Musical Sphere Research Articles

ЦИКЛ «ПАРНАС» ВІТАЛІЯ МАНИКА ДЛЯ СКРИПКИ СОЛО: ПРОГРАМНИЙ СЮЖЕТ ІЗ АНТИЧНОЇ МІФОЛОГІЇ В СУЧАСНІЙ ІНТЕРПРЕТАЦІЇ


 
 
 Vitali Manyk is a modern composer from Ivano-Frankivsk who productively works in various music genres. He is the author of works for symphony orchestra, vocal and chamber instrumental tracks, music background of theatre performances. Lack of critical analysis of his art has caused the topicality of this article. Its main objective is to reveal basic features of the programming principle application in the «Parnassus» cycle which consists of nine pieces for violin solo.Having chosen the figurative music plot which originated from Ancient Greece, V. Manyk declares his interest in European civilization and artistic attainment. On the other hand, he tends to synthesize arts. As you know, the phenomenon of synthesis of the arts also comes from antiquity. According to the Greek mythology, Parnassus is the home of gods and also the residence of the nine muses – the patronesses of arts and sciences.The first piece «Clio» (the muse of history) is aimed at improvisation. At the same time the author accompanies every miniature with remarks concerning instrumentation, manner, tempo, rhythm, provides detailed notes as to the sound dynamics, etc.The second piece «Euterpe» (the muse of lyrical poetry and music) is marked by the lack of lilt organization. Music theme has abundant rhythmics, abrupt texture and dynamic changes.The third and the fourth pieces «Thalia» (the muse of comedy) and «Melpomene» (the muse of tragedy) expose quite the opposite images and emotions of the Greek theatre genres. However, the composer applies means of humorous and tragic music spheres of different epochs.The fifth piece «Polyhymnia» (the muse of sacred poetry and pantomime) is based on the intonations of antique chants. Melody develops gradually, has narrow range, but in the middle of the piece reaches significant dramatic effect. The sixth miniature «Urania» (the muse of astronomy) is the illustration of a starry night. Quiet and peaceful sounding dominates, short motives are directed upwards.In the seventh piece «Terpsichore» (the muse of dance and choral singing), with the help of antiphonous sounding of imaginary male and female groups of singers, the author reproduces the model of an ancient syncretic roundelay. The eighth miniature «Erato» (the muse of love lyrics) resembles the second piece (Euterpe) in images’ character and exposition.The last piece «Calliope» (the muse of epos) reflects V. Manyk’s aspiration to generalize the contents of the entire cycle. That’s why short reminiscences of all previous pieces are quite prominent here.The cycle of short miniatures is enriched with the wide range of historic, cultural and even philosophical connotations. Programme plot embodies by means of expression such as improvisation of musical texture, s broad range articulation, characteristic contrast melodies and motifs, the uniqueness semantic structure work.
 
 

‘Comprovisation’ in Igbo Choral Art Music (ICAM): an introduction

Improvisation often seems to have a negative reputation among ‘serious’ composers, since it is considered to be characterised by an artistic looseness in contrast to classical compositions, which are meticulously notated and require disciplined observance from musicians. ‘Comprovisation’ is a portmanteau word coined by the American composer Richard Dudas (2010) to describe notated compositions that include improvisation. The instrumental parts of Nigerian Igbo Choral Art Music (ICAM) are highly structured and interwoven with the notated choral part. While such parts could be considered ‘composition’, they are often left un-notated by composers, thus allowing musicians to make their own creative contributions to the final work. The process whereby ICAM is comprovised allows the musical form (in both its choral and instrumental parts) to retain freshness as well as gravitas in the art music sphere. Many studies have been conducted on ICAM, primarily focusing on its history, development and compositional principles, such as the relationship between melody and rhythm, accents and the intonation of Igbo texts. The existing research does not, however, explore the critical role that un-notated instrumentation plays in the final musical product and the genre’s ontology. This article addresses this gap by arguing that the instrumental part of ICAM is a well-structured process that is integral to the genre, albeit un-notated.

Raz jeszcze o literaturze i muzyce

The article deals with the still relevant interdisciplinary research movement, which chose the relation between music and literature as the object of its analysis. The book by Libor Martinek and Małgorzata Gamrat, which is the result of cooperation between a literary scholar and a musicologist, is the main basis for and contribution to this discussion. Following the path set by P. Scher, these authors have found a methodological dimension, on which issues of literary text functioning in the music sphere are located, and on the other hand, attempts to define a so-called literary text’s musical aspects.

Розвиток музичних документів в умовах інформатизації

In the article the described sphere of musical work is musically-computer technologies as a result of process of informatization, that is conditioned by mushroom growth of electronic musical instruments from the simplest synthesizers to the powerful musical computers. There was the new interdisciplinary sphere of professional activity, related to creation and application of the specialized musicalhardware and softwarefacilities that require knowledge and abilities both in a musical sphere, and in area of informatics. Such basic directions of introduction of information technologies are certain in music: the use in scientific researches, organization of academic association and work with a musical inheritance. Many-sided nature, global applicability of electronic and computer music, give new, essentially, boundless possibilities of self-realization, stimulate swift development of intellect, destroying music on a new level.Compatibility of electronic music with traditional musical technologies creates terms for the succession of musical epochs and styles, their interpenetration and synthesis, strengthening interest in a musical culture on the whole. Success with the modern use of the similar systems lies in integration of all computer possibilities. Investigating history of becoming of digital music, influence of MIDI- of technologies is described, as leading direction in a computer musical studio. MIDI- technology gave possibility to recreate a voice record in any rate and in any key, vocalists and bandsmen got possibility to conduct even independent employments after accompaniment and to do the detailed analysis of piece of music, that does irreplaceable the marked technology in musical educational establishments. Also, principle of transmission of audioinformation is explained for MIDI- of protocol. The marked home achievements of modern composers are in relation to embodiment of computer technologies in a musical art. Feather orientation of work of the Ukrainian composers from withstand general stamps on the deeply personality understanding of sociocultural processes is accompanied by the search of new intellectual senses in music. Influence of digital technologies is analysed onpublishing house of notes business and distribution of electronic editions, that assists distribution of musical information from one side, and from other, requires the specification of matter of authorial law and intellectual property. Advantage of new type ofto printed preparation of musical collections above an old method is undoubted, but the most valuable is seemed by that humanity got around the decision of question of the "unheard" piece of music.

Typology of M. G. Aranovsky musical thinking and symmetry

Typology of M. G. Aranovsky musical thinking and symmetry

The Theoretical Background for the Chinese Composers Piano Music Genre Peculiarities Research

The Theoretical Background for the Chinese Composers Piano Music Genre Peculiarities Research

Ukrainian mental lyricism installation and its music manifestation

Purpose the article emerges the demonstration specifics the as the mental-social quality culture and particularities her entailments in the music sphere. The methodological base the study is interdisciplinary reflective-style and the culturology-hermeneutic way to semantic interpretation corresponding to buildings scientific and music-creative thinking in continuation position T.Adorno, A.Losev, studies A.Sokol, E.Markova, O.Muravskaya, and others. Scientific novelty got the result - theoretically independent realization to concentrations the national-mental discovery culture in creative nоn-conformism to avoid аrtistic-style mergings national artistic contribution with genre-style paradigm generally- European style apportionment. Conclusions. Ukrainian lyricism mark as the way the thinking, in which rationalist subject delimitation importances is in principal corrected over-sapidity steaming emotional thickenings-rarefactions that will add the person the sort artificial cultural rhythm self-expression carriers national character. Stands out the psychic paradigm oscillation in the spiritual act concentration and emotional sadness, which recognize in the lachrymal-moving mysticism the Orthodoxy, passing маximalism worldwide saving of Russian Orient, hoping on spontaneity brotherhood that defines the animated over-individual character the soul in lyricism. It is emphasized social phenomenon confusion scene and lives, which in life discovery marks аrtistical tone public and larval decisions, confirming in mеlоdy-song manifestation morally-organizing abutment to nations outside state-building effort. The last, being brought forth on the first plan national self-determination at the end XX centuries, have realized, possible, discharge the professional music from song-vоcаl manifestation in favor chamber-instrumental modesty demand artistic begin in the aggregate national existence.

How classical music is embedded in a cultural public sphere?

Classical music as a special form of culture has been widely defined within an ideological and social sphere in people’s everyday life. A particular form of power structure has encouraged individual musicians or music events organisers to re-think the relationship between the governmental structure and individual agencies within the local music sphere. It has become clear that musical exercise is not simply invented by individual musicians or individual music organisations, but through their political cultural sphere and through society. This paper discusses the nature of democracy over classical music and explores classical music in the context of cultural public sphere by theoretically reflecting the notion of public sphere by Habermas, and argues that the policy for classical music is all about bringing democracy to the local public, but, on the other hand, the local public still have concerns on whether local government really takes the necessary steps to make democracy widely available for all forms of music organisations and for everybody in the cultural sphere. The papers also discusses how the culture democracy exercise at a local music level, and explores that music education policy system together with an effective musical education curriculum should also play a positive role in addressing such concerns.

Cracking the code: recordings, transmission, players, and smiths in the Norwegian munnharpe revival

ABSTRACTThough it operates on the margins of the Norwegian folk music scene, the munnharpe (jew’s harp) revival has been active since the 1960s and today boasts an active network of festivals, musicians, and blacksmiths. After contextualising the instrument’s position within Norwegian folk music and outlining the history of the munnharpe community, I explore the transmission and revitalisation of the munnharpe tradition, suggesting that a large part of the revival’s success lies in the availability and accessibility of archival recordings. I examine the transmission of playing technique and repertoire amongst musicians, then compare it with instrument building transmission amongst blacksmiths, analysing how the dynamic between munnharpe players and makers has shaped the instrument’s musical and material spheres. Tracing the symbiotic relationship between archives, recordings, players, and makers, I argue that this interplay has been central to the revival in both its past and present iterations.

Buka - kategorija u futurističkom teatru i muzici

Noise was a central category in Modernist art and literature as it formed an integral part of the modern urban experience and had a profound effect on the human psyche. It also became an important feature in musical aesthetics. The Futurists were amongst the first to give it a profound theoretical foundation. Luigi Russolo sought to reclaim the infinite variety of sounds found in Nature and the metropolis and to generate a new musical culture from them. Bringing together the world of music and the modern sonic environment was one of his key objectives and led him to create an orchestra of mechanical instruments - so-called intonarumori - and to present his concept of arte dei rumori in a variety of concerts and musical soirees. Russolo's concerts and writings were widely discussed in Russia, where they fostered the development of microtonal music amongst professional composers and a materialistic conception of noise art advocated by Proletkult leaders. The substitution of conventional instrumental music with mechanical and industrial noises came to be practiced by noise orchestras and in theatrical open-air performances. Thus, the Futurist idea of joining art with life and the Marxist concept of overcoming alienation from the products of labour found a concrete realization in the musical sphere. The Futurists' desire to liberate theatre from its subservience to the written or spoken word gave rise to a number of projects in which mechanically produced noises played a key role. One of the most successful examples was the Theâtre de la Pantomime futuriste, produced by Enrico Prampolini in 1927/28, with music composed and performed by Luigi Russolo. The performances in Paris, Turin, Bergamo and Milan transported the mechanized, modern life into the world of dance and music in a suggestive and often magical manner.

Mozart in Prague: Essays on Performance, Patronage, and Reception ed. by Kathryn L. Libin

Reviewed by: Mozart in Prague: Essays on Performance, Patronage, and Receptioned. by Kathryn L. Libin Erick Arenas Mozart in Prague: Essays on Performance, Patronage, and Reception. Proceedings of the Mozart Society of America / Society for Eighteenth-Century Music Conference in Prague, 9–1306 2009. Edited by Kathryn L. Libin. Prague: Institute of Ethnology of the Czech Academy of Sciences [Etnologický ústav Akademie věd České republiky], 2016. [ 470 p. ISBN 9788088081067 (paperback), $50.] Music examples, illustrations, abstracts, author biographies, index of persons, index of Mozart's works. With the obvious exceptions of Salz - burg and Vienna, no city stands so significant in the biography of Wolfgang Amadeus Mozart as Prague, where the composer traveled on multiple occasions between 1787 and 1791, premiered some of his most important late works, and enjoyed exceptional popularity. His experience there, with its invigorating influence upon his work, has long provided scholars a captivating foil to the vicissitudes of his Viennese years. This association with Mozart has benefitted the city's cultural history as well [End Page 103]by casting light on the vibrant musical culture that existed there during this era of Austrian-Imperial domination, and by serving as a continual source of pride within its musical sphere. With the purpose of examining the music of Mozart and his contemporaries in the Prague context, the Mozart Society of America and the Society for Eighteenth-Century Music, with the support of the Czech Mozart Society, held a joint conference in 2009 in the Czech capital and its environs. The volume Mozart in Prague: Essays on Performance, Patronage, Sources, and Receptionpresents the proceedings of this event. The volume consists of twenty-one varied essays of moderate length written by scholars based in North America and Europe. The diversity of the collection strains the rather narrow purview indicated by the title. While the contributions do, for the most part, focus on matters of performance, patronage, sources, and reception, they also extend to subjects that are only slightly or tangentially related to either the composer or the city. Those that lie furthest from the Mozart–Prague nexus nevertheless offer eminently useful coverage of musicians and musical life in the broader late eighteenth- and early nineteenth-century Central European context. These include essays on Mozart contemporaries by R. Todd Rober ("A Paternal Patronage in Dresden: Count Heinrich von Brühl and Gottlob Harrer"), Jane Schatkin Hettrick ("Antonio Salieri's Requiem Mass: The Moravian Connection"), and Lucio Tufano ("The Italian Reception of Benda's Ariadne auf Naxosand Medea: Fascination and Compromise"). Other essays deal with historical figures more clearly linked to Mozart and Prague, or the wider Bohemian context—for example, that by John Rice ("A Bohemian Composer Meets a Mozart Singer: Koželuh's Rondò for Adriana Ferrarese"). Two essays concern the impresario Domenico Guardasoni: Pierluigi Petrobelli's "Italian Opera in Prague, Dresden, and Elsewhere: The Impresario Giuseppe Bustelli," and Anna Ryszka-Komarnicka's "From Venice to Warsaw: Zenobia di Palmiraby Sertor and Anfossi Performed by Guardasoni's Troupe (1791)." Aspects of Mozart's relationship with the Bohemian singer Josefa Dušek (1754–1824), who, along with her husband, František Xaver Dušek (1731–1799), was one of the most significant supporters of Mozart and his music in Prague, are considered in two notable essays. Paul Corneilson ("'aber nach geendigter Oper mit Vergnügen': Mozart's Arias for Mme Duschek") focuses on her role as a singer and benefactor, addressing questions of her vocal profile and the identification of arias composed for her by Mozart. The personal dimension of this composer–singer/patron relationship receives new scrutiny from Bruce Alan Brown, whose essay "In Defense of Josepha Duschek (and Mozart): Patronage, Friendship, and Evidence" argues convincingly against the hypothesis advanced by Maynard Solomon ( Mozart: A Life[New York: Harper Collins, 1995]) that the two were also romantically involved. Since Mozart's pursuits and success in Prague centered on opera, this genre is naturally the focus of many essays in these proceedings. Martin Nebdal's contribution, "Preaching (German) Morals in Vienna: The Case of Mozart and Umlauf," though centered on the Viennese context rather than that of Prague, offers important insights into didactic aspects...

Информационные ресурсы и меры по распространению музыкальной культуры Поволжья в конце 1930-х — первой половине 1940-х годов

The results of the study of history of musical culture of the Volga region in 1939-1945 are presented. The questions of information support of the Astrakhan, Kazan, Kuibyshev, Penza, Saratov, Stalingrad, Ulyanovsk, Engels models of musical and cultural system in prewar and war period are considered. The novelty of research is seen in the distinguishing the information component within the framework of system vision of the musical culture of the region. The materials of periodicals and unpublished sources of central and local archives are used. The main information components (radio, periodicals, library collections, new editions and replication) are identified. The author’s corpus and types of publications in the local periodical press related to the musical sphere are analysed. Some types of music radio programs are described. The important advertising role of radio and newspapers of the Volga region in the late 1930s - the first half of the 1940s is revealed. The provision of libraries of musical literature is characterized as insufficient; it is revealed that the most scarce were the music publications, especially the scores. It is established that the funds were replenished by small purchases of educational, theatrical and concert-organizational institutions, re-writing and publication of small-circulation copies of publications devoted to folklore research and aimed at local amateur activities. It is proved that the weakening of information support of musical and cultural processes of the Volga region in the war period is associated with a shortage of paper, with increased depreciation and losses as a result of the use of materials by evacuated musicians. The important role of radio and print media in the functioning of musical culture of the Volga region in 1939-1945 is noted.

Роль П. И. Иванова-Радкевича в формировании культурного пространства Красноярска конца XIX – начала ХХ века

The article researches the role of the graduate of the St. Petersburg Church Singers’ Cappella Pavel Iosefovich Ivanov-Radkevich in the creation of the unique image of the musical and artistic life of Krasnoyarsk of the late 19th and early 20th centuries. Understanding the universals and the specificity of the development of cultural processes of Siberia, Ivanov-Radkevich catalyzed their unfolding, in many ways predetermining the subsequent evolution of the artistic space of Krasnoyarsk. His abundant activities permeated virtually into all the basic elements of the musical life of Krasnoyarsk, forming and organizing them into an integral model of regional academic art. As the result of his self-sacrificing work a powerful replenishment was received by the professional musical sphere of Krasnoyarsk. His greatest achievement – founding the People’s Conservatory, which successfully functions up to our days – presented a crucial moment of the swaying of the balance in favor of professionalization and its subsequent predominance within the system of the local academic traditions. In his struggle for the development of the visual arts, Radkevich ardently son Mikhail to become a painter. The personality of this specialist, formed and generated during the epoch of the Silver Age in the metropolis of Russia, its scale and cultural range of vision connected the center and the periphery, the capital and the province. He coordinated the living communication of the leading artistic forces of Krasnoyarsk (the musicians and the painters), synthesizing the various trends and traditions of academic art. He provided for a fullfledged inclusion of the Siberian town into the overall processes of constructing the system of Russian culture. The reported study was funded by Russian Foundation for Fundamental Research, the Government of the Krasnoyarsk Region, the Krasnoyarsk Regional Fund for Support of Science and Technology within the framework of research project №17-14-24006. Keywords: musical culture of Russia, musical culture of Siberia, musical academic culture, artistic life of Krasnoyarsk, People’s Conservatory, P. I. Ivanov-Radkevich’s school for drawing.

Reaching the Operatic Stage: The Geographical and Social Origins of British and Irish Opera Singers, c.1850–c.1960

AbstractThe backgrounds of opera singers have received little systematic study and this article attempts to help redress this situation through analysis of a collective biography of 344 British and Irish-born performers active in the century from 1850. It argues that certain areas, notably London and Wales, made a particularly significant contribution to the operatic profession and notes that certain other patterns of regional under- and over-production are discernible. While singers from a broadly defined middle class were numerically dominant within this sample, this study stresses the unexpectedly strong contribution from those born into the lower-middle and working classes. Such performers were able to build on skills honed in the amateur musical sphere partly as a result of an expanding state-funded higher education system, but also due to an extraordinary variety of forms of patronage. The ‘popular’ social tone of singers, however, is shown to have done little to challenge perceptions of opera as an elitist cultural form.

Лирический генезис музыки и над-, внеиндивидуальные формы его проявления в храмовом гимнопении Китая и Европы.

Цель работы. Исследование связано с поиском лирического принципа выражения по его генезису и развитию в культовом гимнопении. Недооценка религиозных истоков искусства в музыкальной сфере чревата потерей ориентиров на идеальную специфику этого вида творчества, что в условиях современной экспансии шоу-бизнеса затрудняет сохранность этого рода художественного достояния. Методология исследования определяется опорой на интонационное видение специфики музыки, что вводит стилевой компаратив и историко-логический методы в качестве базовых, позволяя выявить смысловую парадигматику музыки, заложенную ее ритуально-религиозным истоком. Научная новизна состоит в расширении представлений о лирике как обусловливаемой вне- и надличностным характером выразительности храмового пения. Сравнительный анализ храмовой лирики в Китае и в Европе выводит на универсально-человеческие принципы музыкальной выразительности, черпающие в культе истоки высокой абстракции ее символики и экстатики. Выводы. В гимнопении происходит формирование лирической полноты возвышения над бытийностью – в пении как преодолении речевой ограниченности диапазона, как гипертрофии круговых движений голоса в виде фигуративных построений, как способ запечатления высокого без-волия, противостоящего моделям волевых устремлений, которые имеют место в музыке, выстроенной в гармонической вводнотонности.Ключевые слова: лирический генезис, лирика, гимнопение, храмовость.

«Коты-мурзики», «капризные больные» и «трансгрессоры»: незрячие в «профессиональном обществе» сквозь призму моделей инвалидности


 Александра Сергеевна Курленкова – к. и. н., научный сотрудник группы медицинской антропологии ИЭА РАН, Москва, Россия. Электронная почта: askurlenkova@yandex.ru
 В статье предпринимается попытка посмотреть на участие незрячих в профессиональной жизни общества сквозь призму медицинской, социальной и трудовой моделей инвалидности. Каждая из этих моделей – продукт социальной и юридической конвенции, который, однако, определяет государственную политику, (само)восприятие незрячих людей, в том числе в профессиональной сфере. На основе качественного анализа интервью с незрячими людьми, я показываю, что отношение к ним определяется медицинской (патерналистской) моделью инвалидности, конструирующей образ незрячего как больного, нуждающегося в покое и «домашнем режиме». Коммерческие компании не видят экономических преимуществ от найма «инвалидов», предпочитая выплачивать штрафы или использовать схемы фиктивного трудоустройства. Спектр легитимных профессиональных возможностей незрячих, сформировавшийся еще в СССР, крайне узок: это монотонная ручная работа на предприятиях, часто без договорной основы, за символическую оплату, не дотягивающую до минимального размера оплаты труда; профессиональные колеи незрячих включают сферу массажа, музыки, преподавания в коррекционных школах. В статье я показываю, что в основе выделения этих областей для работы незрячих лежит идея о том, что люди без зрения – это гомогенная группа, обладающая одинаковыми профессиональными способностями и желаниями. Многие незрячие следуют этим «протоптанным тропинкам»; однако некоторые люди с ограничениями зрения выступают в роли «трансгрессоров», преступающих привычные профессиональные маршруты и прокладывающие собственные.

Edward Burne-Jones’s The Planets: Musical Spheres and Visions of a Benevolent Cosmos

Edward Burne-Jones’s The Planets: Musical Spheres and Visions of a Benevolent Cosmos

Favela Chic: Diplo, Funk Carioca, and the Ethics and Aesthetics of the Global Remix

Using the work of the US DJ and producer Diplo as a case study, this article examines the development, internationalization, and sensationalization of Brazilian funk carioca. It argues that this trend has contributed to glamorized global perceptions of impoverished Latin American communities and perpetuated a troublesome history of Western producers using source material from the Other for novelty and financial gain. It concludes with a discussion of the emerging ideals and aesthetics of the “global remix,” as well as an examination of contemporary attitudes towards hybridity, authenticity, and ownership in the global popular music sphere.

Становление идеологического контроля музыкально- концертной сферы в россии (1920—1960-е гг.)

In article steps of the Soviet power on strengthening of ideological control of the concert and musical sphere of Russia of the 1920-60th are analyzed. The concert and philharmonic sphere is considered in close connection with historical and political and social processes of that time. Evolution of the art concept of the party leading to unification of idea of education of the people by means of forms and ways of concert and philharmonic education in the country is traced. The history of creation of the bodies of censorship and control in Russia which were directly influencing activity of the concert enterprises and their musical and educational activity is shown. The special attention is paid to the musical repertoire of philharmonic halls (resolved and forbidden) which changed depending on a political vector in the country. Some documents used in article are introduced for scientific use for the first time. The offered material will be useful to researchers and students in the field of history, cultural science, political science, sociology and art criticism to understanding of cultural processes of the Soviet period of history of Russia in general and the Ural region in particular.

Psycho-Pedagogical Conditions of Formation of Professional Creative Activity of Future Professionals

Organizational, psychological and pedagogical conditions (the position of student in the educational process, the inclusion of students in active and independent activities, the creation of a positive creative environment and psychological climate, the active use of the forms, methods, technologies, adequate formation of professional creative activity of students, features of individual creative development of students), a system of principles and pedagogical tools are the best support in the formation of professional and creative activity of the future experts in musical sphere (Malofeev & Shmatko, 2008).