Musical Art Research Articles

METHODS OF IMPROVING THE COMMUNICATIVE SKILLS OF FUTURE TEACHERS OF MUSICAL ART IN THE CLASSES OF THE ORCHESTRAL GROUP

The article reveals the specifics of the methodology developed by us to improve the communicative skills of students of the faculties of arts who are engaged in orchestral music-making. Orchestral music-making as a kind of collective cooperation contains many functional moments that stimulate the desire to communicate and develop professional activities. It is the student creative team that is the springboard, the team that pushes future teachers of musical art into an interesting process of professional activity, improving communication skills and motivating them to acquire a wide range of creative and social connections, which in the future will lead to maximum professional fulfillment, which will be socially useful and will inspire future generations to self-expression and development.Key words: communication skills, orchestra group, future music teachers, professional training, creative potential.

RESULTS OF THE EXPERIMENT ON THE FORMATION OF TEENAGERS’ ARTISTIC-PERFORMING VALUES

The article highlights the developed methodology of the experiment on the formation of teenagers’ artistic-performing values in the process of learning singing. Development of the author’s methodology was carried out according to such guidelines as formation of a positive motivational sphere in order to activate interest in musical phenomena; awareness of artistic knowledge, mastery of expressive means of musical art; formation of knowledge, abilities and skills in the process of learning singing with the aim of developing teenagers’ artistic- performing values. During the research work, the most important tasks in the context of the molding experiment were singled out, namely: emergence of interest and formation of teenagers’ desire to get new musical impressions; formation of desire to learn musical material; activation of the need of students-teenagers in mastering musical-singing activities; acquiring knowledge about musical-choral repertoire; development of singing abilities and skills; achieving of performing results during musical-singing activities. Implementation of the experimental methodology was carried out sequentially during the expository-stimulating, information-evaluative and performing-creative stages.Key words: artistic-performing values, teenagers, experimental methodology, results of the experiment.

THE IMAGE OF TIGRAN THE GREAT IN VIVALDI'S OPERA

Tigran the Great is one of the most powerful Armenian rulers, whose image was of most interest to Greco-Roman authors and served as a source of inspiration for European cultural figures. Rich evidence of this is the artistic and historical manifestations of the image of this outstanding ruler in European musical art. The object of research is the image of Tigran the Great. The purpose of the study is to analyze the comprehensive influence of the image of Tigran the Great in European musical art. Served as the methodological basis of the research historical-comparative-chronological, descriptive, analytical-comparative, source-scientific (Justin, «Philip's Histories» Book XXXVIII, Francesco Silvani La virtu trionfante dell'amore e dell'odio overo Il Tigrane drama) methods. The study found that European musicians created 41 operas, many of which featured the Armenian king Tigran the Great as the main or participating character. The composers were interested in the historical figure of Tigran the Great, inspired by the materials in the works of Greek-Roman authors. The article specifically presents the presentation of the historical figure of Tigran the Great by the famous composer Antonio Vivaldi, the basis of which is the work "Parallel Biographies" by the historian Plutarch.

The Origins of Theatricality in Vocal Art of Alexander Tchaikovsky

This article is devoted to the vocal works of the outstanding Russian composer Alexander Vladimirovich Tchaikovsky. The perspective of the study is the manifestation of theatricality in the composer’s vocal cycles. The quality of theatricality was formed by the conditions of Tchaikovsky’s personal formation in the atmosphere of professional activity of the closest members of his family. His father, Vladimir Alexandrovich Tchaikovsky, was the director of the Stanislavski and Nemirovich-Danchenko Moscow Music Theatre. His work in the 1960–70s had a huge impact on the personality of the future composer. His uncle, Boris Alexandrovich Tchaikovsky, was an outstanding Soviet composer. The vocal cycles of Alexander Tchaikovsky show the tendency towards theatricalisation of vocal works, which developed in Western European and Russian musical art of the 19th and 20th centuries.

Features of the Genre and Style of the Historical and Heroic Opera “Jiang Jie”

Being internationally recognised and having received many state awards, the historical and heroic opera “Jiang Jie”, or “Sister Jiang”, is considered as one of the peaks of national Chinese music. The work is little studied in the Russian scientifi c literature. The music of the opera is based on Sichuan folk songs and their characteristic pentatonic mode, elements of Sichuan and other types of opera, including Beijing, Yu, Yue, Hang Tang, Yang Qin and others. The score includes spoken dialogue, mass and domestic scenes, as in folk Chinese drama, as well as vocal forms, choral and symphonic pieces, as in Western European opera, which gave “Sister Jiang” the features of the genre and style of modern Chinese opera in the Western European style. All this speaks of the development of the national musical theatre traditions in the conditions of a new musical language of the 20th century. The study of this process seems relevant in the context of the problem of preserving national identity in the musical art of China. The article presents the results of an analysis of the features of the genre and style of “Sister Jiang” as a historical and heroic opera in Chinese in the Western European style, which crowns one of the most fruitful periods in the development of modern Chinese musical drama.

Immersive technologies in the formation of musical audio space

Immersive audio technology is increasingly used in music, with devices like cell phones and televisions replicating formats. The increasing adoption of immersive audio technologies by both consumers and professionals in the music industry has made this topic more relevant. The purpose of the research is to analyse immersive technologies that contribute to the creation of the musical audio environment. The research employed methods: literature and historical review, technical analysis, practical cases, statistical method, and the author’s personal empirical experience. The article examines the function of audio space in relation to the perception of musical art and the characteristics of musical audio space. The proposed classification categories musical audio spaces into two distinct types: natural and artificial, as well as offline and online. The article’s statistical data illustrates the changing patterns of growth in online audio consumers and the rivalry between radio stations and streaming platforms to enhance their impact on shaping listeners’ audio spaces. The research demonstrates that streaming platforms actively encourage the incorporation of musical content in immersive formats as a means to expand their market share and evoke heightened emotional and perceptual responses in customers. The article outlines techniques used in immersive music spaces to provide a distinct aural experience for the listener. The article’s practical analysis of immersive audio technologies encompasses the examination of requisite microphones and digital audio workstations that facilitate the transition from two-dimensional audio space formation to threedimensional. In contemporary circumstances, the distribution of musical items is progressively employing threedimensional immersive technologies. The article enumerates audio technologies that guarantee the creation of an immersive auditory environment for both listeners and musicians: Ambisonics, KLANG: technologies, and DPA 5100. The practical significance of this work rests in examining the perceptual attributes of users of immersive technologies and exploring the potential for developing immersive technologies, such as immersive musical instruments or immersive radio stations

Genre and Style Dimensions of Ukrainian Piano Music of the 20th — Early 21st Century

The article explores the evolution of Ukrainian piano music from the 20th to the early 21st century, which is a significant component of Ukraine’s cultural and artistic heritage. It analyzes the process of changes in genre and stylistic parameters of piano music and their impact on the process of forming national identity, encompassing both the revival of folk traditions and the introduction of avant-garde techniques. Particular focus is put on the interaction of Ukrainian composers with global musical processes, which has enriched the musical language by integrating new compositional techniques. The study also considers the cultural and historical contexts that influenced the formation of styles and genres during periods of avant-garde, modernism, and postmodernism. The research emphasizes the importance of continuously updating musicological methods to understand innovative phenomena in piano music and their impact on the development of musical culture. It has been determined that piano music of the 20th and early 21st centuries has become a significant indicator of genre and stylistic transformations in the musical arts. It serves as a foundation for innovative ideas that later found expression in chamber and symphonic music. Ukrainian piano music has played a key role in preserving national traditions, combining them with European influences. Particularly significant is the endeavor of Ukrainian composers to blend folklore and national melos with classical-romantic traditions, as well as their ability to adapt to social challenges, reflecting social changes and influencing the formation of a new cultural identity.

Church music of Kyivan Rus in the formation of religious-aesthetic ideals and mental-ideological attitudes of Orthodoxy

In 2024, the church music of Ukrainian Orthodoxy requires a thorough analysis of its impact on cultural identity and spiritual development over the centuries. Church hymns, through the synthesis of arts and sacraments, facilitated the interaction between music and liturgical text, enriching liturgical practice and the spirituality of Kyivan Rus. In 2024, the problem of the spiritual revival of the nation, its cultural identity through the involvement of hesychast traditions in Orthodox church practice acquires new relevance and expediency. The purpose of the article is to carry out a comprehensive analysis of the religious-aesthetic, theological, and cultural ideas of hesychia, which were manifested in the church-musical practice of liturgical services and influenced the spirituality of the Orthodox person over the course of a thousand-year history. The study applies art history and cultural studies approaches, uses methods of analysis, synthesis, comparison and interaction of cultural affiliation and spiritual progress of the nation. It has been scientifically proven and substantiated that the musical art of the Kyivan Rus became the personification of spiritual transformations, formed the mental and ideological constructs of Eastern Christianity in its ancient Old Rus form thanks to Orthodox liturgical music. According to the results of scientific analysis, it appears that the adoption of Eastern Christianity in Kyivan Rus became a fundamental milestone in the development of its musical culture, which was significantly influenced by the patristic doctrine and spirituality, in particular hesychast views and customs that came to Rus from Athos. It is proved that church music in Kyivan Rus was filled with God’s light, spiritual “energy”, peace-making harmony, balanced tempo-rhythm and soulful melody, it was a manifestation of “sonorous” divine silence, “singing with thoughts”. This research will be appropriate in curricula on the history of music, on the history of sacred art, on Christian ethics and aesthetics, for further scientific and educational research of church Orthodox chants and their relationship with Byzantine hesychast practice in the context of mutual influence on mentality, worldview, religious and aesthetic ideal

Exploring the Impact of Music Arts Education on Cognitive Development in College Students: A Qualitative Study at HD College in Inner Mongolia, China

This qualitative study explores the impact of music arts education on cognitive development among college students at HD College in Inner Mongolia, China. Drawing upon phenomenological inquiry, the research aims to investigate students' perceptions of the effects of music arts education on cognitive processes and to understand their experiences and perspectives within this context. The study involves 60 participants from the art department, who engage in semi-structured interviews to provide rich insights into their lived experiences with music education. The findings reveal that music arts education enhances cognitive abilities such as memory retention, critical thinking, and emotional regulation. Additionally, students report experiencing personal growth, social connection, and emotional well-being through their engagement with music education. While the study contributes to our understanding of the multifaceted benefits of music arts education, it also highlights the need for further research to explore the long-term effects, comparative analyses across different contexts, and interventions aimed at optimizing music education for cognitive development.

СТРАТЕГИЧЕСКИЕ ПУТИ МЕЖДИСЦИПЛИНАРНОЙ ИНТЕГРАЦИИ. ИТОГИ МЕЖДУНАРОДНОЙ КОНФЕРЕНЦИИ «МЕДИЦИНА И ИСКУССТВО: ОТ БЕХТЕРЕВА ДО НАШИХ ДНЕЙ

The results of the international conference on music therapy «Medicine and Art:from Bekhterev to the present day», held in March 2024 in Kazan as part of the anniversary neurological forum «NeuroWeek-Kazan 2024», are analyzed. The speakers of the conference presented the experience of the health and therapeutic effects of musical sound and musical art, highlighted the achievements of theoretical and experimental research in related sciences, natural sciences and humanities. Having gathered speakers from different countries, the conference showed the growing interest of scientists in the topic of music therapy and became an indicator of the high authority that the school of Russian scientific music therapy, headed by Professor S.V. Shushardzhan, has gained. As a result of the exchange of views and the establishment of new interdisciplinary contacts, new prospects for the development of this area were outlined.

ƏSAS MUSİQİ ALƏTİ MƏŞĞƏLƏLƏRİNDƏ MUSİQİ JANR XÜSUSİYYƏTLƏRİ HAQQINDA BİLİKLƏR

Learning the Features of Genres in The Classes of the Main Instrument Summary The presented article is devoted to the topic of studying genre features in the process of teaching students on the main instrument. The article makes an excursion to the main varieties of genres of musical art. The student's orientation in a variety of genres expands the boundaries of his worldview and professional field of activity. As a result of this, the presented article carries methodological value in the educational process. Key words: student, art, music, genre, piano

Ethno-Pedagogy Study: Exploration of Character Values and Mathematical Concepts in Badeng Art at Elementary Level

Culture is a habit that contains of important elements and fundamental values and is close to human life which is passed down from generation to generation. Culture can be used as a medium of learning for students in schools as well as the learning culture itself. Badeng is a traditional musical art culture from Sanding Village, Malangbong District, Garut Regency, West Java which is must be preserved. The aims of study are to explore the mathematical concepts and character value in Badeng music so that they can be implemented and integrated in teaching mathematics in elementary schools.

INNOVATIVE APPROACHES TO INTRODUCING MUSICAL ART TO YOUNG PEOPLE IN A NEW AESTHETIC SITUATION

The article considers a new aesthetic situation that has arisen as a result of the emergence of new musical and technical professions − sound engineer, sound and video technician, new musical sign reality that can record borderline sound phenomena, as well as art commercialization, art merger with the field of financial markets and show business. The new aesthetic situation forms a new level of thinking, respectively. To develop musical thinking and interest of young people in musical art, appropriate innovative approaches are necessary taking into account modern technologies. They include: introducing musical art to young people through innovative technologies as additional to traditional music training; supporting interest in the musical avant-garde − borderline sound phenomena, sound sculptures, installations, etc., the relevance of which continues to dominate in art; developing new forms of concert venues for transmitting art that meets the requirements of the new aesthetic situation.

Investigation of the Status of Music Teaching in Middle School under the Background of "Art into the Middle School Entrance Examination" in Dejiang County, China

Aesthetic education is an indispensable part of all-round quality education. Art education belongs to the category of aesthetic education and is an important content and way to implement aesthetic education. Music education is a form of education with music art as the medium and aesthetics as the core. In October, 2020, the general offices of the General Office of the Central Committee of the CPC and the State Council issued the Opinions on Comprehensively Strengthening and Improving Aesthetic Education in Schools in the New Era, which put forward the requirement of bringing art subjects into the pilot reform of senior high school entrance examination. The implementation of the new policy of "art entering the senior high school entrance examination" is a brand-new challenge to junior high school music teaching. In order to better implement the policy of "art entering the senior high school entrance examination", it is necessary to understand the current situation of junior high school music teaching. In this study, 241 junior high school students in four middle schools in Dejiang County, Guizhou Province were investigated from three aspects: their attitude towards music, the basic reasons for liking music and the mastery of basic music skills, and then the data were statistically analyzed by Excel and SPSS software. Based on the analysis results of the previous part, combined with the requirements of "Art Entrance Examination", this paper puts forward that we should pay more attention to music courses, enrich the content of music courses and strengthen the teaching of basic music knowledge.

The synthetic nature of N. Lvov’s lyrical works in the focus of the “holiday” concept

This article examines the embodiment features of the dialogue of arts in N. Lvov’s creative heritage (1753-1803) based on the lyrical works of the writer intended for vocal performance (“Winter” (1796), “Duets. To the Music of Zhirdini Printed in London” (1791), “Words to the Finished Music of Seidelman. Duet” (1793), “A Song for Gypsy Dancing” (1789). The research uses the biographical, historical-functional and historical-typological methods. In the course of the study, we found that the synthesis of arts is a semantic and formative element. The writer managed to combine the literary code with the genome of a number of other, sometimes even antonymous, fields of art, which ultimately contributed to the creation of a unique work whose hallmark is eclecticism. Thus, through the active use of the musical art code in his work, N. Lvov managed not only to integrate two areas of art, but also to create a qualitatively new format of musical and literary art with powerful aesthetic potential. A clear example of this is his lyrical work with the concise title “Winter” (1796). In addition, as the analysis showed, the writer managed to organically introduce the festive concept of pagan extraction into the work, in many respects this is due to the genre nature of the text. Realizing the multiplicity of contact points between literature and painting, Lvov sought to develop various mechanisms of rapprochement. For example, he used the tools of fine art when creating the verbal fabric of a poetic text, thanks to which his poetic works acquired a special color and picturesqueness. We can observe this phenomenon in the “Duet. To the Music of Zhirdini Printed in London” (1791) and in “Words to the Finished Music of Seidelman” (1793). Being an innovator, N. Lvov made an attempt to combine various types of art – dynamic (literature) and spatial-temporal (choreography). An example of this kind of experiment is his “A Song for Gypsy Dancing” in whose genome the festive motif characteristic of N. Lvov’s work is traced again.

Возрождение (середина XIII – середина XVI столетия). Грани гуманизма. Часть I

The essay is dedicated to exploring the art and culture of the Renaissance period, heralding Modern times, spanning from the mid-13th to the mid-16th century. This part of the work highlights the artistic achievements of the Middle East during the specified period, particularly in architecture, poetry (including the rise of humanism). Turning to European culture, the author specifically addresses the art of the Orthodox world (primarily focusing on church painting and, to a lesser extent, on the Ancient Russian Znamenny chant), noting its influence on the currents of the Renaissance. The author delves into the Gothic style, somewhat contrasting traditional notions of the Renaissance period (a kind of “counterculture”), across its various manifestations in visual arts, music and literature. Special attention is given to the central part of Renaissance art, tracing its evolution from the Early Renaissance (masterpieces of sculpture in Gothic cathedrals) to the Proto-Renaissance (paintings and frescoes by Italian masters, the emergence of psychologism in painting, the literary movement of Dolce stile nuovо marking the transition from the Middle Ages to Modern times, Ars Nova in musical art). The exploration of this theme will continue in the next part of the essay.

The Interrelation and Influence of Cultural Identity in the Performing Arts: Archetypes, Reflections, Interpretations

Relevance. In the modern global world, the relationship between cultural identity and the performing arts is becoming increasingly relevant. The academic paper focuses on the role of cultural identity, its search and transformation, based on archetypes, reflection and interpretation in forming the identity of performers. Archetypes, which are universal symbols and images, influence the creative process of performers. They can be manifested in musical compositions, choreography, acting, and other forms of art. Performers’ reflections on their cultural heritage and identity help them enrich their performances and express themselves. Purpose. The present academic paper will help reveal important aspects of the interaction between cultural identity and the performing arts, and it will also consider practical examples from the world of art, in particular, music. The object of the research is the specificity of the cultural identity of certain countries (Ukraine, the USA, Brazil, India, and China) and the possibilities of the performing arts to use cultural specificity/identity in the modern world. The principles of tolerance, awareness of cultural relativism and tolerance, cultural variety, and the aim to preserve cultural heritage by popularizing these notions served as the methodological basis for writing the academic paper. In order to accomplish the research tasks, the works of the following scholars and their methodological approaches were used, namely: the works of C. Jung, T. Adorno, the theories of F. Clackson and F. Strodtbeck, and the development of the study of cultural features of countries by G. Hofstede. In the context of cultural globalization, the issues of cultural identity are gaining particular importance. Musical art is particularly appropriate for demonstrating both timeless and supranational aspects of existence, and vice versa – for shaping and cultivating cultural differences, using both established archetypal images and performing reflections and interpretations of the author's intent, interpreted in accordance with the personal background and historical and cultural context.

Inovasi Teknik Membatik Rizky Juniyanto Pada Produk Properti Seni Pertunjukan

Indonesia has many tribes and cultures, which create various works of art and culture. The enthusiasm of the community in preserving culture has enabled this culture to develop to this day. Artists become more creative and innovative in their work because of the public's enthusiasm for works of art. Artists must have talent and strong determination. Arts in Indonesia, such as Performing Arts and Fine Arts, can be an opportunity for artists to collaborate and develop culture. Performing Arts involves Dance, Dramatic Arts, and Musical Arts, while Fine Arts involves Sculpture, Ceramic Arts, Painting, and Craft Arts. Props and costumes are used in performing arts works, depending on the theme and title of the work to be created. Props such as shawls, plates, umbrellas, fans, trees and stones are used to depict the atmosphere in the performance. Performing Arts and Craft Artists can collaborate with each other for mutual benefit. Rizky Juniyanto is a young Craft Artist who has a variety of batik works, including earthenware batik, cloth batik, umbrella batik, and wooden batik. His works not only function as decoration, but also as everyday objects such as teapots, pans, glasses, plates, savings and jars made of earthenware. These products have high aesthetic and selling value. Rizky Juniyanto also accepts orders for souvenirs and performing arts props. He markets his work through online sites and applications and collaborates with several studios. Apart from producing works of art, Rizky Juniyanto often fills workshops and teaches other people how to make his works to develop craft art. Keywords: Property, Art, Artists.

Kapellmeister’s activity of J. Jurjāns in musical life of Kharkiv at the turn of the XIX and XX centuries

The purpose of the article is to clarify the specifics and role of J. Jurijāns’ kapellmeister’s activity in the musical life of Kharkiv at the turn of the XIX and XX centuries.
 The methodology of the research is based on a combination of historical, systematic and art-historical approaches, empirical and comparative methods of analysis, the application of which ensures the determination of the specifics and role of the kapellmeister’s activity of J. Jurijāns in the musical life of Kharkiv at the turn of the XIX and XX centuries.
 The scientific novelty lies in the introduction into the scientific circulation of art history of little-known, previously undisclosed facts from the musical history of Kharkiv, which highlight the specifics of J. Jurijāns’ professional self-realization as one of the adepts of academic musical art within the framework of his kapellmeister’s activitiy.
 Conclusions. In the course of the research, it was found out that J. Jurijāns’ carried out his kapellmeister’s activities in Kharkiv from 1890 to 1906 striving for professional self-realization. Having started this path by working with an amateur children’s wind orchestra, the musician then professionalized to lead the wind orchestra of the students of KhMU; the next step was to work out the specifics of leading a symphony orchestra, first with an amateur team and, finally, with a daily practicing orchestra of professional musicians. The specified professionalization was carried out in the context of J. Jurijāns’ development of the kapellmeister’s functions: organizational (selection of talented children, then professional musicians, to the orchestra, solving issues of the rehearsal process and concert practice), pedagogical (preparing children to play in the orchestra), educational (instilling a culture of learning highly artistic repertoire based on the ideological foundations of academic music), repertoire creator (implementation of repertoire policy based on public reproduction of academic music), performing and conducting (direct management of the process of music reproduction during concert performances). The influence of J. Jurijāns’ kapellmeister’s activity can be traced in the context: the spread of musical professionalism in the amateur environment of Kharkiv, its use in KhMU as a type of performance practice of the wind orchestra, the successful continuation of the tradition of summer symphony concerts in the city as an artistic phenomenon.

Наследование и развитие китайской традиционной музыкальной культуры

General Secretary Xi Jinping, in a report at the XIX Party Congress, clearly stated that “culture is the soul of the country and the nation. When culture flourishes, the country flourishes; when culture is strong, the nation is strong.” Currently, an important period has come for strengthening the cultural consciousness of the people of China and the active development of Chinese music as its element. Under the influence of foreign and West-ern culture, the study and inheritance of traditions in this area can allow the modern younger generation of Chi-nese to better understand the meaning of national musical culture, which is of great importance for its devel-opment and further search for the place of Chinese traditional musical art in the world as a source of national spirit and strength. It is very important to inherit Chinese traditional musical culture in order to strengthen patriot-ism, national identity and ensure the pride of the younger generation of their ancestors. This article defines tra-ditional Chinese musical culture, examines its connotation, cultural value, principles of inheritance and devel-opment.