Modern Musicology Research Articles

The role of A. Norst’s activities in the research of musical culture of Bukovyna

The scientific topicality of the work lies in the study of the history of musical art of Bukovyna and identification of the role of individual personalities in the formation of the region’s musicological opinion. Among the figures of culture, art and education of Bukovyna, an important role was played by Anton Norst, whose cultural works have been known since the time of Austria-Hungary and have gained relevance and new recognition in our time. He became one of the first and most famous researchers of the culture and art of Bukovyna. Therefore, a need arose for scientific evaluation of his research and an outline of the significance of his activities in the process of formation and development of musicology in Bukovyna.
 The purpose of the article is to determine the role of Anton Norst in the study of musical culture of Bukovyna and the description of his work “The Society for the Promotion of Musical Art in Bukovyna. 1862–1902”.
 The methodology. While preparing the article, several research methods were used, in particular, biographical, historical, cultural and deductive, which made it possible to reveal new facts of Anton Norst’s life and determine his role in the development of musicology in Bukovyna.
 The results. One can learn about the development of Bukovynian culture, its musical life and the role of individual personalities in the process of the region’s cultural upliftment from the works of scientists, musicians and public figures of that time. Among the works of the Austro-Hungarian period, Anton Norst’s German-language work “The Society for the Promotion of Musical Art in Bukovyna. 1862–1902” stands out. A. Norst is an active participant and co-founder of numerous societies, chairman and honorary member of the Union of Journalists and Writers of Bukovyna. He is the author of numerous publications, poems, short stories, comic strips and reviews. Anton Norst’s edition is timed to celebrate the fortieth anniversary of creation of the organization that contributed to the development of musical art and education in the region.
 The scientific novelty lies in the fact that for the first time the role of Anton Norst in the development of musicology in Bukovyna was determined and an assessment of his work dedicated to musical and cultural processes in Chernivtsi during the Austro-Hungarian rule was given.
 Conclusions. The first cultural studies that appeared in Bukovyna are of significant value for modern musicology. Anton Norst’s book “The Society for the Promotion of Musical Art in Bukovyna. 1862–1902” was such a work. It became an important source of information about the development of musical culture of the region in the XIX — early XX centuries and a model of historical musicology of that time.

Mythopoetics of Borys Liatoshynsky’s 1910–1930s: the wagnerian context

The mythopoetics of Borys Liatoshynsky’s work is a little-researched phenomenon by modern musicology. Meanwhile, the “projections” of the myth, the outlines of the mythological plot, image, and motive, woven into the artistic plan, open new horizons for understanding the author’s concepts. The myth appears to be the key to deciphering the depths of interaction between the author, the work, and the character. Given that Liatoshynsky’s artistic ideas of the 1910s–1930s were modernistic, his artistic concepts have absorbed almost all the leading phenomena of European music of the first half of the twentieth century. They became the basis for the further development of Ukrainian musical culture. Without resorting to mythopoetics it is impossible to understand them in their diversity, complexity and contradiction. Mythopoetics, in the context of Liatoshynsky’s explorations, is manifested through the reflection of other European cultures, passionary personalities, and the realization of the myth of the hero in the works. This can be seen in the symbolistic chamber works of the 1920s, in operas in which the hero’s sacrifice acquires the epic scale of Greek tragedy, and in symphonic works whose characters are characterized by the duality of interpretation of the good and the evil. Wagner’s projections in the works of Borys Liatoshynsky of the 1910s and 1930s can be traced in two ways. On the one hand, due to the mythopoetic symbolism of the intentions of the Ukrainian composer, the kaleidoscopic discreteness of symbols-images-myths, obtained from the work of Scriabin, a consistent Wagnerian. A deeply tragic attitude showed itself to be an alienated imagery of concepts during an attempt to heal the traumatic experience of the First World War and the Civil War. On the other hand, the Wagnerian version of the heroic myth became basic for Liatoshynsky and was used in opera and symphonic concepts. This confusion of the myth, its symbolic and tragic context, was traumatically reflected in the fate of his Second and Third symphonies, and in its general form is embodied precisely in opera ideas

Christian Sinding’s piano style as a component of European art

Statement of the problem. Christian Sinding is considered “the first after Grieg” at the Norwegian music olympus. He created more than 130 opuses of different genres of music. However, nowadays his works are rarely performed, particularly in Ukraine. Thus, the relevance of the topic of the article is due to the lack of domestic musicology systematic study of Sinding’s piano work as a component of European art. The study of the heritage of the “second star” of Norwegian culture is the overtask of modern musicology – to fill the “white spot” in the study of national piano schools in Western Europe, including Norway, and make the music of this composer recognized and demanded by young performers of the XXI century. The purpose of the article is to represent the individual compositional style of С. Sinding on the basis of his own authorial performance of the analyzed piano pieces. The material for this is the iconic piano works (op. 24, op. 25) of the early and mature periods of creativity, which highlight the style of thinking of the artist. The object of research isthepianostyle of the Norwegian composer Christian Sindingin the prism of European musical culture, the subject – pianominiatures of Sinding. The research methods are based on material that is little known for most of Ukrainian musicians, but belongs to the classical European heritage. Thus, the historical method reveals the dialectic of tradition and innovation in the process of formation of national and individual style in music; genre method – determines the hierarchy of general and specific in the organization of a musical work; stylistic – in addition to the principles of the artist’s thinking indicates the nationally defined features of creativity; performing-interpretive method – reflects the personal feeling of the “sound image” of the piano by the author of the article as the first interpreter of C. Sinding’s music in Ukraine. The results obtained. Generalization of the principles of stylistic thinking of Christian Sinding in the field of his piano work has not received a systematic presentation in existing scientific sources. Therefore, to reveal the relevance of the proposed research topic, we highlight the typical stylistic features and principles of piano work of C. Sinding in terms of its national and stylistic identity. The criterion was the elements of the “national musical language” (according to O. Kozarenko). As for the elements of musical language that affect the sound image of the piano, the work of C. Sinding is characterized by a late romantic paradigm: folklore basis of melody, orchestral richness of piano texture, richness of timbre palette with effects of instrumental sound imitation, complex harmony rhythmic organization, which combines folk dance and instrumental formulas and metric schemes of emphasis (regularity and irregularity). The principles of monotheism and leitmotif are also one of the means of expression of late romanticism as C. Sinding’s worldview paradigm, which certain genre-language tendencies of his piano thinking are concentrated in. Most of the plays have sound effects – imitation of the timbres of folk instruments popular in Norway, including hardingphele, harpsichord, violin. As a result, the levels of stylistic significance of individual elements of the musical language of the artist’s piano works constitute a model of individual compositional style as a reflection of the national mentality of the musical worldview. Prospects for further development of the topic. In the development of the develop edmethodology of analysis of national and musical language C. Sinding will study majorgenres of mature and lateperiods of piano work to sub stantiate the style of thinking of the artist in the paradigms of European culture of Romanticism and modernism of the early twentieth century.

Music Aesthetics as Philosophy of Music: Genesis and Topical Contemporaneity of Musicology

The purpose of this work is to reveal the natural principle of the precedence of the philosophy of music in music science, which removed musical aesthetics with its basis of the traditional philosophical and rationalist system of Cartesianism. ‘Culturologisation’ of modern musicology testifies to the absorption of non-logical properties of associative knowledge, which, according to Yu. Krysteva, is no longer rejected by science, being called the ‘hermeneutic-interpretive’ meaning of the object of the study. The methodological basis of the research is the intonation approach of the B. Asafiev school in Ukraine, as it was in the works of O. Zosim, O. Markova, O. Muravska, O. Kozarenko, Liu Bingjian, O. Roschenko with an emphasis on hermeneutic and stylistic-comparative analytical search engine. The scientific novelty of the work is due to the theoretical primacy in the musicology of Ukraine of the statement of the philosophy of music as a substitute for the sphere of musical aesthetics, which has prevailed since the 18th century, as a "speculative theory of music” relative to the traditional core of musicology, the theory and history of music. Conclusions. The movement of musical aesthetics into the bosom of the philosophy of music was carried out by the displacement, following practice, in musical science of the theatrical-secularised expression of general aesthetic antitheses in favor of the all-encompassing lyric as a specifically musical embodiment of beauty, and the dramatic and the comic appear in the degrees of incompleteness of the lyric presentation, which delimits the “aesthetic-sensual” in the musical sense. The focus of musical expressiveness on the aestheticism of the beautiful and lyrical in this approach generalises, despite its direct ecclesiasticism, the experience of spiritual music, for which the beauty of the lyrical, in the syncresis of the suprapersonal and personal, expression (compare with the “spiritual beauty” of music in Mikhail Psellus, 11th century) displaces meaningful antitheses, which theoretically coincides with the symbolism of Pythagoreanism-Neoplatonism in the philosophical-mental understanding of music as a touch to the Eternal.
 Key words: musical aesthetics, philosophy of music, traditional musicology, modern culture-oriented musicology, genesis of music science.

MUSICAL COMPOSITION AS METONYMY OF CULTURE AND THE SUBJECT OF MUSICOLOGICAL STUDIES

The study of musical composition as a unique artistic phenomenon remains an urgent task of modern musicology. Despite the constant use of this concept, it did not acquire a sufficiently stable categorical status. Some ambiguities in the theoretical interpretation of the concept of musical composition are due to the complex nature of this phenomenon, in which the main principles of musical form and meaning formation are focused. It is found that, on the one hand, the temporal nature of music and its impact allows us to consider musical compositions as conditional chronotopic indicators of the historical existence of culture. On the other hand, the semantic attitudes of cultural consciousness determine the typological features of a musical composition. The leading task of musicological interpretation is forming an integrative approach to the phenomenon of a musical composition. It allows combining various research criteria and proposing the most general metonymic model. The metonymic approach to a musical composition presupposes its abstract theoretical reconstruction; at the same time, this reconstruction leads to the identification of those constitutive features of the phenomenon under study that explain its specific artistic and expressive nature, coupled with sound exposure and auditory perception. In the context of art psychology, consideration of a musical composition as an artifact of cultural consciousness reveals its leading semantic properties. The metonymic aspect of this phenomenon interpretation reveals its addressing of noetic reality - the highest level of self-realization of culture semantic consciousness.

ЗВУКОВОЙ ОБРАЗ СКРИПКИ И НОВЫЕ КОМПОЗИТОРСКИЕ ТЕХНИКИ ПИСЬМА ВТОРОЙ ПОЛОВИНЫ XX СТОЛЕТИЯ

The expansion of the sound image of violin music in the second half of the XXth century is largely due to the emergence of new compositional writing techniques. The spirit of experimentation, the pathos of finding ways to embody original artistic ideas significantly influenced the composers' attitude to the "sound" and image of the instrument. The authors adapt the writing technique and the acoustic and expressive possibilities of the violin to the content and concept of their compositions. In sonoristic, minimalistic, aleatoric compositions, the creation of a new musical reality encourages the authors to measure the boundaries of sound and penetrate into its internal structure. It ceases to be only instructive material for composer and performer, acquiring an autonomous semantic role. In this regard, the violin sound device is ideal for experiments in the direction of expanding the timbre acoustic capabilities of the instrument. Traditional instrumental techniques and performing means of expression are being adjusted. The searches for the liberation of sound from the regulations of pitch, rhythm, form, and so on become productive. Such an interpretation of the instrument subordinates the sound to the creator's will, equalizing the rights of the composer and the performer. It opens up unlimited ways to implement individual ideas, expanding the range of artistic possibilities of the sound image of the violin in the works of Western and Russian composers of the second half of the XXth century. This process has been little studied in modern musicology, so its present study acquires a particular relevance and novelty.

Interdisciplinarity and Metaphors. Historical Reflections on Music Theory and the Psychology of Music

Music theory and the psychology of music have maintained a close relationship, especially since the 1980s. Yet, the liaison between these two fields can be further traced back to the late 19th century, the formative period of both modern musicology and psychology. This article deals with those interdisciplinary works of the late 19th and early 20th centuries, which we may refer to as early music psychology marked by the writings of Hermann von Helmholtz, Carl Stumpf, Hugo Riemann and Ernst Kurth. Instead of tracing the historical origins of current studies, however, this article attempts to contextualize the discourse of early music psychology and identify how these theories were constructed. The linguistic and metaphorical formations that appear frequently in early music psychological writings are examined – in particular the metaphors related to the notion of musical force, most of which were imported from the contemporary sciences such as physics and physiology. An examination of the “source domains” of metaphors such as »life-force«, »living force« and a group of terms related to physical forces reveals different conceptions of the ways in which the boundaries between the natural and mental sciences may be crossed and of different notions of listening to music. To borrow Morris Berman’s expressions, we may observe here a shift from “disenchanted” to “re-enchanted” music psychology. It is often said that the subject matter of psychology (i. e., the human mind) is constructed by practising psychologists themselves, and that changes in psychological language signify psychological change in their own right. The same holds true for the psychology of music. How do we conceptualize music? How does this conception shape the field of music psychology? By evoking such questions, historical and critical reflections on early music psychology may serve to rethink present-day interdisciplinary works between music theory and music psychology.

Voluntary and Lesson in English Music Sources of the 17th and 18th Centuries

The article focuses on the use Voluntary and Lesson as terms in the English musical practice in the 17th and 18th centuries. Based on the unique example of the interpretation of these terms as synonyms in edition of Carl Trinks’s organ pieces in 1810 (this fact is remained unnoticed in musicology), the author compares Voluntary and Lesson, noting, first of all, significant differences in the use of these specific names of musical compositions and also paying attention to the reflection of this practice in the general and musical lexicographic sources of that time. The author also criticizes a number of ideas that have already been established in Western musicology. For example, he does not agree with the interpretation of a small fragment from the “Mulliner Book” entitled Voluntarye as an independent keyboard piece by R. Farrant, and he doubts the real existence of the 12-movement J. Ch. Pepush’s Voluntary (published only in 1988) as a single musical work. But most importantly, he opposes spread of the Voluntary concept to all polyphonic organ works by English composers of the 17th and 18th centuries (including organ compositions from M. Locke’s “Melothesia”, many Th. Roseingrave’s fugues, etc.). The author notes the term Lesson was used more variously than modern musicology interprets, extending not only to solo (mainly keyboard) music, but also compositions for melodic instruments with basso continuo and even ensembles, as well as instructive exercises and simple compositions for beginners.

“Mir ist so wunderbar”: Considering Opera Traditions Interaction in “Fidelio” by Beethoven (Modern Musicologists on the Quartet’s Genesis)

The canon in the first act of “Fidelio” was generally regarded as one of the best moments in the opera from the very beginning of its hard scenic life. While 19th century critics admired the quartet, scholars in the 20th century showed true scientific interest in this ensemble. This attention made Beethoven’s quartet one of the most famous canons in music. The article represents an attempt to summarize modern musicology’s views on the first act quartet of Beethoven’s “Fidelio”. On this basis in the paper are considered the reasons for including such composition in “Fidelio”, its stylistic background, and in general the origins of Viennese late 18th century’s practice of vocal and opera canons as the context for analysis of Beethoven’s quartet. The author lists operas of the Viennese repertoire 1780–1800 with canons (among them, operas by Martíny Soler, Salieri, Mozart, Paёr, and Cherubini) as hypothetical models for Beethoven and also traces the continuation of this tradition in Italian and Russian 19th century opera. Connection of the musical form of canon with ideas of the Enlightenment and figurative and meaningful interpretation of its pastoral tone is considered on the basis of works by Heinrich Schwab, Dorothea Link, and Larisa Kirillina. It is remarkable that the pastoral of the quartet allows a Christian interpretation that makes the “Benedictus” of “Fidelio” genuine. “Mir ist so wunderbar” is considered as an example of Beethoven’s contemplative lyric on the basis of experience of its philosophical-aesthetic comprehension, presented in Russian musicology. In the quartet, Leonore appears in the opera for the first time, and so this article accentuates the central role of this canon for understanding the main figure with all richness of her literary and mythological genealogy.

ТЕОРЕТИКО-МЕТОДОЛОГІЧНЕ ПІДҐРУНТЯ ІНТЕРПРЕТАЦІЇ МУЗИКИ: ДОСЛІДЖЕННЯ, АНАЛІЗ, ПЕРСПЕКТИВИ

The modern stage of musical culture development is characterized by extraordinary diversity and intense interaction of various styles and genres, which actualizes the scientific research on the methodological foundations of musical interpretation at the junction of philosophical and cultural sciences and art studies. The aim of the article is to carry out an analysis of the theoretical and methodological basis of music interpretation based on philosophical-hermeneutic and musicological approaches. Scientific novelty. The article analyses the interpretation phenomenon through the modern musicology prism. The definition of a musical work is proposed as a synergistic phenomenon in which multiple interpretive versions are combined, arising as a result of decoding the artistic text in the continuum of musical culture. In conclusion to the article, it is noted that analysis of the theoretical and methodological aspect of interpretation as a musical creativity component requires attention to fundamental, generalizing research in the field of philosophical hermeneutics, aesthetics, history and music theory. The application of a philosophical-hermeneutic approach will contribute to the enrichment of the research methodological arsenal into the problems of musical interpretation, both in terms of their deeper understanding and disclosure of their meaning, and in terms of searching for adequate forms of their performance. Hermeneutic interpretation reveals the meanings and socio-cultural meanings of art works, contributing to the development of the spiritual and creative nature of the individual, its formation as an effective subject of culture. The theory of interpretation which developed in Ukrainian musicology emphasizes the achievement of understanding, in the process of which an interpretive work emerges version, which, in turn, becomes a “creative process” (V. Moskalenko). The presented article based on the main achievements in modern interpretology and proposed a definition of a musical work as a synergistic phenomenon. New opportunities for musical interpretation are associated with the use of digital technologies, their widespread introduction into compositional and performing practice. It is about technologies of digital recording’s sound structures, sound signals’ computer processing, their synthesis and combinatorics, as well as the acoustic sonorous space of works in “new simplicity”, “quiet music” and other directions, fundamentally devoid of affects and directed “inwards”. This direction of further musicological research is defined as promising.

Warsaw Period of Viktor Kosenko's Life (1898–1914): the Influence of a Multinational and Multicultural Environment

Viktor Kosenko (1896–1938) was one of the brightest representatives of Ukrainian musical culture of the first half of the 20th century. He was a brilliant pianist, a genius composer, and an outstanding teacher. But the first twenty years of his biography are a "white spot", a gap in modern musicology. There are almost no materials related to this time in his personal archive, as well as in the funds of the Composer's Memorial Apartment. So let's look for the reasons for the "mysterious disappearance" of the information about the artist's childhood and youth period. We will find the information in other sources and reconstruct this period of his biography, immerse ourselves in the atmosphere that surrounded the future composer during his stay in Warsaw, restore impressions and memories of his school life period, which could be reflected in his future work.

GRAPHICAL REPRESENTATION J. BRAHMS’ COMPOSITIONAL TECHNIQUE IN PIANO QUINTET IN F MINOR OP. 34

Under analysis is the issue of notation functioning as a sign system in the process of fixing a musical work, which is relevant in modern musicology. Scientific publications outline various aspects of musical semiotics, but do not highlight the relationship between the specifics of compositional techniques and ways of its rendering. Graphic signs are studied in the proposed article from the standpoint of this relationship which determines the scientific novelty of the results. The purpose of the research is to reveal the ways of graphic representation of the composer’s technique in the musical text on the example of J. Brahms’ Piano Quintet in F minor Op. 34 using semiotic and structural-functional methods of analysis. Results of research. In order to conduct this research, analysis of graphical representation of compositional devices in J. Brahms’ musical text has been done. His characteristic traits of writing include highly developed motivic technique. The composer finds new variants of musical units without changes of their rhythmical parameters or inner interval relations. In works by J. Brahms, variation presupposes such operations on motives, in which the composer changes either their articulation or temporal parameters as a result of shifting musical units in regard to the metric “grid” of the bar. Hence, there have been revealed new functions of the musical notation which becomes an important tool to fix and stabilize the musical work. Conclusions. As the composer fixes his musical intentions, formation of individual graphic sign system occurs; it is based on traditional notation but is marked by different functional and logical connections according to author’s intentions. As a result of this, various slurs, accents, “hairpins”, dynamic marks and their succession become one of the ways, in which composer’s thought acquires graphic representation. The specifics of graphic signs functioning in J. Brahms’ music requires their analysis as semiotic objects and understanding of the rules by which they can be deciphered. These rules cause relations between sign-bearers and their interpretants. Slur with its primal meaning of legato, placed in a new context, becomes a marker of motivic structure. Further joining of the slur with the “hairpin” allows indicating the principal tone, “emphasis” in a motive which influences its articulation. Thus, a circle of interpretants occurring in certain contexts expands.

Style as a Topical Category of Modern Musicology and Music Education

"The aim of the work is to arrange the scientific achievements on the category of “musical performing style” and identify mechanisms for practical testing of theoretical provisions in the pedagogical activities of higher musical education institutions. The research methodology is based on a combination of general scientific and musicological approaches, in particular: system approach hermeneutic, historical, comparative, genre-style, interpretive method, as well as performance analysis. The results of the study indicate that domestic art schools were formed by synthesizing several national and historical style traditions. Music and performance schools were actively developing in parallel with the compositional work in Ukraine in the second half of the twentieth century; the work of representatives of those schools presents a fairly wide range of style research. A natural result of the studied problem of musical performing style should be its transfer to the practical plane of professional education of musicians and performers, formation of musical style competence in students. Kotlyarevsky Kharkiv National University of Arts was selected as an experimental platform for its formation. During 2019-2021, a pedagogical experiment continued to test the formation of musical and style thesaurus, performance and intellectual skills, professionally important qualities of music students. In the context of studying of different styles in the system of musical performance by the students of higher music education institutions, it is important that the art of music is constantly evolving and new directions and trends in music styles emerge almost every day in Ukraine and the world as a whole. This undoubtedly makes the need for further research on this issue urgent (usually with the use of advanced domestic and foreign experience in music education). Keywords: Style. Category. Art. Musical work. Musicology. Music education. Educational process. Organizational and methodological system."

Style evolution of Sting’s creativity

The purpose of this article is to outline the evolutionary vector of the style evolution of G. M. T. Sumner’s (Sting) creativity.
 The methodology. The study is based on the comprehensive use of systematic, historical and cultural approaches, as well as methods of periodization and genre-style analysis.
 The results. The article analyzes the work of one of the recognized masters of world popular music — English musician G. M. T. Sumner, better known by the stage name Sting.
 The topicality of the chosen topic is due to the artistic and socio-cultural significance and genre and stylistic diversity of Sting’s creative work, which in the research space of modern musicology still remain poorly understood.
 The article considers the preconditions for the formation of Sting’s authorial style, reveals the key stylistic trends that shaped his individual authorial style, and highlights the personal and professional-artistic criteria of his creative activity. Embodying in one person the guise of a composer, poet, singer, guitarist and actor, G. M. T. Sumner (Sting) is a shining example of a modern universal artist. He illustrates by his own example typical genre-style metamorphoses of mass music of the late XX — early XXI century, revealing new paradigms of modern world music art.
 The stylistic evolution of Sting’s creativity is substantiated in accordance with the proposed concept of periodization of his creative activity. The main periods of the artist’s creative activity are outlined: 1) early (1977–1990); 2) mature (1991–2012) and 3) late (since 2013). The stylistic priorities inherent in each of these periods are described. The uniqueness and originality of Sting’s authorial artistic style lies in the peculiarity of his artistic thinking, which to some extent is based on the concept of stylistic pluralism.
 The stylistic evolution of Sting’s works represents his appeal to various stylistic models of modern mass music (rock, jazz, pop, reggae). At the same time, the artist’s stylistic search goes far beyond popular music, extending to the spheres of academic and ethnic musical traditions.
 The scientific novelty of this article is that this study for the first time reveals the stylistic evolution of Sting’s works, its periodization and identifies the main stages, identifies the leading genre and style features of the artist’s works and the characteristics of his artistic thinking.
 The practical significance of the article lies in the possibility of using its materials and conclusions in further research on this issue, in performing and pedagogical practice (in the courses “Music of the XX century”, “History and theory of modern music”, “History of rock music”, etc.).

Dante’s Models in Romantic Music

Dante’s impact on music has been studied completely enough, but so far mainly in an empirical and descriptive way. The article examines the works of romantic composers of the 19th - early 20th centuries, based on the plot of Dante’s “Divine Comedy”: Liszt’s fantasy-sonata “After reading Dante” and the “Dante-Symphony”, the “Francesca da Rimini” by Tchaikovsky (symphonic fantasy) and Rachmaninoff (opera). The author analyses compositional and stylistic models of the romantic music inspired by Dante’s poetry as a system, which is relevant for modern musicology, in particular, for the theories of musical language, style, and musical meaning. Along with the traditional musicological methods of analysis of form and intonational dramaturgy, an interdisciplinary methodology is applied, associated with the coverage of the entire system of musical compositional prototypes as a structuring of meaning. This has a pronounced narrative poetic nature in romantic music. The results of the study demonstrate a system of structural and semantic invariants (secondary, musical models) conditioned by Dante’s figurative world and manifested in melody, harmony, fret organization, composition. The conclusions of the article reveal the roles of Dante’s models of the world in the works considered in the following aspects: in the process of extreme intensification of the contrasts of romantic music in the semantic coordinates of “Hell – Paradise”; “Love – Death”; in the approval of the concept of Liebestod; in the creation of new, extreme expressive possibilities for the given style, which significantly expanded the idea of the boundaries of beauty and caused transformations in musical sound (harmony, texture, melody); in the formation of stable idioms of romantic music from Liszt to Rachmaninov; in the modification of the structures of a one-part sonata, of the cyclic symphony, and of opera, which have received the quality of a vectorial dramaturgical process and open dramaturgy.

Second Piano Concert (B-Dur) by Ludwig van Beethoven: In “Searching” of the Author's Style

The relevance of the study is dictated by the demand for the music of the brightest composer of the period of the classical style — L. Beethoven — in modern performing art and modern musicology, focused on a diverse range of problems: reconstruction of the concept and process of creating works, compositional features and dramaturgy of opuses from different periods of the composer's work, historically accurate performance of it works, psychology of a creative personality, etc. A problem that has lasting significance also falls into the same series — the problem of the composer's individual style, conditioned, on the one hand, by the linguistic laws of the “current” style of the era, and on the other, by the formation of the principles of new musical thinking in its depths. The appeal to the music of L. Beethoven by the author of this study became symptomatic, including in view of the next anniversary of the composer — namely, the 250th anniversary of his birth. The purpose of the research is to identify and substantiate, in the process of analyzing music, one of Beethoven's early works — his Piano Concerto No. 2 (B-dur) — recognizable stylistic “signs” of the composer's individual creative handwriting, thereby arguing and establishing its relationship with the works of the period creative maturity. The scientific novelty of the research is reported by: 1) attraction of the latest musicological research on the issues of classical style in music and creativity of L. Beethoven as a methodological basis for the work; 2) argumentation based on a detailed analysis of the music of L. Beethoven's piano concerto No. 2 of the peculiarities of his musical language, composition and drama; 3) establishing and substantiating the relationship between the work of the early period of the composer's work with his mature musical and dramatic concepts. The research methodology is based on a flexible interaction between the methods of historical (comparative historical method) and theoretical musicology (holistic analysis, analysis of various aspects of the musical language, functional analysis of musical form). The productivity of their combination, as well as their intersection in the category of “style”, determined the scientific significance of the results obtained and indicated one of the possible methodological directions for further study of the composer's creative heritage. The study is undoubtedly of practical value both for teachers of musical theoretical disciplines and for performers. It is another important component of the musical Beethoveniana

Piano Miniature as a form of Projection of The Pianist's Image Model in The Executive Contest

The traditions of the genre of piano miniature are generalized by the author in the context of the achievements of modern musicology. There is some bias in existing research. It is established that the main provisions of these works remain theses: miniature is a little-studied genre; miniature is studied and perceived as a secondary genre; miniature is an extremely popular genre in the work of composers and in performing practice; the miniature is a mandatory part of the competition repertoire. The author applied a comprehensive culturological, musicological and psychological approach to justify the formation of new forms of performance, quality system, features of the performer in the competitive sociocultural space of today. Varieties of "stage situations", regularities of their "repertoire solution" and determination of the role of miniatures in the competitive repertoire of modern pianists are identified and structured. The author has classified the main image models of the competitive performer, including: "universal" — demonstrates the ability of the performer to convincingly interpret any repertoire requirements; "academic" — the most common model of stage image and repertoire selection; "Intellectual" — involves the demonstration of selective musical professional preferences of the performer; "Virtuoso" — is reflected in the reproduction of various examples of virtuoso miniatures and, of course, the demonstration of virtuoso skills and abilities of the performer; "Patriotic" — is a reflection of certain personal beliefs of the performer; "Situational" — illustrates the tendency of the performer to adapt and realize themselves in accordance with certain subjective circumstances; "Outrageous" — built on the use of external visual and sound effects. A representative function of the miniature in the repertoire of the modern pianist has been established, aimed, among other things, at self-identification/identification of the performer. The classification of the main image models of the competitive performer, which illustrates the globalization processes in music performance, is carried out. The main conclusion of the study is that the attention of performers, in particular pianists, is drawn to the versatility of the plane on issues that arise in the formation of the repertoire, the specifics of interpretation and projection of selected works

Structural-Syntactic Organization of Thematic and Techniques of Composition: Aspects of Interaction

Relevance of the study. The study of thematic in modern musical composition as the most important element of form creation seems relevant and in demand for modern musicology. In the existing scientific works, only certain issues of its research are mentioned (V. and Yu. Kholopov, V. Valkova, N. Ryzhkova, T. Kyuregyan, V. Zaderatsky, G. Grigorieva, E. Ershova, S. Goncharenko etc.), however, there is no special work devoted to this problem. Among the important and topical issues, many remain debatable today. Some of them concern terminology, the use of the concept of “thematiс” in relation to a completely new musical language, others — the multidimensional nature of the study of musical thematiс in terms of semantics, syntax of form in terms of various composition techniques. The study of the thematic organization on the example of the works of modern Belarusian composers makes it possible to include the cultural and stylistic processes taking place in Belarusian music today in the context of the most important trends of Modern music.
 The scientific novelty of the study consists in: 1) a systematic approach to the concept of thematic as a category of writing in relation to modern musical composition; 2) consideration of the principles of interaction of macro- and micro-thematic; 3) analytical study of the works of the Belarusian composer E. Gutina in the chosen perspective of analysis.
 The purpose of the research is to consider certain aspects of the interaction of musical thematic and composition techniques in two main types of structural and syntactic organization: macrothematic and microthematic.
 The research methodology is based on the interaction of general scientific methods (system method, deduction method, etc.) with methods developed in theoretical musicology. We are talking, first of all, about the method of functional analysis in relation to musical thematic and musical syntax. Also significant for this study are the musical-theoretical works devoted to the problems of the author's style, form and techniques of composition in modern music, as well as the theoretical works of the composers themselves on the problems of compositional technique.
 The practical significance of the research can be reflected in the use of this research in university courses of musical and theoretical orientation related to the study of modern music.
 Conclusions and prospects for further research. The interaction of micro- and macrothematic manifests itself in different ways in various types of composition, an example of which is the compositions of the Belarusian composer E. Gutina “Wind Music” (sonorous composition) and “Majolica” (minimalist composition). At the same time, the interaction of two seemingly opposite large-scale structural and syntactic principles of the organization of thematic reveals their close relationship in the conditions of various composition techniques, both in the aspect of shaping and in the aspect of the specifics of musical perception. Further developments of the stated topic seem promising in the following areas: the study of the “composer's word”, the compilation of a glossary of terms and concepts, regarding the techniques of composition and thematic, a scientific and research look at the given problem in the mirror of the manifestation of various stylistic trends in modern music.

«Sinfonia da Requiem» by Benjamin Britten: Semantic and Constructive Features of the Requiem

Relevance of the study «Sinfonia da Requiem» by B. Britten in modern musicology is essential as this work is demonstrative of four interconnected artistic processes: modification and emancipation of the requiem genre, the evolution of Britten’s art, development of European modernistic symphonism, and reception of musical culture of the middle of the XX century at the events of the Second World War. The artistic and historical content of the symphony allows deepening the general scientific ideas about the specifics of the passing of these processes. The scientific novelty of the study is that B. Britten’s «Sinfonia da Requiem» is considered from the angle of revealing direct and indirect features of the requiem genre. To do so, a purposeful genre-intonational analysis of the thematism of the work was employed for the first time. Main objective(s) of the study: to find key musical components (genre features of the requiem and intonational leitmaterial of the composition) and connect them, thus decoding the ideological, genre, and intonational conception of «Sinfonia da Requiem». Methodology. The methodological orientation of the article provides a detailed analysis of the constructive component of music «Sinfonia da Requiem» to determine the semantic content of the composition as an opus belonging to the genre tradition of the requiem, significantly rethought in the compositional practice of the twentieth century. Results of the study. The way of modification and emancipation of genre features of requiem is considered. The ideological and philosophical essence of this genre is formulated. The context of B. Britten’s creation of «Sinfonia da Requiem» is determined — through socio-historical, biographical, and creative factors. The specifics of the embodiment of semantic and constructive features of the requiem genre in the orchestral composition «Sinfonia da Requiem» are determined. The intonational leitmaterial of the composition, which forms the intonational concept of it, is distinguished. Features of transformation of intonational leitmaterial, including genre modulations are traced. A study of the genre-intonational nature of the symphony’s themathism is carried out and variants of semantic interpretation of the main thematic formations are offered. The nature of the genre component of the composition’s dramaturgy is described, in which three groups of genres are traced: military, dancing, and lyrical. The significance of the research lies in supplementing the scientific panorama of English orchestral music of the first half of the twentieth century and in promoting the formation of a more balanced view of the specifics of Britten’s instrumentalism, which was formed and evolved on the basis of exchange with other, including vocal-instrumental genre traditions.

PERFORMANCE CHARACTERISTICS of Eugene Goossens’s Concerto for Oboe and Orchestra

Statement of the problem. The study of the process of development of the concert style of oboe performance is a relevant area of modern musicology, as evidenced, in particular, by the scientific activity of the International Double Reed Society (IDRS) and works of other researchers on the history of the instrument and its repertoire starting with the second half of the 20 century (Bate, 1975; Bartalozzi, 1967; Reeves & Hooper, 1985; Goossens & Roxburgh, 2001). The concept of “concert oboe” is actualized by V. Martynova (2018, 2019) on the basis of the performance art of the 19th – 20th centuries. As for works for oboe of the early 20th century, in particular by E. Goossens, there are a few studies devoted to the development of modern style of the concert oboe (Del Mar, 1984; Lopez-Pelaez-Casellas & Garcia-Herrera, 2019) and to E. Goossens’s Concerto (Woodworth, 2016). This determines the scientific novelty of this research, which involves genre-style and performance analysis of the Concerto. The purpose of this study is to identify typical genre-stylistic and performance characteristics of E. Goossens’s composition in the context of the development of the concert style of oboe performance. The research methodology is based, first, on the genre and style approach, which is traditional for musicology, in particular, on research on the code of reflexivity (Shapovalova, 2006), and pastoral genre in music (Shapovalova, Chernyavska, Govorukhina & Nikolaievska, 2021). Another methodological dimension is related to the positions of analytical interpretology and principles of performance analysis (Nikolaievska, 2020), which focus on such elements as form-creation, performance dramaturgy, performance poetics. Results and conclusions. The typical genre and stylistic features of E. Goossens’composition refer to the traditions of the romantic concerto (onemovement structure; the presence of a symphonic model of the genre; the use of initial intonation as the main sound symbol of the work; the absence of a single tonal centre; reflexivity; the involvement of pastoral colour as an established image of the instrument). From the viewpoint of performance poetics we have marked the overcoming of the formality of rondeau nature by the continuity of performance form-creation; the presence of such difficulties requiring high performance skills of an oboist as playing of whole-tone scale, high notes and extreme sounds of the registers, polyrhythmic structures, the abundance of virtuoso passages in the composition, the variety of articulation techniques, fast-frequency vibrato, etc., which is crucial in the process of development of the concert style of oboe performance in the early 20th century.