Musical Material Research Articles

The Phenomenon of Sacrality in Andrei Eshpai's "Liturgical" Symphony

This article focuses on the Sixth "Liturgical" Symphony of Andrei Yakovlevich Eshpai, one of the brightest representatives of the national and world musical culture of our time. The composition is considered from the perspective of sacrality, which fully determines its artistic and constructive patterns and dramatic perspective. The scientific novelty of the work is due to the subject of research itself, which was first used in relation to this work. To study the phenomenon of sacrality, it was necessary to use an interdisciplinary approach, including system-structural, comparative, semiotic, and hermeneutic analysis methods. Close attention was paid to considering the properties of musical texture as the main indicator of the spatiotemporal organization of musical material. The connotative and denotative properties of the musical syntax turned out to be analytically significant. No less important was the role of intertextual interactions that determine the text's language mechanisms and reveal its content’s plan. It was established that the phenomenon of sacrality, responding to the aesthetic attitudes of the master, is implemented comprehensively—as a conjugation of philosophical, mythological, and spiritual-religious discourses, each of which has its own system of signs. The functioning of sign systems at the syntagmatic and paradigmatic levels of the text lead to linguistic differences in the instrumental and choral sections of the symphony, revealing phenomena of semantic multiplicity, polychronicity, ensuring the end-to-end formation and development of the liturgical idea. As a result of such interactions, the genre space of the symphony is formed, which is a synthetic, universal, communicative concept.

Die hörbare Form der Zeit. Eine subjektzentrierte Musikphilosophie

In a subject-philosophical perspective, a musical work embodies the creativity of a subject that has become a construction. As a temporal movement itself, it first expands internally sound-temporally as well as sound-spatially: in the form of an invented succession of tones and, derived from this by negation, also of a simultaneity of sounds (level 1). The content of this imagined temporal-spatial formation can be individual associations, feelings, sensations, moods and atmospheres, which can be conceptually interpreted as musical units (level 2). If the subjectively imagined musical units are then also successfully objectified in the musical material of the external world, the subject realizes and changes itself in it as a tonally individual expression of itself (level 3).

Sounds Like You Бента Сёренсена как феномен современного музыкального театра

The article focuses on the processes of renewal of the musical and theatrical genres taking place at the beginning of the 21st century. The object of the study is formed by a composition for orchestra, chorus, actors and audience participation, Sounds Like You (2009) written by Danish composer Bent Sørensen in collaboration with librettist Peter Asmussen commissioned by the Danish Broadcasting Company. In the article attention is focused on the genre and the compositional-dramaturgic laws of this work the musical material of which is based on Sorensen’s earlier orchestral piece Exit Music (2007). In the content of Sounds Like You the author distinguishes two lines of narration — the lyrical, related to the history of the relationship of love between man and woman, and the philosophical, reflecting the composer’s contemplations about the past, the flow of time, the role of music and its impact on human beings. Both lines are united by the common theme of departure and disappearance. The article emphasizes the specificity of the composition’s synthesis of genre, which combines music for symphony orchestra, instrumental theater and dramatic performance, and also accentuates Sørensen’s desire to find opportunities for an immersive type of impact on the listener. The author of the article also analyzes the features of the musical language of Sounds Like You, combining sonorics and elements of tonality, and discloses the stylistic allusions of the basic thematic material, which form an independent semantic layer of the composition. At the end of the article, the author arrives at the conclusion that Sounds Like You reflects the general trends in the development of contemporary musical theater; nonetheless, Sørensen offers a purely individual solution for these trends.

Muzyczne języki bajek Walta Disneya w procesie edukacji międzykulturowej

Music from Walt Disney’s animations is an element of pop culture. However, it is not a world limited to popular music but a space where ethnic music meets new sounds. The world of contemporary music enters a dialogue with the music of the sources, becoming its new translator. Thanks to Walt Disney’s film productions, multicultural music education opens up a new dimension in which globalization becomes an ally of local culture. The article addresses how both sound and word are used to present a different culture. In the cited examples, the language with its rhythm and melody is treated as an interesting musical material. Selected Walt Disney films were analyzed – their soundtracks as well as articles and reviews, blogs about the studio’s musical productions. In the considerations, a lot of attention was devoted to the song, which is the carrier of the main content of the film and the most frequently played element of the film image. Some attempts were made to indicate its functions in intercultural education, but also the ways of its use in child education.

A Content Analysis of Nine Beginner Band Method Books

Abstract Method books in a beginner band class often serve as the curriculum and the primary source of instructional material for learning to play an instrument during the foundational years. While method books provide an opportunity to motivate beginners, scaffold instruction, and introduce students to concert band repertoire, teachers should also consider how method books support an inclusive and culturally responsive instrumental music classroom. The purpose of this study was to analyze the content of nine widely distributed beginner band method books to determine the patterns of repertoire included. Method book melodies were analyzed for composer demographics, countries of origin, and categories of repertoire. Data revealed a continued emphasis on melodic material derived from the Western canon, White male composers, and Anglo-American cultures, including a high prevalence of songs from blackface minstrelsy. We offer recommendations regarding the need for more diverse musical materials at the beginner band level.

Benedicamus Domino: delight in singing praise to God at Las Huelgas of Burgos

Abstract The Las Huelgas Codex (Hu) features one of the most varied collections of medieval polyphony in Europe. It contains the repertory of Mass Ordinary settings, sequences, organa, conductus and motets that was in use at the royal nunnery of Las Huelgas in Burgos during the 13th and 14th centuries. While most of this repertory is known from other earlier sources, several of the numerous settings of the Benedicamus Domino in Hu are unique pieces that reflect an apparently local practice. Closer inspection reveals, however, that nearly all of these ‘unique’ Benedicamus settings were created by borrowing and reworking musical material from other sections of the manuscript. This article considers the Benedicamus Domino settings as a musically cohesive sub-repertory in Hu, showcasing a rich array of reworking techniques. The article also considers the ritual function of the Benedicamus Domino within the liturgy of the royal convent, as well as the performance context and the distribution of singing duties between the nuns and the clerics of the monastery.

Performance stylistics of piano program pieces by Chinese composers (Wang Jianzhong “Red lilies bloomed on the mountain”)

Background. The article examines the piano piece «Red Lilies Bloomed on the Mountain» by the Chinese composer Wang Jiangzhong. The general characteristics of the genre of the program piece, the imagery, symbolism or folklore of the names of piano works are considered, which help to specify the figurative content with the help of verbal decoding, bringing the performer and the listener closer to the figurative and emotional essence of Chinese national instrumental creativity. Objectives. In order to identify the universal mechanism of piano interpretation of program pieces by Chinese composers, the specific features and specificity of Chinese national artistic thinking are analyzed, which is reflected in the performing style, which includes the understanding of the figurative sphere, issues of a technological nature, and the stylistic authenticity of the performance. Methods. The research methodology requires a systematic musicological approach to the study of the selected musical material, which, in turn, led to the use of such methods as: historical-typological, musical-aesthetic, genre-stylistic, interpretological, comparative. Results. If the pianist fully understands the character of the piece and the main ideas of Chinese philosophy, then this knowledge will tend to direct the performance of any piece to the creative process. The psychological aspect of performance requirements consists of two aspects: – determination and confidence of mood, firmness in one’s convictions and ideals, which are reflected in the music of the play thanks to certain musical techniques and compositional techniques; – the natural mobility and lightness of the melody, the overall consistency of its sound, as well as the harmonious combination of such musical characteristics as the smoothness and contrast of the sound. The requirements for the aesthetic component of the work are aimed mainly at researching the national uniqueness of the work, reflecting its beauty and symbolic content, as well as at a detailed analysis of the synthesis of national and Western musical traditions. Existing attempts at music notation in san-ban rhythms should be classified as the most general instructions for performers, especially those who do not have sufficient experience in the field of musical self-expression in the traditions of Chinese music. Conclusions. The performer must also focus on such aspects as: awareness of various philosophical ideas that directly affect both the symbolic content and imagery of Chinese music itself, and the creative process associated with its reproduction and performance on stage; the importance of understanding the title of the work, its historical and cultural context; the need for an accurate sense of latitudinal relationships in the theme and texture of the work, feeling the sound ideal of authentic sounding with the inner ear.

Studying of a piece of music. guidelines. parsing and memorizing

The author of the work is determined that one of the most pressing problems in the musical performing arts, is the problem of parsing a piece of music and learning it. The process of learning a piece by heart should contain a comprehensive approach. The article describes methods and techniques for successful memorization of musical material. N. Medvedeva proves that the methods and ways of memorizing a music text are closely connected with the disclosure of the composer’s idea, with the structure of the musical form. Relying on such knowledge, the ultimate goal - learning the work in a short time - is achieved. Such meaningful and concentrated work, with a rational use of time, will greatly facilitate the process.

Performance Stability of a Pianist and the Specificity of its Formation in the Preparation Process to Concert and Stage Activities

The performance stability of a pianist is characterized as not innate, but an acquired integraldynamic property, the manifestation of which ensures the preservation of optimal emotional and creative well-being in the conditions of concert and stage activity, aimed at a clear representation of the artistic images of musical works and their expressive implementation by means of error-free reproduction of performance skills. The role of the pianist's performance stability in the mental creation of a model of a musical piece, the basis of which is artistic images built by the transformation of perceived musical material into sound constructs with their imaginary emotional and timbral coloring, and in the mental creation of a program of technical and tactical actions, thanks to which the defined images are realized, is clarified. It was established that the performance stability of a pianist can be formed both purposefully (arbitrarily) and spontaneously (involuntarily) in the process of preparation for concert and stage activities. The specifics of the formation of the performance stability of a pianist in the process of preparation for concert and stage activities are considered. It has been proven that the voluntary (purposeful) form of formation of the performance stability of the pianist is more effective than the involuntary (spontaneous) form. Emphasis is placed on the expediency of using an arbitrary (targeted) form of formation of the given phenomenon, as it enables the pianist to create in his imagination artistic images of a musical piece and a program of technical and tactical actions with conscious introduction of the necessary corrections to their structural and functional components during preparation for a concert and stage interpretation. It was found that the involuntarily (spontaneously) formed performance stability of a pianist is much more difficult to be consciously corrected with the aim of its positivization. The stages of the arbitrary form of formation of the pianist's performance stability are described in accordance with the functional orientation of the essential features of the phenomenon in the process of his preparation for concert and stage activities.

Karmella Tsepkolenko’s Concert-Drama for Piano with the Orchestra: Performance and Interpretation Aspect

The author of the study considered the performance and interpretation aspects of the Concerto-drama for piano and orchestra (1987) by the Ukrainian composer Karmella Tsepkolenko. After analyzing the musical form of the given work, it became possible to describe the correspondence of the logic involved in the development of the musical material applied in the Concerto-drama for piano with orchestra to the literary program and scenario designed by the author. The main performance and interpretation means of reflecting the author's idea are singled out, namely: piano texture; techniques of sound production; dynamic construction of musical form; spatio-temporal organization of melodic and intonation lines, etc. The peculiarities of the piano texture, which are characterized by romantically rich complex chordal structures and virtuosic passages, were also determined. It is noted that the lyrical parts of Karmella Tsepkolenko's Concerto-drama for piano and orchestra require subtle linear polyphonic thinking from the pianist, creating a special sound color. The role of interpretative and expressive means for creating a convincing performance and artistic image is clarified. The specificity of the interpretation of five solo piano cadenzas is substantiated. The role of cadences for the manifestation of the unique individual thinking of the pianist in the process of concert and stage interpretation of the specified piano piece by Karmella Tsepkolenko is highlighted. The relationship and influence of the author's scenario development on the emotional creative space of the performer and on the formation of a convincing artistic and performing version have been established. The special role of the piano in the work of Karmella Tsepkolenko as a tool for new compositional searches and innovations is emphasized. It has been proven that the performance style of Karmella Tsepkolenko's piano music requires creativity, artistry, creative imagination, flexibility of thinking, and an emotional response to the script-plot layers of the work. Emphasis is placed on the expediency of establishing empathetic connections between the composer and the performer in the process of live implementation of the author's idea.

Piano music by Viktoria Poleva: Experience of performing embodiment

Relevance of the study. The main characteristic identifiers of Victoria Poleva's compositional style are considered, in particular, the dominant piano component of the music worldview, which translates the main ideas and meanings in the spiritual and instrumental genres of oeuvre. The actual factors of the special study of the meaningfulness of the texture embedded in the piano within the style of "sacred minimalism" are highlighted. The main performance specifics of the works were found to be close to the correct understanding in the construction of the interpretive version. The piano work of the composer has not been scientifically studied, the lack of competent analytical works prompts the study "Music for the Piano" (author's name), which is a sought-after and popular repertoire. Scientific investigations of this matter will reveal one of the bright styles of modern music art in the field of musicology and cultural studies. For the first time in home-bred art history, the main stylistic guidelines, image-emotional, programmatic priorities were identified, and the majority of piano music material was examined and analyzed. The chosen aspect of the research is under the spotlight of modern, global, concert life.
 The main objective of the study. The purpose of the article is to reveal the artistic meanings-messages of the composer, the peculiarities of their concert performance, the role of meaningful interpretation of piano reception.
 The methodology. Empirical research method was used from the experience of numerous performances of Viktoria Poleva's works, the analytical method reveals the essence of the actual problem; the comparative method consists in comparing the interpretive versions of pianists' performance live, and by comparing them in video and audio recordings, it allows presenting modern performance trends; the source method in the form of archival notes, newspaper publications, posters, work with manuscript scores argues the basis of the outlined aspect; relying on citations during communication with the author brings the research result closer to reliability.
 Results and conclusions. It has been proven that the author's philosophical and artistic messages hit the listener's reactions-impressions through her performing skills during live music performances. The top priority role of a pianist’s training is emphasized. The importance of world performances of compositions that reflect the author's spiritual quest is explained in terms of restoring the man’s balance and harmony in response to the today’s cruel challenges. The author substantiates the means of music expressiveness in the piano presentation, which serve to achieve the goal-affect, as the main idea of focusing on powerful manifestations of aesthetic impression. Attention is focused on special, technical and artistic piano techniques that enhance sound effects, and with the help of which the main essence of the composer's ideas is expressed. Significance. The piano music of V. Poleva is gaining widespread worldwide popularity, the score music is mostly in the state of manuscripts and needs publication, the topic of piano works is relevant for future scientific research.

The Christian miracle by agnostic Fauré: what the “Requiem” is keeping silence about

The relevance of the article. Gabriel Fauré’s Requiem is one of the most performed works of this genre in contemporary music practice. It is addressed in concert performances, scientific research and conducting classes. However, it still remains semi-closed for understanding, because the composer’s attitude to death in this work reaches unexpectedly extreme emotions — he declares almost the desirability of death.
 The purpose is to substantiate the own performing concept of the Requiem by Gabriel Fauré on the basis of contextual, textual and comparative analysis of the musical material, as well as biographical and psychological analysis of the composer’s personality.
 The methodology. The research was carried out using an integrated approach, in the structure of which the contextual analysis allowed to establish the creative intentions of G. Fauré to write such a Requiem, the textual analysis helped to determine the specifics of certain structures and semantic content of the work, the comparative analysis — to compare the concepts of different versions of the Requiem of Fauré, the method of intonation analysis — to dive into the sign system of the work.
 The results. The author proposed her own performance concept of the work, which takes into account the composer’s religious and philosophical guidelines, as well as his psychological characteristics against the background of the events of the Franco-Prussian War.
 The scientific novelty. For the first time, the study provides a detailed analysis of the semantic content of the work, deciphering the principles of the composer’s creative method in working on the funeral text.
 The practical significance. The materials of the article can be useful in the practical activities of conductors, soloists and choristers, as well as in the educational process of training conductors, choirmasters and vocalists.
 Conclusions. It has been determined that Gabriel Fauré’s interpretation of the canonical text (with the changes corresponding to the Parisian rite) is based not so much on his personal drama of losing his parents, as it was previously believed, but on his attitude to death, formed by the events of the Franco-Prussian War.
 It has been determined that the main idea of the Requiem is a great feeling of love and compassion for a man who is forced to fight for his life, killing his own kind and who deserves peace. In this, Fauré seems to depart from the concept of the Catholic Requiem with its traditional “pedagogical intimidation” with pictures of the Last Judgment, and approaches the concept of the Orthodox funeral service with its repentance and hope for God’s mercy.

М. Lysenko's Christmas Kontakion “Today the Virgin Gives Birth to the Transcendent One”: Technical Characteristics, Performance Features

The purpose of the research is to introduce into scientific circulation one of the most significant spiritual and musical works of Mykola Lysenko, the Christmas kontakion “Today the Virgin Gives Birth to the Transcendent One”. The research methodology. The author of the research uses a structural-functional method to analyse the musical material, as well as a comparative-historical method to explain the original transformation of biblical texts by the composer, which fits into the general spiritually oriented methodological system. The scientific novelty of the research. The article offers a musicological and performing analysis of one of the composer's brightest spiritual works, the Christmas kontakion “Today the Virgin Gives Birth to the Transcendent One”, with the aim of introducing it into scientific circulation. Conclusions. The analysis of the structure of the work, musical and performing means has shown that M. Lysenko, in his work on the ancient church melody of the Christmas kontakion in the chant version of the Kyiv Pechersk Lavra, significantly changed the melody of the original. So much so that he completely rethought the content concept of church chanting. In the composer's version, the festive chant of the Nativity of Christ took on the meaning of a world event that changed the world order due to its significance. The church singing turned into a choral concert with vivid contrasting episodes in which the events of Christmas are conveyed as separate pictures, emphasising their significance for humanity and depicting the nativity characters in a pronounced and almost cinematic way. The composer used a wide range of musical means: original interpretation of the form (fugue elements), extensive use of textural contrasts (solo episodes, choral unisons), strong tonal movement (deviation to the third degree of kinship), expressive choral fingering.

Helmut Kallmann Award

CAML Review is published three times per year. It is concerned with music and music materials and strives to promote a better understanding of the cultural importance of music libraries, archives and documentation centres locally, regionally and nationally.

CAML Milestones

CAML Review is published three times per year. It is concerned with music and music materials and strives to promote a better understanding of the cultural importance of music libraries, archives and documentation centres locally, regionally and nationally.

Música Tipica: Cumbia and the Rise of Musical Nationalism in Panama - By Sean Bellaviti (Book)

CAML Review is published three times per year. It is concerned with music and music materials and strives to promote a better understanding of the cultural importance of music libraries, archives and documentation centres locally, regionally and nationally.

Reports from the CAML/ACBM 2022 Annual General Meeting

CAML Review is published three times per year. It is concerned with music and music materials and strives to promote a better understanding of the cultural importance of music libraries, archives and documentation centres locally, regionally and nationally.

2022 IAML Conference Report

CAML Review is published three times per year. It is concerned with music and music materials and strives to promote a better understanding of the cultural importance of music libraries, archives and documentation centres locally, regionally and nationally.

Call for Applications: Associate Editor

CAML Review is published three times per year. It is concerned with music and music materials and strives to promote a better understanding of the cultural importance of music libraries, archives and documentation centres locally, regionally and nationally.

Vaudeville and the Making of Modern Entertainment, 1890-1925 - by David Monod (Book)

CAML Review is published three times per year. It is concerned with music and music materials and strives to promote a better understanding of the cultural importance of music libraries, archives and documentation centres locally, regionally and nationally.