National Music Research Articles

FORMATION OF THE MUGHAM SINGING SCHOOL IN AZERBAIJAN (LATE 19TH – FIRST HALF OF THE 20TH CENTURIES)

Mugham plays a significant role in the national culture of modern Azerbaijan. Considering this fact, this article describes the initial period of the formation of the Azerbaijani mugham singing school, that is, the end of the 19th – the first half of the 20th centuries. Based on the results of field research (participant observation, and also interviews in Russian and Azerbaijani languages ​​with representatives of the musical community of the capital of Azerbaijan: performers and listeners of mugham, scientists, publicists, employees of concert halls where mugham performances take place, employees of state institutions who are responsible for development programs culture in the country), and available sources, the author of the article focuses on those socio-historical circumstances and characters that testify to the specifics of the modern singing school of mugham. Therefore, special attention is paid to two soloists and connoisseurs of Azerbaijani music: Jabbar Garyagdioglu and Bulbul. The first of them, although he grew up in the traditional environment of folklore singers, performed mughams in a new, theatrical form on the stages of concert halls. The change in the place and form of mugham performance laid the foundation for the emergence of the main genre of modern national music in Azerbaijan - mugham opera. Bulbul's merit for the formation of the mugham singing school, in turn, is that he developed an original singing technique, the specificity of which is the synthesis of modified norms of vocal performance of classical music of the Western type and folklore art, primarily mugham. Due to technical innovations, the national music of Azerbaijan, colored with a purely folk style, is not only interesting, but also understandable to a foreign listener.

The Inheritance of National Music in College Music Education under the Multicultural Background

The Inheritance of National Music in College Music Education under the Multicultural Background

Leonīds Vīgners – komponists

The aim of the article is to highlight the creative work of the outstanding 20th- century Latvian conductor and pedagogue Leonīds Vīgners in the field of composition. The facts are based on the materials of Leonīds Vīgners’s archives found in the Museum of Literature and Music, which allows tracing the entire, versatile activities of the musician. Leonīds’s understanding of music, much like that of his sisters Beatrise, Meta, and prematurely deceased brother Vitālis, developed early in childhood, when they became the examples of the success of the new practical method of absolute musical hearing championed by their father Vīgneru Ernests. Later, the talented musician received a comprehensive musical education at the Latvian Conservatory. In addition to conducting the orchestra, playing the organ and percussion instruments, he also graduated from the composition class of Jāzeps Vītols. In the 1920s and 1930s, Leonīds Vīgners composed a range of instrumental works, from simple minuets to an extensive form of a piano sonata. In total, the museum’s collection contains 16 manuscripts of his instrumental works. The largest part of Leonīds Vīgners’s work consists of his solo and choir songs composed or reworked in different periods of time. He has mentioned that he has composed about 80 solo and 300 choir songs, but some of them perished during the war. Examining the manuscripts of Leonīds Vīgners’s songs, as well as many drafts that have been included in the collection of the Museum of Literature and Music, it can be concluded that he attached great importance to the words that evoked his musical ideas. Leonīds Vīgners always remained himself, with his own views on music and Latvian nationalism. However, behind his seemingly harsh exterior, there was a sensitive and fragile soul, which is truly revealed in his compositions with the plastic, bittersweet sense of melody characteristic to the Romantics and at times the impressionistic freshness and subtlety of his harmonies.

The Dynamic Dialectic and the Eclectic Plaintive Rhythm in Bembeya Jazz’s, Black Beats Music

The foremost line of the post-independent music evolves especially, from a simple to a more compound whole within the understanding of convention of representation and the association of experience become structural materials. Thereby, the basic component of conventional imagery, and the colonialist dynamic straightforward influences frame a new idiosyncratic type that evaluates the establishment of realty, memory and symbol. Correspondingly, through the foundation of intellectual and artistic image, the commensurate imagination of the musical nationalism schedule moves afar unconscious and insensate sensitivity. Indeed, the cultural and artistic body of the Bembeya Jazz and the Black Beats Band deconstruct the colonialist conventional perception of productivity; then, through extensive collective relation with their time and space, their nationalistic music exhibits boundaries of cross-examination regarding the realm of recombination, reconciliation and re-appropriation. Within the respect of material imagination and objective reality, verbal text, and contemporary Western musical instruments become the developing artistic cosmos within a new social and linguistic narrative is structured. Hence, the commitment of this article stands as a diagnostic process within we try to grasp the rapport of the indigenous value of imagination and the transcontinental stylistic effects inside the historio-context of redefining the self, sociolinguistic reflectivity, and perceptive sensibility in post-independent era.

DIASPORA MUSIC STUDIES AMONG THE SCIENTIFIC ACHIEVEMENTS OF THE PROFESSORS OF THE DEPARTMENT OF MUSICAL MEDIEVAL STUDIES AND UKRAINIAN STUDIES OF THE MYKOLA LYSENKO LVIV NATIONAL MUSIC ACADEMY

The formation and progress of the Ukrainian diaspora music studies’ new current in the national culturology and study of art by the department of music medieval and Ukrainian studies teaching assistants of the Mykola Lysenko Lviv National Music Academy which celebrates its 20th anniversary is analyzed. The leading role of the first head of the department Doctor of Arts, Professor Yurii Yasinovskyi and his scientific school followers Doctor of Arts Natalia Syrotynska and Uliana Hrab in this process is pointed out. The main area of the department’s scientific research is structured according to such vectors as scientific research and the publication of its results, publishing activity, restitution of outstanding musical culture workers’ records as a base for scientific research and its processing, raising of a new generation of scientists, organization of scientific conferences at the basis of the department, participation in the Ukrainian and international conferences. The intensive study of the composers’ creative lives, the analysis of the Ukrainian emigre community’s musicological heritage, implementation of the diaspora’s achievements and foreign experience in new specialists’ training in various courses into the activities of educational and art institutions are the new outlined areas for further research in this segment of science.

Piano Arrangements as a Method of Propaganda of Chinese National Music

Piano Arrangements as a Method of Propaganda of Chinese National Music

Features of the National Musical Culture in the Violin Work of Ma Sicong: on the Example of “Inner Mongolia Suite”

Features of the National Musical Culture in the Violin Work of Ma Sicong: on the Example of “Inner Mongolia Suite”

MEDIEVAL PARALLELS IN THE EUROPEAN SPACE: CHRISTIAN HANNIK AND YURII YASINOVSKYI

Consider the relations between two medieval scholars of Ukraine and Germany, who have been cooperating for more than thirty years. Scientists are interested in Byzantine hymnography and sacred monody, as well as medieval liturgical manuscripts and collections. Christian Hannik is a connoisseur of Slavic philology, Byzantine and Slavic history of the Church, liturgy and liturgical music. Yurii Yasinovskyi is a source researcher, art critic, and researcher of Ukrainian nonlinear manuscript irmologions. In cooperation with both scholars, the oldest Ukrainian liturgical music books were published and numerous scientific projects were launched. Professor Yasinovskyi together with Professor Christian Hannik initiated the cooperation agreement between the Ukrainian Catholic University, the I. Krypiakevych Institute of Ukrainian Studies and the University of Würzburg, as well as the M. Lysenko Lviv National Musical Academy. In collaboration with prof. C. Hannik and Yu. Yasinovskyi initiated and held 11 conferences on the history and theory of sacred monody, and conference proceedings were published in 10 collections of «Kalophonia». Selection of selected genres of sacred monody was also initiated in separate printed publications «Anthology», of which 13 were published. The purpose of the study is to present forms of scientific cooperation and achievements in the research area through the prism of personality. The basis of such observations was the active scientific cooperation of two scientists from different countries. This convinces of the good consequences of such cooperation of scientists, whose experience still unites and complements them, and science is bearing good fruit.

CHERNIHIV L. REVUTSKY MUSIK COLLEGE: SCIENTIFIC AND EDUCATIONAL WORK

The purpose of the article is to highlight the scientific and educational activities of the Chernihiv Music College formed in the regional system of professional music education in the late XX-early XXI centuries. The methodology involves the use of various scientific methods and is based on the analytical, comparative, and cognitive methods of disclosing the impact of research activities to improve the educational process of the college and characterizes the general process of development of the musical culture of Chernihiv region. The scientific novelty of the work is in an attempt to reveal the unity and interrelation of the academic and educational process, in which special, performing, scientific activities are combined, which contributes to the formation of a modern image of the educational institution. The key moment of the introduction of the innovative music-educational process was the creation of a new type of educational complex National Music Academy of Ukraine named after P.I. Tchaikovsky Chernihiv Music College named after L.M. Revutsky. Conclusions. The musical educational institution of an innovative direction is oriented toward the European vector of development. It takes into account the involvement of various factors in the and educational process, among which the research activity gave an important place, which contributes to the improvement of educational interdisciplinary communication the realization of further professional orientation of the music institution. Expansion of music pedagogy of arts with separation of scientific and educational-methodical activity introduction of innovative professional technologies promotes an increase of modern content of art education, meets initial requirements of the development of the musical culture of the region, improves various aspects of professional music education, forms musical-aesthetic bases of the creative personality.

The History of Secondary Music Education in Two Significant Institutions in Hungary up to the Middle of the 20th Century

"When it comes to the exploration of history of theoretical classes in Hungarian secondary education, it's indispensable to learn about the structure, operation and formation process of conservatoire, the type of institution, which was formed in the 19th century. This study is intended to briefly present the Hungarian institutionalized music education and, after that, to describe the first hundred years of the two significant school of the conservatory institution-system in detail: the National Music School and the Debrecen Music School. In the study we demonstrate the background of formation, the operation, the structure and the eminent leaders of the institutions mentioned above and highlight their transformation in the different education policy systems. Keywords: Music Education in Hungary, National Music School, Debrecen Music School"

The Influence of National Music on the Reform of College Music Piano Teaching

The unique value connotation and emotions exhibited by ethnic music itself can play a positive role in improving people's artistic cultivation and aesthetic level. Piano classroom is the main content of music education in colleges and universities. In order to ensure the orderly conduct of classroom teaching activities, teachers can combine the actual teaching and actively introduce folk music into it, so that students can learn through the content of classroom knowledge, which guarantees the interest of learning Enhancement can also establish the correct sense of pride of the clan, and then grow into the music talents that the country needs.

ВКЛАД ШТЕФАНА И ГЕОРГИЯ НЯГИ В РАЗВИТИЕ ЖАНРА ФОРТЕПИАННОЙ МИНИАТЮРЫ В РЕСПУБЛИКЕ МОЛДОВА

The present article examines pieces for piano written by Moldavian composers Ștefan and Gheorghe Neaga. Created in the 1930s and 1950s, they are representative examples of the genre of miniature in the national music of the 20th century. The pieces share a number of common traits: they have a solid national basis, are rooted in the genres of Moldavian folklore and are characterized by simplicity of the musical language and convincing compositional and dramaturgic developments. Figurative-emotional and intonational brightness of these miniatures, which were written at a high professional level, determined their viability and their ample potential for being included in the pedagogical repertoire. Key words: Ștefan Neaga, Gheorghe Neaga, piece for piano, pedagogic repertoire, Moldavian folklore, piano texture.

The Influence of National Music on the Reform of Music Piano Teaching in Colleges

The piano teaching course in Chinese college music education is also a very basic and important course. In actual teaching, certain optimizations and reforms should be carried out in accordance with the development of China’s education, and ethnic music can be organically integrated into piano teaching to improve students’ national awareness. The recognition of music promotes the diversified development of music. This article analyzes the influence of national music on the reform of high-efficiency music piano teaching, hoping to improve the overall level of music piano teaching in colleges and universities, and cultivate more high-level music professionals.

Inheritance of National Music Culture and the Reform and Innovation of Basic Music Education

Inheritance of National Music Culture and the Reform and Innovation of Basic Music Education

Oleg Semenovych Tymoshenko’s Conductor Workshop: Music and Scientific Principles of Repertoire Formation

Longtime experience of creative activity of the People's Artist of Ukraine, Academician, Professor Oleg Semenovych Tymoshenko at the Department of Choir at the P. I. Tchaikovsky National Music Academy of Ukraine is analyzed in the article. Master’s main requirements for the formation of educational and concert repertoire in the class Conducting are considered in order to systematize them and their further application in pedagogical practice. The styles and genres of choral works for the professional development of a conductor and the development of his performing skills are described. The musicological principles applied to the formation of the educational and concert repertoire of the conductor-choirmaster, which were used in the course by Oleg Semenovych Tymoshenko, are singled out and covered. It was found that they were based on the accumulation of traditional and innovative ideas for the interpretation of world masterpieces in vocal and choral music. The Master's musicological principles were aimed at the development of conducting technique, at mastering the secrets of vocal and choral art, at understanding and practical application of knowledge existing in choral singing technology. The individual creative and pedagogical handwriting of Oleg Semenovych Tymoshenko are revealed to realize the Master’s unique experience. It was traced throughout the process of working on the educational and concert repertoire with the conductor-choirmaster, in particular: in the systematic study of choral works in terms of the theory of their construction; in determining the sequence of functioning of musical language elements, which are manifested in form and stylistic meaning; in establishing the connection of the choral work with the historical stages of musical art development; in the study of the author’s individual creative style displayed in the choral work and the variability of its interpretation in different periods of society, etc. In particular, the features of the individual creative and pedagogical handwriting of Oleg Semenovych Tymoshenko were revealed. It was outlining the practical direction of the conductor-choirmaster's work on the educational and concert repertoire. The national paradigm of Oleg Semenovych Tymoshenko's repertoire policy, which determined the strategic model of development of the choir conducting academic national school is substantiated in terms of awareness of its achievements and their implementation in modern training process. It is proved that the priority of the national composer's writing of vocal and choral works was a characteristic feature in the paradigm of Oleg Semenovych Tymoshenko's repertoire policy. The study of choral works in his Choir Workshop taken into account the common ways of choral singing development and world phenomena in history, culture and art was an integral part of his creative paradigm in training conductors.

Tourist Destinations of the Industrial Era (on the Example of the Development of the P.I. Tсhaikovsky National Music Academy of Ukraine and Academician Oleg Tymoshenko’s Management)

The research concerns some tendencies of both cultural tourism development and tourist destinations in the industrial epoch. The author proves the relevance to involve a new concept of cultural tourism and tourist destinations on the example of the Tchaikovsky National Academy of Music of Ukraine and its development in the second half of the 20th – early 21st centuries under the leadership of Academician Оleg Tymoshenko. This investigation examines specialized forms of tourism, one of which is creative tourism. It is determined that the study of current issues within cultural tourism in tourist destinations requires the use of an interdisciplinary approach, which acquires clear features when choosing the subject to consider. It is revealed that the problems of interaction between culture and tourism, cultural trajectories of modern tourism serve as a structure for the analysis of identity and multiculturalism. It is proved that socio-cultural practices of modern tourism, developing in the context of global processes, provided an opportunity to systematically analyze and identify ways of positive practical implementation of cultural tourism and tourist destinations. One of the popular approaches to improving the quality of life of urban residents is creative urban development strategies that use certain innovative ideas, a creative approach to solving problems with an emphasis on the development of art, culture, preservation of historical heritage and uniqueness of the city. The industrial heritage of urban regions, which has shaped the cultural space of cities for a long time and is a growing segment of the tourism industry, is considered by many researchers as a resource for the development of creative experience. Tourism development and cultural regeneration are becoming part of the citywide restoration and it is no coincidence that the object can be considered one of the first symbolic objects of the transition from the old industrial to the new post-industrial stage of urban development.

Rector’s Personal Phenomenon: Cultural Mission of Academician Oleg Tymoshenko

The relevance of the study as to the problem of determining the creative activity by personal characteristics of the musician is substantiated. The importance of the reverse influence of the content of activities on formation of personality is emphasized. The related works of Ukrainian specialists in art history about composers work and musicians are analyzed and summarized. The personal phenomenon of Oleg Tymoshenko, longtime rector of Tchaikovsky National Music Academy of Ukraine, is considered within the context of the best traditions of institution management. The research is carried out from the standpoint of determinism applying the categories of personality, individuality, activity. Attention is paid to such elements of personality structure (according to K. Platonov) as personality orientation, abilities, character, experience. Some facts of Oleg Tymoshenko’s creative biography are interpreted from the point of view of the theory of behavioral activity (according to V. Romenets). The multifaceted activity of Oleg Tymoshenko as a choir conductor, educator, methodologist, organizer of education, music and public figure is analyzed within the context of activity universalism and typology of musicians-universals (according to O. Komenda). The leading sphere among Oleg Tymoshenko’s creative activity was, namely, activity of the choir conductor, in the depths of which all others were born, which gives grounds to attribute his creative personality to the type of the universal performer. Such qualities as influence of the leader, communicative and organizational skills, his commitment to principles and demanding features, understanding of people — are factors of future successful head of the educational institution – were formed during process of mastering and improving of his professional skills. A set of factors that contributed to the effectiveness of Oleg Tymoshenko as a head of leading music educational institution are the following: talent of the musician, striving for perfection and hard work, and as a result — high professionalism, professional armament and broad erudition, which gave him undeniable authority. Tolerance, extraordinary respect for colleagues, initiative and desire to support everything new and progressive added to the uniqueness of the rector’s personal portrait. The devotion of Oleg Tymoshenko to the idea of Ukrainian culture development together with his above-mentioned personal qualities made his high cultural mission possible, not only as the head of the Academy, but also broadly – on a national scale.

Research on the Coordinated Development and Innovative Application between National Music and Contemporary Multicultural Music Education Based on Big Data

Multiculturalism, as a new educational mode, is a new form of education that meets the requirements of the times. Music, as an important discipline interrelated with culture, has gradually been paid attention to. Contemporary big data technology is applied in all aspects, and the direction of music culture is no exception. As an important part of national culture, many music works circulated to date can reflect the characteristics and connotation of Chinese national culture. Multicultural music education provides an important theoretical basis for the innovation and reform of music teaching.Based on big data analysis, folk music and multi-cultural music promote the effective development of music education in China. Therefore, Based on big data, this paper starts from the theory of multi-cultural music and the relationship between national music and multi-cultural music education, this paper analyses the important role of multi-cultural music education in the education of national music in China and the path of coordinated development.

A New Textbook for Pursuing a New Era—Comment on Wu Guodong’s

In the new epoch, society is continuously advancing. With the accelerated development of network information dissemination, music education should satisfy the development of the times. Teaching methods should also be contemporary and innovative. With the introduction and development of quality concepts, music education is slowly improving. As a self-governing subject, it should be valued by teachers and students. Mr. Wu Guodong’s “Chinese National Music” concentrates on networked teaching and the “new teacher-training” of the new era. He strives to make more students experience the infinite charm of Chinese national music, build a distinct academic philosophy, and reshape the Chinese national spirit.

Not Forgetting the Original, Absorbing Foreign Things, Facing the Future—Comment on Wu Guodong’s “Chinese National Music”

Mr. Wu Guodong has devoted his life to the research of national music and ethnomusicology. His works are various and achieved. Also, he practices the academic concepts himself introduced and takes the research of traditional Chinese music and culture to a more profound level. “Chinese National Music” is a masterpiece of Wu Guodong, which concentrates on teaching and combines the ethnomusicology discipline theory and traditional music research techniques. This book describes Chinese national music from five perspectives: folk songs, folk instrumental music, song and dance music, opera music, and opera music. As a new variety of textbooks, its combination of rational cognition and perceptual experience dramatically improves readers’ interest in reading. Thus, it intends to allow more students to comprehend and understand China’s rich and diverse national music from each perspective.