Musical Material Research Articles

Polyphony in Vadim Salmanov's a cappella choral work

The author examines in detail the revival of ancient choral genres and forms that corresponded to the aesthetic trend in the Russian musical culture of the second half of the twentieth century. The subject of the study is the stylistic features of Vadim Salmanov's polyphonic writing. The object of the research is the choral heritage of V. Salmanov's a cappella from the point of view of integrating new compositional techniques and polyphony. Special attention is paid to polyphonic techniques in the concert for the a cappella choir "Lebedushka". The author examines in detail the dramaturgy and architectonics of the choral concert "Lebedushka", as well as such aspects of the topic as: polyphonic methods, including imitation polyphony and heterophony, writing techniques of the twentieth century (sonorica, aleatorica). V. Salmanov's works clearly demonstrate that the genre of choral concert occupies one of the main places in the history of Russian choral creativity a cappella. It is proved that in the genre hierarchy, it is the choral concert that plays the leading role in terms of the number of artistic discoveries. The research methodology is based on the analysis of historical materials, a wide range of works by Russian musicologists concerning the history and theory of musical genres, polyphonic writing techniques and performing practice. Through the synthesis of research methods, including musicology and choral studies, the parameters of musical composition are revealed. The main conclusions of the conducted research are the paradigm of artistic connections of traditional polyphonic techniques with modern means of compositional writing. The novelty of the research lies in the fact that for the first time polyphonic techniques in modern choral composition are analyzed from the standpoint of musicology and choral studies. A special contribution of the author to the disclosure of the topic is the study of V. Salmanov's choral concert "Lebedushka", which had not previously been the object of special research from the point of view of polyphony. In this work, the presentation of musical material itself, as well as polyphonic methods of working with it, are conducted under the auspices of the search for a new sound characteristic of modern music. Attention is focused on the need to study the issues related to the role of polyphony in modern choral composition, due not only to the general artistic and historical potential of choral culture as a whole, but especially its great importance in modern musical art.

CREATION OF UKRAINIAN SONG MAKING IN CREATIVITY UKRAINIAN-POLISH COMPOSITORS PODILLYA OF THE XIX CENTURY (BASED ON THE CREATION OF ANTON KOTSYPINSKY, VICTOR ZENTARSKI AND VLADISLAV ZAREMBA)

The rich song heritage of the Ukrainian people, representing the spiritual treasures of the nation in the world cultural space, had a significant impact on the development of musical culture of the XIX century and the formation of leading music genres in Ukrainian music. The article explores the genre of processing Ukrainian folk songs in the works of Ukrainian composers of Polish origin of the XIX century Anton Kotsipinsky, Victor Zentarsky and Vladуslav Zaremba. The significance of the Ukrainian song as an important source in the formation of the creative heritage of the composers of Podillуa is considered, the main features of piano writing are described on the example of the processing of Ukrainian songs. So, a significant number of piano compositions by Ukrainian composers of Polish origin related to folklore indicate the depth of interest in folk song and dance sources, their relevance in the artistic worldview of artists and the shaping of interethnic relations in the art of this historical era. Special attention in the study is focused on the active composer transformation of Ukrainian song material in the genre of piano processing in the creations of composer and teacher of Polish descent Vladуslav Zaremba (1833–1902), who was born in Dunaevtsі, Podillya province. The piano heritage of Vladyslav Zaremba has its source almost exclusively in Ukrainian folk song, on the basis of which the national tradition of the folk song processing genre was formed. 18 creations by V. I. Zarembas are joined under a common name “Ukrainski melodii” are marked by lyricism and bright melody. The genre palette of folk songs addressed by Vladyslav Zaremba consists of: family and household – “V kintsi hrebli shumliat verby”, “Chy ya v luzi ne kalyna bula”, “Kozak vidizhdzhaie, divchynonka plache”; lirycal – “Oi ziidy, ziidy ty zironka ta vechirniaia”, “Sontse nyzenko, vechir blyzenko”; as well as cossack – “Hei-zhe vy khloptsi, slavni molodtsi”, burlatska – “Zibralysia vsi burlaky”. A separate group of piano works is composed of songs of literary origin: “Povii vitre na Vkrainu” (lyrics by S. Rudansky, music by L. Alexandrova), “Reve ta stohne Dnipr shyrokyi” (lyrics by T. Shevchenko, music by D. Kryzhanovsky), “Cherevykiv nemaie, a muzyka hraie, hraie, zhaliu zavdaie!” (lyrics by T. Shevchenko), “Stoit hora vysokaia” (lyrics by L. Glibova), “De hrim za horamy” (lyrics by M. Petrenko), belonging to the genre of the song romances. Featured piano works by V. Zaremba have the author’s designation for belonging to the “Dumky” genre. Among them – “Sontse nyzenko”, “Oi ziidy, ziidy ty zironka ta vechirniaia”, “Chy ya v luzi ne kalyna bula” and original piano works – “Dumka”, “Chant d'Ukraine” (“Pisnespiv z Ukrainy”). The fact that the Dumka genre spread in the estates of the Polish aristocracy and among Polish philistines since the 1820’s confirms the particular popularity of V. Zaremba’s piano works in domestic home and parlor music and emphasizes the manifestation of the romantic style of this era. Most of the composer’s treatments are presented in a coupled-variation form. The article outlines the leading role of Ukrainian song as an important source in the building of the composer’s piano heritage, analyzes the main techniques and varieties of the variational development of the main thematic material, traces the connection with folk and professional manners of musical material presentation, and also considers the features of the musical form, harmony and texture of piano treatments by Vladyslav Zaremba.

Research on the application of digital music in mental health education in colleges and universities

Abstract The interdisciplinary study of mental health education and digital music in colleges and universities is an indispensable part of China’s education discipline system. To solve the current problems of mental health education in colleges and universities, this paper analyzes the promotion role of digital music and the development of mental health in colleges and universities. The hierarchical analysis method is used to build a mental health assessment index system in colleges and universities. Using the VPMCD method, based on the intrinsic relationship between different index characteristics, a digital music-based psychological health assessment model for colleges and universities is established to assess the psychological health problems of college students. According to the psychological assessment results, the listening psychological intervention method is used to psychologically intervene with students. And by calculating the main melody of digital music materials, the type of music intervention materials used was determined. Experimental results: The listening psychological intervention method successfully led to the slow recovery of students with severe and moderate mental health problems and the complete recovery of students with mild psychological problems. 11 students (9.2% of the total) were completely cured of their psychological problems among the freshmen students in college A. The number of students who reduced their psychological problems was 86, accounting for 81.1% of the total. 26 students, accounting for 32.3% of the total, were completely cured of their psychological problems in their sophomore year at College A. The number of students who reduced their psychological problems was 56, accounting for 51.3% of the total. It proves that: digital music plays a supplementary role in college mental health education and proposes a new way of implementation for college mental health education. It promotes the diversified development of mental health education in colleges and universities as well as the cultivation of positive psychological qualities of college students and guides them to grow up positively and healthily.

Pelaksanaan Pembelajaran Seni Budaya (Musik) di Kelas VIII.2 SMPN 3 Sungai Geringging

The purpose of this study was to describe the implementation of learning arts and culture (music) in class VIII.2 at SMP Negeri 3 Sungai Geringging. Researchers used qualitative research that is descriptive. The main instrument in this study was the researcher himself observing the learning process for class VIII.2 on the subject matter of music at SMP Negeri 3 Sungai Geringging. The type of data used is primary and secondary data. Data collection techniques were carried out by means of literature study, observation, interviews, and documentation. The steps to analyze the data are data collection, data reduction, data presentation, and drawing conclusions. The results of the study concluded that the process of implementing art and culture learning for music material in class VIII.2 had not gone well. This is because there are obstacles in which there are no learning media, and there is no infrastructure for musical instruments, as well as practice rooms so the teacher does not teach in accordance with the existing syllabus and lesson plan (RPP). Learning the art of music in class VIII.2 is one of them only fulfilling the core competency indicators in the syllabus, namely "understanding" traditional musical instrument material. Then the problems that occur in the class are the visible attitudes of students when participating in learning the art of music, students look bored and bored participating in learning traditional musical instruments, then there are some students who are seen often having permission to go in and out of class, chatting with their peers, ignoring the material provided teachers, so that they do not respond well to learning. Based on the results that have been concluded by researchers, students feel bored, experience boredom, and do not respond well to the material taught by the teacher, because learning the art of music is mostly done in theory only, while practice is never carried out and taught to students because there is no infrastructure. -musical instruments available, and a room for practicing musical art. In the teaching and learning process, there is no learning media available, then the methods taught by the teacher do not vary, the teacher more often uses the lecture and question and answer method only. So that in reality the learning objectives that must be achieved in the teaching materials owned by the teacher have not been achieved optimally.

Interluding: Identifying practice methods for classical improvisation on the Violin

How can a classical performing violinist develop a practice method which serves for expanding their active musical vocabulary and applying it in an improvised interlude during a concert? The objective of this research is to explore practice methods which helps one create improvisations inserted in between composed pieces of a concert programme. The main goal is to create a common thread in a program with an otherwise varied repertoire. This research identifies and compares the practice methods that can be used to achieve this goal. The methodology is based on the study of academic and educational sources, autoethnography, experiments in the form of performances, a questionnaire for the audience, interviews with experts and recording of work in the practice room. The improvisation played in between two compositions is called an interlude and the act of playing such an improvisation, interluding. These interludes contain musical material of both the previous and the next piece, thus creating seamless transitions, a bridge between characters and/or a dialogue between the pieces. First, the historical importance of preluding and interluding is discussed, followed by a collection of improvisation exercises based on an existing composition with audio examples. These exercises serve to expand an active musical vocabulary inspired by the chosen pieces. The interludes can be built using different structures with this newly acquired vocabulary. To present and discuss the results, recordings of performances are included. Finally the limits of this format of strictly recycling (thematic) material are discussed, bringing to the surface other ways to use the concept of interluding.

About new stage genres in the music of the second half XX century

New musical and theatrical genres that demonstrate post-non-classical musical thinking are considered. The most common are happening, performance and instrumental theater. Genres are considered differently by V. Petrov, M. Pereverzeva, Yu. Gnirenko and M. Katunyan, but, however, without disclosing their ontology and logical basis. The main distinguishing features of the new stage forms are the openness of the structure, the creative function of the performers and temporal unlimitedness, which indicates the rhizome and rhizome thinking of the composers. It is proposed to consider the new musical and theatrical realities as non-linear, in particular dissipative, based on a non-linear type of determinism – self-determinism. On its basis, a rational construct is established in the form of self-organization (performer), or performing will, which provide the musical material with the quality of integrity. Alternative musical theater is another form of new musical stage genres that have emerged in the post-non-classical era, or in the post-modern era. It is presented by alternative opera and alternative ballet, which establish the aesthetics of consonance, antimimesis and display (instead of experience), as well as the multivariant implementation of the musical and theatrical concept (concert, theater stage, etc.). The works of the American composer D. Cage, the Russian composer V. Martynov, the Belarusian composers V. Kuznetsov, L. Simakovich, A. Korotkina were selected as analytical material.

Pembelajaran Materi Musik Tradisional Minangkabau

This study aims to find out and describe how the implementation of learning traditional Minangkabau music material at UNP Laboratory Development High School. This type of research is qualitative research using descriptive methods. Data collection techniques are carried out through literature studies, interviews, observations, and documentation. Data analysis techniques are collecting data, classifying data, analyzing data, describing data and inferring data. The results showed that the lack of appropriate strategies and learning methods used by teachers. The strategy used by teachers in the learning process is an expository strategy, in the implementation of this expository strategy teachers use textbooks, references and other auxiliary media, but this strategy is not effectively used in learning because not all students are comfortable for learning that is only spoken. The method used in this learning is the lecture method, where learning is delivered by telling stories so as to make students feel bored and sleepy during learning, and it seems that the teacher has not been able to vary the method that is suitable for the implementation of traditional Minangkabau music learning which in fact in the delivery of learning can use several methods for the smooth achievement of the desired learning objectives.

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.

Роль фортепианных циклов современных российских композиторов для детей в развитии музыкального интереса обучающихся китайских музыкальных школ

The aim of the study is to determine the pedagogical potential of works written by modern Russian composers for piano in the process of teaching children at a music school in China. The paper analyses the educational orientation and artistic value of piano works by Russian composers for the effective inclusion of a wealth of musical material created by Romantic composers in the process of teaching young pianists in China. The appropriateness of including works of piano music by contemporary Russian composers for children in the pedagogical repertoire of Chinese music schools is discussed as a working hypothesis. The scientific novelty of the study lies in substantiating the effectiveness of applying the integrated approach, which consists in the unity of the performing and emotional-cognitive aspects of piano skills formation to develop musical interests of students at the Wuhan School of Arts. As a result, it has been proved that the inclusion of piano cycles by modern Russian composers for children in the educational process of a school of music arts is an effective factor in the development of students’ musical interest.

A Fantasy about Sonata Form: Re-Examining Chopin’s Fantasy, Op. 49

Fryderyk Chopin’s Fantasy in F minor, Op. 49 (1841) is considered a pinnacle of the composer’s oeuvre. Invoking the so-called stylus phantasticus, the Fantasy is presumed to betray something of Chopin’s legendary free improvisations, and includes the expected diversity of musical material in different metres, keys and tempi. Yet the work also evinces a quasi-Classical regularity, alluding to several set forms. Strikingly, while commentators such as Halina Goldberg, John Rink and Jeffrey Kallberg have explored hermeneutic, topical and formal ramifications of certain sections of the piece, few scholars have attempted a comprehensive structural analysis of the Fantasy. One exception is Carl Schachter, who parses the Fantasy from a Schenkerian standpoint and proposes a rotational basis for the return of themes. However, Schachter’s interpretation does not fully explain the piece’s reliance upon fifth relations, which seems to have more conservative, Classical origins. In this paper, I explore how Chopin’s Fantasy may be seen to exhibit a stylised sonata allegro form, in which both first and second subjects are split into two parts in different keys. As such, I apply the concept of tonal pairing, championed by such authors as Robert Bailey and Peter Smith, to a seminal work of Chopin, shedding further light on Chopin’s inventive manipulation of Classical sonata form. I will also discuss elements of cyclic form as discussed by Schachter, and devices by which Chopin strengthens or weakens the sense of telos. I conclude that a loose sonata form is the predominant mode of motivic and tonal organisation in Chopin’s Fantasy, Op. 49, and that many of the seeming departures from this form can be accounted for as transitions or instances of teleological genesis.

Synthesis of Music of the West and the East on the Example of a Piece for Dissected Piano “Tien-Shan” by Lilia Rodionova

The article is a composer's commentary on his own work. The piece for the dissected piano «Tien Shan» was created in May 1982, in the city of Frunze, under the impression of the beauty of the mountain landscapes. The thematic basis for the two-part contrasting form was the folk Kyrgyz intonation. The first section is written for the preparation of the piano, the second-for the usual one. The following composition techniques were used: sonoristic, aleatoric, twelve-tone notes, sophisticated jazz harmony, repetitively, technique is a Central element. The work implements a synthesis of music from the West and the East. The first section has more Western influence. The East is shown here in a quasi-folk play and the beginning of the play, where the intonation as2-h2-c1 is used. In the second section, the East is manifested much more deeply — at the level of motivation and ways of developing musical material. Folklore intonations are combined with twelve-tone notes.

Sources of Irmoses’ Canons of Baptism of Jesus and Epiphany of Church Prostopinije by Bokshay-Malynych in 1906

The purpose of the article is to generalise and clarify the sources of the musical texts of irmoses’ canons of the Baptism of Jesus and the Epiphany of Church Prostopinije by Bokshay-Malynych in 1906 through the prism of close relation with the manuscript and printed irmologions of the XVII-XIX centuries. The research methodology is based on a complex system approach combining a critical understanding of literature, source studies, music-analytical, comparative methods in the analysis of musical texts. In the comparative analysis of irmoses of different lists, we use the scientific provisions by O. Tsalai-Yakymenko regarding the formative principles of time dimensional metric in sacral monody. The scientific novelty of the research consists in clarifying the sources of the musical texts of irmoses’ canons of the Baptism of Jesus and the Epiphany of Church Prostopinije by Bokshay-Malynych in 1906, structuring of the musical material, features of changes in the formation of condensed forms of singing liturgical texts. Conclusions. The analysis of irmoses’ musical texts of the Baptism of Jesus and the Epiphany of Prostopinije shows a direct connection with the manuscript and printed irmologions. The main differences in Prostopinije's irmoses are caused due to the orientation of church singers to concise and simplified forms of singing liturgical texts, the use of several typical chants, as a result of which the new intonation formations have taken place. Comparisons of musical texts from various sources demonstrate the peculiarities of the pattern formations, the preservation and renewal of ancient forms of sacral monody in regional church singing practice at the beginning of the 20th century.
 Key words: sacral monody, irmos, Prostopinije, Irmologion, melodic, modal metric, rhythmic, musical text.

The Emergence of the Romanian National School of Composition in the First Half of the Nineteenth Century: Between the Western Canon and the Resources of the Local Music

This article aims to explain the rise of Western art forms in the musical creation of the Romanian Principalities in the first half of the nineteenth century, as dictated by a particular European political and economic dynamic. I analyse the spread of Western music – usually described as a consequence of the gradual modernization of Romanian society – in terms of the power relations between the European core and a newly integrated periphery at the Eastern border of the continent. To illustrate this change, I discuss Edward Said's concept of orientalism which helps describe the early interactions between Western musicians and professionals and the local music traditions and customs. I then show how these interactions gave the former access to a distinctive musical material used in compositions targeting an expanding European music market. In an age of national struggle in the Romanian Principalities, national music was both a concept and a practice in demand by the local intelligentsia and fostered by composers. However, in addition to this agreement, the concept of national music signalled some significant societal changes that I elucidate by looking at class stratification and the evolution of musical taste. In the final part of the analysis, I draw on dependency theory authors such as Samir Amin and Daniel Chirot to argue that musical life in the first half of the nineteenth century in Wallachia and Moldavia was closely mirroring the economic development of these countries. Thus, I demonstrate that the emergence of the Romanian school of composition must be understood not only at a national level but also within a broader political, economic and social context, defined by the gradual transition to capitalist modes of production and consumption that happened in the first decades of the nineteenth century.

Controlled anticipation as a psychological attitude of the pianist-concertmaster (on the example of M. Ravel’s Sonata № 2 for Violin and Piano)

Statement of the problem. Controlled anticipation is a conscious process of fore sighting an upcoming event, preparing for its fulfillment, and taking full control over its course. Extrapolation of this universal model to the professional activity of a pianistconcertmaster allows to schematize the psychological foundations of the performance process. The distinctive feature of Ravel’s Sonata for Violin and Piano in G Major is demonstrating the incompatibility of violin and piano declared by the composer. The main task of the concertmaster is to create an ensemble integrity, within which he should cover the musical material of all the parts of the ensemble. In the context of this Sonata, the pianist resolves a paradoxical contradiction – to combine into a single integrity what is deliberately polarized at the compositional level. This study was based on scientific works in the field of psychology, in particular, the researches of Ukrainian scientists (Batrachenko, 2010; Nikolenko, 2014) and the studies revealing the problems of performing Ravel’s Violin Sonata (Baer, 1992; Kaminsky, 2004; Beavers, 2010, 2016, 2020; Lefèvre, 2013). Objectives, methods, and novelty of the research. The purpose of the study is to highlight the general principle of controlled anticipation and to argue their importance in the work of a pianist-concertmaster. For the first time a theoretical substantiation of anticipation as a controlled psychological process in the field of music is proposed and the research attention is focused on the performance problems of the concertmaster, who is responsible for the unifying function in the ensemble in Ravel’s Sonata in G Major for Violin and Piano. The research methods are determined by attracting the psychological theory, which considered the concept of anticipation; an activity approach aimed at applying theoretical knowledge from the field of psychology in the preparatory work of a pianist-concertmaster, as well as the methods of deduction and induction in their direct interaction were used. Research results and conclusion. Controlled anticipation allows to solve effectively a wide variety of tasks and it is a universal model for working on any kind of music. The specificity of the concertmaster’s activity lies in the fact that he is obliged to embrace the soloist’s part with his consciousness in addition to his own material. It needs to correlate each structural element of the text with the partner’s capabilities. Controlled anticipation as a psychological instruction is aimed at helping both in the rehearsal and concert practice of a pianist-concertmaster. Moreover, in the course of a stage performance, the use of controlled anticipation reduces the problem of excitement to nothing.

Christian Sinding’s piano works: the experience of a post-romantic world perception

Statement of the problem. Christian Sinding is the first composer after Edward Grieg, whose name resonated in wide circles of the musical community not only in Norway, but also in Europe, in particular Germany. His works were widely performed and aroused general interest, being evidence of the high status of national Norwegian music. In Ukraine, the figure of Sinding is little known, and his works are performed very rarely, despite the fact that his heritage, in particular the piano one, deserves attention and study as a vivid expression of the national style in the music of the early and first half of the 20th century. The style of performance of Sinding’s piano works was also not the subject of special research either in the world or in Ukrainian musicology. Recent research and publications. The creative personality of Sinding appears in generalizing studies on the history of Norwegian music (Rowbotham, 1916; Qvamme, 1949; Grinde, 1981; Herresthal, 1987; Holth, 2014), and the composer’s piano heritage is included in the context of the evolution of European piano art (Herresthal, 1987). The figure of Sinding is also highlighted in works in the genre of creative portraits (Altmann, 1936, Gaukstad, 1956) and in biographical studies. These works contain brief descriptions of the musical material of a significant part of the composer’s works. The dissertation of the Norwegian singer and scientist Per Vollestad, dedicated to Sinding’s vocal work, should be considered the most thorough study of his creativity at the moment (Vollestad, 2002). Nevertheless, in the mentioned sources, the piano music of Sinding, in particular, large-scale genres, did not become the subject of a special study, as well as the question of its stylistic attribution in the context of post-romanticism. Objectives, methods, and novelty of the research. The purpose of the study is to present the individual composer style of Sinding as of an experience of post-romantic worldview in the context of the trends of the modernism era based on the performance interpretation of large-scale piano works (Sonata and Concerto). The scientific novelty of the topic is determined by the lack of information about the specifics of Sinding’s piano style and artistic thinking in available scientific sources; in particular, we rely on self-own experience of interpreting Sinding’s selected works. The following methods were used in the study: historically typological that helps to outline the stages of evolution and stylistic trends of European piano art; the genre approach that identifies the established models of instrumental music of the European tradition (sonata, concerto); stylistic one revealing the regularities of the Norwegian artist’s individual way of thinking; and interpretative method that allows to understand of the composer’s embodiment of the sound image of the piano in the light of post-romanticism. Results and conclusion. Sinding’s large-scale piano works, the Concerto (1890s) and Sonata (1909) belong to the post-romantic European tradition. The thematic, functional and compositional analysis of the composer’s text of these works made it possible to reveal the fundamental principles of the author’s thinking, which bases on the synthesis of classical-romantic and national Norwegian musical language. Among the leading principles of piano style should be singled out: – the significance of the melody as the main carrier of the author’s thought, which serves as the foundation of the textural and timbre decoration of the theme-image; – a thematic presentation in octave duplications, which makes the piano texture close to an orchestral sound; – double national-stylistic identity: intonation (melos, mode, rhythm) has national-Norwegian roots; compositional regularities follow the German Romantic tradition; – frequent use of the technique of re-harmonizing motifs and phrases, the great role of polyphonic development (including imitative ones: canonical exposition in the development of the 1st movement of the Sonata); – the concert nature of the piano texture; – the richness of the orchestral accompaniment (in the accompanying part, solo horn and woodwinds as personification of the “voices of nature” should be noted). Thus, the post-romantic thinking of C. Sinding in the conceptual genres of piano music serves as an artistic counterpoint to the European style of the border of the 19–20th centuries, enriching its national component, universalizing and conceptualizing the romantic due to expanding of musical language means.

Music editing in the aspect of interdisciplinary connections (according to pages of foreign studies)

Statement of the problem. Editing of a musical work and editorial activity as such is an integral part of the music-historical process. This is the area of musicological activity that, being at the junction of composer creativity and performing interpretation, can tell a lot: to point out the peculiarities of the genre in a certain historical period, to reveal the level of technical skill of the musicians, the canons of the performance style and sound image of the instrument, to mark figurative and substantive priorities. Since the second half of the 20th century, research on the topic of music editing has been spreading, in which the emphasis is placed on the interdisciplinary connections of musicology and philology (Brett, 1988; Bent, 1994; Grier, 1996; Hammond, 2007). In Ukrainian musicology (Hryschenko, 2015; V. & I. Khodorovski, 2016; Zymohliad, 2016: Pankova, 2013; Ekman, 2018; Zapevalova, 2021 and other), music editing was mostly considered on the materials of piano works through the analysis of the work of musician-editor on a music piece. Objectives, methods, and novelty of the research. However, we note the insufficiency of disclosure of this direction that requires further in-depth study. This determines the relevance and novelty of the article, which include systematized analytical results of research of the second half of the 20th‒beginning of the 21st century on the issues of music editing, in the aspect of connections between musicology and philology. The purpose of the article is to systematize the research materials of a number of foreign authors on the study of the phenomenon of music editing from the standpoint of interdisciplinary connections. The article uses the historical method, which reveals the peculiarities of the origin and formation of the process of music editing and its development as a phenomenon; methods of terminological analysis, generalization and systematization, in connection with the study of the positions of researchers in the disclosure of the above-mentioned problems. Results and conclusion. When developing the idea of interdisciplinary relations – musicology and philology in the field of editing – a Canadian Researcher J. Grier (1996 ) considers the ‘methods of critical assessment’ and ‘composition socialization’ to be the most effective for musicology. The literary term ‘philological monument’ projected by J. Grier onto a musical composition of the past, which consolidated in musical and performing practices on the rights of a canon, is equally important and relevant. In the work by S. L. Hammоnd (2006: 2), which covers the investigation of madrigal vocal art within the context of 15th‒17th century culture, the significant role of the figure of editor is emphasized, which could be played by a performer, a composer, a music teacher, a music publisher or a poet (the translator of the Italian texts). Each of them could complement the original work by their own vision acting as a co author. Consequently, changes and adjustments contributed by the editor were made for the contemporary consumers in order to popularize the musical works. The necessity of musical material distribution, often under the conditions of other cultural traditions, its adaptation to the performance realities of the other period, the pursuit for the interpretation of author’s intentions reflected in the creation of editorial versions directed on socialization of compositions and their further spread.

Pelaksanaan Pembelajaran Seni Budaya Melalui Tatap Muka Terbatas di SMAS Salafiyah Babussalam

This study aims to find out how forms of implementation of cultural arts learning through limited face-to-face meetings and find the best solutions in overcoming problems in new learning methods. This type of research is qualitative research with a case study method. The research instrument is the researcher concerned and with the help supported by supporting instruments which include tools for taking pictures or photos (cameras), file or data storage tools (flash drives), and stationery. The data in this study there are primary data and secondary data. Interviews, literature studies, and observations are activities carried out in data collection techniques. The steps to analyze the data are data reduction, data presentation and conclusion. Based on what was obtained, the research showed that the process of learning arts and culture through limited face-to-face sessions in class XI IPS SMAS Salafiyah Babussalam was quite good. Even though there are limitations in learning media, the teacher teaches music learning material to follow the flow, where the teacher provides music material using a gradual way to adjust the level of a student's capacity to receive material even though the learning time is relatively short. However, there are obstacles that make it difficult to achieve the final results or learning objectives properly due to the lack of learning time, as well as the unavailability of musical instruments to support the practical learning process, so the teacher only uses the lecture method during material delivery. However, learning outcomes are not too bad because students' interest in learning and students' desire to explore the material is very high even though the learning is monotonous, when viewed from the results obtained based on daily test activities which are quite good.

Classification of Interpretation Differences in String Quartets Based on the Origin of Performers

Music Information Retrieval aims at extracting relevant features from music material, while Music Performance Analysis uses these features to perform semi-automated music analysis. Examples of interdisciplinary cooperation are, for example, various classification tasks—from recognizing specific performances, musical structures, and composers to identifying music genres. However, some classification problems have not been addressed yet. In this paper, we focus on classifying string quartet music interpretations based on the origin of performers. Our dataset consists of string quartets from composers A. Dvořák, L. Janáček, and B. Smetana. After transferring timing information from reference recordings to all target recordings, we apply feature selection methods to rank the significance of features. As the main contribution, we show that there are indeed origin-based tempo differences, distinguishable by measure durations, by which performances may be identified. Furthermore, we train a machine learning classifier to predict the performers’ origin. We evaluate three different experimental scenarios and achieve higher classification accuracy compared to the baseline using synchronized measure positions.

PECULIARITIES OF THE USE OF INNOVATIVE TECHNOLOGIES IN THE WORK OF A CONCERTMASTER IN VOCAL AND CHORAL DISCIPLINES IN THE CONDITIONS OF DISTANCE LEARNING

The article outlines the main directions of the accompanist's work and analyzes the features of the use of innovative technologies in distance learning. It is noted that it is advisable to involve software for recording musical material during the rehearsal process for further monitoring. The possibility of using programs that provide the ability to perform video and audio chats and implement the idea of conducting rehearsals online is analysed. Emphasis is placed on software that can be used for group and individual classes: Zoom, Skype, Google Meet, Microsoft Teams. The use of information technologies is extremely useful for a music teacher, accompanist, and will also make professional activities more diverse. The necessity of Internet research is outlined to invent musical examples of interesting interpretive versions and new methods. It is specified that there exists a need to combine the traditional and innovative approach, which is associated with the development of opportunities provided by information technology. Nonetheless, the authors of the article believe that the use of information technology should not replace traditional approaches in the work of a music teacher, accompanist.According to the authors, the use of information technology significantly changes the structure and organization of educational activities and provides endless opportunities for creative ideas of teachers and graduates, changing the role of the latter from a passive listener to an active, creative and independent participant of the process. Finally, we would like to note that the possibility of using information technology by a music teacher, an accompanist is really comprehensive, it contains methods of working with Internet technologies in search of special literature and various methods of using educational video programs.

Images of Chopin in, and through, Japanese Video Games

This article examines the use of Chopin’s music in video games created by Japanese developers. While, as William Gibbons and others have documented, classical music has been used throughout the history of video games, a surprising number of Japanese games have used Chopin’s music. Sometimes this music is presented as a straightforward performance of a piece by Chopin, while others remix, vary or interpolate Chopin’s musical materials in new compositions. Chopin’s music here stages many of the tensions and possibilities found in the video game medium. In that sense, it ‘thematises’ video games. The article focuses on three aspects of Chopin in games. The first is sentimentalism (both in association with death, the supernatural and the morbid, and in association with sexual romance and romanticism more broadly). Secondly, Chopin’s music is associated with virtuosity, intertwining emotion and physicality. Finally, Chopin’s music is used as an agent for postmodern juxtaposition, in the process problematising a divide between art and mass culture. These three trends are interlinked and draw upon longstanding historical images and connotative values in relation to Chopin. The discussion builds on antecedent research concerning Chopin’s reception by Lawrence Kramer, Jim Samson, Charles Rosen and Stephen Downes, critical perspectives on games and/as musical interfaces by David Sudnow and Roger Moseley, and discussions of classical music in popular culture by Andreas Huyssen and Mina Yang. Key case studies include Space Adventure Cobra, Clock Tower 3, Eternal Sonata, Gran Turismo, Pop’n Music, Catherine and a selection of visual novels. Chopin’s music in Japanese games serves as a way to understand the meanings of that music in a modern pop-culture context. Besides that, however, such a study uncovers how the issues central to the discourse of Chopin are manifest and (re)configured in a medium and context of production very far removed from the music’s origins.