Musical Art Research Articles

Музыкальное искусство России начала ХХ века: Альтернатива

The essay is devoted to characterizing a trend opposed to the onslaught of contradictions, disharmony and various destructive influences brought along by the new century in the Russian musical art of the early 20th century. This trend was embodied in the composers’ turn to the humanistic traditions of the past, as well as in the constructive and positive aspirations of modernity. The desire to defend the principles of humanism was mainly associated with the spiritual values of the Classical era. In particular, the author provides insight into the formation of neoclassicism in Russian musical art starting with the late works by P. Tchaikovsky (the orchestral suite “Mozartiana” (1887)). Special attention is paid to the works by S. Taneyev (the cantata “At the Reading of a Psalm” (1912-1915)), N. Myaskovsky (String Quartet No. 4 (1909-1910)), S. Prokofiev (Symphony No. 1 (1917)), Z. Paliashvili (the operas “Abesalom da Eteri” (1910-1919) and “Daisi” (1919-1923)). As a result, it is concluded that the sphere of humanism and harmony, despite being hardly a central trend in the context of the musical and artistic process of the 1910s, was, however, undoubtedly significant, clearly reflecting the reaction to the deforming trends of modernity. The fundamental shift in worldview that occurred in the 1910s – the first half of the 1920s was expressed in the weakening of the considered trend, the growth of contradictions.

Экология музыкального разума. Понятие «связующий паттерн» в концепции Кристофера Смолла musicking

The aim of this article is to analyse key aspects of the concept of musicking. Despite the fact that this term, coined by Christopher Small, has firmly entrenched in the scientific community, the context in which it is used does not reflect the nature of the neologism. The premise of Small’s word-making was the absence of a verbal noun corresponding to “music-making” in the English vocabulary. However, musicking is not the same as music-making. Unexpected semantic connections are also found when comparing the term musicking with the concept of “musurgia” used in medieval treatises. Small deliberately declined direct copying — the very process of creating the term determined his way of thinking. Not only did he modify the concept of the nature of music-making, expand the list of its participants, identify equivalent forms with specific features, but he also recognised musicking as a comprehensive phenomenon, specifically as musical art in the unity of its manifestations. To prove his point of view, Small appealed to the authority of Gregory Bateson, using the concept of “the binding pattern” borrowed from anthropology as the central element of the concept of musicking. Meanwhile, Small only outlined the boundaries of its use, though he intuitively sensed its limitless potential. In addition, his idea of the pattern as a multidimensional system of relations fundamentally differs from the interpretations accepted in musical art. According to Small’s hypothesis, when a piece of music is performed, all participants, including listeners, are able to “recognise” the metaphor of “the binding pattern”, which allows interpreting participation in musicking as a process of decoding vital information. In this situation, it seems logical to refer directly to Bateson’s works, as well as to the works of others, who pointed out the similarity of internal laws of the world of nature and the world of art. Such an angle will help us to reveal the uniqueness of Small’s concept and to justify the use of the term musicking as a tool of scientific analysis.

The Combination of Architectural Art and Humanization

Art is a broad term that encompasses various virtual and practical art disciplines, of which architecture is a major category. Within the broad category of art, it seems that every small category can react with each other, creating works of higher artistic quality for the world. It is precisely because art has always upheld this characteristic that it has been continuously upgraded by people in recent years. In the process of creation, many art scholars have found that both art and architecture need to be combined with people to be better accepted by society. Film art needs to be appreciated by audiences, music art needs to be listened to by people, painting art needs to be viewed by people, installation art needs to be photographed by people, and architectural art needs to be felt by users rather than a cold empty shell. Therefore, this article describes the connection between contemporary art and architecture, which can be related to human nature. Any kind of art returns to its essence in order to reflect a phenomenon that exists in mass society, and it is displayed to the public to trigger people’s resonance and reflection. Since ancient times, the relationship between architecture and people has been complementary. In the process of designing buildings, people integrate various artistic techniques to make them respond to the site and applicable people. The final design of the building also serves the users in the building, making them feel comfortable and more efficient in completing work and life. Therefore, the art of architecture is ultimately designed and thought around human nature. In recent years, tall buildings have sprung up in cities across China, and gradually every city has its own “CBD” and landmark buildings. However, what we see more often are some cold buildings, some buildings built for the purpose of volume rate and unique shape, which often only design the strange shape shell and then hand it over to the construction party, or low-level copies of master’s design works. These examples are often cold empty shells that cannot make the people living in them feel the warmth brought by the building. I think that there is a lack of artistic and user-oriented architecture in China, rather than focusing on mass production and copying. This may change the lifestyle and quality of life of the public, and realize the humanization of architecture from the perspective of architectural art.

Международный музыкальный фестиваль «Варшавская осень» — преодоление границ между Востоком и Западом

In the late 1940s — early 1950s, a huge gap appeared between the development of musical cultures of Western and Eastern Europe, and it was Poland that initiated bridging it. Therefore, the emergence of the Warsaw Autumn Festival of contemporary music, which has become the largest, was not coincidental. The article is devoted to studying this cultural phenomenon, which has a significant scientific novelty, because the Warsaw Autumn has not yet been subjected to a detailed scientific analysis in Russian musicology. According to the organizers of the new festival — young Polish composers Tadeusz Baird and Kazimierz Serocki, — Warsaw was to become a center of contemporary music, no less important than the avant-garde music festivals in Darmstadt, Donaueschingen, Cologne or Milan. However, the purpose of the Warsaw Autumn is more ambitious — to provide a complete aesthetic and stylistic picture of modern music, and not just avant-garde music, as was the case in Western European countries. The repertoire policy of the festival covered several areas: avantgarde music, more traditional music, the classics of the 20th century, and promotion of Polish music. The festival laid claim to being a reliable display of contemporary music in the world, reacted to the changes in global music, and soon became the largest music arena of the 20th century. It was attended by the most prominent composers of the East and West. For the socialist countries, it became a true “window on Europe” and a platform for mastering new techniques of composition. Without the Warsaw Autumn festival and its profound influence on composers of socialist countries, it would be utterly impossible to imagine the development of musical art of the entire region. This article suggests focusing on the early period of the festival, from 1956 (when it was established) to the early 1980s.

Грибоедовский «код» в русском музыкознании (А.С. Грибоедов, М.Д. Резвой (Рѣзвой), В.Ф. Одоевский)

One of Griboyedov’s unrealised lines of work shaped by his musical talents was his interest in the foundations of musical science. Griboyedov’s scholarly ideas about the value-based content of music, musical theory and terminology, and his interest in musical ethnography were implemented by his younger contemporaries and companions V.F. Odoyevsky and M.D. Rezvoy. The moments of mutual influence between Griboyedov and Odoyevsky are revealed in their epistolary contacts. The contacts between Griboyedov and Rezvoy can be apprehended through the 1825 pencil portrait of Griboyedov by Rezvoy. The range of ideas expressed by Griboyedov was later continued by Rezvoy and Odoyevsky. Griboedov’s “code” in Russian musical art — attention to the history of Russia, the science of music, folk theater, folk song, the high sphere of temple art — was translated into the social, scientific, and artistic activities of his companions and followers.

The embodiment of the image of the People's Artist of the USSR Anegina Ilyina in Yakut fine arts and literature

The article is devoted to the embodiment of the image of the Yakut opera singer, People's Artist of the USSR Anegina Ilyina in the Yakuts visual arts and literature. For the first time, this article discusses issues related to the disclosure of the theme of an outstanding contemporary woman - famous figure of musical art as a carrier of creativity. The subject of the study is the image of a talented Yakut vocalist captured in the best works of fine art (L.M. Neofitoff, V.R. Vasilyeff, A.N. Ossipoff, L.D. Sleptsova) and literature (Semen Daniloff, E. Neimokhoff, I. Gogoleff, L. Popoff P. Kharitonoff). The object of the study is the work of Yakut artists and writers of the second half of the 20 - 21 centuries. For the first time, the article explores a previously unexplored aspect of their work. The descriptive, comparative, iconographic, historical-biographical methods are applied, which allow us to reveal the topic most effectively. This image presents the ideas of female beauty and natural talent inherent in the national consciousness of the people, which indicates that in the 1960-1980 in the perception of the Yakut society traditional ideas based on the mythology and folklore of Sakha were quite strong and stable. Thanks to her natural talent, studying in the class of the People's Artist of the USSR, professor of the Moscow State Tchaikovsky Conservatory N.L Dorliak A.E. Ilyina was able to take place as an outstanding master of Russian academic vocal performance and herself as a creative personality had a great influence on the creative inspiration of many writers, artists and the development of Yakut art in the Sakha Republic (Yakutia) in the second half of 20 centuries. This article is the first experience in studying of this scientific problem.

Balaganjur Training to Foster Young Generation Spirit in Ulian Village | Pelatihan Balaganjur untuk Menumbuhkan Semangat Generasi Muda Di Desa Ulian

Ulian Village is located in the northern corner of the city of Bangli, to be precise, in the Kintamani District. The Kintamani region has its characteristics, where most people work as farmers. Likewise, most of the people in Uian Village also work as farmers. There is a lack of artistic movement figures in Ulian Village, which may make Ulian Village still sparse/less visible in the arts, especially in karawitan art. So from this, the authors implemented the KKNT Program in Ulian Village, which aims to provide more insight into the Ulian village community and to foster the enthusiasm of the younger generation through Balaganjur training in Ulian Village. So that from the problems that arise, the author provides general knowledge about the art of karawitan to the village community, especially in practicing appropriate techniques directly, providing percussion training, both adult seka gong and youth seka gong and the author will provide one percussion work the author is Tabuh Balaganjur Melasti. Through this KKNT Program, the authors can implement their knowledge and will positively impact the Ulian village community, increasing artistic creativity, especially in musical arts.

Improving the Skills of the Children of Central Singapadu Village through Balaganjur and Gong Kebyar Training | Meningkatkan Keterampilan Anak-Anak Desa Singapadu Tengah Melalui Pelatihan Balaganjur dan Gong Kebyar

Thematic Real Work Lecture (KKNT) is one of the programs from MBKM (Merdeka Belajar Kampus Merdeka). This KKNT activity is part of the campus extracurricular, which applies the principles of the Tri Dharma of higher education. In this case, KKNT is a bridge in practice that the author carries out in Singapadu Tengah Village, Gianyar Regency, as a partner to add experience to honing community skills and provide motivation and innovation in society in the field of arts, especially in the field of musical arts for generations of young people by forming, fostering crazy percussion on Gong Kebyar and Balaganjur. Balaganjur comes from the words "Bala" and "Ganjur". Bala means troops or ranks, and Ganjur means walking. So, Balaganjur, which later became Balaganjur, means an army or marching line accompanied by barungan gamelan music. Balaganjur is a musical ensemble that is a development of Gamelan Bonang or Bebonangan—both in terms of instruments and the composition of the songs. Gamelan Gong Kebyar is a traditional Balinese musical art in its history written in babad Bali; Gong Kebyar is thought to have appeared in Singaraja in 1915. The village mentioned as the origin of the appearance of Gong Kebyar is Jagaraga (Buleleng), which also started the Kebyar Dance tradition.

Semantic aspects of musical language

Music is a multifaceted phenomenon: it carries the mission of aesthetic education and enlightenment, performs therapeutic functions and is not only a source of information, but also the subject of filling human consciousness with a sense of joy, drama, and a high spiritual beginning. All the above is provided due to the many components that constitute the whole picture of musical art. These include intonation and rhythm, tempo and dynamics, timbre and texture, and more voluminous components: genre and form. Each of its elements represents a certain category, which, in turn, carries a semantic load or semantic aspect belonging to it. Having a centuries-old history of existence, music and, accordingly, its components have undergone considerable evolution. The purpose of the study is to show the semantic aspects of musical language as an integral system in their continuous dynamics of development, updating, and complication of content. The history of sound creativity is a vivid picture of styles and techniques of writing, images, and themes inherent in a particular era. The above is inextricably linked with the deep evolution of semantic aspects that convey the content and importance of all the leading categories of music. They represent, regardless of the period, an integral system of elements, the transformation of which is discussed in this article. The definition of the boundaries of "evolution" in relation to music, the disclosure of its action at various levels (the evolution of musical thinking, the evolution of national style, artistic area, the evolution of individual compositional style), the development of the theory of evolution in the field of functioning of musical phenomena – these and other problems are priorities for modern scientific musicology and art criticism. Realising the complexity and globality of the problem posed, the basis of which is the consideration of musical phenomena in the aspect of the theory of evolution, this article includes one of the possible approaches to solving this issue, involving the "general theory of systems" created in the 20th century. For that reason, this publication is relevant. It combines the most important theses of researchers investigating the problem of the semantics of the musical language in the context of such disciplines as pedagogy, quantum physics, medicine, social science. The study searches for the materials on the studied subject, their systematisation, and provides a panoramic display of the analysis of the semantic aspects of musical art. The author also shares the prospects of analysis of the mentioned phenomenon. The need for this research is conditioned by the essence of the subject, since it constantly changes, gets enriched with new qualities, actively responding to what is happening in real-time.

THE CATEGORY OF THE OPERA IMAGE AS A COMPLEX PHENOMENON

The article examines the complex properties of the opera image as a central category of opera art. The importance of the structural and national-style aspects of the study of the opera image for compositional, performing creativity and musicological discourse in the context of the integration paradigm of modern musical art is determined. The purpose of the article is to define the main components of the complex unity of the opera image in the context of its musical and semantic integrity. It is proved that the national-style and structural factors of the integrity of the opera image are decisive for the formation of the vocal-performance interpretation, which is determined by the genre-style principles of the composer's thinking and musical-interpretive creativity.

Etienne Ozi – «a great bassonist of incredible talent»

Statement of the problem. Etienne Ozi stands out as a bassoonist due to his significant creative achievements in various spheres of his multifaceted activities. As a bassoonist soloist, he successfully debuted in the “Concerts Spirituels” and for more than two decades was actively performed in front of Parisians in the best halls of the capital. An equally significant achievement of Ozі as a teacher was the preparation of the first instructional manual for the specialists “Nouvelle méthode de basson adoptue par le Conservatoire” (1803), which remained the main official publication of the Paris Conservatory for many years. The composer’s work also became an important part of the bassoon repertoire, which was actively used by him and his students in performing and teaching activities. Despite the importance of E. Ozi’s contribution to all spheres of bassoon art, the artist’s multifaceted creative activity still has not been properly assessed by modern researchers and requires a more detailed study. Recent research and publications. Among the works of domestic scientists, there are hardly any publications dedicated to E. Ozi’s creative activity. An outstanding Ukrainian musician, teacher and scientist V. M. Apatsky (2017) in his fundamental reference publication «Bassoon from A to Z» covers only individual episodes of the musician’s biography. The figure of the French artist is considered more deeply by foreign researchers, among which it is necessary to single out the dissertation and monograph of H. E. Griswold «Etienne Ozi (1754–1813): Bassoonist, Teacher, and Composer» (1979), in which E. Ozi’s work is revealed in sufficient detail. However, over the forty-year period of its existence, a certain updating of historical materials took place, which requires clarification and correction of some facts. Among the latest publications, which in one way or another highlight E. Ozi’s work, it is worth mentioning O. Tiffou’s monograph «The French Bassoon in the 19th Century. Theory and Repertoire» (2022) and Á. D. Moreno’s thesis «Bassoon Playing in Perspective. Character and Performance Practice from 1800 to 1850» (2013). In each of the studies, the authors partly consider individual aspects of the musician’s creative work according to the chosen research direction. Objectives, methods, and novelty of the research. The purpose of the study is to identify the main directions of Etienne Ozi’s performance and his role in the process of formation of the French bassoon school of the late 18th – early 19th centuries. The scientific novelty of the paper is determined by disclosing little-known facts of E. Ozi’s performance and his contribution to the formation of the French bassoon school. The study of E. Ozi’s performance required the use of a number of methods, such as historical to reveal the ideological and socio-economic factors of influence of the French Revolution on the development of musical art; historiography analyses to study and interpret musical and critical sources of the 18th century, chronological one to determine the time sequence of E. Ozi’s main concert performances; contextual and biographical approaches to highlight important stages of the artist’s creative work. Research results. The process of becoming Ozi as a performer is related to military brass bands, which, due to the lack of special musical educational institutions in France in the 18th century, remained the only place, where it was possible to learn to play wind instruments. Then, successful bassoon lessons under the leadership of the outstanding German bassoonist G. V. Ritter opened him the door to the concert stage. From 1779, he became an active performer-soloist of the prestigious “Concerts Spirituels” in the royal palaces. After the French Revolution and the overthrow of the monarchy, E. Ozi continued a successful performing and teaching career in the Paris Conservatory, the orchestras of the Théâtre Italien, Théâtre Feydeau and Théâtre de la République et des Arts. An important achievement of the talented musician was a convincing victory in the competition of nominees for the post of soloist of the Grand Opéra Théâtre, which allowed him to take the most prestigious place for a bassoonist in France. Conclusion. E. Ozi is one of the first French musicians who presented the bassoon as a solo instrument and created a multi-genre concert repertoire for it. Regular performances at the most prestigious halls of Paris allowed him to confidently occupy a leading positions not only among the French, but also European bassoonists. Active performing activity of E. Ozi and his fruitful teaching practice at the Paris Conservatory had a crucial influence on the development of European bassoon art of the late 18th and early 19th centuries.

The synthetic nature of the violinist-performer’s professionalism (on the material of L. Spohr’s “Violin school”)

Statement of the problem. The modern academic violin performance art is an extensive and multi-level phenomenon. Musicians choose one or another direction of self-realization (soloist, ensemble or quartet player, orchestra artist), achieving a certain level of mastery in it. Such a narrowing of specialization, determined by the history of musical art, on the one hand, helps to increase the level of professionalism, and on the other hand, it ruins the integrity of the figure of the performer in the perception of musicians and listeners. The scientific literature devoted to the issues of violin performance in various roles is quite extensive and versatile and makes it possible to understand certain aspects of a musician’s creative life. Recently researches by L. Bishop et al. (2021), E. B. Horwitz et al. (2021), E. Cho (2021), and others gives a chance to understand the creative life of a violinist in a fragmented way, stimulating the desire to achieve a certain integrity when considering the stated problem. Objectives, methods, and novelty of the research. The purpose of the study is to consider the synthetic nature of the violinist’s professionalism and its manifestation in various directions of his / her creative realization. The cognitive apparatus of the study is based on the combination of historical-theoretical, structural-functional, comparative, hermeneutic, and systemic methods of analysis, owing to which the synthetic nature of the violinist-performer’s professionalism unfolds in different angles. For the first time, the professionalism of the violinist is considered from the point of view of its synthetic nature; in the context of the chosen topic, L. Spohr’s thorough views in his “Violin School” are highlighted. Research results. Solo, ensemble, quartet or orchestral playing differs in the functional characteristics of the musician: status that determines his/her behaviour and the type of communication – the role. Acquiring practical knowledge in each of these specializations, the violinist realizes the uniqueness of the respective statuses and roles, enrichs self-own artistic-aesthetic, socio-cultural experience, thereby developing intelligence, expanding the psycho-emotional range and scope of his / her performer art. L. Spohr in the “Violin School” provides his own vision of the universal qualities of a violinist and separately characterizes his / her various statuses and roles. Although this methodical work is almost two hundred years old, the relevance of the author’s advice is not lost even today. Conclusion. Regardless of the chosen status, the violinist faces some circle of art tasks. They are based on the features of the implementation and delivery of a specific composer’s idea to the listener and determine the musician’s use of a particular set of playing skills. Mastering various “roles”, which clearly demonstrate the synthetic nature of a violinist’s professionalism, allows one to demonstrate exactly those qualities that are required by the chosen form of music making and the composer’s intention. In our opinion, the study of the specifics of communicative and role-playing processes can contribute to the rethinking of established pedagogical methods and the value of a comprehensive approach to learning, on which L. Shpor’s “Violin School” is based.

National tradition as an innovation factor in Guo Wenjing’s chamber opera “Wolf Cub Village”

Statement of the problem. The modern stage of development of Chinese musical theater is associated with a significant role in creative experiment, the search for new artistic means. These processes have gone down in history as an artistic direction under the name “new wave”. It emerged in 1976 as a confrontation with the aftermath of the cultural revolution. It combines trends in the revival of national Chinese traditions and the introduction of modern compositional writing methods. In the works of representatives of this direction, a deep understanding of the uniqueness of the aesthetics of ancient Chinese music, the originality of its rhythm and timbre richness is restored. These features are vividly embodied in the Opera “Wolf Cub Village” by Guo Wenjing (郭文景, born in 1956). The theme of the transformation of traditional Chinese musical art in modern times under the conditions of Western influences and the formation of new Chinese music raises by Chinese researchers in one way or another. But the issue of national tradition as a factor of innovation is considered tangentially. Thus, the subject of the article, which reveals the features of the implementation of the traditional chamber opera “Wolf Cub Village” by Guo Wenjing, is looking up-to-date. Recent research and publications. An Luxin in the dissertation “Research of Guo Wenjing’s musical creativity” (2012) traces the stylistic features of Guo Wenjing’s work and analyzes many of his works, but the reason of significant amount of material studied, the composer’s opera heritage is highlighted in generalized way. Guo Wenjing’s own article (2016) as well as materials published in his book “Noise” (2009), are a valuable source of information about the composer’s idea of the opera. Objectives, methods, and novelty of the research. The purpose of the article is to identify the mechanisms of innovations in the implementation of the national Chinese tradition in Guo Wenjing’s chamber opera “Wolf Cub Village”. The study used methods developed in modern musicology, in particular, theoretical, historical and cultural analysis, as well as the method of theoretical generalization. For the first time, the embodiment of the national tradition in the opera work by the contemporary Chinese composer is considered as a factor of artistic innovations. Research results and conclusion. Guo Wenjing’s appeal to the national traditions of Chinese music is associated with the two way orientation of the “new wave” flow that emerged in Chinese professional composing music. We are talking about transforming deep Chinese national traditions along with the use of modern compositional techniques. It is proved that in European opera this approach becomes an artistically effective means of updating the modern musical language. As a result of the study, Guo Wenjing’s opera “Wolf Cub Village” revealed a number of innovations, the source of which was the Chinese verbal language and traditional music. These include: a) the invention of new methods of vocal and declamatory articulation of the Chinese language, the expansion of the range of vocal and performing techniques, the creation of a special style of singing that combines European bel canto and intense high declamatory singing of the Chinese traditional opera; b) the use of features of the sound and semantics of instrumental accompaniment of traditional Chinese opera and the formation of a new poly-national composition of the orchestra; c) the introduction of characters into the opera that saturate the plot with figurative intonations of Chinese folklore; d) the use of metro-tempo models (banshi) of Chinese traditional opera. By introducing the elements of Chinese traditional music into the opera, the composer expanded the instrumental and vocal timbre palettes, enriched the work with a bright national flavor and significantly diversified the techniques of musical expressiveness of Western-style opera.

The Influence of Traditional Opera Culture on the Development of Ethnic Vocal Music Art under Deep Learning Modeling

Abstract In this paper, according to the characteristics and development trend of traditional opera, based on the deep learning model, we use a convolutional neural network to extract the opera features, combined with an SVM classifier to construct a CNN-SVM classification model. For the two classification algorithm models of logistic regression and deep confidence network, combined with two types of feature parameters of timbre and melody, six groups of experiments are designed to extract the time-frequency features of traditional opera. The CNN-SVM classification model is used to categorize the emotion of traditional opera, which aims to divide the musical features by multi-feature selection. Analyze the timbre feature parameter MFCC to investigate the impact of traditional opera timbre on ethnic vocal singing. For the logistic regression model, the coefficient of MFCCs is 0.5588, and the classification accuracy is only 0.5301 when the feature parameters are selected as melodic features, i.e., gene frequency, resonance peak, and band energy, and 0.6228 when the feature parameters are selected as a combination of timbral and melodic features. The diversity of the traditional opera timbres contributes to the development of ethnic vocal art with the trend of inclusiveness.

The application of virtual reality technology in the teaching of clarinet music art under the mobile wireless network learning environment

The traditional education model is undergoing tremendous changes, and network education has gradually developed and matured. This paper first gives an overview of the development history of the clarinet and the structure of the clarinet and then starts with the performance of the clarinet. This paper analyses and solves the situations that students are prone to encounter in teaching and expresses some opinions on the teaching of performance methods; also gives a brief overview of the psychology of going on stage. Combined with the above, some discussions are made on the teaching of performance methods. Performance requires not only skills but also music. Performance summarizes the characteristics and styles of music in various periods from the classical period to the century, and then discusses how the performer forms his performance style; the performance style is the re-creation and re-creation of the performer based on being loyal to the author's intention. This article compares and studies the performance of the clarinet before the 20th century and the performance of the clarinet today, and deeply explores the reasons why the clarinet performance method has formed the current performance method after a long evolution. The experimental results prove that virtual reality technology has made positive attempts and breakthroughs in the field of clarinet music art teaching. It has created an environment of “self-learning”, and the traditional learning method of “teaching to promote learning” has been replaced by learners through their learning. Interaction with the information environment to obtain a new learning method of knowledge and skills, the optimized local matrix decomposition recommendation algorithm can greatly improve problems such as expensive musical instruments and lessons, scarce teachers, and lack of facilities, making the traditional clarinet Music arts teaching more diverse.

PEMBELAJARAN SENI MUSIK DENGAN MEDIA AUDIO VISUAL YOUTUBE BAGI SISWA KELAS IV SD NEGERI 1 BULUROTO

The context of this research is based on the learning process which cannot be separated from the learning media. Learning media is a teacher's tool to make it easier to convey material information to students. The research focus that drives this research is "What is the process of learning the art of music using YouTube audio-visual media in class IV of SD Negeri 1 Buluroto?". The aim of this research is to determine the process of learning the art of music using YouTube audio-visual media in class IV of SD Negeri 1 Buluroto. This research was conducted on class IV students at SD Negeri 1 Buluroto. This type of research is qualitative. The research subjects were 12 class IV students at SD Negeri 1 Buluroto, class IV teachers and the school principal. Data collection methods were carried out by means of observation, interviews and documentation. Checking the validity of the data by means of technical triangulation. The research findings are that the application of YouTube media increases learning motivation. Teachers use learning media once every 2 weeks, both video and image media. The school has also provided facilities for using learning media. YouTube media is very effective because learning the art of music in the classroom with the help of audio-visual media is considered exciting so it gives a very good impression to students. In this way, the objectives of learning the art of music in class IV at school can be achieved. Based on data analysis in this research, the process of learning the art of music using YouTube audio-visual media in class IV of SD Negeri 1 Buluroto was carried out using YouTube video learning media. This has been proven to increase student learning motivation and student interest in learning, because in reality not everyone likes it. learning the art of music. The suggestion in this research is that teachers use YouTube media in learning and prepare well in the selection of learning videos, the school completes learning facilities and this research becomes a comparison for the use of YouTube media in learning the art of music and can be used as a source of literature related to the use of YouTube media in educational learning. music Art.

THE FORMATION OF CHINESE PRIMARY SCHOOL STUDENTS' MUSICAL CULTURE

Music culture is an indispensable part of children's life, and it is a cultural form that can be expressed through sound, rhythm and melody. Music art is an important part of cultural inheritance and plays the role of transmitting and preserving culture. Through music art, children can feel the unique charm of different cultures, understand history and experience different emotions and emotions. Music art is not only an entertainment activity, but also a way of inheriting cultural heritage. Music culture records the survival and development of the Chinese nation, is the spiritual portrayal of the Chinese nation, and embodies the soul and thought of the Chinese nation. For the younger generation in China, the primary school stage is an important period for the formation of outlook on life, values and world outlook, and school education is the key way to promote the formation of music culture for primary school-age children. Therefore, the cultivation of music cultural quality should be started from an early age. Under the cultural background, this paper studies the formation of music culture of primary school-age children by vocal music education. The influence of physical characteristics and personal characteristics of primary school-age children on the formation of music culture is analyzed. This paper focuses on the formation and development of music culture of primary school-age children in combination with China traditional music, which is helpful to carry forward China traditional music and excellent traditional culture.

TRANSCULTURAL COMPETENCE OF THE PERSONALITY AS A CONDITION FOR THE EFFICIENCY OF PROFESSIONAL TRAINING OF FUTURE MUSIC TEACHERS IN UKRAINE AND CHINA

The article highlights the importance of transcultural competence of future music teachers in the process of professional training of students of art higher education institutions of Ukraine and China. The psychological and pedagogical mechanisms of professional formation of future music teachers are substantiated. The historical aspect of the development of music education in the People's Republic of China is considered. The author scientifically confirmed that a creative, socially responsible and active personality is characterized by a sense of the new, a critical attitude to the surrounding world, an awareness of his place and role among others. and intra-psychological educational actions.Key words: transcultural competence, external and internal regulation, physical and mental activity, value orientations of the individual, professional training, teachers of musical art.

Chamber and vocal work by Yuliy Meitus: genre-style and performance aspects

Statement of the problem. Ukraine’s gaining of independence was an extremely important event for the country’s artistic life. Hundreds of artists who did not have the opportunity to freely express their own opinion gained the opportunity to work in any musical styles and genres. Th e independent status of the country made it possible to find and bring back to life a whole layer of various works of art, which has both significant artistic and historical value. This statement also applies to music. An important part of the mentioned cu ltural layer is the work of Yuliy Meitus. In particular, we are talking about the composer’s chamber vocal work, which is a significant part of his creative heritage distinguished by its volume and genre diversity. And although during the time of independe nt Ukraine, the artist’s work is gaining more and more relevance in performing and musicological circles, currently this process cannot be called complete. The importance of the revival of Meitus’s creative output also lies in the fact that the artist was a representative of the Kharkiv school of composers, which makes it possible to more fully illuminate its history and development milestones. Objectives, methods and novelty of the research. The purpose of the study is to determine the genre, style and performance features of Yu. Meytus’ solo vocal lyrics. The insufficient study of the composer’s chamber vocal work determines the scientific novelty of the r esearch. The article presents a musicological, comparative, image semantic analysis of selected sam ples of Yu. Meitus’ solo sings, namely, the composer’s works based on verses by poets of various styles and historical periods (“Green wind, grass smells...” to the text of V. Sosiura, “Little Ballad” to the poem by R. Burns, “Seven strings I touch” to the words of Lesia Ukrainka). Conclusion The conclusion refers to the formation of features of a new stage of the evolution of Ukrainian chamber vocal art in Yu. Meitus’ solo songs, which organically combines the genre stylistic signs of the classical romantic and modern musical art. In particular, we are talking about the harmonic component of musical works, in which the elements of the classical romantic major minor system are organically combined with the heritage of music of the 20 th centu ry, for example, with chains of fourth chords or various polytonal complexes. Creating thematic material, the composer, however, relies on the intonation dictionary of Romantic art, which gives his style even greater originality.

Aesthetic conflict in Chinese traditional music in the aspect of the contemporary globalization processes

Statement of the problem. In the conditions of globalization, art becomes the result of the interaction of many factors, artistic cooperation and competition within the framework of the formation and functioning of artistic communities. The world of traditional Chinese music provides an excellent opportunity to study how members of the artistic community respond to the differences brought about by the processes of globalization. Therefore, consideration of the aesthetic conflict in traditional Chinese music, which arises in the context of globalizing world processes, appears as a topical issue and determines the content of this article. The theoretical basis of this article refers to works devoted to the study of the concept of globalization in art and culture. The analysis of publications on the topic show that the issue of globalization as a dynamic factor of the Chinese musical culture has not been extensively studied, while it is acknowledged that the influence of European music on Chinese one has always contributed to the formation of a certain aesthetic conflict. Objectives, methods, and novelty of the research. The purpose of the study is to highlight the specifics of the development of Chinese traditional musical culture in the context of the conflict of acceptance/rejection of the globalization influences of Western culture. For the first time, the concept of aesthetic conflict as a means of dynamic progressing Chinese musical art in the context of the globalization of the cultural space is considered. As research instruments, historical and comparative, hermeneutic, interpretive, and dialectical methods are used. Research results. The article highlights three forms of changes that cultural globalization can introduce to the world of art: – creation of conditions for the transnational circulation of works and forms of art for the construction of completely new artistic concepts; – the accumulation of modern trends, namely new techniques and approaches to artistic production, in the concrete artistic world; – cases of global aesthetic influences, where ideologies and values can guide the creation of an artistic object and form criterions for defining what can be considered authentic and appropriate for a certain culture. Regular influences from the West contributed to the fact that Chinese traditional music culture began to develop from the positions of either adapting to these influences or resisting new trends in the interpretation of musical culture. From this follows the conclusion that cultural globalization is not only a process brought from outside, but also a reality that is actively created by the subjects who are involved in it. Among the transformations of Chinese musical art in the process of globalization, the ways of formation of “Chinese traditional music” are considered as a response to the integration of Western influences. Conclusion. In the course of the research, it was found that the aesthetic conflict in Chinese musical culture was formed by the way of integrating cultural resources, which is due to globalization processes and leads to the state of coexistence of different types of cultures. Such coexistence indicates the acceptance of multiculturalism by musicians in the era of globalization, when the latter creates a context for the emergence of aesthetic conflict as a means of overcoming the perception of only one culture. It is emphasized that the focus on the preservation of identity of the Chinese musical culture actualizes the option of glocalization as a means of preserving one’s own in multicultural conditions.