Musical Heritage Research Articles

The musical heritage of Sárospatak in the 17th–18th centuries

AbstractOriginally a small market town in Northern Hungary, Sárospatak (Patak) deserves attention for more than just the role it played in a series of historical events that were to define the future of this country throughout the 17th–18th centuries. The cultural, educational and musical legacy of the period is also outstanding, and the functioning of the Patak College (Pataki Kollégium), which soon gained considerable prestige, played a key part in this. The aim of this paper is to present the musical aspects of this most valuable set of interconnected cultural assets.

Melodies Across Time: Exploring Connections and Context in Eastern Black Sea Popular Music

The Eastern Black Sea region of Turkey, imbued with a wealth of cultural and historical narratives, boasts a musical heritage characterized by distinctive instruments, vocal styles, and polyphonic structures. This music is a testament to the region's rich identity, intricately woven through the tapestry of time by diverse cultural influences and significant historical events. This research is grounded in the endeavor to unravel the intricate connections within this musical sphere, particularly through the perspectives of intertextuality and hypertextuality. Intertextuality highlights the nuanced dialogues between various musical compositions, offering an enriched view into their intrinsic associations. Hypertextuality, a concept introduced by Gerard Genette and later applied to music by Serge Lacasse, broadens this dialogue, revealing the intricate networks formed through actions such as covering, remixing, and translation. The investigation delves into these dynamics, especially in the popular tunes of the Eastern Black Sea, leveraging analytical techniques from musicology, cultural studies, and media studies. The objective is to understand how intertextuality and hypertextuality amplify the vibrancy and appeal of Eastern Black Sea melodies, shaping their fundamental essence, significance, and worldwide appeal. We aspire to foster profound comprehension of these multifaceted ties, illuminating their role in characterizing the region’s musical and cultural landscapes. This probe contributes a fresh perspective to the ongoing debates in musicology and cultural studies, underscoring the imperative for an all-encompassing and prolonged methodology in musical inquiry, accentuating the power of intertextuality and hypertextuality in grasping the nexus between music and the wider cultural, social, and historical backdrops. This meticulous scrutiny is expected to not only enrich scholarly conversations but also to unveil the myriad of components steering the evolution and impact of the Eastern Black Sea’s abundant musical heritage.

The Direction of Development of Indonesian Contemporary and Experimental Music in the Millennium Era

This research delves into the development trajectory of contemporary and experimental Indonesian music within the context of the millennium era. Grounded in the rich tapestry of Indonesia's cultural and musical heritage, this study employs a comprehensive analysis to explore the multifaceted dimensions that have shaped the evolution of these genres. The methodology encompasses a qualitative approach, utilizing interviews with prominent figures in the Indonesian music scene, archival research, and content analysis of relevant documents. By adopting this methodological framework, the study aims to unravel the underlying patterns, challenges, and opportunities that have marked the course of contemporary and experimental music in Indonesia. The results of this research contribute to the existing body of knowledge in music studies by shedding light on the dynamic interactions between artistic expression, cultural identity, and governmental interventions. Furthermore, the study identifies key trends and emerging paradigms, providing valuable insights for scholars, practitioners, and policymakers involved in promoting and preserving Indonesia's musical heritage. In conclusion, this study offers a nuanced understanding of the direction of development in Indonesian contemporary and experimental music in the millennium era. By bridging the domains of social science and the arts, it seeks to contribute to a more profound appreciation of the intricate dynamics that shape the cultural landscape of Indonesia, fostering a conducive environment for the continued flourishing of its diverse musical expressions.

Traditional music heritage in college piano teaching combined with time series modelling

Abstract This paper uses the ARIMA model in time series and the BLSTM sentiment classification algorithm in sentiment analysis to predict the elements and the direction of traditional music heritage. Differential processing of non-smooth series data stabilizes the time series data of traditional music inheritance. By extracting all the features contained in the sheet music, the interpreted sheet music is subjected to sentiment analysis to further analyze the inheritable elements of traditional music. The results show that the time series model has high accuracy in predicting the inheritable elements of traditional music, the MAPE value of the ARIMA model is 5.9658308, and the melody, as well as the structure of traditional music, can be integrated into piano teaching in colleges and universities to a certain extent, with the integration degree of the melody being 0.72 and the integration degree of the structure is 0.655.

Demystifying Knowledge on Music Transmission, Creation, and Succession Among the Indigenous Semai of Malaysia

The Semai are a group of indigenous minorities, collectively known as the Orang Asli of Peninsular Malaysia. They are well-known for their dream songs or jenulak that is taught by gunik (spirit guide) to halak (shaman). The knowledge of how jenulak is transmitted, created, and succeeded becomes important today when researchers collaborate with culture bearers to sustain their musical heritage. This knowledge is integral to the sustainability of Semai musical heritage, indigenous concepts, and values. This article examines (1) how jenulak is transmitted from one generation to the next generation; (2) how Semai musicians create music; and (3) who can succeed as the next generation of Semai musicians. It utilises the revisiting ethnography methodology in which the researcher re-examines case studies through data from past transcribed fieldnotes and interviews with Semai musicians over a span of 10 years. In this article, I argue that the learning of jenulak is not limited to the transmission from gunik to halak—it can be learned by anyone who has strong interest in the music. Second, Semai musicians do create new jenulak devoid of supernatural transmission after learning to sing those with spiritual origins. Third, the potential for being a Semai musician, creator, and successor is “achieved” rather than “ascribed”.

Genre and style constants of B. M. Lyatoshynsky’s choral cycle “From the Past”

Statement of the problem. The creative discoveries by B. M. Lyatoshynsky in choral music sphere played a significant role not only in forming the unique, deeply original musical language of the composer, but also in the further development of Ukrainian choral art. His a cappella choral opuses for a mixed choir based on lyrics by Ukrainian and foreign poets are very revealing in the aspect of innovative searches in the musical art of the 20th century. Recent research and publications. In the musicological literature, Lyatoshynsky’s choral works are considered quite thoroughly in the works of some researchers: I. Liashenko (1991), I. Hulesko (1994), O. Torba (2002), M. Novakovych (2012). A. Lashchenko (2013), O. Kozarenko (2015), V. Moisiiuk & V. Shkoba (2022). In general, the analysis of recent studies showed that the main attention is focused on the verbal-musical contexts and figurative poetics. Among the less studied aspects of Lyatoshynsky’s musical heritage, the issue of studying genre and stylistic features of his a cappella choral music is particularly acute, including the choral cycle “From the Past”, which determine the relevance of the presented article. Objectives, methods and novelty of the research. The purpose of the article is to identify the genre and style parameters of Lyatoshynsky’s choral cycle “From the Past”. For the first time in domestic musicology, the artistic and stylistic features of Lyatoshynsky’s choral cycle “From the Past” were analyzed in the aspect of dialogue between traditions and innovation. A set of general scientific and particular musicological approaches to the phenomenon under consideration was used to reveal the content of the declared topic. Conclusion. The analysis of Lyatoshynsky’s choral cycle “From the Past” allows us to draw conclusion about the innovative nature of this work, which became an “encyclopedia” of new genre and style guidelines in the context of musical culture of the 20th century. We noted that a characteristic attribute of the cycle is a dialogue aimed at understanding and combining different musical styles. In the choral opus, an organic connection is felt both with tradition and with the trends of musical art of the 20th century. When analyzing the choral cycle, it was proved that it is a vivid example of an organic combination of “old” and “new” music. The dialogue of cultural eras is realizing due to such main parameters as polymelodism and polyphonicity. The mentioned features embody the idea of genre-style synthesis in Lyatoshynsky’s compositions connected with such a cultural phenomenon as dialogue.

Ethnic music heritage in college piano teaching based on adaptive differential evolutionary algorithm

Abstract This paper uses an adaptive differential evolution algorithm to handle multiple conflicting optimization objectives by randomly generating uniformly distributed values corresponding to the upper and lower bounds so that the variance vectors are crossed over. A diversity metric measures the degree of uniformity of distribution between solutions, using a pre-given interval of static variables and introducing a special differential mutation pattern for iteration. The highest value of the adaptive differential evolution algorithm piano performance time was 13.5 s, and the highest value of the teaching quality situation was 0.864. With the adaptive differential evolution algorithm, the piano teaching content can be enhanced, students' interest in folk music can be nurtured, and folk music can be inherited and promoted.

Historical Development in Education and Cultural Literacy of Chinese Tujia Working Songs in Chongqing

Chinese Tujia folk songs, deeply rooted in the cultural heritage of the Tujia ethnic group, serve as a living repository of history, values, and traditions. The primary objective of this study is to investigate the historical development of education and cultural literacy in Chinese Tujia working songs in Chongqing. The comprehensive literature review provides insights into the history of the Tujia ethnic group, their musical heritage, and contemporary challenges to preserving their cultural traditions. The research site includes Youyang Tujia and Miao Autonomous County, Shizhu Tujia Autonomous County, Pengshui Tujia, and Miao Autonomous County, and Qianjiang District. Key informants, including accomplished artists, academic researchers, and local experts, share their invaluable insights related to the preservation and performance of Tujia folk songs. By using the principles of music aesthetics, music ethnology, and ancient Chinese music history. The result of this study underscores the critical importance of preserving intangible cultural heritage, especially in the context of today’s rapid modernization and globalization. They highlight those traditional folk songs, like Chinese Tujia working songs, hold immense cultural and historical value. The study also provides actionable recommendations for ensuring the continued vitality of these culturally rich songs. These suggestions can guide efforts to integrate Tujia folk songs into educational curricula, support local musicians and artists, and promote cultural events.

Enhancing Education and Literacy through the Transmission of Tibetan Folk Music Performing Art in Qinghai Province, China

This study aims to propose guidance for the transmission of Qinghai folk music to the new generation, within the context of education and literacy studies. The sample group for this study consisted of three distinct groups of individuals chosen as key informants for the field research. These groups consist of two informants who are Music and Dance Artists, two informants who are performance artists and general informants. Based on the research, the following strategies are recommended for the transmission of Qinghai folk music to the new generation: utilizing the family institution, organizing social activities, creating a folk music curriculum, organizing international music festivals, and establishing a cultural center. These strategies aim to preserve and promote Qinghai folk music heritage and enrich education and literacy by incorporating cultural traditions into educational practices. This research contributes to the field of education and literacy studies by showcasing novel methodologies and creative applications of theories in transmitting cultural heritage through folk music. By emphasizing the importance of cultural transmission, this study emphasizes the transformative power of Tibetan folk music in fostering educational development, literacy skills, cultural awareness, and artistic expression.

Qualitative analysis of the transmission and preservation strategies for Qin'an Xiaoqu folk music in Gansu, China

This qualitative analysis aims to investigate the current state of transmission and conservation of Qin'an Xiaoqu folk music in Gansu, China. The research adopts a comprehensive approach, combining qualitative research techniques, fieldwork, literature analysis, and interviews. Key informants, including musicians, folk artists, cultural experts, and residents, contribute their knowledge and experiences related to Qin'an Xiaoqu. Ethnographic observations, participant observations, and in-depth interviews provide firsthand insights into the musical characteristics, historical significance, and cultural relevance of this tradition. The results underscore the historical, cultural, and spiritual importance of Qin'an Xiaoqu, reflecting the essence of the Chinese nation. However, challenges such as weak awareness, funding constraints, lack of successors, and changing cultural environment threaten its continuity. The research proposes strategies such as cultivating professional archivists, enhancing education transmission, and supporting musicians to preserve and transmit this musical heritage effectively. By recognizing its significance and implementing robust conservation strategies, this cherished musical legacy can endure for future generations, reinforcing the enduring spirit of Chinese culture.

Archiving Indigenous Igbo Musical Heritage in Human Memories: Sustainability Challenges and Digital Transfer as Strategy for Future Recovery of Extinct Musical Forms

Abstract: Archiving processes reveal multiple perspectives in physical, digital, and human memories. Africa has cultural archiving that relies on ‘virtual’ repositories in individual memories of people through practice. This is widespread among the Igbo of Nigeria. Threats to such ‘virtual’ archives, arising from deaths, memory loss from aging, as well as urbanisation, call for attention to the fast-eroding data content. This article discusses the nature, significance, and challenges of human memory as archival repositories in the sustaining of musical and cultural heritage practices in Igbo land. We argue for the retrieval, recording, and transfer to digital media of vital indigenous musical data as a support system to individual memory to stem extinction. This discourse draws from postcolonial notions and positions, fieldwork, and personal experiences of the authors to advance a dual system in which performance process as an archival method that depends on individual memories of practitioners is combined with digital transfer as a mechanism for safeguarding the musical heritage of the Igbo due to the perceived increasing abandonments of indigenous musical performances by the younger generation. The idea is to have a recovery and repatriation mechanism for musical material that may go extinct. Abstract: Les processus d’archivage révèlent de multiples perspectives dans les mémoires physiques, numériques et humaines. En Afrique, l’archivage culturel repose sur les dépôts “virtuels” que constituent les mémoires individuelles des individus par le biais de leur pratique. Ce phénomène est très répandu chez les Igbo du Nigeria. Les menaces qui pèsent sur ces archives “virtuelles”, dues aux décès, à la perte de mémoire liée au vieillissement, ainsi qu’à l’urbanisation, exigent que l’on s’intéresse à la rapide érosion des contenus de ces données. Cet article traite de la nature, de l’importance et des défis posés par la mémoire humaine en tant que dépôt d’archives pour la préservation des pratiques musicales et du patrimoine culturel dans le pays Igbo. Nous défendons la récupération, l’enregistrement et le transfert sur support numérique des données musicales indigènes vitales en tant que système de soutien à la mémoire individuelle pour éviter son extinction. Ce discours prend appui sur les concepts et les positions postcoloniales, le travail de terrain et les expériences personnelles des auteurs pour promouvoir un double système dans lequel le processus de performance comme méthode d’archivage dépendant des souvenirs individuels des exécutants est combiné avec le transfert numérique en tant que mécanisme de sauvegarde du patrimoine musical des Igbo face à la constatation de l’abandon croissant des pratiques musicales indigènes par la jeune génération. L’idée est de disposer d’un dispositif de récupération et de restitution du matériel musical susceptible de disparaître. Abstract: Archivierungsprozesse eröffnen vielfältige Perspektiven auf physische, digitale und menschliche Erinnerungen. Afrika verfügt über eine kulturelle Archivierung, die auf „virtuellen“ Aufbewahrungsorten in der individuellen Erinnerung von Menschen mittels Ausübung beruht. Diese Praxis ist unter den Igbo in Nigeria weit verbreitet. Die Bedrohung für derartige „virtuelle“ Archive durch Todesfälle, altersbedingten Gedächtnisverlust sowie Urbanisierung richtet die Aufmerksamkeit auf den schnell verschwindenden Informationsbestand. In diesem Artikel werden Natur, Bedeutung und Herausforderung der menschlichen Erinnerung als Archivspeicher für die Erhaltung der musikalischen und kulturellen Überlieferungspraxis im Igbo-Land erörtert. Um dem Verlust Einhalt zu gebieten, plädieren wir für die Ermittlung, das Aufzeichnen und das Übertragen wichtiger indigener Musikinformationen auf digitale Speichermedien zur Unterstützung der individuellen Erinnerung. Dieser Diskurs stützt sich auf postkoloniale Vorstellungen und Positionen sowie auf Feldforschung und persönliche Erfahrungen der Autoren. Damit soll ein duales System vorangebracht werden, in dem der auf individuellen Erinnerungen der Praktizierenden basierende Aufführungsprozess als Archivierungsmethode kombiniert wird mit der digitalen Übertragung zur Sicherung des musikalischen Erbes der Igbo, um der empfundenen zunehmenden Abkehr der jüngeren Generation von indigenen Musikdarbietungen zu begegnen. Die Idee besteht darin, einen Wiederherstellungs- und Rückführungsmechanismus für Musik zu schaffen, der möglicherweise sonst die Auslöschung droht.

Milestones of Establishment and Ways to Save the Audio Archive of the Art Studies Institute of the Republic of Uzbekistan Sciences Academy

The global movement for the preservation, study and dissemination of Cultural Heritage is directly connected with the cultural policy of the Republic of Uzbekistan, which is confirmed by a number of relevant state documents. The fixation and study of traditional music as the basic value of the Uzbek people are closely connected with the activities of the Art Studies Institute of the Republic of Uzbekistan Sciences Academy. The purpose of this article is to provide information about the Audio Archive (Phonoteka) of this Institute, historical milestones of its creation, ways of its preservation and further use. In accordance with the specified purpose, the selected object is considered in the historical and chronological aspect. The period of formation of the two main collections of the Audio Archive is consistently covered – phonographic (1930–1940) and tape recorder (late 1940s–1990). The significance of the Audio Archive as а unique object of historical and cultural memory and an important scientific and educational source was revealed. The former ways of its preservation and introduction into science and practice are discussed. Information is provided on the implementation of the project in 2015, within the framework of which a set of 8 CDs with 69 of the most representative examples of genres and forms of Uzbek music from a collection of tape recordings was created. A brief description of the content of discs was given, and the significance of the project, which became the first step in popularizing the Institute’s archival records in digital format, was indicated. The tasks of preserving and further using the Audio Archive fund in the near future are outlined: digitization of the entire audio fund, compilation of a digital catalog and databases. This article includes historical facts about the formation of the Audio Archive of the Art Studies Institute of and to a certain extent summarizes its materials. Its practical significance lies in the dissemination of information about this audio archive, attracting the attention of the scientific community and a wide audience to the Uzbek musical heritage. The interest of specialists in the project of complete digitization of the Audio Archive dictates the need for further study of this unique object.

Genre Classification and the Current State of Turkmen Musical Folklore

The aim of the article is to characterise the existing classification systems of Turkmen musical folklore, as well as to outline new ways of studying folklore genres to determine their typological characteristics. Results. Turkmen music is part of a single common Turkic culture, and its musical folklore is distinguished by a variety of genres and forms. Having studied the currently available systems for classifying the musical folklore genres, the author suggests classifying Turkmen folk songs not only based on their functional features but also by grouping them by timbre and methods of sound production. Scientific novelty. The study of folklore heritage allows us to penetrate into the deep layers of the artistic consciousness of the people and identify the features of their spiritual life. The issues of studying the musical heritage of the Turkic peoples are the focus of attention of many researchers, who agree that the formation of folk genres of Turkmen music, as well as the entire Turkic culture, is based on the life cycle, with its gradation by age (children, adolescents, adults), whose attitude reflects the corresponding genres of musical folklore. Conclusions. In the modern space, it is almost impossible to find examples of genuine folklore in its purest form. The change in the forms of human life, social formations, the development of professional arts, the departure from applied functions, and the oral method of transmitting traditions — all this led to the inevitable modification and disappearance of many genres of folklore. In such a situation, the study of folklore and the search for its origins become an important task for contemporary folklore studies. The multi-layered expressive means of folklore heritage requires an integrated approach to its study, taking into account the analysis of timbre and intonation, words and rhythm, melody and general compositional structure, as well as the technique of performing folk art samples.

Enhancing the Interest of Colleges of Education Students in Ghana in Music Theory: Strategies and Recommendation

This article examines strategies to enhance the interest of College of Education students in music theory in Ghana. Music theory education is vital for fostering students' understanding of musical concepts, critical thinking, and creativity. However, factors such as prior musical experiences, teaching methods, curriculum design, and cultural influences can influence students' engagement with music theory. To address this, a qualitative study was conducted to identify effective strategies. The findings underscore the significance of prior musical experiences and the importance of creating a supportive learning environment that embraces students' diverse musical backgrounds and interests. Active learning, technology integration, peer collaboration, and performance-based assessments emerged as effective approaches to motivate students in music theory. The study recommends providing teacher training in active learning and culturally responsive pedagogies, revising curricula to include diverse musical genres and practical applications, fostering collaborations with community organizations to expand students' musical experiences, and launching awareness campaigns to highlight the benefits of music theory education. Implementing these strategies requires collaboration among educational institutions, policymakers, music educators, and the wider community. By nurturing student interest in music theory, Colleges of Education in Ghana can cultivate a generation of music enthusiasts, educators, and advocates, contributing to the preservation and development of Ghana's rich musical heritage.

Processing of Ancient Taoist Songs by Chinese Composers of the XX – Early XXI Century

The purpose of the research is to find the most significant references of modern Chinese composers to the processing of ancient Taoist songs in the context of modern genre features and stylistics. Research methodology. The realisation of the goal required the use of the following set of methods: source-research method – to identify examples of modern composers’ arrangements of ancient Taoist songs as a little-known heritage of China’s musical past. Musicologist method was used to analyse the identified works of modern composers and characterise their stylistic and genre features. Retrospective method helped to specify the phenomena and facts of the past; cultural studies – to comprehend the dynamics of general cultural processes in the musical art of China. The scientific novelty lies in the first musicological analysis of the arrangements of ancient Taoist songs by contemporary Chinese composers as a phenomenon of Chinese culture; in the selection of the most exemplary works among the discovered samples; in determining the genre and stylistic features of these works in the context of Chinese composers' study of Western experience and implementation of its achievements in their national creativity. Conclusions. The study of arrangements of ancient Taoist songs proved to be important for comprehending the possibilities of using the means of modern stylistics and thus bringing them closer to the listener. It is determined that in this work, Chinese composers could not do without studying the Western experience and implementing its achievements in national creativity. The article traces the measures taken to draw attention to China's very ancient and unexplored musical heritage: raising the problem of urgent search for Taoist musical artefacts, establishing scientific laboratories, organising their work on systematising, deciphering and cataloguing the found samples, organising musicological research, holding seminars and conferences. It was found that there are very few studies of these unique examples of the past. Key words: ancient Taoist song, Chinese composers, arrangement, style, genre.

The Exoticism of Olivier Messiaen

"In the final decades of the 19th century and in the 20th century, exoticism and orientalism contributed greatly to the evolution and innovation of Western music composition. Using the rules and techniques of Western music, composers incorporated in their works elements pertaining to or inspired by foreign cultures and their music. The current study continues the investigations brought to attention by the authors in their previous articles: it desires to reveal and analyze the way exoticism and orientalism influenced the creation of various composers, pointing to those aspects that represented innovation brought about by the contact with the music and culture of other cultures than the Western world. The musical language of Messiaen is deeply rooted in the universal musical heritage, comprising elements belonging to the music of the Ancient Greeks, the Orient, Africa, or Europe. The present paper presents and offers examples regarding the way rhythm and melody are organized and employed by Messiaen using means that are inspired by Hindu music: the correspondence between the deçî-tâlas (Hindu rhythms) and Messiaen’s use of rhythm, as well as the similarities between the Hindu rāga and the modes of limited transposition. Apart from the Hindu influences on rhythm and melody, Messiaen was also inspired by the Japanese Gagaku, its instruments, and relation between harmony and melody, as well as Indonesian music (Balinese and Javanese), both having an important influence on the way the composer perceives and creates timbre. But apart from striving to create new means of musical expression using exotic elements, Messiaen desired to unveil certain spiritual and theological truths, mirrored in his music and the construction of his musical discourse. Keywords: exoticism, Hindu, Japanese, Bali, Messiaen"

Negotiating Minority Identities in Europe Through Cultural Preservation: Music as Heritage among the Dutch Hindustani Diaspora in the Netherlands

ABSTRACT Twice-migrant and descended from the colonial labour diaspora, the Dutch Hindustanis in the Netherlands are one of the most assimilated, socially integrated and upwardly mobile minority diaspora groups in the Netherlands. The group also remains the repository of the early vestiges of Hindi film music as well as traditional music from the Northern Indian plains, thereby making it a fascinating case study for cultural preservation. This paper undertakes to take a close look at the modes and methods employed by the Dutch Hindustanis to preserve their musical heritage and argues that it has emerged as one of the primary nodes of diasporic identity formation for the group.

Preserving Folk Music in Community Cultural Events as a Method of Preserving Traditional Heritage: A Case Study of the Ta Oi Ethnic Group in Thua Thien-Hue Province, Vietnam

The Ta Oi people in Thua Thien-Hue province continue to preserve and promote numerous unique indigenous music genres. However, these invaluable cultural heritages are at risk of vanishing from their cultural life in the future if there is no comprehensive and scientifically backed protection policy in place. My first-hand fieldwork and surveys have demonstrated that folk music is integral to the Ta Oi people’s way of life, being practiced at every stage of their lives, in significant cultural events within the community, and during religious rituals. Music serves as a distinct language, fostering connections among individuals, between people, and between people and spirits within specific cultural spaces, thereby forming a remarkably distinctive cultural mosaic among the Ta Oi people. Utilizing qualitative research methods, this study focuses on conducting in-depth interviews with skilled local artisans and participating in folk music performances within the Ta Oi community. The findings of the study reveal that significant community events play a crucial role in the practice, preservation, and maintenance of the Ta Oi people’s traditional musical culture. The study asserts that preserving folk music within the cultural life of the community serves as the most effective approach to safeguarding the indigenous folk art of each distinct community. This progression would enable the maintenance of the musical heritage of each ethnic group within contemporary society. Such endeavors necessitate support from the government, researchers, and local authorities.

The history and activities of the Center for Writing Heritage of the Institute of Language, Literature and Arts after Galimzhan Ibrahimov of the Academy of Sciences of the Republic of Tatarstan

The purpose of the staff of the Institute of Language, Literature and Arts after Galimzhan Ibrahimov of the Academy of Sciences of the Republic of Tatarstan (IYALI) is to preserve and develop the Kazan Tatar people (Tatars) language, literature, art in the context of globalization. One of the necessary conditions for the implementation of this purpose is the preservation of the spiritual cultural heritage. To this end, the IYALI since the 1940s work is underway to collect, preserve and study the written and musical heritage of the Tatars, which since 2007 has been continued by an independent unit, which later received the status of the Center for Written and Musical Heritage named as “Miraskhena” (Center for Written Heritage). Over the next 30 years, scientists of the IYALI collected numerous materials as letters, documents, manuscripts, and photographs of famous figures of Tatar literature, samples of Tatar folklore, manuscripts, and monuments of the old Tatar press. In the article, following an overview of the structure of the IYALI attention is paid to how the Center for Written Heritage was established, how and in which directions its work is carried out, how the funds and collection are replenished. This work can serve as an experience of how the identity of the people is preserved.

“The Power of Harmony” by Eusebius Mandyczewski as an example of the composer’s early cantata work

Statement of the problem. The artistic work of the Bukovynian composer and musicologist of the second half of the 19th – the first quarter of the 20th century Eusebius Mandyczewski plays an important role in the formation and development of the composer school of Bukovyna. The study of the cantata “The Power of Harmony” – one of Mandyczewski’s early works – is important, because it allows us to reveal the fundamentals, which contributed to his future artistic growth. Objectives, methods, and novelty of the research. The purpose of the study is a musicological analysis of the cantata “The Power of Harmony” by E. Mandyczewski and identification the characteristic features of the composer’s creative thinking. Such detailed analysis of the work revealing the characteristic features of the artistic style of the Bukovynian composer is the innovative component of the research. A set of methods that are important for identifying the features of a composer’s musical work was used: biographical, historical and cultural, method of musicological analysis, method of theoretical generalization. Results and conclusion. The artistic heritage of E. Mandyczewski is quite large, it covers various genres of musical work, but the most important one is the cantata genre. The study of the cantata “The Power of Harmony” revealed a number of features of the work and the stylistic foundations of the composer’s future mature work. The author demonstrated the skill of creating monumental genres and the ability to perform complex artistic tasks in a short period of time. We observe clear dramaturgy of the cantata, which is aimed at embodying the main idea of the work – an allegorical comparison of the harmony of the world, which grew out of chaos, with the formation of the musical culture of the Bukovynian region. This work reveals the composer’s romantic worldview, knowledge of the musical heritage of Western Europe, the style of foreign composers, and mastery of traditional writing techniques. E. Mandyczewski demonstrated the ability to operate a large group of performers, skillfully using the timbre of vocal voices and musical instruments. The expressiveness of the vocal melody is combined with the improvisation and virtuosity of individual instruments, in particular the violin, which is characteristic of the local performance tradition. High level of professionalism of the composer his mastery of the polyphonic writing technique attests: the use of polyphonic methods and forms, in particular the choral fugue, the use of timbre polyphony, etc. In the cantata “The Power of Harmony”, E. Mandyczewski, despite his young age, showed talent and professional mastery of instrumentation, harmony and counterpoint, as well as knowledge of the nature of the human voice. This early composer’s cantata was a great success during the first performance that gave the composer an impetus for future achievements.