Historical Musicology Research Articles

Technologies of deep text analysis in musicology

The article considers the possibility of improving the mechanism of work of the author-musicologist with the texts of historical musicology. The purpose of the article is to consider the mechanisms of detecting internal relationships between the elements of a musicological text. The subject of the study is verbal texts of musicology. The object of this article is analytical tools of modern digital technologies for working with texts. The author examines in detail such aspects as the selection and formation of a set of keywords, the definition of the structure of the search for information necessary for research. Particular attention is paid to the internal processes of the musicology laboratory, within which it is not always possible to form a set of key verbal meanings of a prepared study using traditional methods. The author for the first time proposed a methodology for using computer tools for deep text analysis programs in the daily activities of a musicologist-researcher. The scope of the methodology is not limited to the field of music science, it can find solutions in other fields of knowledge. In the course of the research, the practical side of the product implementation is highlighted, the stages of post-processing of a text array are presented in a concise form. At the same time, the problematic "slice" stated in the study turns out to be saturated with other information content, which allows us to further find hidden patterns of development of certain processes, discover new relationships and determine new vectors of scientific research.

The Beginnings of Research in Ethnomusicology and Historical Musicology in Kosovo: Background, Research and Main Publications

The Beginnings of Research in Ethnomusicology and Historical Musicology in Kosovo: Background, Research and Main Publications

Folk Songs and Material Culture in Medieval Central Europe: Old Stones and New Music by Nancy van Deusen

Reviewed by: Folk Songs and Material Culture in Medieval Central Europe: Old Stones and New Music by Nancy van Deusen Kathleen E. Nelson van Deusen, Nancy, Folk Songs and Material Culture in Medieval Central Europe: Old Stones and New Music (Studies in the History of Daily Life 800–1600, 6), Turnhout, Brepols, 2019; hardback; pp. xiii, 279; 23 b/w figures; R.R.P. €110.00; ISBN 9782503541327. This is a remarkable and rewarding book, one that will hold interest for a broad range of readers, including medievalists, historical musicologists, and ethnomusicologists. Professor of Music and the Louis and Mildred Benezet Chair in the Humanities at Claremont Graduate University in California, Nancy van Deusen’s publications span disciplines including historical musicology, music theory, and historical anthropology. In this book, van Deusen challenges commonly perceived boundaries between disciplines, inviting the reader to engage with the discussion and move beyond limits of specialization. Hungarian folk song is the focus, with the book drawing on the author’s long experience of research in Hungarian archives. Purpose and method are effectively introduced in the opening sentence of the author’s preface: The purpose of this book is to deal with the present through the attainments of the past, namely through a system of analysis using terms and concepts taken over from centuries of thinking and writing during Latin Antiquity, through what is now known as the European Middle Ages, enduring relatively unchanged well into the nineteenth century (p. xi). The many illuminating discussions include examination of the term ‘silva’ as used by Chalcidius in his fourth-century translation into Latin of Plato’s Timaeus, and the ways in which the term has been interpreted, demonstrating the fruitfulness of its re-examination; thorough consideration of the concept of type and how types are identified, relevant to the study on Hungarian folk song and more broadly; and her illumination of the musicological concept of form and its prominence since the mid-twentieth century in analysis, pedagogy, and writing about music. Van Deusen draws insightfully on her many years of research in archives of central Europe, especially in Hungary, as well as on her extensive knowledge of medieval music, and medieval and more recent philosophy. Thoughtful narratives or ‘vignettes’ of personal experiences during her research in and around Budapest are interwoven and serve to illustrate points. Chapter topics include ‘Herder and his Influence: A Background for Conceptualization’, ‘Historiography of Ideology: Conceptual Bases for the Collection of Folk Song’, ‘Old Stones, Useful Chunks: Working with Material’, ‘Methodology and the Question of “Types”’, ‘Transcription, Translation, Transmutation’, and ‘Nationalism and Folk Music’. A helpful glossary of mainly Latin terms is also provided. [End Page 283] Kathleen E. Nelson The University of Sydney Copyright © 2022 Kathleen E. Nelson

Unfinished Work as Aesthetic and Musical Phenomenon: about Interrelation of Genre, form and Technique of Composition

The relevance of the study is dictated by the interest of contemporary creators and researchers in various fields of science to the problem of unfinished works. The appearance of the latter is associated with the historical situation and philosophical and aesthetic ideas of the time, with the psychological characteristics of the Creator's personality and the peculiarities of his thinking, as well as with the originality of the individual design of the work. In musical art, a productive direction in substantiating the specifics of unfinished works is their consideration both through the “prism” of the philosophical and aesthetic ideas of the time, cultural and historical context surrounding the composer, and based on fundamental theoretical teachings.
 The aim of the research is to establish and substantiate the “zones” of action and mutual influence of categories that are important and system-forming for theoretical musicology — musical genre, musical form and composition technique within the boundaries of unfinished works.
 The scientific novelty of the research is reported by: 1) the definition of the artistic and aesthetic phenomenon of “incompleteness”, which is universal for works of art, formulated and proposed for the first time; 2) the classification of unfinished works presented in relation to musical art; 3) analytical observations of the process of interaction of genre, form and technique of composition in conditions of various degrees of manifestation of incompleteness of musical works.
 The research methodology is based on the works of various fields of scientific knowledge — philosophical and aesthetic research (U. Eco, J. Gartner, etc.), works on the history and theory of art (S. Stupin, E. Abramovskikh, etc.), research in the field of theoretical and historical musicology (Y. Kholopov, E. Ruchevskaya, M. Pereverzeva). The main research methods are the general scientific observation method and the comparative method, as well as various methods of analyzing a piece of music.
 The results of the study reflect the following conclusion. A progressive tendency is clearly visible from work to work, which in music belongs to the category of “unfinished”: from a ghostly “hint” expressed through the genre, through a meaningful idea “underlying” the form, to the assertion of the principles of an “open work” through total interdependence genre, form and technique of composition.
 The study is undoubtedly of practical value. It significantly supplements and expands knowledge about some new genres that are little studied in music (fragment, sketch, etc.) and their compositional originality.

Tiefenbohrungen in den musikwissenschaftlichen Werk- und Autorschaftsbegriff mit digitalen Werkzeugen

Abstract The concept of work and authorship have long been the subject of intense reflection in historical musicology. Edition projects deal with composers and their work process and have developed new approaches for this purpose. Against the background of the question of where the ‘text’ to be edited actually ends, this paper discusses the possibilities of making director’s piano score (Regieklavierauszug) digitally visible and thus interpretable (understood as a work ‘sui generis’). Furthermore, the creative process of all participants in the classical sound recording is considered in terms of its digital visibility. On the basis of my research data from the DFG project “The sound recording studio as a discoursive room” at the TU Berlin/Audiokommunikation (participant observation, interviews, transcripts of recording processes, evaluations with MaxQDA) I show that these creative processes in the collaborative interaction of artists and engineers can also be found in classical music. By evaluating these (and other) materials with the help of MEI and TEI, new ways of ‘work’ and ‘authorship’ are also explored in this genre. Ultimately, this should also establish the sound recording as a ‘sui generis’ work.

UKRAINIAN-BELARUSIAN CULTURAL TIES IN THE 1920S ON THE EXAMPLE OF COOPERATION OF THE MAGAZINE «MUZYKA» (“MUSIC”) WITH YULIAN DREJZIN

The study of Ukrainian-Belarusian cultural ties has significant research potential due to typologically similar processes of cultural and national formation of the two neighboring nations, which was especially pronounced in the 1920s. One of the important factors in this was the Bolshevik strategy of indigenization in the national regions of the Soviet Union. Almost simultaneously, there was a surge in literature and art in both republics. The lack of special studies that would cover these joint processes in the field of music culture, actualized the disclosure of this topic. The purpose of the article is to study the peculiarities of cooperation between the editorial board of the magazine «Muzyka» (“Music”) (publisher – a determining factor in the development of Ukrainian musical culture of the 1920s – Mykola Leontovych All-Ukrainian Music Society) and a leading Belarusian musicologist, one of the founders of Belarusian historical musicology Yu. Drejzin and explore their correspondence as an example of close UkrainianBelarusian cultural ties in the 1920s. To achieve this goal, historical, biographical and source research methods were used. In the autumn of 1924, P. Kozytsky, the editor of the Music, and Yu. Masyutin, the secretary, took the initiative to establish contact with Belarusian artists. The following year, communication began with Yu. Drejzin. His works include the study «Music and Revolution» (1921), the dictionary «Musical Terms» (1926), the libretto of M. Aladov’s opera «Taras on Parnassus» (1927), scholarly and critical articles, a huge number of Belarusian translations from ancient Greek literature, as well as texts from Western European vocal works. Ukrainian musicologists of that time were interested in similar tasks. Cooperation with Ukrainian colleagues coincided with the beginning of Drejzin’s active critical and journalistic activity. His investigations into Belarusian music and the work of contemporary composers were published in the Ukrainian magazines “Muzyka” (1925) and «Radians’ka Muzyka» («Soviet Music») (1933), and in the Kyiv newspaper “Proletars’ka Pravda” («Proletarian truth») and the Belarusian magazine “Polymya” (“Flame”) (both in 1926) – posts about the existence of Belarusian songs in the repertoire of the band “Dumka”. According to the correspondence, Yu. Drejzin was initially irritated by misunderstandings that occurred in his collaboration with magazine “Muzyka”. He complained about the delay of magazines with his articles, had complaints about the amount of royalties. However, after the secretary of the magazine told him in detail about the catastrophic financial condition of the publication, Yu. Drejzin completely changed his mind: he admired the fantastic dedication of the editorial board and even envied the ideology of Ukrainian artists. The collaboration of the Ukrainian magazine “Muzyka” with the Belarusian musicologist Yu. Drejzin is an organic part of the Ukrainian-Belarusian cultural cooperation, which was significantly intensified during the national upsurge of the 1920s. Drejzin’s interest in the cultural ties between the two republics was reflected in the magazines of the time, in which he published his musicological research. Peculiarities of Drejzin’s cooperation with the magazine “Muzyka” are documented in correspondence with the secretary of the magazine Yu. Masyutin. The value of these letters lies both in their factual content and in reflecting the evolution of the Belarusian scientist’s attitude to Ukrainian colleagues and his willingness to borrow the professional experience of Ukrainians.

Contributors’ Notes

Contributors’ Notes

TRADITIONS OF NATIVITY DRAMA WITHIN THE OPERA ARTS OF UKRAINE

The article explores the ways of development of Ukrainian nativity drama - a genre of musical art that provides an opportunity to recreate the elusive breath of time, to learn not only about the world around but also the prospects for its preservation in Ukrainian culture. For the formation and development of the national musical culture of Ukraine, the traditions of Ukrainian nativity drama, the precondition of which was the folk music of national-historical orientation, became especially important. Besides, the folklore basis contributed to the formation of some professional genres, including opera and instrumental plays.
 The object of the research is the nativity drama within the opera art of Ukraine.
 The purpose of the article is to identify the features of the nativity scene as a musical and dramatic art form, which is an original monument of Ukrainian culture.
 It should be noted, that the nativity scene, especially the images of the second act, the type of its drama, had an impact on the development of Ukrainian musical and dramatic theater even in the XIX century. The mentioned influence was manifested, in particular, in the musical drama "Chornomorets", "Natalka Poltavka" by Lysenko, where folk song and dance are an integral part of the action and are a means of characterizing individual characters and dramatic situations. Some features of the character of Zaporozhets from the nativity scene were developed in the image of Karas from S. Gulak-Artemovsky's opera "Zaporozhets za Dynayem". Ukrainian music and drama art with its sources are associated with the ancient East Slavic agricultural and family holidays, games, dances, in which the element of dramatization played an important role since ancient times. Christmas games with costumes, Maslenitsa farewells, spring round dances, harvest festivals, autumn-winter round dances, and weddings became a rich source for the development of musical and theatrical art of the Ukrainian people in the XV–XVI centuries. To sum up, we can conclude that for the formation and development of the national musical culture of Ukraine in the XIX century, the Ukrainian opera became especially important, the precondition of the one was the folk music of national-historical orientation. Also, the folklore foundations, in particular the nativity scene, served to form professional genres including opera and instrumental plays.
 The study can be applied to prepare students and graduates in the field of Historical Sciences, Musicology, and Culturology.
 The significance and influence of nativity drama on the opera art of Ukraine have been studied, where the traditions of Ukrainian nativity scene, the precondition of which was the folk music of national-historical orientation, have been singled out.
 The study can be the basis for further study of the Ukrainian nativity drama of the XX–XXI centuries.

IX. Yüzyıl Abbâsî Dönemi Hanedan Üyesi Mûsikîşinasların Kitâbü’l-Egânî’deki Anlatımları

İslâm’ın ilk yıllarından bugüne fıtrî bir olgusallık taşıyan mûsikî sanatı, hayatın tüm mecralarında varlığını göstermiştir. Râşid halifelerle beraber İslam Devleti sınırlarını genişletmiş, yeni kültürlerle tanışılmış ve ictimâî hayatta ilmî faaliyetler artmıştır. Mûsikî sanatı da ilk halifelerle birlikte ibtidâî olarak icra edilmekten ziyade bahsettiğimiz vesilelerle profesyonelliğe doğru evrilmeye başlamıştır. Emevîler döneminde bir sanat dalı olarak beliren ve devlet erkânı tarafından da ilgi gören ve dahi himaye edilen bir uğraşı halini almıştır. Ancak, Abbâsî devletinin geniş kapsamlı kültürel faaliyetleri ile birlikte mûsikî sanatı, ilimler sınıflandırmasında yer almış ve bu sanatın kâideleri belirlenerek nazariyesi oluşturulmaya başlanmıştır. Mûsikîşinaslık ise bir meslek olarak kabul edilmiş, mûsikî icracıları bu manada yaşam sürdürme kaygısı duymadan sanatını geliştirmeye teşvik edilmiştir. Abbasi döneminde önemli oranda gelişme gösteren mûsikî sanatı, devletin halifeleri ve halife çocukları tarafından da ilgi görmüştür. Hükmî ve siyasi bazı engellerin hanedan üyeleri üzerinde etkisi görülmüş olsa da, mûsikîye olan kabiliyetleri, onların bu sanatta faaliyet göstermelerine mani olamamıştır. IX. yüzyıldan günümüze ulaşan eserlerin en önemlilerinden kabul edilen Kitâbü’l-Egânî bağlamında ve tarihsel müzikoloji yöntemi kullanılarak ilk dönem Abbâsî hanedan üyelerinin mûsikî yaşantılarına, icra hayatlarına ve bestekârlıklarına dair rivayetlere yer verilecek olan bu çalışmada, 12 mûsikîşinas/bestekâr hanedan üyesi konu edinilecektir. Yine kaynak tarama yönteminin de temel alındığı bu makalede, Kitâbü’l-Egânî’de yer alan bu isimlerin örnek birer bestesinin güfteleri, usulü ve eserle ilgili var olan diğer bilgilere değinilecektir.

INTERPRETATION OF GENRE OF THE MARIAN ANTIPHONS IN CONTEMPORARY UKRAINIAN MUSIC (on the example of the cycle «Mariologia» by A. Retynsky)

The purpose of this scientific article is to learning Marian antiphons as a fundamentally important musical attribute of church liturgical spiritual practice and as an essentially specific genre of composition into the contemporary Ukrainian music on the example of the artistic work of a well-known Ukrainian composer Oleksiy Retynsky. There are methods of this signified research. The research of Marian antiphons is carried out using the methodology of historical musicology, holistic musicological analysis and musical hermeneutics. The scientific novelty of this represented investigative work is to introduce to the scientific circulation of Ukrainian musicology the cycle „Mariologia” for mixed choir and percussion instruments, by Oleksiy Retinsky (2017) and to reveal the features of interpretation of the medieval genre by composer of modern times. Conclusions. The artistically musical cycle „Mariologia” of distinguished Ukrainian musician, composer Oleksiy Retynsky for mixed choir and percussion instruments is analyzed, the place and significance of the work in modern performing practice are determined. It is emphasized that contemporary Ukrainian composers and choral groups are starting to get actively interested in medieval liturgical genres, trying to interpret them in accordance with the worldview and attitude of a person of the end XX – the beginning of the XXI centuries. The specificity of the interpretation of the ancient liturgical genre of Marian antiphons in the works of modern Ukrainian composers is considered. The role and specialized place of spiritual foundations as well as the internal direction of composers in writing musical works on canonical texts is discovered. The features of the use of psalmody and Gregorian chant in the context of modern worldview are revealed.

MUSICAL LIFE OF THE WESTERN REGIONS OF UKRAINE IN THE YEARS OF GERMAN OCCUPATION (1941–1944)

Summary. The article presents the main historical events related to the musical life in the western regions of Ukraine in 1941–1944. Interesting facts from the musical life of the region are given, in particular – opening of new art institutions, educational courses, creation of creative (choral and instrumental) collectives, publishing of musical literature, carrying out of competitive competitions, etc. It is proved that in spite of the Soviet and German occupations, leading figures of musical culture supported and developed the spirit of patriotism and insubordination of the Ukrainian people. The purpose of the work is to start an objective, scientific study and coverage of the musical life of the western regions of Ukraine during the German occupation, the burden of which the local population had to endure on the section between the two Soviet repressive regimes. The research methodology consists in historiographical, historiosophical and musicological understanding of the events of the war period of 1941–1944. The methodology is based on the scientific principles and the principles of historicism, systematics, authorial objectivity as well as the use of general scientific methods of analysis in historical musicology (systemic, comparative, typological, terminological, semantic). Of particular importance are the systematic foundations of methods of historical cognition of the musical process (in particular, concrete-historical, historical-genetic, historical-contextual). Scientific novelty is the systematization of documents and facts on new interpretations of the nature of musical life during the reign of the "General Government", substantiation of the thesis about mass and national character of the national liberation movement in the western regions of Ukraine with the direct participation of leading musicians, educational, amateur and professional artistic groups. Conclusions. The musical life of the western regions of Ukraine during the years of German occupation once again proved that no force can break the national consciousness of the Ukrainian people. With music and song Ukrainian people fought against oppression, supported and increased the inherent potential of spiritual indestructibility.

Concept of the “Open Form” by Nadezhda Goryukhina in the Paradigm of Modern Musicology

The article discusses the research work of Nadezhda Aleksandrovna Goryukhina by revealing the issues of open form in music. The author emphasizes their fundamental importance in the system of modern musicology. Two detailed essays by N. Goryukhina “Dynamic forms” and “Open forms” have constituted that “basic” corpus of knowledge about open form, laying the foundations for its understanding as a phenomenon were associated not only and not so much with aleatorics, but covering a whole layer of musical works in different styles and genres, created in different historical periods of the evolution of musical art, are oriented to the violation of existing artistic and structural laws.The scientific novelty of the article consists of: 1) analytical understanding of the main provisions of N. Goryukhina’s scientific theory on the open form in music; 2) revealing the interrelationship of N. Goryukhina’s research with the scientific developments of the past (works by B. Asafiev, V. Bobrovsky, I. Barsovaya) and the present (K. Zenkin, E. Ruchevskaya and other musicologists) of time.The main goal of the article is to identify the most important theoretical foundations in the understanding of the open form by N. Goryukhina, which formed the necessary “foundation” for its subsequent study and the methodological “platform” of the modern teaching on the open form in musical art.In the methodology of the article, methods of historical and theoretical musicology interact flexibly. The analysis of the historical “path” of N. Goryukhina’s scientific developments in the modern theory of open form suggests using of historical musicology as fundamental methods — narrative, retrospective, and partially comparative. The analysis of the immanent musical and non-musical sides of the open form in the works of N. Goryukhina and other musicologists is carried out in reliance on the methods of theoretical musicology, among which the main place is occupied by the method of functional and holistic analysis.The scientific results of the article will enrich the modern theory of open form with a number of valuable observations of the author regarding the informative and structural-compositional uniqueness of the open form in music, emphasizing the perspective and direction in the “future” of musical science of the basic concepts of open theory N. Goryukhina.

«New simplicity» as a phenomenon of modern musicin the conceptual context of novelty

The relevance of research. The music of leading contemporary composers, representing the style of «new simplicity», becomes a manifestation of a certain attitude associated with a «new» approach to the technique of musical composition, in a wide sense – to the ontological foundations of music as a specific form of art and culture. Accordingly, the concept of «new» acquires special significance, which contains the essence of the novelty of the composer's understanding of music as an object of its creative realization and a way of communication with the listener. This issue is not often discussed in native researches of contemporary music (as well as the «new simplicity» in general), it is not presented as a special subject of musicological studies. The purpose of the research is to determine the conceptual foundations of the «new simplicity» as a phenomenon of contemporary musical art in the context of the semantic content of the concept of «new music». The methodological basis of the research is the systemic method, the method of comparative studies, as well as the methods of historical musicology and genre-style analysis. The scientific novelty of the article is determined by the theoretical development of the «new simplicity» as a genre and stylistic phenomenon of musical art in the context of the artistic and aesthetic foundations of contemporary composer's creativity. Main results. The conceptual meaning of «new music» as a phenomenon of professional musical art of the 20th century had a straight influence on the development of the aesthetic idea of the «new simplicity» and its creative implementation in individual composer’s styles at the turn of the 20th and 21st centuries. The essence of the «new» in the «new simplicity» consists of the fundamental rejection of the need to constantly changing the norms of the musical language and its total individualization, as well as in the return to a more accessible («simple») musical style. The return of the «new simplicity» to triad and consonance as the main constructive elements of the musical language represents a fundamentally different approach of modern composers to the technique of musical composition in the context of the «ban on consonance» proclaimed by the Western European musical avant-garde. «New» in this case is the understanding of the basic function of triad and consonance: it is associated not with the functional side of tonality, but with the phonic image of music – the factor that ensures its harmony in terms of auditory perception and the possibility of an emotional response. Conclusion. Musicological development of the conceptual aspect of the «new simplicity» opens up opportunities for studying this phenomenon of contemporary musical art in a wide historical perspective and understanding it as a natural link in the evolution of European academic music.

La contribución de Enrique Lens Viera al desarrollo musical de la ciudad del apóstol (1854-1945)

Enrique Lens Viera (A Coruna/Spain–1854/Lincoln/Argentina–1945) was a verbose musician. His broad vision of the reality of nineteenth-century Spain, especially Galicia, allowed his efforts in music to be focused on different plots of this art: teacher, director, composer, and pianist. But, due to a mishap, in 1908 our musician moved to Argentina and never returned to Spain. This research, approached from the perspective of historical musicology and the narrative biographical method, is based on primary and secondary sources. Its objective is to provide a biographical approach to the figure of this character, who contributed so much to the development of nineteenth-century galician music.

El hombre del rincón: José Subirá y la historia cultural e intelectual de la musicología en España. By María Cáceres-Piñuel

In her new book, María Cáceres-Piñuel argues that the career of José Subirá (1882–1980) provides deep insight into a ‘contemporary Spanish musical historiography’ (p. 2). On the one hand, she provides a clear account based on solid evidence. She explains Subirá’s arguments according to new primary sources, which include personal correspondence. On the other, she interprets evidence by shifting between three viewpoints: a review of Subirá’s biography, critical reflection on the professionalization of Spanish musicology, and an analysis of the social networks and discourses to which Subirá contributed and responded. Beyond organizing empirical data, she manages to place Subirá and the emergence of twentieth-century Spanish musicology at the heart of political and class conflicts. First, she probes the valuation of Subirá’s research, outlining the reception of his legacy, describing his private archive and library, and reconstructing his family milieu and formative training. Subirádd's was a socialist protected by members of the aristocracy and the Church. Cáceres-Piñuel details his services as a public servant during the first decades of the twentieth century and analyses the consequences of the Spanish Civil War and its aftermath for the reception of his output. A convinced Catalanist, Subirá's scholarly specialization was castizo (‘traditionally authentic’) musical genres, focusing above all in the tonadilla, which he identified as the exemplar of local popular culture. Politically, his sympathies lay with the Second World War allies, and he defended music à la portée de tout le monde, criticizing the elitist and sometimes authoritarian drift of the Second Spanish Republic’s musical institutions under the influence of figures such as the critic Adolfo Salazar. Yet Subirá’s reverence for German contributions to historical musicology’s repertory and methods led him to write the first essay in Spain about Arnold Schoenberg.

Editor’s Note: Sounding the Break: Music Studies and the Political

Editor’s Note: Sounding the Break: Music Studies and the Political

Introduction Listeners in Music History: Studying the Evidence

This themed issue focuses on the study of listeners in history. The articles address the personal responses to music of ‘ordinary listeners’ – that is, people whose experiences of music are recorded in personal documents and third-party descriptions (as opposed, say, to music critics who wrote about music in order to influence the ideas and tastes of a public readership). This overview essay proposes that the testimony of ordinary listeners can cast new light on musical practices, the way music has been heard and its role in past societies. It points to a perceived gap in historical musicology, whereby the evidence left by listeners in the past has been the subject of little targeted research and has generally been relegated to a supporting role. The themed issue emerges from work conducted as part of the Listening Experience Database project, a research project set up to address that gap, and focuses on empirical historical research.This overview essay discusses the types of evidence on which the articles are based and some of the issues and cautions they raise, and sets out to demonstrate the unique quality and value of the evidence through the exploration of five topics in the history of British music in the long nineteenth century. The approach they exemplify has potential to shed light on music as part of the experience of ordinary people, often in contexts and places that have not featured prominently either in nineteenth-century music history or in musicological study generally.

Багательний стиль В. Сильвестрова в контексті ґенези жанру багателі в українській музиці

Research objective is the analysis of the bagatelle style of the V. Silvestrov in the panorama of the basic trends of development of the bagatelle in Ukrainian music in the aspect of individual-compositional interpretation of the genre. The methodology of the research is based on the unity of various relevant methods: the approaches of historical musicology, comparative and system methods, elements of genre and style analysis. The scientific novelty – The article for the first time presents a panorama of the bagatelle genre in the works of Ukrainian composers from the first third of the nineteenth century to the present days. Conclusions. In Ukrainian music we observe a wide range of creative reading of the bagatelle genre in accordance with the author’s style – from the traditional “easy” (or even didactic) miniature to the whole universe, embodied in a small form, in the legacy of V. Silvestrov. Bagatelles of the Ukrainian composers are presented in various modifications – as individual plays, cycles or their parts (including as one of the numbers of the ballet). Side by side with piano bagatelle, there are also exist works for chamber ensemble and string orchestra, as well as bagatelle performances. However, most of the examples of the bagatelle of Ukrainian authors remain within the traditional interpretation of the genre as a small, easy to perform play, most composers turn to the genre of bagatelle rather sporadically, without building a special concept around it. For Silvestrov, the bagatelle becomes a kind of lens through which the artist looks at the world, and bagatelle principle (“bagatellity”) becames an expression of a certain way of thinking, the basis of style, the features of which are embodied not only in the bagatelle themselves, but also extrapolated to other genres. Sylvester bagatelle is a bagatelle in the highest sense, which is far from “trifles”, goes beyond the usual understanding of the genre, becomes, according to the author himself, the “grain of music”, the embodiment of Platonic ideas, acquires the features of a meta genre. The samples of the bagatelle genre in Ukrainian music considered in this publication need a more systematic analysis in the future, one of the tasks of which may be to outline the typology of Ukrainian bagatelle.

Analysis of Mozart’s Biography with Becker’s Theory of “Art Worlds”

<div><!--block-->Historical musicology, which is a method within the discipline of musicology, is based on composer biographies and works, whereas systematic musicology, which includes analytical and empirical methods, is based on the musical analysis of works. These historical and analytical studies represented the relationship between music and science from the 19th century to the 20th century. After the 20th century, researches about the science of music moved to a new, critical and multi-faceted field in social, cultural, political and artistic contexts as well as historicity ones. The evaluations of composer biographies that constitute the historical knowledge of music have been handled in a holistic and multi-faceted framework with this new orientation. In this article, which is prepared based on a new, critical, multi-disciplinary way of thinking within the framework of New Musicology, the determinant composer of the Classical Period W. A. Mozart was evaluated according to Becker’s Art Worlds, which is sociological theory. W.A. Mozart’s way of thinking shapes his art life and this was examined through the slices of his life and through his own words using the categories of Integrated Professionals and Incompatibles in Becker’s classification of artist behavior. This article aims to create a functional and interdisciplinary meaning for the formation processes of W. A. Mozart’s art life far from philosophical, aesthetic and value judgments. It is considered that this evaluation will bring a different perspective to biography studies in the contexts of generally accepted (canonical) thought.</div>

Poetic and music interpretations of Twelfth Psalm (Artemij Vedel, Taras Shevchenko, Myroslav Skoryk)

Relevance of the study. The Book of Psalms has always been an inexhaustible source of inspiration for many generations of artists, and still has not lost its relevance. The Ukrainian musical art has created a huge array of works of different genres on the basis of psalm texts, including various translations, which opens up wide opportunities to study several musical interpretations of the literary primary source. The main objective of the study deals with the features of the conceptual dramaturgy in the author’s interpretations of Psalm No. 12 by T. Shevchenko and M. Skoryk comparing it with the Church Slavonic source and its reading in the sacred concerto by A. Vedel.The scientific novelty of the research lies in the analysis of microintonation deployment in the choir “Are you my dear God forever forget me?” by M. Skoryk, in identifying features of the conceptual dramaturgy of the work in its indissoluble connection with the verbal basis — the author’s poetic translation of Psalm No. 12 by T. Shevchenko. In the article for the first time the comparative method was used concerning musical works written in different verbal texts (Church Slavonic — in the concert of A. Vedel “Will you for ever put me out of your memory, O Lord?” and the poetic arrangement of the psalm in the choir by M. Skoryk). This specificity needs the consideration of peculiarities existing in the interaction of text and music at the level of compositional and dramaturgic plans of two works.The research methodology is based on a combination of the empirical method and general scientific and logical methods of analysis and synthesis, methods of theoretical and historical musicology, which allowed us to analyze the composition and expressive means used by composers, to identify the style features of the works. The hermeneutic approach has been applied in the analysis of concepts of elements considered and involved in spiritual works. The use of the comparative method has made it possible to consider two verbal versions of Psalm No. 12, to reveal the measure of correspondence to the verbal source of the musical interpretation of the Psalm in the work of M. Skoryk and finally reveal common and distinctive features in two musical interpretations of the Psalm by A. Vedel and M. Skoryk.Results and conclusions of the study. The composition and dramaturgical specificity of two verbal texts has been outlined and the relationship with it of two musical interpretations has been considered. The micro-intonational process of unfolding in M. Skoryk's choir has been revealed, the role of tonal dramaturgy, in particular two planes — flat and sharp, connected with negative and positive images, respectively, were noted. Extremely delicate sensation by the composer of the structure of Shevchenko's text and its adequate embodiment in the compositional work plan were emphasized. The common in the reading of the psalm by both composers has been noted as an extremely dramatic text including the sixth verse of glorification. At the same time, an idea was expressed about the more tragic character in M. Skoryk’s interpretation in comparison with Shevchenkov’s poetic arrangement. A great measure of “theatricalization” (personalization and visualization) has been noted in the concerto of A. Vedel, as well as the dynamic characteristic of modern man in the sense of time — in the work of M. Skoryk, which manifests itself in the aphoristic nature of the statement.