Melodic Lines Research Articles

Recognizing Modal Versions of Tonality by Students of Preschool and Early Childhood Education

The vast majority of preschool and early childhood teachers admit that they have problems with implementing musical issues. Experimental research indicates that the inability to sing, move to music, differentiate tonality and meter, improvise, read and write down music, is mainly caused by deficits in audiation. The article focuses on research results regarding the effectiveness of recognizing a melody presented instrumentally in eight tonalities: 1. Major; 2. Dorian; 3. Phrygian; 4. Lydian; 5. Mixolydian; 6. Aeolian; 7. Harmonic Minor; 8. Locrian. Due to the purpose of the research, the rhythmic content of all versions was the same, and the procedure used allowed for comparing students’ attention by determining the time of receiving (listening to) the melodic line and the moment at which they gave the answer. Listening skills help develop critical thinking skills, which are important in any form of communication: speaking, singing, reading, writing or synthesizing information.

Heterophony in “Solo for Marimbaphone and Vibraphone”, Composed by Ştefan Niculescu

Composed on the background of heterophony “Solo for marimbaphone and vibraphone” remains a unique opus in the genre’s literature. Certainly, an opus which highlights the composer’s remarkable style and talent for creating new compositional techniques having links with modern mathematics, especially with graph theory and group theory. That is why this work illustrates the composer’s modern vision on music in respect with the rising of heterophony, at the standard of syntax and stylization proper to XX century contemporary music. This article seeks to demonstrate that the aesthetic value of “Solo” is given by an internal unity making both marimbaphone and vibraphone complete heterophony, to give out a simultaneous variation of a single melodic line. Keywords: heterophony, sound edifice, intensity and string of sound events

Fragments of the Liturgical-Musical Codex from the Archdiocesan Archive of Gniezno (Poland): Source Analysis and Provenance Hypotheses

This paper discusses hitherto unidentified loose folios of a parchment liturgical and musical book held in the Archdiocesan Archive of Gniezno (Poland), containing the offertory and communion antiphons for the feasts De Trinitate and Corpus Christi. The author provides the codicological description of the leaves (analyzing Latin script, musical notation, ornamentation); identifies the time of their creation (15th century); indicates the type of the liturgical book to which they belong (graduale); seeks a melodic model for them and puts forward provenance hypotheses. He states that the melodics of the antiphons, although closest to the Cistercian tradition, are nevertheless variantly different from the melodic line preserved in foreign and Polish codices. It is possible to narrow down the dating of the leaves thanks to the type of Latin script, the calligraphic ornamentation of the initials and the spelling of certain letters.

Analyzing the Artistic Style and Performance Technique of Chopin’s Narrative in G Minor

This paper analyzes the artistic style and performance techniques in Chopin's "Narrative No. 1 in G Minor." It explores how Chopin's compositional methods reflect his unique stylistic elements and the influence of his cultural and historical context. By examining the structural and thematic development of the piece, the paper highlights the intricate balance between technical skill and emotional expression necessary for an authentic performance. This analysis also delves into Chopin's use of melodic lines, chordal extensions, rhythmic patterns, and dynamic variations, providing insights into the complexities of performing his work. Through a combination of theoretical research and practical performance perspectives, this study aims to enhance the understanding and interpretation of Chopin's music, offering valuable guidance for musicians and scholars alike.

Heathering Winds von Dan Dediu, oder die Ausbreitung der Melodie

As a musical parameter, melody – conventionally understood as a (consecutive) succession of sounds – is an essential coordinate of Romanian music, which claims stylistically and historically from the parlando-rubato aesthetics of tradition folk music. In Dan Dediu’s piano piece Heathering Winds we discover a new perspective on the composition of melody (an essential parameter in the composition of music), which can also be regarded as a new view, as a different aesthetics, both for first, and the second half of the 20th century, therefore characteristic to our time. The analytical approach presents an overview of the piano piece inspired by Emily Brontë’s novel Wuthering Heights, in which key points from the British writer’s novel are presented, followed by an overview of the formal dramaturgy and presentation of the piano piece’s main musical ideas. Finally, our melodic analysis uses the theorising of the composer himself (Dan Dediu, Melodia, 2006) to capture the complexity of melodic structuring, which – breaking the traditional pattern of a melodic line, in which the ratio of durations and pitches is optimal to be perceived as such – expands, tending towards what Dediu calls infra- and supermelody, i.e. a melody that pushes its boundaries, creating, from a single “melodic thread”, the illusion of an innovative musical syntax.

Yakut folk song of the central (Prilensky) region: traditions of the interaction of word and music in the Dyeretia of yry in Olonkho culture

The traditions of the interaction of word and music in the Yakut folk song of Dyeretia Yrya in Olonkho culture of the central (Prilensky) region are investigated. The study of the tradition of the interaction of word and music in the Yakut folk song is important due to the fact that it helps to understand the mechanisms in the relationship of word and music in folklore, in addition, this issue has not yet been considered as a special one in science, especially since the verse structure and their patterns in ancient poetic texts differ from modern folklore and vocal works, and their melodies are suprasemantic in nature. The song traditions of Dyeretia yrya in Olonkho were formed before the 1st century BC and many of their significant elements have survived to our time. The material of the study is the musical transcriptions of the Dyeretia Yrya Olonkho recognized by Olonkhosuts (Olonkho culture researchers). The methodology is based on theoretical developments in ethnography, philology and folk music. In this work, the author relied primarily on the method of comparative analysis. For the first time, on the basis of comparative works, it is shown that the traditions of the interaction of word and music in the Yakut folk songs of Dyereti Yrya in Olonkho culture of the central (Prilensky) region can be revealed by comparing the rhythm of the verse structure and the quantitative rhythmics of the chant, which in the future will help to reveal the deeper integrative possibilities of these two semantic systems and temporary art forms. The traditions of the interaction of word and music in the Dyeretia of the central (Prilensky) region of Yakutia are canonical and have been preserved for centuries. In the songs of Dyeretia Yrya, the melodic line develops according to the principle of "rotation in a closed circle" and has a pendulum-like character of the melodic pattern, which confirms the antiquity and patriarchy of such songs from Yakut legends. In the verse structure of the dyereti of yrya in olonkho, the tendency to equilocation and the presence of seven-syllable and six-syllable periods characteristic of Turkic versification are revealed. In the quantitative rhythm of the chant, the dominance of chants is observed to a greater extent with long durations, each sound of which is equal to short durations, expressed by eighth, sixteenth durations and trioles. The super-long ones represent the introductory part and necessarily open the melody, thereby emphasizing the beginning of the song.

초등 음악 교과서 정간보 용례 분석을 통한 정간보 용어 재정립 방안 모색

Jeongganbo (井間譜), a notation method that replaces the time value of the sound with the area of space by creating a space in the shape of the letter ‘jeong’ (井), is characterized by the uniqueness that requires notating one or more musical elements, such as pitch, rhythmic pattern, playing technique, and lyrics, in each space. Due to the fundamental characteristics of jeongganbo, various types of jeongganbo have been developed and utilized in Korean traditional music education of general schools, but research on names or conceptual errors indicating various types of jeongganbo has not been conducted, raising the need for research. Accordingly, this study reviews the terminology and concepts of jeongganbo presented in the current 8-9 types of elementary school music textbooks, further analyzing the use of various jeongganbo types and seeking ways to redefine jeongganbo terminology for effective discrimination of the current single name of jeongganbo. The results of the study are summarized as follows. First, there are some errors in the concepts of jeongganbo stated in dictionaries and compendia, including the statement that the pitch in addition to the time value is notated. In addition, the concept of jeongganbo presented in the current elementary school music textbooks was mainly presented to teach 5th and 6th graders how to play traditional wind instruments, danso and sogeum. While 7 types of the textbooks is relatively accurate in using it, 1 type makes an error. Second, the result of the analysis after classifying the types of jeongganbo used in the current 8-9 types of elementary school music textbooks according to the notation type and notation method of notation content (music elements) is that the notation form of jeongganbo is divided into vertical and horizontal types. The result of classifying and examining the use of jeongganbo according to the way musical elements such as syllable of rhythmic patterns, name of pitch, melodic line, lyrics and others are notated is that various types of jeongganbo for a whole musical piece, one rhythmic pattern beat, or one line have been developed and they are widely used across 3rd to 6th grades, depending on the instruction content or instruction stage. Third, there are the principle of generating terms to differentiate and refer to various types of jeongganbo. First, there is separation by notation type; second, separation by notation method of music element; third, separation by the level of notation method even for the same musical element; fourth, unification of terms in the case of the same functional notation method of a single music element; and fifth, it is referred as jeongganchongbo when two or more musical elements are combined. The names of many jeongganbo created by these principles are classified into sub-concepts such as ‘horizontal/vertical jeongganbo’, ‘horizontal/vertical jeongganchongbo’, ‘horizontal/vertical gueum-jeongganbo’, ‘horizontal/vertical yulja-jeongganbo’, ‘horizontal/vertical garakseonjeongganbo’, ‘horizontal/vertical gasa-jeongganbo’, and ‘horizontal/vertical gita-jeongganbo’; and all these sub-concepts leads to the higher concept, jeongganbo. It is assumed that various types of jeongganbo will continue to be developed and utilized in the future, which is a phenomenon that highlights the inherent characteristics of jeongganbo as an open score, and its infinite succession and development is expected.

“Four words about kolomyika”: author’s experience of orchestration

Statement of the problem. Orchestration is one of the spheres of a composer’s professional activity, and its ways and principles are a special subject of scientific research. There are a sufficient number of examples, when the composer turns to the orchestration of self-own piano works (F. Liszt, C. Saint-Saëns, M. Ravel, H. Villa-Lobos, M. Skoryk and others), but the orchestration of violin works is not widespread phenomenon. The proposed work reveals the ways of orchestrating the four parts of the cycle “Seven words about the kolomyika” for solo violin, written by the author of the article. The main idea of the piece is interpretation of the kolomyika genre as a keeper of the genetic code of the Ukrainian people, through different levels of texture and structure solutions. Objectives, methods, and novelty of the research. Numerous works are devoted to orchestration, among them the guides by Adler, Casella & Mortari, Belkin, Klebanov and others. Another field of research is works on the theory of orchestration by Savchenko, Rakochi, Korobetska, Borodavkin, Kashyrtsev, Bohatyriov. However, the study of the ways and methods of translating a violin texture into an orchestral one has not yet attracted enough attention of musicologists-scientists and practicing musicians, and it is extremely difficult to find works on the orchestration of a violin texture, therefore, the presented work has an innovative focus. The purpose of the publication is to reveal the specifics of the orchestration of the violin texture using the example of the cycle “Four words about kolomyika” through the analysis of the use of orchestral principles and techniques in it. It was required the involvement of such research methods: genre-stylistic to identify the features of the kolomyika genre; structural-functional for researching the functions of instruments in the orchestral texture, the orchestration techniques, the form of the work; comparative one for considering the original violin source and the derived orchestral version; historical to light the context of the writing of the work. Results and conclusion. As a result of the research of the original source and its symphonic, timbre reinterpreted version, the next statements has been revealed. 1. The structural compositional analysis of the texture and form of the original source is of great importance for the creation of an orchestration of both one’s own and someone else’s work – the identification of potential harmony, bass voice, accompaniment, determination of the boundaries of the form, the character and tempo, which helps to understand the way of building timbre drama in the orchestral version. 2. The melody often in a “collapsed” form contains certain orchestral textural and timbre solutions. So, in many sections of the symphonic cycle, textural layers hidden in the initial melodic line are revealed – orchestral pedal, figurations, bass line, counterpoint, et cet. 3. The type, nature of the melody and the form of the piece determine the choice of timbre and orchestration techniques. The cycle uses such techniques of orchestral writing as underlining, the transfer of textural lines from one instrument to another, an orchestral crescendo, timbre mixes, the overlaying of textural layers of different instrumental groups, which creates a sonorous effect. 4. Each instrument of the wooden and brass groups corresponds to a certain line of the texture, is not duplicated in unison according to the “a2” principle, except for a few bars of the bassoons in the first part. This allows us to interpret the orchestra as a large ensemble, which to some extent is due to the neo-folkloric style of the piece. 5. The main idea of the piece in the symphonic version is manifested through the timbre reinterpretation of the theme, the multi-layered texture, the significant role of the woodwinds in the melodic lines and percussion to emphasize the rhythmic pattern and mark the boundaries of the form, as well as through the coloristic effects. The named ways of the piece working create the orchestral style that is a valuable component of composer’s creative activity.

GEORG FRIEDRICH HAENDEL - SONATA FOR VIOLIN AND FIGURED BASS OP. 1, NO. 13

In the field of chamber music, Haendel is known for his six Sonatas for violin and basso continuo op. 1, creations that have kept a well-deserved place in the violin repertoire, being approached mainly for their melodic cantability, the clarity of the formal structures and the moderate technical difficulty. At G. Fr. Handel's sonata genre is distinguished by the characteristic unity of the thematic material, which bears the perfect mark of mastery. His sonatas are characterized by the breadth of the melodic line, the precise construction of the harmony and the generous sonority.

Sergei Rachmaninoff a Paganini of the piano. Analysis of the lied Spring waters (Весенние воды- op.14, no.11)

Vesennye vody (Весенние воды) is a composition through which the poem offers a reflection on the arrival of spring and the melting of winter snow, symbolizing the renewal of nature and the human spirit. The composition is characterized by its lyrical and expressive melody, which is a sign characteristic of Sergei Rachmaninoff's style. The vocal miniature is relatively short, but it evokes and captures the beauty and emotions associated with the arrival of the spring season. The article requires special attention to the complex analysis of the Vesennie vody lied, a musical-literary analysis as well as a Schenkerian analysis, which is represented by the aspects of voice leadership, by identifying the tonal functions and their role in the overall harmonic structure. The detailed analysis within the lie is carried out for the deep understanding of the structural relationships and provides valuable information on the intentions of the composer, by identifying the different structural levels, by the melodic line and the text. 

Музыкальная риторика Рихарда Штрауса: к постановке проблемы

Perhaps the main particular feature of Richard Strauss as a composer is his incomparable gift for musical characterization. He was able to convey literally everything in sounds: both material and concrete things, as well as all sorts of abstract ideas and concepts. An increased attention to the details of the musical text, stage-related situations, and the behavior of various protagonist determines the special mobility and lability of musical presentation in the composer’s opera scores. In his work as a whole, this characteristic feature explains the strong stylistic contrasts between particular musical-theatrical works, depending on the plotline and the chosen mode of its implementation. Taking into account the challenges that arose in each work, Strauss each time created a specific thesaurus of musical means — the particular characteristic figures. The composer himself spoke in this regard about “sound symbols” (Tonsymbole), to which he pertained the design of the melodic line, the characteristic motive, the special rhythmic motion within the confines of a unique timbre, and other elements of musical presentation. At the same time, he could freely turn to already existing musical-historical material containing certain semantic connotations (musical quotations, particular musical styles, topoi, genres, compositional techniques, etc.). Among the characteristic means that Strauss resorted to, the following must be highlighted 1) word-painting (Tonmalerei), 2) leitmotifs, 3) the respective tonality, 4) musical quotations (borrowed from other composers’ works and from his own), 5) genre, 6) the compositional method, 7) style. The article draws an analogy between Strauss’s methods of musical characterization and the use of musical and rhetorical figures in the Baroque era. However, if the rhetorical figures refer to the area of typified content, it follows that Strauss creates an arsenal of special characteristic means for each specific work. The musical “emblems”, which previously possessed a universally significant character, acquire purely authorial traits and require individual decoding.

Changes in Music Curriculum Education in Colleges and Universities Based on Cloud Classroom Assistive Technology

Abstract With the rapid development of science and technology, cloud classroom teaching has gradually become a trend. The cloud-based music teaching aid training system designed in this paper learns to map rhythmic and pitch features through music sequence generation technology. The onset detection algorithm of spectral flux detects the onset of the note. The Bezier curve is introduced into the melodic line feature generation algorithm to construct a polynomial function for interpolation between the first and the last endpoints, and the emotion is utilized to guide fractal music creation. Finally, the effectiveness of this auxiliary teaching system in college music teaching has been verified. The results show that the optimal Hamming distance of the system is 0.353 in the music melody generation experiment, which indicates that the system can quickly generate melody lines for students in music teaching and improve their learning efficiency. The system can significantly improve the rationality and efficiency of music skill training, which is worth promoting.

Keyboard fantasies by Georg Philip Telemann in the context of stylistic trends of the time

The relevance of the study. It consists of considering the keyboard fantasies TWV 33 by Georg Philipp Telemann in the context of the author's creative searches, as well as of the stylistic trends in German music of the first half of the eighteenth century. The main objective of the study is to identify the main features of Georg Philipp Telemann's compositional style on the example of his 36 fantasies for keyboard. The methodology includes biographical (to highlight the main stages of Telemann's life and work), historical (to find out the evolutionary processes in the culture of the first half of the eighteenth century), genre-stylistic and structural-functional (for a comprehensive analysis of musical works), comparative (to compare Telemann's fantasies with each other and with examples of the genre in the works of his predecessors and contemporaries). 
 Results and conclusions. The cycle of keyboard fantasies TWV 33 by Georg Philipp Telemann is considered as an example of the embodiment of a new stylistic trend in German music of the first half of the eighteenth century. The reflection in these works of the influence of the "mixed taste" trend prevailing at that time is emphasized. The main stages of the formation and development of Telemann's creative guidelines are traced and the factors that directly contributed to the formation of his compositional style are identified. 36 fantasies included in the collection and differentiated by the author into "Italian" and "French" are analyzed. The main differences in their compositional organization and stylistic manner are revealed. On the basis of a detailed analysis of Fantasy No. 28 from the third part, the conclusion is drawn that the composer has a perfect command of the French and Italian styles of writing and their organic combination within one work. The author also points to the reflection in Telemann's keyboard fantasies of the "gallant style" that was formed in the music of the first half of the eighteenth century as opposed to the counterpoint and polyphonic style of the late Baroque. The features of the gallant style in Telemann's cycle TWV 33 are manifested in the elegance of melodic lines richly decorated with melismatics, the involvement of song themes, the dominance of homophonic composition, transparent, mostly two-voice texture, and the syntactic structure of themes by combining a number of small contrasting motifs. It is emphasized that the eighteenth-century understanding of the gallant style as a synonym for the "free style" resonates with the main vector of the evolution of the fantasy genre — from the centuries-old tradition of creating plays of this type within the strict framework of counterpoint writing to the natural manifestations of creative imagination.

Collaborative Composition and Urban Popular Music in Digital Music Didactics

Composition is one of the facets of musical activity that allows a more effective way to interrelate theoretical and practical contents in a real context to enhance the development of creativity and collaborative work in the music classroom. Through a qualitative methodology based on participant observation, the results of several projects aimed at implementing collaborative composition in the training of music teachers at the University of Salamanca through audio production tools (DAW) as a pedagogical strategy to address basic knowledge and specific skills of the curriculum of the music subject in secondary education, are synthesized. From this perspective, this work proposes a structured and sequential model for the collaborative composition of musical productions in the field of popular urban music (with special attention to the rock style), addressing and exemplifying in a practical way issues such as the layered structure in the prototypical song of rock bands, the fundamental rhythmic bases, the harmonic function and the development of chord progressions or the creation and development of melodic lines for the voice.

Stylistic Features of Church Music After Dimitrie Cunțanu, a Default Typology

"Present both in the melodies recorded by Dimitrie Cunțanu and in the melodies that we find in the oral tradition, modal constructions represent melodic molds for defining the central Transylvanian musical style. The correct framing of a melodic line is achieved by means of the scale, the cadential system and the melodic formulae. The ecclesiastical musical style according to Cunțanu, which was derived s from the Byzantine musical tradition, has become an individual style among ecclesiastical musical styles by uniquely assimilating various musical elements from folklore, music of the related cults, cultic music, and entertainment music. The resulting modal patterns have created a church style specific to the intra-Carpathian area, which has ossified into an autochthonous musical tradition. Indexing the modal constructions gives us an overview of the internal structures that underlie and individualize each mode. Keywords: melodic formulas, Dimitrie Cunțanu, default typology"

WAYS OF FORMING PERFORMING STYLISTICS IN THE HISTORICAL DYNAMICS OF CHINESE PIANO ART

The article is devoted to the understanding of the problems faced by the performer of the works of Chinese composers. The lack of performance analysis of such works complicates their understanding and full implementation on stage. The purpose of this study is to identify the universal mechanism of piano interpretation of program pieces by Chinese composers, which functions in the entire variety of author's styles. At the same time, the issue of performance stylistics of piano works by Chinese composers appears in all its problem complexity: from understanding the figurative sphere, issues of pianistic implementation to the stylistic authenticity of performance. The process of formation of performance style in the works laid down by composers during the development of piano art in China is considered. A key role in the formation of the performance style of Chinese pianists was played by the activities of luminaries musicians who demonstrated the universality of musical creativity. The creative-aesthetic and didactic principles acquired by these musicians in different schools affected the manner of their individual writing, which, in turn, influenced the performance style of their works. Specific performance formulas of playing, uncharacteristic for European art sound coloristic techniques on the piano require the pianist to be able to choose a fingering that provides pianistic comfort and contributes to actual intonation and construction of melodic lines. The constant updating of the musical language of many piano works by Chinese authors allows talking about the continuous process of evolution of the national performing style.

Seeger Lecture, Society for Ethnomusicology Virtual Meeting 2021

Seeger Lecture, Society for Ethnomusicology Virtual Meeting 2021

Expressive properties of embellishment in vocal music the first halfof the 18th-century

In the modern performance of ancient music, one of the central tasks of singers is the desire to decorate the melody independently. Taking into account the lack of knowledge and skills of Baroque improvisation among domestic performers, the decorations used often represent, in fact, only a technical element that needs to be dealt with. In this case, the ornaments have no artistic value, they sound faded, not corresponding to the main purpose – to emphasize the affect and enhance its expressiveness. The proposed article is aimed at solving topical problems in the field of Baroque performance related to vocal ornamentation and the transmission of the affect of the composition. The author of the article provides historical data on the characteristics of melisms and their focus on the expression of certain affects, which determines the scientific novelty of the study. The research methodology is based on a historical approach. Methods of analysis and synthesis are also of particular importance, thanks to which, when studying disparate data, it was possible to recreate the history of ornamental art in connection with the opera traditions of the first half of the XVIII century. The author's position is that any kind of ornamentation in ancient arias should be used in the melodic line in order to emphasize and enhance the affect of the composition being performed. When performing compositions of the time in question, it is important for a singer to understand the importance of decorating a melody as one of the main means of expression and, accordingly, be guided by the choice of jewelry. The author draws conclusions about the relationship and mutual influence of ornamentation and affect in the Baroque music. The material of the article and the conclusions will be useful to singers performing ancient music for its stylistically correct interpretation.

Innovative Aspects in the Art of Playing the Double Bass of Jazz in the 20th Century

The article is dedicated to the development of the art of jazz double bass playing during the twentieth century, being based on the interpretive analysis of historical recordings of some great names of jazz bassists: Walter Page, John Kirby, Jimmie Lunceford, Jimmie Blanton, Oscar Pettiford Ray Brown, Charles Mingus, Red Mitchell etc.. The influence of new technologies on the spread of musical genres in the twentieth century has been reviewed. The aspects of the development of interpretive procedures in jazz bass music were also approached, namely the establishment of classical performance standards for the jazz period. It examines the development, implementation, and completion of the function of the timekeeper, metric and harmonic guide over the structure of the piece performed in bebop from 1940 to 1950. Frequent use of the pizzicato technique and the use of the full double bass tuning fork. Performed on the bass lines in melodic and rhythmic counterpoint to the other melodic lines, developing a distinct accompaniment, which has become an integral part of the jazz tradition. The author highlights the most important innovations brought by them, focusing on evolutionary of cultural and historical contexts, the bands of different periods and styles of jazz, from classical jazz to bebop and contemporary period.

Interpretation of Musical Folklore in the Work of Ethnoband Zgarda

The purpose of the research is to reveal the basic principles of music material selection and ways of transforming the authentic song tradition, its interpretation and representation for the modern audience in the work of the Ukrainian ethnic band Zgarda. Research methodology. The following methods were used in the research: source study (study of works on the interpretation of musical folklore in the works of contemporary ethno-pop, rock, and jazz formations); analytical (comprehension of the types, as well as the role and place of interpretation of authentic works and their stage and musical representation in the process of preserving and retransmitting the intangible cultural heritage of the Ukrainian people); method of theoretical generalization (for formulating conclusions). The scientific novelty of the research is to highlight the peculiarities of musical and folklore material’s interpretation in the work of the ethnic group Zgarda, which is manifested, in particular, in the contamination of several authentic works into one vocal and instrumental composition with possible authorial deviations in dynamics, tempo, melodic line, etc. Conclusions. The use of traditional music in the work of many musicians is highly relevant today. Traditional music is given a new life; it is modified and resonates with young people due to its new sound and form. Having analyzed the work of the Zgarda ethnic band on musical material, we can note that there is no clear plan for processing folk songs (and creating music in general) because it is a creative process that does not follow established rules. It is essential to understand the importance of the approach to processing folklore material, and how to mix authenticity with contemporary music in a dosed and environmentally friendly way because our goal is to emphasize the beauty of folk songs, not vice versa.