Lyrical Pieces Research Articles

Piano Pieces for Children in Serhiy Bortkevych’s Musical Heritage

The article reveals the artistic and pedagogical potential of piano music for children by the Ukrainian Diaspora’s prominent composer Serhiy Bortkevych. For this purpose, we analysed the piano cycles Little Traveller, Marionettes, Musical Wonderland (based on H. H. Andersen’s fairy tales) and From My Childhood. We specified the stylistic features of his music, didactic and educational tasks, which can be determined by working on small pieces of lyrical, dance, scherzo and march genres with their inherent modest scale and simplicity of presentation. S. Bortkevych tends to the chamber type of expression, modesty of texture, and absence of external effects, which reveals the composer’s commitment to the art of the Biedermeier. This component of S. Bortkevych’s creative personality is complemented by his constant interest in the world of childhood, both in terms of imagery and content, as well as didactics and education. All of S. Bortkevych’s children’s piano cycles clearly demonstrate the great importance of programmatic model in revealing the figurative content of piano pieces, in which nature paintings, portrait sketches, emotional experiences, travelling motifs, cities and countries, fairy-tale images, puppetry, etc. take an equal position. Up-tempo pieces (toccata, scherzo) require the same work as etudes, but with the difference that in etudes, artistic tasks are auxiliary, while in music pieces they are the main goal. In dance pieces, the basis for the work is the need to identify the specificity and character of the dance (waltz, mazurka, polka, hopak) and the originality of the rhythm. Lyrical pieces develop musicality, emotionality, artistry and performing initiative due to the musical language accessibility, vivid imagery and laconism of the form. The works of this group are of pedagogical value as they are aimed at gradual mastery of certain piano skills and techniques. S. Bortkevych’s compositional achievements deserve attention in terms of including his heritage in the educational repertoire of modern music institutions to deepen the educational and cognitive process of children’s and youth’s musical and aesthetic education.

How Terribly the Plow of History Plows...

In the poetry of the prominent Ukrainian writer Lina Kostenko, the category of “historical memory” is conceptualized in ontological and philosophical dimensions: her philosophical discourses on history and the nation are built on this foundation. By “trying on” eternity (with the manifest: “I am floating into life from eternity”), she comes to philosophical self-awareness and artistic reflection of history, with vivid and convincing motifs / collisions / concepts / plots / images. In her epic poems, she measures human existence throughout epochs through the triad of the dominants of humanity / nation / family, giving each of them nation-building meanings. Her time is always anthropological, with an expressive psychological “face”, heavy with tragedy and endowed with a potential for the future. Her lyrical pieces have the same temporal tint. Through an inte- gral conceptual sphere, in which the category of time remains fundamental (dramatic poems and ballads Skifska Odisseia [Scythian Odyssey], Marusia Churai, Berestechko, Duma pro brativ neazovskykh [A duma on brothers other than the Azov ones], Snih u Florentsii [Snow in Florence], and a number of poems), Lina Kostenko tries to embrace the temporal and anthropological paradigm of man-history-man with her artistic imagination, where the problems of individual and national identity are given primary importance. In this context of the historically conditioned formation of national and national-cultural identity, she unfolds her own idea of a person’s home within history, especially national history, while professing the principle of “simultaneity of non-simultaneities” (R. Kozellek) of a series of past events. The author examines certain “semantic circles” of the writer’s narrative, discovering new semantic historio- sophical projections that in Kostenko’s works eventually form a coherent, verified anthropocentric conceptual model of the decisive role of the individual in the historical progress of the nation, showing, with the help of artistic and figurative means, how she creates the historical and psychological canvas of past events / collisions / interpretations that set the direction for the future. At the same time, the author emphasizes that the poet always upholds the position of the artist’s ultimate accountability in the face of national history.

Study on the Artistic Characteristics of Grieg’s Lyrical Pieces Op12 and its Performance

Study on the Artistic Characteristics of Grieg’s Lyrical Pieces Op12 and its Performance

Simpel oder anspruchsvoll? Konkrete Poesie und Elfchen im DaF-Unterricht

In this paper, we intend to draw attention to the linguistic, cultural and historical aspects of two types of poems popular in German, the so-called Konkrete Poesie and Elfchen, their different forms, as well as their application to teaching a foreign language (here German). Konkrete Poesie (i.e. concrete or visual poetry) has its own literary tradition, and although it was not originally designed for foreign language teaching, it proves effective in this respect. It requires learners to interpret apparently simple texts creatively, which is always linked to the reflection on the interplay between the poem’s visual layout and its overall message. Elfchen, otherwise Elf-Worte-Gedicht (i.e. eleven-word poem), is a type of poetry derived from early childhood education. Applied in German-speaking countries since the late 1980s, it has been successfully transferred to foreign language teaching. Its main purpose is to encourage creative writing and interpretation of short lyrical pieces. The examples discussed show that these distinct lyrical forms can enrich foreign language teaching at different levels of proficiency.

Nostalgia, Depression and Suicide as the Consequence of Acquired and Inherited Trauma in Amelia Rosselli’s Poetry

In one of her many poetic motivation descriptions included in her literary works and comments, Amelia Rosselli points to tough-life experience as a factor influencing her artistic creativity. The Italian twentieth-century poet repeatedly emphasizes a direct impact of mental well-being as the driving force of her writing process. A gloomy flashback, hand in hand with a concept, experience, and fantasy, influence the expression of her pieces and structures the literary space. A minor overtoned reference to the grievous reality of Fascist Italy connected with the murder-for-hire of family members, sudden and premature death of her sweetheart and brother, mental illness in the context of the DNA memory, and, finally, the promise of suicide had all impacted noticeably upon the verses of her poems. Another thing worth mentioning is the issue of stress and hardships lived through by Amelia Rosselli’s mother and her immediate relatives just prior to the poet’s birth. According to the latest developments in medicine and cognitive sciences, any psychical damage influences bodily and mental functioning of persons not only directly affected by them, but also their descendants. The linguistic terms applied in the pieces of the Italian poet provoke a discussion of the phenomenon of post-memory. The term, which was proposed by Marianne Hirsch to refer to collective trauma inheritance, has been recently broadened by psychologists to encompass individual memory as well. The fragments written in four language codes (Italian, French, English, and music notation) offer hints to be used in the psycho-emotional analysis of the poet. Additionally, scrutinizing Amelia Rosselli’s nostalgic lyrical pieces, we can discern, by referring to psychological sciences, how the composition-making can constitute an auto-psychotherapy procedure. In terms of interdisciplinarity, the experience of melancholy and nostalgia in Amelia Rosselli’s artistic creativity covers the psychological, social, historical, cultural, political, and artistic areas.

Schematic Deformation: Systematic Linearity in Grieg's ‘Takk’ and Other Lyric Pieces

ABSTRACTThis article presents an analysis of Grieg's lyric piece ‘Takk’ (‘Gratitude’), focusing on the B section of the piece. In that section Grieg makes use of a harmonic progression that is difficult to explain vertically (i.e. in terms of functional harmony). However, it may be explained as a result of play with chromatic voice‐leading patterns. The progression in question – which is saturated with half‐diminished chords – shares several formal characteristics with the well‐known omnibus progression. It is thus argued that ‘Takk’ features a deformation of this chromatic voice‐leading schema. The progression in question (called x) has the same sequential possibilities as the omnibus, which helps reveal an underlying logic in the complex structure of the piece's B section. Grieg's omnibus deformation in ‘Takk’ is an excellent example of how he chose to structure formal sections based on underlying systematic linearity. A comparison of ‘Takk’ with other lyric pieces sheds light on some regularities regarding systematic linearity in Grieg's music, for instance in the form of schematic deformation.

Grieg's Sonic Afterimages

As Neo-Riemannian transformations find their firm place in the analytical tool-kit, their function changes from a heuristic to describe harmonic progressions to a full-fledged analytical methodology. In this phase, the question of meaning looms large. Richard Cohn's (2004) associations between hexatonic poles and the uncanny have done much to pave the way toward a hermeneutics of Neo-Riemannian theory. This analytical vignette focuses on an intriguing SLIDE progression in Grieg's final Lyric Piece, "Efterklang," and offers a contextual analysis in which this harmonic transformation becomes meaningful. While the interpretation offered here remains specific to the piece at hand, the hermeneutic analysis may be used as a model for further such endeavours.

Editors’ Page

Editors’ Page Sash A Steensen It’s mid-May here as I wrap up this issue, and the snow from a not-unusual-for-Colorado storm just a few days ago is melting, giving way to something that bears some resemblance to spring, though I feel I hardly recognize it. For so many of us everywhere, this is a time when the familiar has been made strange. Thanks to the pandemic, we have been sealed off from much of what has always been so common, so wonderfully ordinary in our lives—a restaurant, the grocery store, our friends’ homes—and now everything looks, well, different as we stand at the threshold of reentry. We are reminding ourselves how to be in these spaces, out in the world, with one another. In this issue, we have essays and stories that speak to this sense of re/introduction. In her essay “The Ghosts of Lubbock,” Sarah Curtis writes about reconciling the two versions of her singer-songwriter father—“my real father and my stage father”—and coming to understand them both. Jehanne Dubrow, the daughter of an American diplomat, recalls growing up in Warsaw and Vienna, cities that felt simultaneously familiar and foreign and that she remembers now with both fondness and grief in “Provenance.” In “The Lady with the Dogs,” Richard Sonnenmoser contemplates that most intimate territory of all—the self—as he is rendered nearly unrecognizable to himself when he becomes a father. In Bradley Bazzle’s story “Scuttling and Creeping,” a man who’s moved to a new town with his wife and toddler encounters an unfamiliar sense of menace in both his new home and his daughter’s daycare center. In a haunting and lyrical piece set aboard the space shuttle Challenger, “A Thousand White Ibises,” Lance Olsen imagines the crew’s last conscious moments—the deeply embedded images and memories they each return to. The narrator in Tom Howard’s “Disappearing Act” revisits his childhood after receiving news that a friend from that time, whom he hasn’t thought of in years, has died. And in an instant of anger, the narrator of Nikki Ervice’s “Helen” makes a decision that breaks “through the suture between two worlds”: one, the comfortable and known world she inhabits with her boyfriend; the next, a strange terrain in which he no longer exists. As we make our way through this transition into a world that in many ways may never be quite the same, we can rely on touch-stones and signposts of the familiar: among them, of course, literature. Welcome (back) to the summer issue. [End Page 1] ________ When the pandemic struck, I was teaching for Semester at Sea. China was the second international stop on our itinerary. Of course, those plans changed—more times than I can count. For the past year and a half, we have all had to live with increased levels of uncertainty, and while summer comes as a relief, we know that we aren’t so much exiting a difficult period as we are standing in the rubble, not only of a slowing pandemic, but of generations of injustice and division. Poetry has offered solace during these long, lonely months, and it can offer us a way forward as well. I think many have been drawn to poetry because it exists in uncertainty: it is born here, it lives here, and it rests here. When I began reading for this issue in late fall 2020, I was in the midst of a poetic crisis. Lacking the attention required of poetry, I was unable to write, or read, poetry for any sustained period of time. I felt disconnected from the art that had, over the years, not only sustained me, but saved me. But little by little, as I read submissions, I was reconverted. In the poems’ midst, I remembered, I don’t have to resist uncertainty; I just have to rest in its presence. “There is no perfect truth I can say of you—,” writes Jade Hurter, “even constant hearts dwell in mutable bodies.” Poetry may have no perfect truth to proclaim, but the poems in this issue are waiting to...

The uncompleted cycle about poetry as theurgy in Vl. Solovyov’s lyrical poetry of the second half of the 1890s

The author examines the inter-connections of subjects and motives in ten poems which Solovyov wrote in the second half of the 1890s. The method of motive analysis shows that those works bear the mark of a verse unity making an uncompleted cycle. It appears that Solovyov’s poems during that period can be related not only to his aesthetic and philosophical works but also to the lyrical pieces of earlier poets. Thus, it is shown that ten poems belong to the tradition of A.A. Fet, K.K. Sluchevsky, A.N. Maykov, V.A. Zhukovsky and Ya.P. Polonsky. It is suggested to call this uncompleted cycle “Poetry as theurgy”. A brief review is proposed of the aesthetic and philosophical ideas which are important to understand the general theme canvass of the cycle. The common theme and cross-cutting motives of twelve poems forming that cycle are defined. It is suggested to consider that the lyrical mystery theme is common to all the poems of that cycle. It is shown that the prophetic motive and images/symbols of nature and of the poet as prophet can be traced throughout the whole of the cycle. The conclusion is that Solovyov has created a series of poems which, through their themes and motives, prolong and complete each other, thus offering an uncompleted cycle of poetry as theurgy. From the point of view of its structure and content, that cycle is typical of the literary epoch when it was composed, being a continuation of the classical tradition while at the same time creating a new tradition, that of the symbolists.

«Farewell, my Dichterliebe…»: Schumann, Kurtág, and the Intertext, in Achingly-Tender Tones

A post-modern concept of intertextuality allows for re-contextualization and re-interpretation of familiar and unfamiliar music, thus offering intriguing structural and semantic insights, otherwise unapparent. This article focuses on two fragments: Schumann’s “Im wunderschonen Monat Mai” from Dichterliebe (1840), and Gyorgy Kurtag’s “Farewell, my beloved” from Requiem for a Friend (1982–1987). Schumann’s nostalgically naive first Lied of the cycle is a true Romantic fragment with its structural clarity and intentional incompleteness, where the thought or emotion expressed in Heine’s text is musically suggested, but not insisted upon. Kurtag’s “Farewell, my beloved …” set to a poem by Rimma Dalos, is a reflective and lyrical piece in aphoristic Post-Webernian / Post-Bartokian style. While being sensitive to the intrinsic structural characteristics of the poem, Kurtag’s offers his creative reading of Dalos’ text. Employing close structuralist musico-poetic analysis of both pieces and the concept of intertextuality, I suggest that Schumann’s Lied and Kurtag’s art song may be viewed as one intertexual whole. The connectedness between the two works reveals itself through the examination of their gestural content, extending to deeper levels of their respective structures/semantics to form new intertext — a framework for interpretation of each fragment separately and also together. Paraphrasing Michael Klein, each of the two fragments, as newly heard, has no existence prior to one another2 . A newly created intertext offers insights into Schumann’s famous Lied while revealing the depth of lightness and darkness in Kurtag’s art song

Романтическое начало в инструментальном творчестве композитора Азона Фаттаха: на примере Сюиты на корейские темы и Лирической пьесы для валторны и фортепиано

The paper aims to identify specificity of Azon (Azantin Nurtynovich) Fattakh’s chamber compositions, to reveal their figurative filling and style features. The article examines chamber music genres in the composer’s creative work: pieces for solo instruments, program cycles. Special attention is paid to analyzing two Azon Fattakh’s opuses: the Korean Suite and the Lyrical Piece for the French Horn and the Piano. The researcher’s attention is focused on their structural peculiarities, specificity of musical language. The author mentions the following typical characteristics of Azon Fattakh’s style: dominance of folkloric motives, reliance on tonal and melodic features of the Tatar folklore, observation of romantic harmony principles, tendency for the romantic type in chamber instrumental music. Scientific originality of the study is conditioned by the fact that the researcher analyzes creative work of a composer whose heritage is still poorly studied; the material includes Azon Fattakh’s opuses which have not been previously investigated in domestic musicology. The Korean Suite preserved in the draft version is subjected to a comprehensive analysis. The research findings are as follows: the author provides a survey of Azon Fattakh’s chamber instrumental works (the analyzed compositions occupy a special place among them), which broadens general understanding of his music.

Fenomen popularności utworów poetyckich Kazimierza Tetmajera wśród kompozytorów

The Phenomenon of Kazimierz Tetmajer’s Lyrical Pieces among Composers The article discusses the problem of the popularity of lyrical pieces by Kazimierz Tetmajer among composers. The author reviews the factors which could have influenced the popularisation of selected lyric poems in the consciousness of musicians, and these include emotionality rooted in romanticism, the perfection of the poetic workshop and “musical” moulding of the linguistic material. The latter of these characteristics, analysed in the chapter “Tetmajer a muzyka” (“Tetmajer vs. Music”), is the central topic of this article. The author examines the “musicality” of Tetmajer’s lyrical pieces on the level of the theme (where the issue of music terminology arises), sound (“tunefulness,” “melodiousness,” “rhythmicality”) and construction (being inspired with a musical form of rondo in a poem Anioł Pański (Angelus)). It is probably Tetmajer’s fascination with the art of sound, having its reflection in the linguistic material, which contributed to the composers’ avid interest in his literary oeuvre.

Peculiarities of interaction between a teacher and a student musician in online education

The article is devoted to the problem of interaction between a teacher and a student of musical education in the process of distance learning. The main tasks facing each teacher during the quarantine period are outlined, and the preference is given to the ability to master the techniques of conducting online music lessons using various Internet resources or platforms for maintaining feedback. The author gives examples of online piano lessons, which took place individually with each student in a convenient mode for them. Attention is drawn to the problems that arose during the implementation of team tasks. Particular attention is paid to the research work of applicants, which ensured their continuous participation in scientific activities throughout the distance learning. The result was the performance of a first-year student at an online conference of the piano department with a report on the peculiarities of the reproduction of the artistic image in a musical work, which ended with the performance of an instrumental lyric piece. The research work provides an opportunity to show analytical abilities, observation, concentration, flexibility of thinking, which helps student musicians to acquire skills of independent work for future professional activity, promotes the development and formation of their personal qualities. The proposed study focuses on the peculiarities of interaction between the subjects of distance education who took an active part in prestigious international competitions and festivals in the category of instrumental art, which were held online. The specifics of work on musical pieces are revealed, the main difficulty of which is the true reproduction of artistic images.

A Study on a New Different Version Materials and a Work about a Didactic Female-gasa <ByeolGyoSA>

이 논문은 최근에 나온 계녀가류 규방가사인 <별교사(別敎詞)>를 새로이 소개하고 그것의 담론 내용을 고찰한 것이다. <별교사>는 현재 선문대 구사회 교수가 소장하고 있다. 출처는 경북 안동에서 나온 것이다. <별교사>는 지금까지 논의된 적이 없는 가사이나 전혀 새로운 작품은 아니다. 왜냐하면 근래에 보고된 조춘호 소장본의 <벌교&#59773;>와 이본 관계에 있다고 여겨지기 때문이다. 구사회 소장본과 조춘호 소장본을 비교하면 둘 다 19세기 표기법으로 기록되어 있는데, 전자의 내용이 온전하고 표기가 정확한 편이다. 전자는 후자에 누락된 부분도 온전히 갖추고 있기 때문이다. 두 이본을 비교 검토해보면, 구사회 소장본의 <별교사>가 조춘호 소장본의 <벌교&#59773;>보다 원본이거나 원본에 가까운 善本으로 여겨진다. <별교사>는 1남2녀의 어머니가 17세 된 막내딸을 멀리 출가시키면서 몹시 그리워하는 내용을 담고 있는 가사 작품이다. 그리고 친정어머니로 여겨지는 화자가 스스로 아쉬움과 슬픔을 달래면서 딸에게 시댁에서 아녀자로서 지녀야 할 생활 규범을 담고 있다. 그런 점에서 <별교사>는 思女歌類 규방가사이자 誡女歌類 규방가사의 일종이라고 하겠다. <별교사>의 창작 시기는 작품 말미에 나오는 ‘병오’라는 언급에서 ‘1906년(광무10)’으로 보았다. 그것은 <별교사>의 막내 사위가 구한말의 ‘쥬&#59773;(主事)’라는 직책에 있었다는 것과 ‘인동읍’이라는 지명 유래에서 추정하였다. <별교사>는 대부분의 다른 가사처럼 ‘서사’ - ‘본사’ - ‘결사’로 구성되어 있고, 내용상으로 ‘기’ - ‘승’ - ‘전’ - ‘결’의 4단 구성을 취하고 있다. 다만, ‘서사’와 ‘본사’, 그리고 ‘본사’와 ‘결사’가 문장으로 명확하게 구분되지 않고 이어지고 있었다. 이 시기에 이르러 가사의 정제된 형식이 흐트러지고 있었다는 방증으로 여겨진다. <별교사>의 담론 내용은 대체로 계녀가류 규방가사의 범주를 벗어나지 않았다. 담론은 다음 세 가지로 요약할 수 있다. 첫째, 남성 중심의 봉건 체제에서 겪는 여성들의 삶의 내면을 기술하고 있었다. 둘째, 봉건사회에서 아녀자들이 마땅히 지녀야 할 여성 규범을 다루었다. 셋째, 가문에 대한 자부심을 담고 있었다. 그런데 <별교사>는 이와 같은 세 가지 담론 중에서 둘째인 여성 규범이 상대적으로 약화되고 있었고, 여성으로서 겪는 화자의 내면이 부각되고 있었다. 다른 계녀가류 규방가사에 종종 진술되기도 하던 집안과 가문에 대한 내력을 자부심과 함께 구체적으로 진술하며 보다 강화시키고 있었다. <별교사>는 계녀가류 규방가사의 일종이다. 그리고 가사의 형식과 내용이 그것의 연장선상에 있었다고 여겨진다. 하지만 <별교사>는 그 이전의 계녀가류 규방가사에서 변화되고 있는 몇몇 모습도 포착된다. <별교사>는 이전의 가사에 비해 형식과 형태가 흐트러지고 있었다. 작품 내용도 이전의 계녀가류 규방가사처럼 여성규범이 약화되면서 여성들의 처지나 불평등과 같은 사회적 문제로 옮겨가고 있는 조짐을 감지할 수 있었다.This paper introduces a new ByeolGyoSA and examines the contents. The ByeolGyoSA is currently a part of Professor Koo SaWhaes collection at Sun Moon University and came from Andong, Gyeongbuk area. The ByeolGyoSa is a lyric piece that has not been discussed so far, but it is not a new work at all. Rather, the ByeolGyoSa is related to Cho Chungho’s recent collection. In comparison, the former collection is considered to be the original or closer to the original than the Chochunho collection. The ByeolGyoSa describes what the mother feels when her youngest daughter marries. The narrator, who is regarded as the mother of the mother, embraces the sadness and the norm that the daughter should have as a wife. The time of creation is estimated to be 1906. The content of the ByeolGyoSa can be summarized in three major ways. First, it deals with the problems of women’s lives in a malecentered feudal system. Second, it deals with women’s norms in feudal society. Third, it describes pride in the family. However, the ByeolGyoSa was relatively weak in the second of these three discourses, although the inside of the speaker experiencing this as a woman has been highlighted. Another female-gasa was strengthening her family history and her family history, which was often mentioned in the family history, by expressing her pride. The ByeolGyoSa was different previous female-gasa. It was disorganized in form and shape compared with the previous one. Further, its content had shifted to social problems such as women’s inequality and the idea of inequality being the norm among women weakened.

Jan Palach w czeskiej poezji

The article tackles the analysis of lyrical pieces dedicated to Jan Palach. From the extensive material, including inter alia Kazimierz Wierzyński’s poem Na śmierć Jana Palacha w Pradze broadcasted by the radio station of Radio Free Europe, or the piece written by a popular Bulgarian poet, Valery Petrov, entitled Self-immolation, I have selected only those works which were created in Czechoslovakia right after Jan Palach had committed self-immolation. The primary reason for such a selection is that they were composed shortly after Palach’s act and were written by Czech and Slovakian poets emotionally committed to the dramatic political suicide of a young Prague student and experienced the events of January 1969 directly. As a consequence, the following works remain in my interest: Miroslav Holub’s Praha Jana Palacha and Josef Kainar’s Bolest at’ mi poví, published in a weekly magazine of the Association of Czechoslovakian Writers “Letters” on 23rd January 1969, Jan Skácel’s Hořící keř, as well as the poem by Pavol Horov Malé rekviem za Jana Palacha a iných, both published in “Letters” on 6th and 13th February accordingly, and the poem written on 30th January 1969 by Jan Zábrana entitled První (Noc v Tatrách). The aspects I am mainly interested in in the works referred to above are the manners of articulating the heroization of Jan Palach and his act. Indeed, these poems constitute a part of heroic discourse, they create heroic narration and present the self-immolated person in a blaze of glory as an indisputable hero

ИСТОРИЯ ПЕСНИ "ЛУЧИНУШКА"

The history of the folk song “Luchinushka” (“Luchina, luchina berezovaya) in the 19th and 20th centuries is, in fact, a history of its actualization. In folk tradition the song is restricted women’s repertoire, with all the changes occurring due to the realities of the new times. On popular scene the song transfers from women’s repertoire to men’s and becomes a meditative lyrical piece (a genre unknown to folk songs) instead of a family everyday one. In the same time, song texts are formed that compensate this transfer (e.g., the song “Noch’ temna-temnyokhon’ka”). This demonstrates how it is nearly impossible to keep the folk worldview intact while actualizing folk cultural heritage, therefore any actualization of cultural heritage is, in essence, a kitch reaction to a contemporary demand. The processes exemplified by the history of the song “Luchina, luchinushka berezovaya” are easily seen in history of actualization of any other phenomena of traditional culture, including applied ones. Being aware of this process does not imply that one should stop in one’s attempt to incorporate and promote folk heritage. Yet it is also unadvisable to believe that forms of such incorporation and propaganda are relevant to the folk culture itself. The only way to achieve productive actualization is to understand clearly and fully that any incorporation of folk culture is, in essence, an unintentional distortion of it.

The genre of the piano miniature in the creative work of M. Moszkowski

The genre of the piano miniature in the creative work of M. Moszkowski

Неизвестное стихотворение Геннадия Шпаликова

В статье впервые публикуется стихотворение Геннадия Шпаликова Баллада про тихое отчаяние, посвященное кинорежиссеру Ларисе Шепитько. Стихотворение сохранилось в составе письма Шпаликова к Шепитько и датируется концом 1960-х годов. Автор статьи рассматривает основные мотивы публикуемого стихотворения и ставит его в контекст творчества кинодраматурга и поэта, обнаруживает переклички с другими его лирическими произведениями и сценариями.

Effects of baton usage on college musicians’ perceptions of ensemble performance

The purpose of this study was to investigate the effects of baton usage on college musicians’ perceptions of ensemble performance. Two conductors were videotaped while conducting a 1-minute excerpt from either a technical ( Pathfinder of Panama, John Philip Sousa) or lyrical ( Seal Lullaby, Eric Whitacre) piece of concert band music. Each excerpt was conducted twice, once with and without a baton. After viewing each of the four videos, college musicians ( N = 119) rated the ensemble expressivity and ensemble precision of each performance. Technical excerpt performances were rated significantly higher when the conductor used the baton than we he did not. No baton effect was found for ratings assigned to the lyrical excerpt. A separate panel of evaluators ( N = 44, college musicians), who served as the control group, assigned ratings to the same excerpts, but was presented these excerpts in an audio-only format. Findings indicated that the use of the baton significantly affected these participants’ ratings of ensemble expressivity and ensemble precision for the technical excerpt, with higher ratings being assigned to those excerpts in which the conductor used a baton. Similar to our results in the audio-visual condition, no significant differences were found between participants’ ensemble expressivity or ensemble precision ratings when listening to the lyrical excerpt.

ALICE MEYNELL'SPRELUDES, OR PRELUDES TO WHAT FUTURE POETRY?

In 1875, the young poet Alice Thompson (soon to be Alice Meynell) publishedPreludes(1875), a slender volume of lyrics illustrated by her sister, Elizabeth. Given the professional musical training of the Thompson women, the title of the volume may recall Chopin's musicalPreludes(1838), those brief lyrical pieces composed when Chopin was twenty-seven that cover all twenty-four musical keys and demonstrate, as one critic has put it, an “astonishing variety and vividness of mood…achieve[d] in little more than a blink of an eye” (Siepman 5). Meynell'sPreludes, written in her mid-twenties and published when she, too, was twenty-seven, may similarly have aimed at variety and vividness of mood, achieved within the brief compass of lyric verse; this sense of the title certainly fits with a wide range of subjects, meters, and stanzaic forms in the volume. Yet whether or not the title embeds a musical allusion,Preludessuggests, more fundamentally, a first volume of poetry, a volume anticipatory of a later, larger poetic achievement and perhaps also of a new direction in lyric verse.