Music Speech Research Articles

Music Sentiment Analysis and its Application in Music Therapy Based on AI Technology

Music therapy, enriched by the integration of AI technology, represents a cutting-edge approach to harnessing the therapeutic power of music for mental and emotional well-being. AI algorithms are employed to analyze individual preferences, emotional states, and physiological responses, enabling the creation of personalized music interventions. These interventions can range from mood-enhancing playlists to dynamically generated compositions tailored to the specific needs of the listener. This paper introduces an Optimized Sentimental n-gram Classifier (OSC) model tailored for application in the context of music therapy. Leveraging artificial intelligence (AI) technology and sentiment analysis techniques, the OSC model aims to enhance the understanding and classification of sentiments expressed during music therapy sessions. The OSC model uses the n-gram classifier for the estimation of the feature vector in the music speech signal. The classifier model comprises of the Artificial Intelligence (AI) for the evaluation of the music therapy for the sentimental analysis. Through extensive experimentation and evaluation, the OSC model demonstrates high accuracy, precision, recall, and F1 scores across multiple iterations, indicating its effectiveness in accurately predicting sentiments and classifying sessions. The model's robust performance suggests its potential to assist therapists in better understanding participants' emotional states and tailoring interventions accordingly. By providing a valuable tool for sentiment analysis in music therapy, the OSC model contributes to advancing the integration of AI technology into healthcare practices, with implications for improving patient outcomes and well-being.

Indian Classical Music Recognition using Deep Convolution Neural Network

A divine approach to communicate feelings about the world occurs through music. There is a huge variety in the language of music. One of the principal variables of Indian social legacy is classical music. Hindustani and Carnatic are the two primary subgenres of Indian classical music. Models have been trained and taught to distinguish between Carnatic and Hindustani songs. This paper presents Indian classical music recognition based on multiple acoustic features (MAF) consisting of various statistical, spectral, and time domain features. The MAF provides the changes in intonation, timbre, prosody and pitch of the musical speech due to different ragas. The lightweight DCNN is used to improve the representation of the raga sound and to provide higher order abstract level features. The overall performance of the raga type is estimated using various performance metrics, including accuracy, precision, recall and F1-score. The proposed DCNN achieves an accuracy, precision, recall, and F1-score of 89.38%, 0.89, 0.89, and 0.89, respectively, for eight raga classifications. The extensive experimentation on eight classical ragas has shown a noteworthy improvement over the traditional state of art.

Indian Classical Music Recognition using Deep Convolution Neural Network

A divine approach to communicate feelings about the world occurs through music. There is a huge variety in the language of music. One of the principal variables of Indian social legacy is classical music. Hindustani and Carnatic are the two primary subgenres of Indian classical music. Models have been trained and taught to distinguish between Carnatic and Hindustani songs. This paper presents Indian classical music recognition based on multiple acoustic features (MAF) consisting of various statistical, spectral, and time domain features. The MAF provides the changes in intonation, timbre, prosody and pitch of the musical speech due to different ragas. The lightweight DCNN is used to improve the representation of the raga sound and to provide higher order abstract level features. The overall performance of the raga type is estimated using various performance metrics, including accuracy, precision, recall and F1-score. The proposed DCNN achieves an accuracy, precision, recall, and F1-score of 89.38%, 0.89, 0.89, and 0.89, respectively, for eight raga classifications. The extensive experimentation on eight classical ragas has shown a noteworthy improvement over the traditional state of art.

Книга художников Павла и Натальи Мартыненко «Рукопашный танец»: опыт рецептивной эстетики

A book of an artist is a specific object of art presenting an authorial utterance overcoming the bounds of book-printing, in which either a text or a picture can be present. At the center of attention in the article is the book Rukopashnyi tanets. Istoriya lyubvi i sopernichestva, ob"ektivno otrazhennaya v dokumentakh i skhemakh, gde prichudlivo splelis' dva iskusstva: muzykal'no-khoreograficheskoe i voenno-rukopashnoe [Hand-to-Hand Dance. The Story of Love and Rivalry, Objectively Reflected in Documents and Schemes, in which Two Arts Have Fancifully Entwined: The Musical-Choreographic and the Hand-to-Hand-Military] (2010) created by Russian artists Pavel and Natalia Martynenko, which is examined in the angle of receptive aesthetics. The edition includes archival documents, photographs, drawings and schemes. On the basis of studies of this material, the author of the article interprets the artistic conception of the book in a philosophical sense. In the present art-object the notion is realized according to which life is a dance. Meanwhile, the process of the self-development of a personality involved in such a life appears in a ceaseless struggle with itself, as well as with the circumstances of life, which makes it possible to understand the title of the composition better. The book is begun and completed by music pages copied by hand by an anonymous music lover in the early 20th century. Such an artistic solution leads to the understanding of music by the ancient Greek sages. In particular, for the Pythagoreans music demonstrated itself as a sort of “Ariadne’s thread,” which determined the path towards the mysteries of existence, initiating the human being into universal harmony and thereby providing the opportunity of acting in unison with cosmic vibrations. Appealing to the opinion of Boris Asafiev, who asserted that gesture, along with mimic and dance, serves as a reference point in the creation of musical speech, the author arrives at the conclusion that the protagonists who become alive on the pages of the artist’s book, are led through life by music.

Музыкальный ряд мультипликационного фильма «Репка» в аспекте кинотекста: опыт искусствоведческого анализа

Within the focus of the author’s scholarly interest is the animated cartoon film Repka [The Turnip], created in 1936 at the Mosfilm cinematic studio. The invitation of film director Sarra Mokil and composer Vassily Shirinsky, whose curator was Alexander Ptushko, was stipulated by the special role music played in the conception of the film. Not limiting itself to illustrating the visuals of the film, the musical component of the cinematic text provides the opportunity to observed the instrumental theater manifested within its space, simultaneously carrying out the characteristic and the dramaturgical functions. The sound of the music does not cease for even a second, which bears witness to the undoubted skill of the composer, who was able to place the music on the same high level as the visual element. As the author presumes, it is particularly the distinguished status of the musical speech which brought to the reduction to a minimum of the verbal element in the cinematic text, which is realized on the level of written and oral utterances. Against the background of contemporary animated movies addressed to the young generation of Russians (the televised project Mashiny skazki[Masha’s Fairy Tales], Luntik, Mi-mi-mishki, etc.), the work of the creative team with Ptushko at the head is seen as being etalon. Such an experience makes it possible to evaluate the collective work of the film director, the composer and the group of actors as a unique example of actualization of the ethical canon – the semantic core of the Russian folk fairy tale.

Music Therapy in Global Aphasia: A Case Report

Patients affected by global aphasia are no longer able to understand, produce, name objects, write and read. It occurs as a result of functional damage of ischemic or hemorrhagic origin affecting the entire peri-silvan region and frontal operculum. Rehabilitation training aims to promote an early intervention in the acute phase. We described a case of a 57-year-old female patient with left intraparenchymal fronto-temporo-parietal cerebral hemorrhage and right hemiplegia. After admission to clinical rehabilitative center, the patient was not able to perform simple orders and she presented a severe impairment of auditory and written comprehension. Eloquence was characterized by stereotypical emission of monosyllabic sounds and showed compromised praxis-constructive abilities. Rehabilitation included a program of Neurologic Music Therapy (NMT), specifically Symbolic Communication Training Through Music (SYCOM) and Musical Speech Stimulation (MUSTIM). Rehabilitative treatment was measured by improved cognitive and language performance of the patient from T0 to T1. Music rehabilitative interventions and continuous speech therapy improve visual attention and communicative intentionality. In order to confirm the effectiveness of data presented, further extensive studies of the sample would be necessary, to assess the real role of music therapy in post-stroke global aphasia.

Вопрос о становлении классической традиции иранской музыки в аспекте проблемы языка и мышления

The article examines the historical prerequisites for the formation of the classical tradition of Iranian music of the Achaemenid and Sassanid dynasties period (6th century BCE — the first third of the 7th century CE) in a linguistic environment with the dominant function of the Aramaic language (Old Aramaic, Imperial Koine, Syriac/ New Aramaic dialects) at the sites of the “royal way”, where the local musical heritage of Indo-Iranian tribes melted in the phonosphere of the cosmopolitan palace vocal and instrumental music-making of ancient civilizations. The author of the article formulates the hypothesis that (1) when working with the concepts “Indo-European language family” or “Semitic language family”, we describe the contrasting mechanisms of speech information processing and transmission that (2) appear universal for different spheres of intellectual activity, including music, where they (3) are expressed in two formulae of the musical process I -- m -- t (B. Asafyev) and I -- t = m—temporalityy (G. Shamilli) (3) that is sensitive to certain patterns of thinking and (4) is fixed in the gestalt. Therefore, to think of derivation mechanisms of verbal and musical speech as unified means to provide a gestalt morphosyntactic description of structures from an interdisciplinary perspective, relying on (1) the fact of the linguistic community of cultures over a long historical period and (2) the assumption about the ability of the oral musical tradition to retain one gestalt or another with a change of the language domain.

Формирование детской оперы в отечественной музыкальной культуре начала XX века

The research aims to shed light on the peculiarities of the formation of an opera genre for children’s audiences – children’s opera – in the history of the development of Russian musical culture in the early XX century. The paper examines and analyses vivid examples of children’s opera written by outstanding composers, “The Snow Bogatyr” by С. A. Cui, “The Mouse Tower”, “The Dream of the Fir” by A. T. Gretchaninov. Scientific novelty lies in identifying the originality of the musical language of the children’s opera works under consideration, in particular, it is determined that the opera action is “commented” through repeated themes, motifs, intonations, individual elements, sound-expressive techniques enhance the detail of musical speech, while the musical language of the work serves as the main narrator, the carrier of the main fairy-tale function in children’s opera. As a result of the research, the author comes to the conclusion that a pedagogical orientation contributing to children’s education is manifested in the specified detailed principle of the musical language of children’s operas.

Spiritual Concert "By my Voice" in the Context of the Problem of Author's Attribution

The urgency of the problem of authorial attribution of works by Ukrainian composers of the second half of the 18th – early 19th centuries is substantiated. The author emphasizes the importance of defining authorship as one of the urgent tasks of modern Ukrainian music studies, the relevance of which is justified not only by the scientific component, the need for a deeper understanding of stylistic processes in contemporary art, but also the practical significance of research results, as they are directly related to the performance. Emphasis is placed on the need to clarify the authorship of opuses in today's conditions, when, unfortunately, we have many cases of works under other people's names due to appeals to low-quality music sources in which the authorship of works is erroneous. It is shown that modern researchers have to deal with double and even triple authorship, that is with the opposite authorial attribution in different sources, as well as with other cases, as much as the need to clarify the authorship of the work. The achievements of modern contemporary musicologists who work in the appropriate direction, trying to return the losses and erroneously attributed works to the heritage of their true creators are summarized. Different approaches to solving the set goal are revealed. The main features of the functioning of Ukrainian musical culture and its features that caused a large-scale problem of authorial attribution in relation to the creative activity of the Classicist era are identified. The role of the Kyiv-Mohyla and theological academy in preserving the Ukrainian musical heritage is emphasized. A source study and comparative textual study of the spiritual concert "By my voice", which in different sources has different authorial attributions – Artemy Wedel, Stepan Degtyarev and Lev Gurilev. The available printed editions and the manuscript list of the concert from the library of the Kyiv Theological Academy are stored in the Department of Library Collections and Historical Collections at the Vernadsky National Library of Ukraine. The elements of musical language and musical speech that may testify against the authorship of A. Wedel, as well as those that, on the contrary, testify in his favor, are singled out. A hypothesis is expressed regarding the authorship of the work and it is stated that there is currently a lack of musical materials for the final conclusion, first of all two musical texts attributed to L. Gurilov, which are in Russian music collections.

Multimedia Pop Music Teaching Model Integrating Semifinished Teaching Strategies

In order to improve the effect of popular music teaching, this paper combines the intelligent music frame feature recognition technology and the semifinished product teaching strategy to construct a multimedia popular music teaching system. Moreover, this paper reexpresses energy detection and zero-crossing detection mathematically from the perspective of aggregation and proposes a new two-level detection method for music frames. In addition, this paper uses the fusion and expansion of the zero-crossing rate detection result to judge whether a piece of speech is a valid musical speech. Finally, this paper uses a four-tier architecture to design the system framework, constructs the system functional modules, builds a multimedia pop music teaching system that incorporates semifinished teaching strategies, and then validates the performance of the system. From the experimental research, it can be seen that the multimedia pop music teaching system integrated with the semifinished product teaching strategy proposed in this paper can play an important role in music teaching and effectively improve the effect of music teaching.

Исполнительская деятельность как средство развития профессионального мышления музыканта-инструменталиста

We consider the process of conceptualizing the intellectual and emotional expression of the artistic meaning of the work and the technical means of performing technique adequate to this meaning. The method of transferring knowledge, skills and abilities from a teacher to a student is interpreted as pedagogical communication, requiring an appeal to the language resource of instrumental activity, which provides options for using a particular language unit in the transmission of a musician's speech-thinking attitudes. We analyze the concepts of “compositional means of intonation”, “musical thinking”, “language of a musician’s performing activity”, “speech expression”, “literary text meaning”. The key condition for the realization of the idea is the artistic performing technique, which has its own form and content, immanent and emancipated from the author’s text; it is for this reason that the performing technique forms an independent object of the theory of performance. Performing technique in all parts of its structure and at all stages of formation requires active creative thinking, which, in turn, is dialogical in nature and is based on a developed skill in the language of music, as well as the skill of musical speech. The process of mastering artistic technique is a teaching performing activity based on the analysis of the instrumentalist's language and speech. The revealed best traditions of Russian piano pedagogy allow us to consider musical and performing activity as a creative process, and this process is possible only with a pianist’s participation with an artistic technique, through which they expresses cultural meanings corresponding to the interpretative plan.

Music perception and speech intelligibility in noise performance by Italian-speaking cochlear implant users

ObjectiveThe goal of this study was to investigate the performance correlations between music perception and speech intelligibility in noise by Italian-speaking cochlear implant (CI) users.Materials and methodsTwenty postlingually deafened adults with unilateral CIs (mean age 65 years, range 46–92 years) were tested with a music quality questionnaire using three passages of music from Classical Music, Jazz, and Soul. Speech recognition in noise was assessed using two newly developed adaptive tests in Italian: The Sentence Test with Adaptive Randomized Roving levels (STARR) and Matrix tests.ResultsMedian quality ratings for Classical, Jazz and Soul music were 63%, 58% and 58%, respectively. Median SRTs for the STARR and Matrix tests were 14.3 dB and 7.6 dB, respectively. STARR performance was significantly correlated with Classical music ratings (rs = − 0.49, p = 0.029), whereas Matrix performance was significantly correlated with both Classical (rs = − 0.48, p = 0.031) and Jazz music ratings (rs = − 0.56, p = 0.011).ConclusionSpeech with competitive noise and music are naturally present in everyday listening environments. Recent speech perception tests based on an adaptive paradigm and sentence materials in relation with music quality measures might be representative of everyday performance in CI users. The present data contribute to cross-language studies and suggest that improving music perception in CI users may yield everyday benefit in speech perception in noise and may hence enhance the quality of listening for CI users.

Singing the Individual: Name Tunes in Oyda and Yopno.

Music beats spoken language in identifying individuals uniquely in two disparate communities. In addition to their given names, which conform to the conventions of their languages, speakers of the Oyda (Omotic; SW Ethiopia) and Yopno (Finisterre-Huon; NE Papua New Guinea) languages have “name tunes,” short 1–4 s melodies that can be sung or whistled to hail or to identify for other purposes. Linguistic given names, for both communities, are often non-unique: people may be named after ancestors or contemporaries, or bear given names common to multiple individuals. But for both communities, name tunes are generally non-compositional and unique to individuals. This means that each new generation is likely to bring thousands of new name tunes into existence. In both communities, name tunes are produced in a range of contexts, from quotidian summoning and mid-range communication, to ceremonial occasions. In their use of melodies to directly represent individual people, the Oyda and Yopno name tune systems differ from surrogate speech systems elsewhere that either: (a) mimic linguistic forms, or (b) use music to represent a relatively small set of messages. Also, unlike some other musical surrogate speech traditions, the Oyda and Yopno name tune systems continue to be used productively, despite societal changes that have led to declining use in some domains.

Bentuk Penyajian Kesenian Senjang dalam Konteks Acara Seremonial di Kota Sekayu

This research is a descriptive study of the phenomenon of Senjang art performance in the context of ceremonial events in the community of Sekayu city. This study used a qualitative approach, with data collection carried out by observation, interviews, and documentation, and data presentation techniques in the form of analytical descriptive writing. The results of this study are in the form of descriptions of the development of Senjang art in the city of Sekayu, and textual descriptions of the presentation of Senjang performances which include; the composition of the presentation of Senjang art, aspects of Senjang literary text, transcription of vocal music melodies, transcription of the main melody form of the musical instruments of Senjang, aspects of the players, the audience, and the place of the performance. Senjang is one of the traditional arts that has developed in Musi Banyuasin district, especially the city of Sekayu. Senjang is an oral literature of the type of pantun and talibun which in its presentation is combined with music and dance. This art has been inherited from generation to generation for a long time by the Musi Banyuasin community, especially the city of Sekayu. Senjang art initially only developed in Sungai Keruh sub-district, but over time this art began to develop in other areas around it, including in Babat Toman sub-district, Sanga Desa sub-district, and Sekayu district. In terms of the performance, Senjang is presented by telling rhymes spontaneously either singly (one person) or spoken by two people (usually in pairs) in an integrated manner, and accompanied by music. The accompaniment music in Senjang presentation usually uses a single organ, and there are some who use a single guitar, with the playing of short melodies that are repeated. In its presentation, the Senjang vocal music speech with accompanying musical instruments is not played simultaneously, but is played alternately.

Object-oriented methods of analyzing the parameters of interaction of speech and music language

The article considers the methodological principles of analyzing the parameters of interaction of speech and music language in the context of object-oriented methods of Astafiev’s intonation theory, Yavorsky’s concept of music speech, the views on and ideas about the intonation basis of speech of Bonfeld, Medushevsky, Aranovsky and Nazaikinsky, and the new system of interaction of speech and music in the works of Helmut Lachenmann and  Luciano Berio. Music language and speech are the phenomena allowing for various intersections, complementarities and mutual interferences. These factors manifest themselves in various aspects spotlighting particular sides of these parameters characterizing speech and music language. Since there’s no unified methodology for analyzing these parameters at the moment, it is reasonable to study a music composition as a text (in a broad sense) using various methods of analysis. The author suggests considering the parameters of interaction of speech and music language in terms of object-oriented methods. In the works of composers, music and speech have different forms of interaction and, consequently, need to be studied via different analytical approaches. Comprehensive consideration of a piece of music as a text (by means of various approaches) allows considering it as an intercultural universum representing the code of the epoch. Based on the peculiarities of interpretation of voice as an instrument, and speech as music, and the opportunities it gives, the author formulates the classification of creative methods and principles and the system of analysis which can be used in musicology.   

РОЛЬ СИНЕСТЕЗИИ В ТВОРЧЕСКОЙ ДЕЯТЕЛЬНОСТИ КОМПОЗИТОРОВ

The paper examines the problems of researching the scientific knowledge of synaesthesia and its role in creative compositional activity. An analysis of various approaches to the definition of the phenomenon of synaesthesia as a concept reflecting the form of perception, the connection between feelings in the psyche, the results of their manifestations in specific art fields: the art-aesthetic culture of the 20th century, reflects the culturological component of the phenomenon; the ratio of synaesthesia with a sensory impression having a certain color. The role of synaesthesia in creative musical activity is defined and the relationship with the general features of the style of the Romantic era and the individual psychological qualities of the composers is indicated. Consideration is given to belonging to a certain national musical culture, which bears one or another national style. An example of the manifestation of synaesthetic tendencies in the musical art in the direction of impressionism is given. V. Moskalenko distinguishes three versions of reconstruction by the performer of the composer's plan: real, conditionally real and hypothetical. One of the main distinguishing features of the composer's letter of the first half of the twentieth century is the submission to the general technocratic tendencies inherent in the culture as a whole. In the second half of the XX - beginning of the XXI centuries, the intuitive beginning in the creative process was updated. The ultimate manifestation of the intuitive and sensual principle in the process of composing practice is reflected in the ideas of the Russian composer D. Kurlyandsky, which testifies to the extreme actualization not only of the intuitive beginning, but also of the bodily, sensual experience in creating a musical work. A productive method of constructing the components of the composer's intention is the method proposed by N. Kolyadenko for establishing synesthetic models of the stages of the artistic process, where the synaesthetic model of the artistic process corresponds to the composer's intention. The role of timbre and harmony in the music of the twentieth century is noted. The texture reflects the many-sided changes in the musical paradigm of the twentieth century. The simplest example of fixing the composer's spatial thinking is the notation record. The tendencies of the graphic nature of the musical texture, which only became apparent in the works of K. Debussy, were transformed into an important component, and sometimes the predominance of textured graphics in the music of the twentieth and early twentyfirst centuries. T. Krasnikova points out such forms: a point, a line, a strip, a stream, a stain, a scattering, a cloud, a sound rain. The special research devoted to this phenomenon testifies to the potential of researching composer's remarks as an embodiment of the "semantic" palette of the "stylistics of the composer's musical speech", as well as the "artistic" picture of the world of the "composer" (by A. Sokol's definition). Thus, the remarks being the "key" to understanding the compositional sense of music, in this classification once again demonstrate the inclusion of both emotional and synesthetic components in the sensory image of the sound of a musical work. The synaesthetic analysis objectifies musical sounding with the help of synaesthetic markers, capable of directing an understanding of its meaning. However, the significance of the above mentioned components of the creative process increases when studying the composer's intention of a synesthetic character - the synesthetic concept laid down by the composer - and his performing realization.

MUSICAL SHEVCHENKIANA IN THE WORKS OF COMPOSERS OF THE LATE 19TH – EARLY 20TH CENTURIES

The article analyzes the vocal and choral works of composers of the late 19th–early 20th, written on the poetic texts of Taras Shevchenko. It is noted that Shevchenko's poems are difficult for musical embodiment and require composers to freely possess the means of compositional technique, as well as aesthetic taste. It is said that Galician amateur composers made a great contribution to the musical Shevchenkiana, who made a lot of efforts to popularize the poet's work and honor his memory in Galicia. In this context, O. Nyzhankivsky's solo song "Gone are the years of youth", which is one of the most valuable works in the composer's musical heritage is analysed. O. Nyzhankivsky reveals his "national face" in the song "Gone are the years of youth" through the prism of romance. At the same time, it is emphasized that the Galician composer does not seek to imitate Lysenko, as he was brought up on the achievements of Austro-German musical culture, in the field of vocal music he tends to F. Schubert and R. Schumann. It is noted that O. Nyzhankivsky refers to Shevchenko's text with "neutral" lexical material. A musical example for the composer could be Schubert's song "Warrior's foreboding" (words by L. Relshtab) from his latest cycle "Swan Song". It is stated that from a different point of view considers Shevchenko F. Kolessa, whose work is marked by the tangible influence of M. Lysenko. It is possible that his interest in folklore inspired F. Kolessa's appeal not only as a composer to Shevchenko's work, but also as a literary critic. In his works, F. Kolessa, in contrast to O. Nyzhankivsky and D. Sichynsky, refers to Shevchenko's texts, marked by a tangible folklore influence. This is evidence of the changes that took place in the musical worldview of Galician composers in the late 1880s under the influence of certain political changes and cultural contacts with representatives of sub-Russian Ukraine. However, in their musical tastes, Galician composers do not always follow the direct path of Lysenko, an example of which is the work of Henryk Topolnytsky. A special place in the work of the composer is occupied by the cantata "Khustyna" ("I did not walk on Sunday"), which is marked by the expressiveness of musical language and is one of the best examples of "finely stylized folk genre." A number of great vocal-instrumental works based on T. Shevchenko's poetic texts were created by J. Kyshakevych, in whose works one can also observe signs of a new intonation, which no longer relies on Old Galician elegy, but tends to Ukrainian lyrical, historical, Cossack marching songs and Duma recitation – a different type of musical speech, which Galicians were insuf-ficiently assimilated due to certain historical and cultural differences.

ВЗАИМОСВЯЗЬ ЭЛЕМЕНТОВ МУЗЫКАЛЬНОГО ЯЗЫКА И МЕЖДИСЦИПЛИНАРНЫЕ АНАЛОГИ В ТВОРЧЕСТВЕ ПИАНИСТА-ИСПОЛНИТЕЛЯ

The performing process is the creative process of reproducing musical material. The performer not only "deciphers" the meaning of the work laid down by the composer, but also creates new images in real time. In order to understand the composer's intention, the performer pianist should turn to the works of painting, literature, etc. The first place among related art forms that create a number of interdisciplinary analogues is rightfully given to literature: in literature, as well as in speech in general (colloquial speech, in this case, we consider as a material, "raw material" of literature), one of the leading expressive elements is intonation (remember the relevant research by B. Asafiev). Thanks to the synthesis of music, literature, painting, the performer assimilates an artistic image, which makes it possible to combine disparately fixed means of expression into a single emotional message. It is the integral emotional message that is the subject of the transfer of the artistic message from the addressee - the author of the music - to the addressee (listener). Therefore, on the part of the pianist called to convey this message, it is of great importance to pay attention to the components of this message, among which the most significant are: musical melody, as in the human language, consists of phrases and sentences. Some basic types of melody are distinguished: horizontal movement, upward movement, downward movement, wavy melody, melody with leaps. Harmony is an important element of the musical language. Along with painting, literature, music also cannot exist without a harmonic foundation. She gives variety and color, is responsible for the semantic and emotional load of the entire work. Rhythm is important. The existence of a piece of music is impossible without rhythm. We can find rhythm in literature in the form of proportionality of lines. It is impossible to imagine a piece of music without tempo. The tempo affects the character of the piece. If the tempo distorts the character of the music, then a mismatch of the musical image occurs. The tempo in speech can be different. It depends on the content of the statement. Dynamics play an important role in music. With its help, the form of the composition is built. Dynamics is able to divide the work into structural parts, as well as contribute to the development of thematic material. The dynamism of the plot is also found in literary works, where there is a constant change in the situation and states of the heroes. So, all the elements of the musical language are combined in the pianist's work. It should be noted the special role of interdisciplinary analogies: music does not exist by itself, analogs of many phenomena of musical speech can be seen both in colloquial speech and in its literary refraction. The presence of such analogs significantly expands the "field" of the pianist's creative activity from mono-timbral art to a complex interdisciplinary approach.

Semantical dimension of an artwork: culturological approach

The aim of the work is to identify semantically meaningful structures of musical texts that vividly represent the original compositional style not from the standpoint of their uniqueness, but as a complex multilayered semantic space. Methodology. This allows reaching a different analytical discourse which is the basis of a cultural approach that operates broader analytical means and is used to comprehend the composer's worldview, identify the significance of his stylistic foundations of creativity and understand the complex semantic processes of the composer's concept sphere as a whole. Scientific novelty consists in revealing semantically significant structural elements of musical texts at the pre-text, textual and post-text levels of meaning formation. Results. By analyzing the works of the Kharkiv composer V. Ptushkin, the content levels of musical texts are revealed, and the structural elements of musical speech are analyzed. The practical significance. The information contained in this paper may be used for further research and developing methodological material for the new courses of lectures and seminars in history and theory of Ukrainian culture.

Bentuk Penyajian Kesenian Senjang dalam Konteks Acara Seremonial di Kota Sekayu

<div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><span>This research is a descriptive study of the phenomenon of Senjang art performance in the context of ceremonial events in the community of Sekayu city. This study used a qualitative approach, with data collection carried out by observation, interviews, and documentation, and data presentation techniques in the form of analytical descriptive writing. The results of this study are in the form of descriptions of the development of Senjang art in the city of Sekayu, and textual descriptions of the presentation of Senjang performances which include; the composition of the presentation of Senjang art, aspects of Senjang literary text, transcription of vocal music melodies, transcription of the main melody form of the musical instruments of Senjang, aspects of the players, the audience, and the place of the performance. </span><span>Senjang is one of the traditional arts that has developed in Musi Banyuasin district, especially the city of Sekayu. Senjang is an oral literature of the type of pantun and talibun which in its presentation is combined with music and dance. This art has been inherited from generation to generation for a long time by the Musi Banyuasin community, especially the city of Sekayu. Senjang art initially only developed in Sungai Keruh sub-district, but over time this art began to develop in other areas around it, including in Babat Toman sub-district, Sanga Desa sub-district, and Sekayu district. In terms of the performance, Senjang is presented by telling rhymes spontaneously either singly (one person) or spoken by two people (usually in pairs) in an integrated manner, and accompanied by music. The accompaniment music in Senjang presentation usually uses a single organ, and there are some who use a single guitar, with the playing of short melodies that are repeated. In its presentation, the Senjang vocal music speech with accompanying musical instruments is not played simultaneously, but is played alternately. </span></p><p><span>Keyword : </span><span>Presentation Form, Senjang, Sekayu City<br /> </span></p></div></div></div>