Music Literature Research Articles

Використання українських вокальних перекладів у музичній освіті

The paper deals with the use of vocal translations in music education. As it is widely known, in the modern world practice there are two ways of performing foreign vocal music. The first one is to perform in the author’s language and the other one is to perform in the language of the listeners. Both of them have the right to exist and nobody could claim one of them as an inadmissible or prohibited. On the contrary, world tendencies towards democratization, pluralism and tolerance for coexistence of opposing points of view imply the performer’s right to interpret musical works including opera in different ways. While usage of vocal translations in concerts and stage is partially described, their uses in training still need an approach. This paper presents how we use vocal translation in following disciplines: vocal (solo singing), opera studio, conducting class, accompaniment, music literature (music history). It is shown that Ukrainian language translations are widely used as directly (for singing in translation) and indirectly (for understanding the content of musical works). According to G. Hansburg one should prefer a semantic layer, while preserving the phonetic layer is problematic if the singer is trying to sing in a foreign language. This is a reason for Kyiv Operetta Theatre and Kyiv Municipal Opera Theatre for using vocal translations for opera performing. On the other hand a lot of theatres, like Kyiv National Opera perform operas in original language only. This situations means that singer should able to perform operas both in original language and in translation. Moreover, even while singing in original language singer should fully understand what do he (or she) sings about. Ukrainian translations are needed for this purpose. This is also significant for students who learn conducting or accompany opera areas. However, the lack of educational and methodological and textbook literature in the Ukrainian language is noted, as well as registers of vocal translations of opera and chamber vocal music. These problems of Ukrainian educational have to be resolve in next years.

Mieczysław Weinberg and the Category of Borderland

Polish musicologist and author Danuta Gwizdalanka titled her publication Mieczysław Wajnberg: kompozytor z trzech światów [Mieczysław Weinberg: Composer from Three Worlds] (Poznań, 2013). Weinberg (1919–1996) was a Polish composer with Jewish roots who spent most of his life in the USSR. Without any doubt, he can be called ‘a composer from the borderland’ due to his ‘hybrid identity’, which was one of the most important reasons that affected the appreciation of Weinberg’s output both during his lifetime and after death. The main ideas of this paper centre on the category of ‘borderland’ and its representations in Weinberg’s biography and oeuvre. According to the typology proposed by Krzysztof Zajas, Weinberg’s life and works can be considered in terms of the following types of borderland: interdisciplinary, spatial, psychological, existential, sociological, and mythological. Through the prism of the category of ‘borderland’, Weinberg’s creative work manifests itself as a highly individual and invaluable testimony of his times, Far from eclectic and epigonic in relation to the music of Dmitri Shostakovich, his oeuvre is unique in the world’s music literature.

Mieczysław Wajnberg a kategoria pogranicza

Mieczysław Wajnberg and the Category of Borderland Polish musicologist and author Danuta Gwizdalanka, titled her publication Mieczysław Wajnberg: Composer from Three Worlds (Poznań, 2013). Wajnberg (1919–1996) was a Polish composer with Jewish roots who spent most of his life in USSR. Without any doubt, Wajnberg can be named “the composer from the borderland” due to his “hybrid identity”, which was one of the most important reasons preventing appreciation of Wajnberg’s creative activity both during life and after death. The main ideas of the paper are focused on the “category of borderland” and its representation in Wajnberg’s biography and output. According to the typology proposed by Krzysztof Zajas, Wajnberg’s live and works can be considered in the frame of following types of borderland: interdisciplinary, spatial, psychological, existential, sociological and mythological. Through the prism of “borderland’s category”, Wajnberg’s creative activity shows itself as a very individual and invaluable testimony of his times (far away from eclectic and epigonic in relation to music of Dmitri Shostakovich), unique on the scale of world music literature.

О терминологическом словаре «интеллектуальных» направлений рок-музыки

The article is devoted to the interaction and correlation of such concepts as art rock and progressive rock in the terminological vocabulary of rock music. They both describe a rather unordinary stylistic direction of rock music which both turns to academic “classical” music and at the same time expands the compositional expressive means of rock music aimed at synthesis and experiment. The terms “art rock” and “progressive rock” (just as the musical trend itself) appeared in the British and American press in the late 1960s, however the boundaries between them have remained rather vague. The author of the article examines the history of the emergence, existence and signification of the terms “art rock” and “progressive rock” in the musical literature of Russia and other countries, specifies their meanings, and also turns to the appropriate terminology, styles and genres. The conclusion is arrived at about a more universal and generalizing meaning of the concept of “progressive rock,” which may be comprehended as a “stylistic conglomerate,” the “sum” of numerous stylistic varieties, the general characteristic features of which is the directedness towards stylistic synthesis, a complexification of expressive means and musical form, as well as the overcoming of the customary boundaries of rock music.

New Periodicals

New Periodicals Edited by Lindsay Hansen Brown This semiannual column selectively lists new periodicals; describes their objectives, formats, and contents; and provides information special issues; title and format changes, mergers, and cessations. The following resources were frequently consulted when assembling this column: Music Periodicals Database (MPD; http://www.proquest.com/products-services/iimp_ft.html), Music Index (MI; https://www.ebscohost.com/academic/music-index), RILM Abstracts of Music Literature, (RILM; http://www.rilm.org), OCLC Worldcat and Ulrich's Periodical Directory (www.ulrichsweb.com/ulrichsweb/), and the Directory of Open Access Journals (http://www.doaj.org). All Web sites were accessed on 17 September 2019 unless otherwise indicated. electronica Reviews, new titles, and publisher and title changes announced elsewhere in this column include additional comments about electronic access. Backstage Pass (https://scholarlycommons.pacific.edu/backstage-pass/about.html; no ISSN) is a peer-reviewed, annual, open-access title focused on music industry studies. It is published by the University of the Pacific's Music Industry Studies Program and edited by Keith Hatschek from the Conservatory of Music. Submissions are limited to University of the Pacific students though they need not be studying music or business. special journal issues Contemporary Music Review. Vol. 37, Nos. 5–6 (December 2018): Music, Mediation Theories and Actor-Network Theory. This double issue, edited by Georgina Born and Andrew Barry, was inspired by a British research program, 'Music, Digitization, Mediation: Towards Interdisciplinary Music Studies' and considers comparative ethnographic studies of music being transformed worldwide by digitization and digital media. This issue features nine research articles and no reviews or other content. Journal of Sonic Studies. Vol. 18. (2019): Materials of Sound II. Continuing the work started in the 16th issue, this volume was edited by Caleb Kelly. The first issue "focused on creative sonic production that en gaged materials" and this companion volume notes "material sounds are found within cultures, cities, religions, movement, environmental catastrophe, and the murmurs of the crowd." Included are four articles and embedded audio. The Musical Quarterly. Vol. 101, No. 4 (Winter 2018): Music and Jews. Introduced by Leon Botstein and edited by Halina Goldberg, this issue addresses the "musical practices that emerged in the late eighteenth century [that] became a factor in the evolution of Jewish ethnic, religious, and political identity … within Jewish families throughout Central Europe." The issue includes six research articles and no reviews or other content. [End Page 484] Nineteen-Century Music Review. Vol. 16, No. 1 (April 2019): Percy Grainger: Cosmopolitan Imagination. Guest edited by Ryan Weber, this issue explores the idea of Grainger as a "cosmopolitan" composer amidst the "contradictions and peculiarities that plagued Grainger's career." Included are four research articles and several book and CD reviews. The Opera Quarterly. Vol. 34, No. 4 (Autumn 2018): Opera at the Multiplex. Guest edited by Christopher Morris and Joseph Attard, this issue discusses The Met: Live in HD and was spurred by a symposium held at King's College London, 'Opera Cinema: A New Cultural Experience'. Featured are four research articles, the transcript from a panel discussion (from the symposium), and a performance review. Organised Sound. Vol. 24, No. 1 (April 2019): Perceptual Issues Surrounding the Electroacoustic Music Experience. Guest edited by Sven-Amin Lembke, this issue "aimed to contextualize issues pertinent to electroacoustic practice and identify not only the perceptual constraints but also opportunities." The issue features eight research articles, plus book and DVD reviews. Rock Music Studies. Vol. 6, No. 1 (February 2019): Chuck Berry. This issue features five research articles about Berry. Included are several book and sound recording reviews, along with a call for papers. Sound Studies. Vol. 5, No. 1. (March 2019): Sound, Law and Governance. Edited by Leonardo Cardoso, this issue addresses sound, law, and governance with the "close analysis of specific urban spaces, legal documents, auditory communities, and technologies." Featured are five research articles and two book reviews. Click for larger view View full resolution [End Page 485] Copyright © 2020 Music Library Association, Inc.

New Periodicals

New Periodicals Lindsay Hansen Brown This semiannual column selectively lists new periodicals; describes their objectives, formats, and contents; and provides information special issues; title and format changes, mergers, and cessations. The following resources were frequently consulted when assembling this column: Music Periodicals Database (MPD; http://www.proquest.com/products-services/iimp_ft.html), Music Index (MI; https://www.ebscohost.com/academic/music-index), RILM Abstracts of Music Literature, (RILM; http://www.rilm.org), OCLC Worldcat and Ulrich's Periodical Directory (www.ulrichsweb.com/ulrichsweb/), and the Directory of Open Access Journals (http://www.doaj.org). All Web sites were accessed on 19 March 2020 unless otherwise indicated. NEW TITLES International Journal of the Study of Music and Musical Performance. Edited by Luisa Nardini, Rob Haskins, and Tom Moore. Published online. Vol. 1, No. 1 (2019). No ISSN. http://openmusiclibrary.org. According to its journal homepage, "The International Journal of the Study of Music and Music Performance advances both a general and professional interest in music and its performance with essays that cover a range of approaches: from discussions of little-known composers and musicians drawing upon primary and secondary sources to more specialized studies of composers, works, instruments, performers, audiences, and institutions. A review section will cover new books, scores, and recordings. Whenever possible, international contributions will be presented in the original language as well as in English." ELECTRONICA Reviews, new titles, and publisher and title changes announced elsewhere in this column include additional comments about electronic access. Répertoire International de Littérature Musicale [RILM] has expanded the geographic representation of music scholarship in RILM Abstracts, particularly of literature published in India; seen a significant increase in the full-text content in Abstracts of Music Literature with Full Text; added five new titles to RILM Music Encyclopedias and preparations for launching the database on RILM's own platform, Egret; completed the Index to Printed Music's data migration into RILM's systems and relaunch on EBSCOhost; further developed the RILM thesaurus project; and added new content and enhanced functionality, including a new timeline feature, for MGG Online. [End Page 152] RILM Music Encyclopedias provide comprehensive encyclopedic coverage of fields and subject areas in musicology, ethnomusicology, and music theory, among them pop and rock, opera, instruments, blues, gospel, recorded sound, and women composers. Its content spans multiple countries and languages—currently English, German, French, Italian, Dutch, Czech, Greek, Portuguese, Slovak, and Spanish. Searches can be performed within a specific encyclopedia or across the entire collection. In January 2019 five new titles were added, all focused on instruments. This brought the total to 54 titles (published originally in print from 1775 to the present). The additions were: Domingo Prat. Diccionario biográfico – bibliográfico – histórico – crítico de guitarras (instrumentos afines), guitarristas (profesores – compositores – concertistas – lahudistas – amateurs), guitarreros (luthiers) – Danzas y cantos – terminología. Buenos Aires: Romero y Fernández, 1934. 469 p. Sibyl Marcuse. Musical instruments: A comprehensive dictionary. New York: Doubleday, 1964. xiv, 608 p. Curt Sachs. Real-Lexikon der Musik -instrumente, zugleich ein Polyglossar für das gesamte Instrumentengebiet. New York: Dover Publications, 1964. xxiii, 452 p. Hortense Panum. The stringed instruments of the Middle Ages: Their evolution and development—A detailed and comprehensive history, with illustrations, of the evolution of the mediaeval stringed musical instruments from their first appearance in the records of the earliest civilisations, through their gradual development in the Greek, Roman and Christian eras down to more recent times. Translated and edited by Jeffrey Pulver. London: William Reeves, [1939 or 1940]. ix, 511 p. Sibyl Marcuse. A survey of musical instruments. New York: Harper & Row, 1975. xiii, 842 p. In February 2020, three rock music titles joined the growing collection of reference resources included in RILM Music Encyclo -pedias, bringing the total to 57 titles published originally in print from 1775 to the present, and 308,125 entries. The additions were: Ian McFarlane. The encyclopedia of Australian rock and pop (2nd corrected ed.; Gisborne, VIC: Third Stone Press, 2017) 544 p. Bernward Halbscheffel. Lexikon Progressive Rock: Musiker, Bands, Instrumente, Begriffe (Rev. ed.; Leipzig: Halbscheffel Verlag, 2013) iii, 560 p. Bernward Halbscheffel. Sachlexikon Rock-musik: Instrumente, Technik, Industrie (Leip-zig: Halbscheffel Verlag, 2013) 2 vols...

Os ritmos do baião fonográfico de Luiz Gonzaga

O objetivo deste trabalho é desvelar o ritmo do baião, identificando sua caracterização instrumental e rítmica a partir de fonogramas selecionados da obra de Luiz Gonzaga, considerado o criador desse gênero fonográfico da música popular brasileira. Para o estudo, compõem o método: a escuta repetida de gravações dos baiões de Gonzaga, o uso de conversores e editores de áudio para aprimorar a qualidade da escuta, além da edição de partituras das transcrições para fundamentar análises e apontamentos, concernentes ao tecido rítmico. O ritmo do baião é geralmente reduzido a (e representado por) uma célula considerada por vários autores como “padrão”. Um rigoroso exame da fonografia revela que as gravações dos baiões de Luiz Gonzaga, quanto ao aspecto rítmico do acompanhamento, apresentam variedade de padrões nas execuções dos instrumentos que integram os grupos musicais. Os resultados da pesquisa demonstram não haver somente um “padrão básico”, “pulsação básica" ou “levada padrão”, como referido na literatura musical. O baião fonográfico de Luiz Gonzaga configura uma pluralidade de padrões executados em conjunto, gerando resultantes rítmicas diversas, que por esse viés perfilam o gênero de um modo muito mais amplo. Visto assim, o baião constitui-se desde o início em ambiente propício para o surgimento de hibridismos e fusões.

Music Therapists’ Goal and Objective Writing Practices

Abstract Maintaining current curricular materials for teaching goal and objective writing can be challenging. The purpose of the present study was to investigate the goal and objective writing practices of music therapists and compare them to the related music therapy literature. A survey was emailed to 6,643 board-certified music therapists asking them to describe their goal and objective writing and to share examples of such statements. Four hundred fifty-seven music therapists responded. Quantitative analysis of the results revealed that the majority of respondents participated in writing goals and objectives as well as nine other types of related statements. Qualitative analysis of the statement examples revealed that the statements were constructed using 15 different components. Comparison of study results and published literature demonstrate alignment with current practice in the descriptions it provides of the basic qualities of goal and objective statements. Data analysis also indicates that current practice encompasses a larger scope and complexity of ideas than those presented in the literature. Clinical and educational implications are discussed.

THREE KOLOMYIKY” BY M. KOLESSA IN TRANSLATION BY Y. POLIKHRONIDI: THEORETICAL-PERFORMANCE ANALYSIS

The purpose of this scientific article is considering the most particularized specifics of the translation for balalaika on the example of the theoretical-performance analysis „Three Kolomiky” by outstanding Ukrainian composer and conductor M. Kolessa as famous and amazingly popular instrumental masterpieces into vocational sphere of the folk professional musicians. The round of methods concerning this represented investigation are made by combining synthesis and analysis techniques that help to author of this submitted scientific disquisition to separate and then to generalize of translating specialized instrumental features. The scientific novelty in relation to above-mentioned explorative thematic vector is identifying the most characteristic peculiarities of the translation for balalaika by professional and well-known Ukrainian musical educators and performers. Conclusions. In Ukrainian balalaika music, translation is one of the important components of the pedagogical and academic-concert life of this instrument. The translations have helped to elevate the balalaika to a high academic level, and to accumulate a considerable amount of luggage of highly artistic musical literature of different genres and styles. In this section, the bright translation for the Balalaika „Three Kolomyiky” by M. Kolessa, made by renowned teacher, Professor Y. Polikhronidi is quite successful, because it demonstrates and, underline, bright represents all the vocational possibilities of the academic balalaika on the one hand and does not interfere with the disclosure of the main figurative content, but rather emphasizes its unrepeatable, unique national, domestic identity. Underscore, the professional working in the musical field of decorating and arranging for balalaika in Ukrainian music is enormously, extremely attractive and inspires many contemporary composer-performers and modern educators.

Playing the Spinal Chord: Tantric Musicology and Bengali Songs in the Nineteenth Century

AbstractAcross the nineteenth century, Bengali songbook editors applied musicological theory to their tantric religious practices. Responding to the new possibilities of musical publishing, these editors developed innovative techniques of relating the body to music by tying together tantric tropes with music theory and performance practice. Theories about the affective potential and poetic connotations of rāgas were brought into conversation with understandings of the yogic body, cakras, and the visualization of goddesses. These different theories, stemming from aesthetics and yogic philosophy, were put into effect through lyrical composition and the ways in which songs were set to music and edited for printed anthologies. This article considers different examples of tantric musical editorial, and explores how esoteric knowledge was applied in innovative ways through the medium of printed musical literature.

Speech-language pathologists with a vocal music background: exploring impact on the training of the transgender voice

Speech-language pathology, vocal music, and music education literature reveal similar and complementary approaches to the transgender voice. The purpose of this qualitative pilot study was to explore what, if any, impact having a vocal music background has on how a speech-language pathologist (SLP) works with transgender and non-binary voice modification clients. Two SLPs were interviewed regarding their vocal music backgrounds, their work with transgender voice modification clients, and their thoughts on how music and voice modification training intersect. Results of the study indicate that a musical background may be beneficial to both the SLP and clients. Musical training provided the SLP with a broader range of tools for training clients in voice modification techniques, including the ability to model exercises, and manipulate timbre, resonance, and placement of the voice with great nuance. Both SLPs explicitly cite their vocal music background as being helpful in their practice. Further refinement of the interview protocol, as well as multiple interviews with a larger pool of subjects, will determine if the results of this study are generalisable.

Analyzing Modular Smoothness in Video Game Music

This article provides a detailed method for analyzing smoothness in the seams between musical modules in video games. Video game music is comprised of distinct modules that are triggered during gameplay to yield the real-time soundtracks that accompany players’ diverse experiences with a given game. Smoothness—a quality in which two convergent musical modules fit well together—as well as the opposite quality, disjunction, are integral products of modularity, and each quality can significantly contribute to a game. This article first highlights some modular music structures that are common in video games, and outlines the importance of smoothness and disjunction in video game music. Drawing from sources in the music theory, music perception, and video game music literature (including both scholarship and practical composition guides), this article then introduces a method for analyzing smoothness at modular seams through a particular focus on the musical aspects of meter, timbre, pitch, volume, and abruptness. The method allows for a comprehensive examination of smoothness in both sequential and simultaneous situations, and it includes a probabilistic approach so that an analyst can treat all of the many possible seams that might arise from a single modular system. Select analytical examples from The Legend of Zelda: The Wind Waker and Portal 2 provide a sampling of the various interpretive gains available through this method.

From Waste to Wealth: An Advocacy for Preserving African Church M usic Values for Contemporary Christian Worship

This paper believes that the ministry of music will significantly enhance the dissemination of the gospel to the world if the conventional method of writing music composition is adopted. This position agrees with the words of Vaughan (2018, p. 97) that “the ministry of the written word helped disseminate the gospel.” Thus, this paper is a comparative study. It used observation and interview method as tools for comparison. It compared Western music literature and materials with information received from African Church music composers and directors through the interview. Consequently, we found that both Western and African Churches used music in worship and have church-based composers and gospel music artists with the exception that Western music is notated, while African music largely depends on writing music texts/lyrics which hinges mainly on oral tradition. This paper, therefore, examined how Western music composition is preserved compared to African church music, concerning time, space, function, and life-span. The aim of the paper was, therefore, to enable African church-based composers and gospel musicians to understand better the importance of scoring music composition and provide conventional means by which this can be done. So, it recommends that earlier music compositions that teach or inculcate moral values and discipline be worked upon by the contemporary musicians, thus turning their waste to wealth for historical references as well as the preservation of our musical heritage, for the propagation of the gospel of the Lord Jesus Christ to the glory of God.

An Investigation of the Music Literature Being Performed at Jazz Band Music Performance Assessments in Florida

The purpose of this study was to examine the performance trends of middle school, junior/senior high school, and high school ensembles at District Florida Bandmasters Association (FBA) Jazz Band Music Performance Assessments (MPAs) from 2012 to 2017. More specifically, this study investigated the pieces, composers, and arrangers most frequently performed, and how many schools participated. Data were derived from a pool of compositions performed at FBA District Jazz Band MPAs between 2012 and 2017 ( N = 5,664). Of the pieces performed, there were 1,816 different compositions played. The compositions performed featured 619 different composers and 249 different arrangers. Additionally, 47.78% of schools involved in FBA had at least one jazz band perform during the 5-year period analyzed in this study. Overall, findings suggested that secondary school jazz bands in Florida have grown in popularity.

Accessible Digital Musical Instruments—A Review of Musical Interfaces in Inclusive Music Practice

Current advancements in music technology enable the creation of customized Digital Musical Instruments (DMIs). This paper presents a systematic review of Accessible Digital Musical Instruments (ADMIs) in inclusive music practice. History of research concerned with facilitating inclusion in music-making is outlined, and current state of developments and trends in the field are discussed. Although the use of music technology in music therapy contexts has attracted more attention in recent years, the topic has been relatively unexplored in Computer Music literature. This review investigates a total of 113 publications focusing on ADMIs. Based on the 83 instruments in this dataset, ten control interface types were identified: tangible controllers, touchless controllers, Brain–Computer Music Interfaces (BCMIs), adapted instruments, wearable controllers or prosthetic devices, mouth-operated controllers, audio controllers, gaze controllers, touchscreen controllers and mouse-controlled interfaces. The majority of the AMDIs were tangible or physical controllers. Although the haptic modality could potentially play an important role in musical interaction for many user groups, relatively few of the ADMIs (14.5%) incorporated vibrotactile feedback. Aspects judged to be important for successful ADMI design were instrument adaptability and customization, user participation, iterative prototyping, and interdisciplinary development teams.

Музыкальная форма и её освещение в школьных учебниках по музыкальной литературе

Familiarization with musical form – a capacious and multiple valued phenomenon – is connected with the initial stage of educating a musician. An important role in this process is carried out by textbooks. An encompassing perception of musical form, the basic types of structures in classical and romantic music and their individual features is taught to a pupil of children’s music schools in music literature classes. In the article certain features of expounding on the subject of “musical form” for schoolchildren are elaborated by the example of four textbooks for the first year of study of this subject (written by Andrei Frolov, Maria Shornikova, Yanina Ostrovskaya & Liudmila Frolova, Zoya Osovitskaya & Anna Kazarinova). The content of the corresponding sections is variable. The list of the spanned examples is more compact in the book by Osovitskaya and Kazarinova (it is defined by the resources of Tchaikovsky’s “Children’s Album”). The subject is unfolded to the fullest extent in the textbooks of Ostrovskaya, Frolova and Shornikova: here almost all the classical-romantic forms are demonstrated, as are some of the baroque forms (the fugue and the suite). In their descriptions of the musical constructions, the authors maintain different perspectives. Osovitskaya and Kazarinova are concentrated on an integral analysis of the “Children’s Album” and its constituent pieces; at the same time Frolov combines the theoretical and practical approaches in comprehension of form, giving recommendations for the compositions. Shornikova makes systematical use of interdisciplinary analogies; Ostrovskaya and Frolova give intense attention to the structural particularities of each of the examined constructions. The correlation of the principles of study of musical forms present in school textbooks allows us to choose the most optimal of them. The article comes up with the conclusion that the use of the descriptive manner upon the first discussion of form is insufficient, since in this case the connection between the content and the constructive sides of the musical structures is not accentuated. The inaccuracies allowed by the authors in their characterizations of a number of forms testify of the necessity of reviewing such types of tutorial editions. Keywords: study of musical form, textbooks of musical literature for children’s music schools for the first year of study, Yanina Ostrovskaya, Liudmila Frolova, Zoya Osovitskaya, Anna Kazarinova, Andrei Frolov, Maria Shornikova.

Music education literature in German-language polyethnic schools in Estonia, 1860–1914

ABSTRACT This article focuses on music education literature in German-language schools in Estonia from 1860 to 1914. Music education literature in Estonian schools with German as a language of instruction has been an unexplored field of research. As a result of this systematic research, a representative sample of music education literature was formed: 30 German-language editions and 2,330 songs. The songbooks and music textbooks were considered as signs of German culture being dominant. The profound social, economic, and political changes, characteristic for the nineteenth century, caused tensions, which were expressed in the content of music literature.

РОЛЬ ЕМОЦІЙНИХ ЗАСОБІВ У ВИКОНАННІ ВОКАЛЬНО-КАМЕРНОГО ТВОРУ

The present paper examines the different ways used in professional training of the future vocalist. Vocal repertoire of the students’ training plays a great role in their aesthetic as well as artistic development. It is stressed that vocal repertoire has to be very varied: the diversity of musical works improves musical hearing and taste, develops singing and artistic performance. Thus, an experienced teacher has to pay considerable attention to the selection of appropriate vocal repertoire. By using a varied, well-selected repertoire students familiarize themselves with different singing techniques, music styles and works. Moreover, they learn how to sing with correct articulation, discover the peculiarities of poems transformed into songs, sense all shades of musical intonation and, consequently, recreate them in their own singing performance. Therefore, a varied, appropriately chosen vocal repertoire has inexhaustible opportunities in teaching a highly-professional vocalist.It has been emphasised on multiple occasions that vocal performance of musical works with varying degrees of emotional charge. Such an approach to voice coaching consists in the idea that as the educator is striving to enhance the quality of his student’s voice, he must not deprive the student of a chance to generate sound on his own terms, with a naturally emerging emotional colouring whereby the educator is to assist the student in terms of how to bring out fine shades in the timbre of the vocalist as per specific artistic and emotional assignment pertaining therewith. The article also stresses the fact that chamber vocal performances substantially contributes to the singer’s professional development, expands his outlook, enriches him intrinsically, enables him to master new vocal patterns as judging by the singer’s manner of performance, his eloquence and the degree of sophistication in musical phrases, the depth of image perception, one may immediately form an opinion on how familiar the singer is with musical literature. It has also been stated that vocal control is typically assumed in the course of working on the artistic image, as the artist is selecting the most suitable means of expression. Thus, from the very first years of vocal training, it is necessary to disclose – to the singer’s attention – the concealed properties of tempos, metric lines, musical forms and the architecture of rhythm wherein the dynamics of processes incarnated in music is revealed. It is further highlighted that the emotional stage in the ongoing performance of each vocal work that is being studied in the classroom contributes to the emotional colouration of the sound corresponding with the properties of the work in question. It is particularly important to ensure that the singer obtains and maintains his vibe (emotional disposition) throughout the process – not only during the performance of a musical work within an academic concert but also in the course of primary processing of the said work – i.e., from the very beginning.It should be emphasized that a teacher has to show students how correctly to choose emotional components, which will result in the professional performance of their vocal repertoire.

МУЗИЧНО-ПЕДАГОГІЧНІ ПОСІБНИКИ СХІДНОЇ ГАЛИЧИНИ ПЕРШОЇ ПОЛОВИНИ ХХ СТ.

In the first half of the twentieth century, a number of textbooks on major musical disciplines, such as solfeggio, the theory of music, and the history of music, appear. Most of them are written for the needs of the M. Lysenko Higher Music Institute (including solfeggio textbooks and the theory of music by S. Lyudkevych). The manuals of S.Lyudkevych are innovative in their approach to solving their tasks. The teacher and composer, S. Lyudkevych, in detail studies the available English, German, Czech, Polish materials and on this basis creates his own methodology. Composite talent helps him to develop constructive exercises that are not devoid of musicality. Also, as a musical material, many melodies from Ukrainian and world music literature have been used. In this way, Lyudkevych introduces Ukrainian music into the auditory memory of the younger generation. Three different approaches to filing the history of music are shown by V. Barvinskiy, B. Kudrick, F. Steshko. Using the historical approach, each of them chooses another way of disclosing the material through different goals of their work. The “Review of the History of Ukrainian Church Music” is based on a detailed review of the historical situation, composer biographies and a deep comprehensive analysis of musical works, as it is a textbook. “Music” by V. Barvinskiy is a section “The History of Ukrainian Art”, edited by I. Krypyakevych, and a generalizing approach is chosen here. “Music” in, a concise form, allows us to trace the ways of developing Ukrainian music from ancient times to the present in the context of world music. F.Steshko focuses on comparing the works of Ukrainian composers with their contemporaries (for example, Berezovskiy and Mozart). Their value is in combination with proven long-standing practice of European techniques with Ukrainian musical material. Today, these textbooks, which undoubtedly can and must be part of the Ukraine, need to return to scientific circulation and educational practice.

The Sound of the Unsayable: Jewish Secular Culture in Arnold Schönberg and Aharon Appelfeld

This article examines the use of central elements of the Jewish religious repertoire and transcendental realm, such as prophecy or revelation, within the aesthetic secular realm of musical avant-garde and modern Hebrew literature. By focusing on two case studies, I attempt to shed new light on the question of Jewish secular culture. Arnold Schoenberg (1874–1951), an Austrian Jewish composer, was born into an assimilated Viennese family and converted to Protestantism before returning to Judaism in the 1930s while escaping to the United States. Aharon Appelfeld (1932–2018), an Israeli Jewish writer, was born in Czernowitz to assimilated German-speaking parents, survived the Holocaust and emigrated to Israel in 1946. My claim is that in their works both composer and author testify to traumatic experiences that avoid verbal representation by: (1) subverting and transgressing conventional aesthetic means and (2) alluding to sacred tropes and theological concepts. In exploring Schoenberg’s opera Moses und Aron and Appelfeld’s Journey into Winter among others, this article shows how the transcendent sphere returns within the musical and poetic avant-garde (musical prose, 12-tone composition, prose poem, non-semantic or semiotic fiction) as a “sound” of old traditions that can only be heard through the voices of a new Jewish culture.