Instrumental Ensemble Research Articles

Compositional features of Western Ukrainian traditional instrumental ensemble music

The article is devoted to the study of the characteristic features of the compositions of folk instrumental ensemble music of the 20th – first decades of the 21st century on the example of the Ukrainian Carpathians and Western Polissya regions. Research materials: the author's own records, archival and printed sources. Research methods: historicaldialectical (tracing evolutionary trends in folk ensemble cultures over the last century), analytical (analysis of the specifics of ensemble music), comparative-typological (comparison of different regional cultures of Western Ukrainian lands).As a result of the analysis of the material we can draw the following conclusions. The composition of traditional ensemble music depended on the established tradition of the ethnic environment, historical and cultural changes, specific performance situations and the individuality of professional musicians.Since the instrumental ensemble is a harmonious combination of individual performers, its texture specificity is extremely important for ensemble music. In Ukrainian folk instrumental music, the same instruments can perform different functions (melodic, accompanying, rhythmic), but the role differentiation between musicians is mostly preserved: on the one hand, soloist / leader, band leader, on the other – supporting and accompanying performers. Depending on the types and musical stylistics of the works, different types of polyphony are produced in ensemble music: monophony, heterophony (unison, bourdon, ornamental, ‘tape’), polyphony (tune-line, spontaneous contrast), homophony.Other characteristic parameters of ensemble music – musical system, tonality, melody, rhythm, tempo, dynamics, musical form – are typical not only for ensemble, but also for all Ukrainian folk instrumental music. It is in the ensemble rather than the solo context of the instrumental composition that it is best to consider each of them, so the analytical results will be more objective.In the 20th – first decades of the 21st centuries in the Carpathians and Western Polissia there were significant changes in the development of culture, its instrumental tradition, in particular, associated with the partial loss of specific genres and forms of music and their replacement by influx. Many changes took place in this period in the compositional features of folk ensemble music. As the number of bands increased, the musicians began to use new performing techniques. Influenced by the written tradition and other external factors, concert solo fragments appeared, homophony penetrated into the texture of the works, tonal music changed the old modal, in slowing down at the end of works with a corresponding decline in dynamics such as stage and concert, new episodes are introduced into traditional forms, etc. At the present stage, due to the sharp growth of communication environments (mainly due to the Internet space) assimilative cultural processes are deepening.

Aural Transposition, Psychogeography and the Ephemeral World

Aural transposition sits at a crossroads between being a tool for practice and creating work, and being a tool that illuminates aspects of another entity. In day-to-day music practice, transposition can be an age-old tool for learning material, or a multi-layered exploration of an object or place. Transposition can also be a means of recreating places, real or imagined, through the transposition of ghost traces back into sound. And the transposition of spaces onto other spaces is possible through multichannel sound arrays. The territory for re-imagining both sound and place lies in the impossible space between the sounding entity at hand and the instrument that transposes it. Just as in the dérive of psychogeography, the spaces between well-trod paths leads to a world beyond the banal. This exposition first situates these practices in psychogeography, and amongst other artists whose work utilizes various transposition, soundwalking or psychogeographical practices. It then discusses those aspects of my own artistic practice and work—across a spectrum of electroacoustic music, improvised violin work and collaborative composition for an ensemble of mechanical string instruments— that are centered around aural transposition as an act of psychogeography.

“Versos y marchas para las procesiones”: música instrumental durante los desplazamientos ceremoniales en las instituciones eclesiásticas españolas entre ca. 1750 y ca. 1830

La integración de la música para conjuntos instrumentales en el ceremonial religioso durante el tránsito del siglo XVIII al XIX es una temática que ha cobrado cierta relevancia en los últimos años en la agenda musicológica española e hispanoamericana. En el presente texto se analiza concretamente la inclusión de música instrumental durante aquellas ceremonias o actos religiosos que, como las procesiones, se caracterizaban por el desplazamiento de comitivas más o menos numerosas. El análisis de la documentación administrativa procedente de dieciséis instituciones eclesiásticas españolas evidencia, por un lado, la pervivencia de los ministriles en estas ceremonias hasta bien entrado el siglo XIX, en su función tradicional de alternar con el coro o la capilla de música, y revela, por otro, la participación de los conjuntos instrumentales modernos desde ubicaciones fijas, en sustitución del órgano o de los propios ministriles, con el objetivo de solemnizar el movimiento de las procesiones, los celebrantes y/o las autoridades religiosas. Finalmente, algunos repertorios musicales, titulados como versos o marchas, ilustran el tipo de piezas que podían escucharse durante estos eventos.

«Времена года» Антонио Вивальди в реинтерпретации британского композитора-минималиста Макса Рихтера

Starting from the second half of the 20th century the interest in Western European Baroque music on the part of composers and performers has acquired the character of a sign phenomenon. Besides reinterpreting masterpieces by “other composers,” contemporary composers have widely applied the method of reconstructing Baroque musical text models. Of special interest are the musical compositions based on generally familiar musical masterpieces. The article examines an original reinterpretation of Antonio Vivaldi’s instrumental cycle “The Seasons” composed by British composer Max Richter in 2012. The conception of the composition is built on the inspiration to adapt the musical masterpiece to new existent conditions, without resorting to apply the traditional genre of transcription. The phenomenon for reevaluation is presented by the model of the baroque instrumental concerto, which unifies in itself the principles of the concerto grosso with those of the solo instrumental concerto. Richter also achieves identification with the primary musical source by his reliance on contrapuntal regular laws, the preservation of the foundation of the instrumental ensemble, the instrumental cycle’s overall formal structure and the figurative qualities. The factors cementing together the reinterpreted version with the primary musical material are the textual structures of the tutti – solo and continuo – solo dialogues which have been established during the Baroque period. In the intertext of the reinterpreted cycle “The Seasons” models of the past epoch are unified with the characteristic principles of contemporary culture: open form, unpredictable dramaturgy, and electronic sounds. The lexical content of the invariant models are also subjugated by Richter to the logic of minimalism, proving the close proximity between the principles of intonational unfolding of Baroque and minimalist musical works. Keywords: Vivaldi’s “Seasons,” Max Richter, text models, baroque, minimalism, reinterpretation, instrumental concerto, concerto grosso.

Knowledge and training of Orff-based music therapy among students, clinicians, and educators

The purpose of this research study was to examine knowledge and training of Orff-based music therapy among music therapy students, clinicians and educators using a variety of demographic, training, and outcome variables. The measurement tool was an online survey designed to satisfy this primary purpose and seven associated research questions targeting: (1) Demographics, (2) Definitions, (3) Training, (4) Professional Development (5) Clinical Practice, (6) Treatment Outcomes, and (7) Professional Competencies. Basic descriptive statistics were provided through SurveyMonkey, although the researcher condensed provided narrative content as needed to present summarised text responses. Results and Discussion are organised around these seven primary research questions, with Implications for Training and possibilities for Future Research included. In summarising just a few pertinent results, 56% of the 262 survey respondents indicated having training in Orff- based music therapy within their academic programme. One hundred and four respondents (39.7% of 262) said they used it in their clinical practice and 95.4% thought it could be effective within the social domain. Respondents felt the following professional competencies could be addressed through training in the Orff process for student music therapists: transpose simple compositions; compose songs with simple accompaniment; adapt, arrange, transpose and simplify music compositions for small vocal and nonsymphonic instrumental ensembles; utilise basic percussion techniques on several standard and ethnic instruments; and improvise on pitched and unpitched instruments, and vocally in a variety of settings including individual, dyad, small or large group.

Aportes de la guitarra clásica a la interpretación del bolero

Uno de los objetivos del estudio de un instrumento musical en instituciones académicas es la formación de instrumentistas solistas. La incorporación de géneros tradicionales en dicha formación conlleva la dificultad de adaptar música originalmente ejecutada en conjuntos instrumentales a un instrumento solista. En este artículo se analizan los roles complementarios de las dos guitarras que conforman tradicionalmente el conjunto del bolero y se proponen técnicas instrumentales para que ambas partes puedan ser ejecutadas por una guitarra solista. Las técnicas propuestas son el toque apoyado, el toque tirado, el pizzicato, los armónicos naturales, la ejecución de melodía a dos notas, ligados y apoyaturas, arrastres y uso de barra o ceja. Estas técnicas son aplicadas a seis temas, evaluando en cada caso cuál de ellas se adapta mejor a sus características musicales. El aporte de esta investigación consiste en la aplicación de técnicas instrumentales de la guitarra clásica solista para la ejecución de boleros, fundamental para la incorporación de dicho género en entornos académicos

CRITERIA AND LEVELS OF DEVELOPMENT OF PROFESSIONAL SELF-REFLECTION OF FUTURE LEADER OF AN INSTRUMENTAL BAND

This article examines the state and criteria of development of professional self- reflection of future leaders of an instrumental bands. The qualitative characteristic of levels of development of professional self-reflection is defined and four levels of development of this skill are outlined. The value and role of professional self-reflection of the leader of an instrumental band in the context of collective performance management is disclosed. It is noted that the reflexive method makes it possible to comprehend one’s own and team members’ activities, to predict one’s own actions, to form a new thinking style, to detect and anticipate problems in one’s own professional activities and improve the quality of work. We also believe that professional reflection is a necessary component of the professional education of the future leader of the instrumental ensemble and the cornerstone principle of successful management of any ensemble performance in particular.

Mastery Goals and Intrinsic Motivation in Instrumental Ensembles

How do we motivate students to practice and persist when facing challenges inherent in learning to play an instrument? In this article, I synthesize research findings into strategies to encourage students’ mastery goal orientations and intrinsic motivation. Educators can use these strategies in the classroom or as inspiration to create innovative ways of supporting student motivation in instrumental music.

Признаки ансамблевого музицирования в сольном скрипичном тексте западноевропейского барокко

The emergence of compositions for solo violin in professional music of the 17th and 18th centuries is closely connected with the evolution of instrumental ensemble groups, in which string instruments assumed important positions. Here performance techniques were elaborated, functionality. Gradually the violin became an independent instrument with its own specific features. The tradition of violin instrumental performance cultivated unique technical, acoustic and intonational-expressive characteristics, bringing them to the level of perfection. At the same time, during the various stages of the baroque period the evolution of the genres of violin music and, to take a broader view, of all instrumental music took course in close interaction. There appeared the inevitable processes of mutual enrichment, migration and adaptation of semantic structures from chamber and orchestral compositions. They presented universal “bonds” for organizing integrated musical texts of instrumental compositions. At the same time, the musical texts of solo compositions, presenting a phenomenon autonomous in its structural-semantic aspect, and the musical text of violin parts in chamber works as parts of the chamber ensemble score are formed in accordance with the principle of resemblance. Keywords: violin urtext, music-making, signs-images, baroque, chamber and solo pieces.

First observations and magnitude measurement of Starlink’s Darksat

Aims. We measured the Sloan g′ magnitudes of the Starlink’s STARLINK-1130 (Darksat) and 1113 low Earth orbit (LEO) communication satellites to determine the effectiveness of the Darksat darkening treatment at 475.4 nm. Methods. Two observations of the Starlink’s Darksat LEO communication satellite were conducted on 2020/02/08 and 2020/03/06 using Sloan r′ and g′ filters, respectively. A second satellite, STARLINK-1113, was observed on 2020/03/06 using a Sloan g′ filter. The initial observation on 2020/02/08 was a test observation conducted when Darksat was still in the process of manoeuvring to its nominal orbit and orientation. Based on the successful test observation, the first main observation took place on 2020/03/06, along with an observation of the second Starlink satellite. Results. The calibration, image processing, and analysis of the Darksat Sloan g′ image gives an estimated Sloan g′ magnitude of 7.46 ± 0.04 at a range of 976.50 km. For STARLINK-1113, an estimated Sloan g′ magnitude of 6.59 ± 0.05 at a range of 941.62 km was found. When scaled to a range of 550 km and corrected for the solar and observer phase angles, a reduction by a factor of two is seen in the reflected solar flux between Darksat and STARLINK-1113. Conclusions. The data and results presented in this work demonstrate that the special darkening coating used by Starlink for Darksat has darkened the Sloan g’ magnitude by 0.77 ± 0.05 mag when the range is equal to a nominal orbital height (550 km). This result will serve members of the astronomical community who are actively modelling the satellite mega-constellations to ascertain their actual impact on both amateur and professional astronomical observations. Both concurrent and subsequent observations are planned to cover the full optical and NIR spectrum using an ensemble of instruments, telescopes, and observatories.

Repertuar liturgiczny w kościele pw. św. Jana Chrzciciela w Jodłowie na podstawie parafialnego inwentarza muzycznego z 1939 r.

W artykule opisano liczący 81 pozycji inwentarz muzykaliów kościoła pw. św. Jana Chrzciciela w Jodłowie na ziemi kłodzkiej. Zbiór składał się w większości z łatwych do wykonania utworów przeznaczonych na czterogłosowy chór mieszany z towarzyszeniem orkiestry lub organów. Miejscowy zespół wokalno-instrumentalny dysponował m.in.: 34 mszami (w tym sześcioma za zmarłych), siedmioma zbiorami graduałów i ofertoriów oraz dziewięcioma litaniami. Dużą grupę muzykaliów stanowiły różnego rodzaju opracowania chóralne pieśni kościelnych, zwłaszcza maryjnych i pogrzebowych. Uwagę zwraca obecność kompozytorów kościelnych przełomu XIX i XX w. związanych z ruchem cecyliańskim. Cieszy uwzględnienie twórców śląskich, a zwłaszcza działających w kotlinie kłodzkiej. Prezentowana kolekcja świadczy o dość przyzwoitym poziomie kultury muzycznej w kościele parafialnym w Jodłowie, który dorównywał praktyce w innych wiejskich świątyniach ziemi kłodzkiej. Niestety, brak przekazów źródłowych, bez odpowiedzi pozostawia pytanie, jak dalece zawarte w inwentarzu utwory znalazły swoje odzwierciedlenie w repertuarze jodłowskiego chóru.

Exploring the Lived Experiences of Instrumental Ensemble Performers With Dalcroze Eurhythmics: An Interpretative Phenomenological Analysis.

The purpose of this interpretative phenomenological analysis (IPA) is to explore the way that instrumental ensemble performers understand their experiences of Dalcroze Eurhythmics while preparing the Tango and Charleston of the jazz ballet La revue de Cuisine by Bohuslav Martinů. The participants of this study were the members of an ad hoc ensemble, which included both authors. Data included semi-structured interviews and reflections by the first author during and after the five Dalcroze sessions. The six emergent super-ordinate themes were: (1). Heightened awareness of music, time, space and energy; (2). Beneficial for relationships in the ensemble; (3). Improved musicianship; (4). Enjoyment and feeling good; (5). Informing pedagogy; and (6). Social and cognitive challenges. Implications of this study suggest that Dalcroze experiences link with Csikszentmihalyi’s description of the experience of “flow.” Experiences of flow are very positive emotions, which will be beneficial for the performers in any instrumental ensemble.

Таджикский оркестровый этноинструментализм в контексте культурной диффузии

The article tackles one of the poorly investigated problems of modern musicology - the Tajik ensemble and orchestral ethno-instrumentalism. The analysis from the viewpoint of cultural diffusion has allowed the author to reveal typical features of the Tajik folk instruments functioning against the background of national cultures and subcultures. The paper focuses on identifying peculiarities of the notation system adoption in the Tajik ethno-instrumentalism. The conclusion is made that the repertoire of the first Tajik instrumental ensembles included both academic polyphonic and traditional monophonic compositions.

“It Is More Than Just about Music”: Lifelong Learning, Social Interaction and Connection

For older people, participating in leisure activities enhances their sense of social, emotional, mental, spiritual and psychological wellbeing. This article reports on a case study that situated itself across two southern hemisphere countries – Australia and South Africa – and with two ensembles, namely: an instrumental ensemble in Melbourne (all musical readers); and a vocal ensemble in Clarens (all non-readers of music). The authors drew on Seligman's elements of positive emotion, engagement, relationships and meaning, and accomplishment (PERMA) to explore the ensemble members’ engagement as “serious leisure and the wider community”. Using qualitative case study methodology, they employed interpretative phenomenological analysis (IPA) as an organising tool to analyse and code their questionnaires and interview data. The findings are presented under three overarching themes, namely: meeting for serious leisure; music learning; and connecting with the wider community. While music engagement for older adults is an achievement in itself, sharing it with the wider community is considered most significant for the participants. Discussing two ensembles is a limitation in itself, therefore generalisations to other ensembles cannot be made. The article was written in 2020 during the COVID-19 lockdown period in both countries. Further research is planned across both countries to explore any implications the lockdown has had on the two groups once they are permitted to recommence rehearsals.

Socialización de niños y adolescentes en el proyecto de concurso y festival Hacer música para todos

The article examines the socialization of children and adolescents in the process of participating in the innovative festival and competition project “Music-Making for All” involving concerts in which school students perform along with professional orchestras. The basis for achieving the desired result is provided by the author’s pedagogical technology of interactive music activity, which presents living through the music in the process of its creation or perception based on complementary interaction with an external sound source. A teacher survey is employed as a method of identifying the indicators of the formation of socialization and the factors affecting the socialization process. The survey reveals numerous factors determining the successful socialization of a modern person. Creating a festive mood at the concerts of the project stimulates students’ interest in creative activity. High-quality repertoire orients young artists towards spiritual values. Overcoming the difficulties of music activity contributes to their personal self-affirmation. Interaction with the instrumental ensemble becomes an effective means of creative expression of students. The communicative skills of the younger generation develop in the process of creative communication between students, professional musicians, and the public. The desire of children and adolescents to establish friendships and work in a team contributes to the formation of moral qualities. Children realize the value of labor, acquire personal qualities valuable for successful socialization, such as higher self-esteem and ethical and aesthetic personal growth, and overcome personal issues.

General pedagogical foundations of D. V. Andrusenko’s work with children musical collectives

Background. The relevance of the topic of this article is determined by the trends of modern musicology to thorough studying the achievements of ensemble bandura performing, in order to use the practical experience of talented teachers-bandurists. As a result of the radical changes that took place in the cultural realm during the 1990s, the folk vocal-instrumental performing was a subject to stagnation. The mass character that had distinguished this area had been lost. However, the needs of contemporary (early 21st century) socio-cultural practices in the realities of existence of folk vocal-instrumental musical culture are increasingly being linked to the rethinking of former forms of collective music playing. After all, the folk vocal-instrumental performing is a form of manifestation of national consciousness, and therefore it functions as an important factor in restoring the Ukrainian national tradition. To bandura vocal-instrumental performing field a talented teacher, choirmaster, bandurist, master of making these musical instruments – Dmytro Vasyliovych Andrusenko (1895–1965) belongs, whose figure draws attention due to his contribution to pedagogical, cultural-educational, artistic space of some regions of Ukraine (Poltava, Sumy). Objectives. The article analyzes D. V. Andrusenko’s artistic-pedagogical activity. The peculiarities of work of the bandurist and conductor as an organizer and leader of children’s music collectives, capellas of bandurists and choirs, are highlighted. The results of the study. The pedagogical principles, techniques and methods of work of the teacher with the pupils in terms of mastering performing skills, development of vocal skills, civic and patriotic education are clarified. It should be emphasized that D. V. Andrusenko fruitfully worked not only as a musician, teacher, but also as a propagandist, popularizer of national culture. His pupils received musical, national-patriotic education, grew spiritually, enriched culturally. This is evidenced by their repertoire, which included a lot of songs in T. G. Shevchenko’s words, Ukrainian folk songs, classical works, as well as songs of different peoples – the members of the collectives got a spirit of respectful attitude towards musical cultures of other countries. As the organizer and leader of the collectives, D. V. Andrusenko taught his pupils vocal skills and playing bandura. He used the principles of music didactics to solve these problems. D. V. Andrusenko used such a system to work with bandurists of his capella, which was based on the leader methods of music pedagogy. His system included learning the techniques of playing the instrument, step by step, formation of pupils’ technical skills, systematic exercises. As a highly skilled choirmaster, D. V. Andrusenko used in his pedagogical arsenal the necessary basic methods of work for the formation of the voice apparatus of his pupils. The important task of the choir teacher is correct, vocally competent distribution of the pupils’ voices. This part of work was not difficult for D. V. Andrusenko, since he was a choirmaster of the high level, had absolute pitch. Musical-pedagogical activity of D. V. Andrusenko was connected with institutions of education and culture. On the basis of education institutions and houses of culture he organized large creative collectives: capellas of bandurists, choirs, instrumental ensembles. According to the memoirs of witnesses and participants of the collectives, their head, while selecting future pupils among the schoolchildren, carefully listened to each person. The selection was serious, the best pupils came to the collectives. It should be mentioned that D. V. Andrusenko – a teacher, musician, master – was an example for his pupils. They all mention him with respect, emphasizing his exceptional professionalism, intelligence, education and high moral qualities. Conclusions. Thus, the conducted research proves the presence of general pedagogical foundations in D. V. Andrusenko’s work with children’s musical collectives, the use of the leading principles of music teaching, such as: systematicity and graduality; availability of knowledge; retention of learning (by the methods of repetition, exercises); individual approach to the learning process; student and teacher activity; ostensiveness, visibility, clarity (by methods of showing and explanation); communication of learning with life practices; formation of a situations of creative competition and encouragement to success. The principles and methods used by D. V. Andrusenko as a teacher in his work with amateur musical teams have not lost their relevance today.

Understanding the effect of self-regulated learning on music performance anxiety through collaborative learning

본 연구의 목적은 협력학습을 통한 자기조절학습이 연주불안에 미치는 영향을 알아보기 위한 것이다. 이를 위해 경기도 A중학교 25명의 학생들이 자유학기제에서 기악 앙상블 학습을 하면서 자기조절학습 능력이 향상됨에 따라 연주불안에 어떠한 변화가 생기는지를 알아보았다. 또한 자기조절학습 능력 요인들의 향상점수와 연주불안 향상점수 간에 어떠한 상관이 있는지 알아보았다. 본 연구의 결과는 다음과 같다. 첫째, 학생들의 사전․사후 검사를 t 검증으로 분석한 결과 기악 앙상블을 통한 협력학습이 자기조절학습 능력의 향상에 영향을 미치는 것으로 나타났다. 그리고 기악 앙상블 학습에서 연주불안이 상승하였으나 유의미하지는 않았다. 둘째, 자기조절학습 능력의 하위요인인 자기효능감이 연주불안과 유의미한 상관이 있는 것으로 나타났다. 자기효능감이 연주불안과 정적 관련이 있는 결과로 보아 기악 앙상블에서의 자기효능감이 연주불안에 영향을 미치는 것을 알 수 있다. 이러한 결과는 기악 앙상블을 통해 다른 사람들과 비교되며 연주불안이 생길 수 있지만 자기조절학습은 연주불안을 극복하는 데 효과적이라는 것을 시사한다. 협력학습에서 자기효능감이 연주불안에 조절효과가 있는지를 연구하는 실증적 연구가 후속된다면 보다 구체적인 결론을 얻을 수 있을 것이다.The purpose of this study was to find out the effect of self-regulated learning on music performance anxiety through collaborative learning. For this purpose, 25 students at A middle school in Gyeonggi-do were attended in the instrumental ensemble class at the free semester in 2017, and it was examined that how the level of music performance anxiety was changed as their self-regulated learning ability improved. Through the correlation analysis, it was examined that how the improved scores of self-regulated learning ability was correlated with the improved scores of music performance anxiety. The results of this study are as follows. First, the result of t-test analysis of pretest and posttest of self-regulated learning ability and music performance anxiety level shows that collaborative learning through the instrumental ensembles affects the improvement of self-regulating learning ability. Also it was not statistically significant that the degree of music performance anxiety was increased during the instrumental ensemble learning. Second, there was a significant correlation between the self-efficacy and the level of music performance anxiety. This indicates that the improvement of self-efficacy in instrumental ensembles affects the level of music performance anxiety. These results suggest that self-regulated learning is effective in overcoming music performance anxiety, although performance anxiety can be appeared by comparing with other people through instrumental ensembles. A more specific conclusion can be obtained if a empirical study follows on whether self-efficacy through collaborative learning has a effect on music performance anxiety.

The peculiarities of the instrumental parts interpretation in “Four Pieces for Clarinet and Piano” op. 5 by A. Berg

The peculiarities of the instrumental parts interpretation in “Four Pieces for Clarinet and Piano” op. 5 by A. Berg

“Case Carmen” by Maxim Shalygin: heroine’s characteristic Features in a retrospective ballet composition

Topicality of research. In contemporary culture artists take a remarkable interest in remakes due to the desire to actualize the classical subjects and show new semantic layers familiar to the person of the 21st century. Dance performance “Case Carmen” (2017, The Hague) by the Dutch choreographer Lonneke van Leth opens up a new modern look at one of the brightest heroines in the history of world literature and art.Scientific novelty. The musical series of ballet, written by the Ukrainian-Dutch composer of the new generation Maxim Shalygin, for the first time serve as an object of scientific consideration which is a new step in the process of studying the composer’s multifaceted creativity.The main objective of the study is to consider the features of Carmen’s figurative characteristic in retrospective composition of “Case Carmen” dance performance.Methodology. The article uses methods of historical and theoretical musicology. Ballet electro acoustic score has determined the peculiarity of the analytical method which combines genre-intonation and auditory descriptive analysis. A comparative method is used to reveal similar and distinctive features of the modern ballet version and primary sources (P. Merime’s novels, J. Bizet’s opera); 2) in Carmen’s image interpretation in the ballets of the 20–21 centuries. An appeal to the retrospective category led to the use of a linguistic approach.Relevance of the study. “Case Carmen” (Dance Performance About the Murder Case) is a «dance thriller» whose characters (Carmen, Jose, Mikaela) are borrowed from J. Bizet’s opera but are inscribed in the picture of modern life with its oppressive routine and routine relationships. M. Shalygin’s music as well as L. van Leet’s choreography emphasizes the acute-modern orientation of the play (this is evidenced by the performer composition itself – the combination of instrumental ensemble, female choir and electronics). There were found connections of the ballet with P. Merimee’s novella, which are traced at the level of constructing the whole (retrospective composition stemming from the specific organization of artistic time) as well as the level of Carmen’s characteristics (formation of the heroine’s image from individual memories and representations about her). The value of the Detective’s image (dramatic role) is revealed, it is a new character that lives through Carmen’s case in retrospective reflection. Being obsessed with the fatal beauty, he reconstructs the history of her relationship with Jose, speaking as a guide between past and present. The importance of a wide range of noise in the musical fabric of the ballet was emphasized, which “cemented” the whole structure, while enhancing the feeling of nonlinear time, the habitat of events in partially erased, blurry or distorted by the consciousness memories. On the basis of the dance performance musical series analysis the complexity and ambiguity of the image of Carmen with the inherent unpredictability, mystery, demonism, aspiration of mortal danger, a combination of incompatible features such as purity and promiscuity are described. Accordingly, the musical characterization of the heroine is colorful and contradictory, based on a variety of genre-tone sources (elevated chorale and club dubstep, inspired flexible cantilena and soulless mechanistic motility).Results and conclusions. The dance performance “Case Carmen” is marked by the discontinuity, multidimensionality and artistic time reversal. In this complex fluctuation of the present and past images of the main characters appear among which the most complex and ambiguous is Carmen’s characteristic. An exceptionally original and multi-valued interpretation of the eternal story in the modern format of the “dance thriller” presented by the choreographer L. van Leet and composer M. Shalygin contains numerous directions for new research. First of all, this relates to the ballet musical number which is one of the most important components of the performance that gives the key to solving the mystery of the fatal beauty.

The Perdigão: Peering into Microscale Details of Mountain Winds

AbstractA grand challenge from the wind energy industry is to provide reliable forecasts on mountain winds several hours in advance at microscale (∼100 m) resolution. This requires better microscale wind-energy physics included in forecasting tools, for which field observations are imperative. While mesoscale (∼1 km) measurements abound, microscale processes are not monitored in practice nor do plentiful measurements exist at this scale. After a decade of preparation, a group of European and U.S. collaborators conducted a field campaign during 1 May–15 June 2017 in Vale Cobrão in central Portugal to delve into microscale processes in complex terrain. This valley is nestled within a parallel double ridge near the town of Perdigão with dominant wind climatology normal to the ridges, offering a nominally simple yet natural setting for fundamental studies. The dense instrument ensemble deployed covered a ∼4 km × 4 km swath horizontally and ∼10 km vertically, with measurement resolutions of tens of meters and seconds. Meteorological data were collected continuously, capturing multiscale flow interactions from synoptic to microscales, diurnal variability, thermal circulation, turbine wake and acoustics, waves, and turbulence. Particularly noteworthy are the extensiveness of the instrument array, space–time scales covered, use of leading-edge multiple-lidar technology alongside conventional tower and remote sensors, fruitful cross-Atlantic partnership, and adaptive management of the campaign. Preliminary data analysis uncovered interesting new phenomena. All data are being archived for public use.