현대적 서사와 더늠의 노랫말은 과거의 언어적 수사를 따르지 않는다. 대중음악의 자유가사 형식을 많이 취했지만, 대중가요가 비유법, 강조법, 변화법 등의 수사법을 폭넓게 사용하는 것과도 차별성이 있다. 춘향가에 없는 내용을 담은 창작곡은 춘향가의 전개를 변형하지 않으면서 춘향과 몽룡의 이야기를 동시대 인간관계의 정서로 표현하며 ‘공감서사’를 강화하고 완성하였다. 대중음악적 요소와 현대적 노랫말을 가진 짧고 편안한 서도밴드의 음악은 <춘향가: 대중가요제 서도밴드바디 스윙조/알앤비조> 등으로 명명할 수 있다.Recently, pansori, Korea’s representative traditional vocal music, has been depicted and represented as an enjoyable popular song for contemporary audience with its unique Korean sensibility. This paper examines the narrative contexts and significance in the process of producing and composing new pansori as well as the phenomenon of popularizing it. The discussion mainly deals with the analysis of sEODo band’s “Song of Chunhyang,” a version with prefix “Joseon pop.” “Popularization of pansori” had meant almost all types of new pansori music comprehensively embracing even the ideas of musicians who tried new music with artistic creativity or diversity. However, voices requiring cannon or criteria for composing pansori, breaking from reckless musical adventure or trial. Rather than focusing on the musical element or genre style, pansori can become popular when the musician achieves assessing reasonable re-contextualization to modern and contemporary songs so that the narrativity in the story telling survives and continues. sEODo band’s new song is considered same as deoneum, the newly added parts in pansori from long time ago. This tradition of adding pieces complementing the musical story differentiates sEODo’s music from other popular songs. However, the lyrics and narration are neither old traditional pansori nor popular songs. Though adapting modern style and freestyle lyric writing, the band removes the linguistic metaphor of the past and abates rhetorics in popular music. The understandable sensibility completes sympathetic narrative in “Song of Chunhyang” with popular music elements, and in the long run thus the music can be called <Song of Chunhyang in Popular music school, sEODo band fashion, swing/R&B mode>.

The Emotive Component of the Genre Categories and Style in the Artistic Canon of Christian Culture (based on the works of medieval books)

The article examines the character and function of emotiveness in the structure of the “poetics of Truth”, as well as the artistic means of creating emoticons in emotively neutral subjects. Using the fragments of the chronicle, the prologue and the solemn sermon, the author shows how, depending on the degree of spiritual enlightenment of the addressee, the same artistic image can have different content and have an emotional impact of different intensity, acting as an “archetypal emotive”, “(biblical) emotive key”,“emotive symbol”.

«Жанр»: номадический концепт или эстетическая универсалия?

The article raises the problem of the metadisciplinary interpretation of the term “genre”, which can be equally well defined as a nomadic concept or as an artistic universal. The author focuses on the question of the configuration of features defining the concept of genre in philology, art history, and musicology. Taking as a basis the general aesthetic principles of genre specification – functional, thematic, and structural – the author analyzes their genre-forming potential in various artistic forms and comes to the conclusion that understanding genre as a communicative and formally meaningful category provides an interdisciplinary dialogue, but at the same time, genre dominants can be different. For speech genres, such a dominant is a communicative goal, for painting genres – a subject content. The semantic parameter of the genre is interpreted in a similar way in literary criticism and musicology. The division into primary and secondary genres is a common feature for both philology and musicology. The structural parameter includes compositional features and elements of genre style, and the specific weight of this parameter is especially high in canonical (protoliterary and literary) and primary musical genres. The meaning of the structural features of the genre is inversely proportional to the visualization of an artistic form. This parameter is least significant for the genre identification of a painting.

Through an observer’s eyes: A conversation with author Siddhartha Gigoo

ABSTRACT In this interview, the Indian novelist, short story writer, poet, anthologist, and film-maker Siddhartha Gigoo recalls his early development as a writer and comments on his approach to the writing of “resistance literature”, noting how contemporary Kashmiri writers were born and brought up in the midst of a conflict that has impacted their writing as well as their political consciousness. He characterizes his own writing as an “act of preservation”. When discussing the exodus of Kashmiri Pandits, their experience of persecution and eviction from the Kashmir Valley, he describes how his stories and films emerge out of a sense of longing for Kashmir. He credits his family as the source of his story-writing skills and explains what creative writing means to him in terms of inspiration, style and choice of genre. The interview began in a coffee house in New Delhi in March 2019 and continued via email in subsequent months.

Intergenred Diffusion in Orthodox Hymnography (On The Example of Canticles of The Troparion Subsystem)

A complex and multifaceted characterization of the phenomenon of intergenre diffusion on the material of the troparion subsystem songs is carried out. A number of general scientific and special methods and approaches have been applied, in particular musicological (comparative and analytical), culturological, historical, philological, liturgical, theological. The method of analysis of individual hymns by eight genre features (developed by Olena Shevchuk on the basis of research by other musicologists, in particular Johann von Gardner and Iryna Bezuglova) was tested. For the first time in Ukrainian medieval music studies, rare troparion genres were involved in comparative studios — triadika, martyrika, thanatika, doxastika, eisodika and apolytykia. The problem of genre typology and genre hierarchy in hymnography, interrelation of liturgical genres with homiletic, euchographic and biblical ones is outlined in a new way. Several interrelated levels of intergenre diffusion have been identified in troparia, kathismata, hypakoi, monostrophic kontakiа and other related chants. Three main ones have been singled out: sources of poetic texts, genre names, common poetic-musical models. It is noted that the sources of verbal texts of troparion songs were often proimions and ikos of polystrophic kondaks of St. Romanos Melodos, which could act as selfsimilar to the hymns of the troparion subsystem. It has been proved that the change of genre names (troparion — kathisma — hypakoe — kondak — stichera) is connected both with different regional origin of names (Constantinople, Jerusalem) and with the historical development of liturgical genres and the whole genre system. Other common attributes in the hymns of the troparia group are determined — the theological content of the verbal text (contemplative, didactic, historical, dogmatic), genre styles and chants (in the Stoudios period — papadikon in Byzantium, kontakarion in Kyivan Rus, in Jerusalem — Bulgarian), forms (one-segment, two-segment, stanzas with codes, rondo type), methods of performance (hymnody, antiphonal, responsory). It was found that special troparia genres — triadika and thanatika — were sung in eight voices, but there were no special self-similar ones.

Chopinian Particularities in Piano’s Sonata op. 58

The paper herein highlights those aspects of Chopin’s Piano Sonata Op.58 that demonstrate the strong connection with the classical-type sonata, its significance and the evolution of expression. Chopin’s Third Piano Sonata, Op.58 is the largest solo work of his late period. Chopin’s successful combination of the Classical and the Romantic aesthetic, results in an effective balancing of structural integrity and emotional fulfilment. Every moment of Op.58 possesses qualities of movements in a traditional sonata cycle; however, the tendency to blend structural elements, the expansion of thematic material and the postponement of climaxes contribute to Chopin’s distinctive treatment of the sonata genre style include blurring of genres, complex use of chromaticism, intricacy of counterpoint, textural and thematic variety