Musical Symbols Research Articles

Evaluation of Students’ Cognitive and Conceptual Learning Levels in Middle School Music Lessons

This research aims to reveal secondary school students’ cognitive and conceptual learning levels in music lessons. In the research, cognitive and conceptual learning competencies in music lessons were discussed in line with students’ musical literacy and other musical learning contexts. In this direction, the musical symbol, term, and concept achievement test (MSTCA) were applied to 206 students in a sample group of 12-year-old students from three different schools. The data obtained in the test were categorized and tabulated according to subheadings “duration of the note values, musical expressions, measure indicator.” As a result of the research, it was revealed that most students could not conceptualize symbols, terms and concepts especially those related to note duration values. According to the results of the research, it is seen that secondary school students do not understand the musical symbols, terms, and concepts they encounter in the music lesson to a large extent, they have misconceptions, and their learning levels in this field are not at the desired level. Similarly, it is observed that the students need help to fully embody the terms and concepts such as unit beat, tempo, staff, and measure indicator in music. It has been determined that the 6th grade students are not at the level of essential preparedness required for music literacy.

The musical symbol involved in the reproduction process of memory representation and singing motility

The musical symbol involved in the reproduction process of memory representation and singing motility

Musical Symbols in the Opera The Three Sisters by Péter Eötvös

"Opera, as a stage and acting genre, also uses theatrical elements (costumes, dramaturgy, etc.) to convey the work. Opera composers typically use musical symbols as well. I collected these devices of Péter Eötvös’ best-known opera in my study based on literature research. Dramaturgically divided into three sequences, the work always examines its relationship with the other two central figures from the point of view of the central figure of the given part. One of the musical cornerstones of this is changing the internal relationships of triads. The two extreme notes of the triad are always constant (distance of a fifth), but the note located between them characterizes not only the quality of the chord, but also the state of the character connected to it. The unstable balance and reorganization of relationships is well represented by this construction principle. The author also uses the third-parallel, known since Mozart, as a classical musical representation of love. The choices of instrument also have symbolic power. The Prozorov family is represented by the group of woodwind instruments. A kind of irony on the part of the author is the use of cow bells to depict the behavior of the disgusting and unbearable Natasha. Soldiers are naturally represented by brass. Although Solioniy is a soldier, he is not accompanied by brass instruments, but by percussionists, hinting at his personality. The characters speak in different ways of the human voice. From prose to sung speech through to the melodies, there are all kinds of expressions of emotion. Keywords: Péter Eötvös, opera, Three Sisters, libretto, musical symbolism, triad, third-parallels, instrumental symbolism, prose, sung speech, song "

Символът като средство за реализация на интердисциплинарен подход в обучението по музика и български език и литература в начален обра- зователен етап [Symbols as Means of Implementing an Interdisciplinary Approach in

The possibilities of symbols as means of implementing an interdisciplinary approach in teaching music and literature in primary education is the topic examined in this publication. This is a topic that is developed relatively rarely in pedagogical literature. In the theoretical aspects of this publication, the main parameters of the interdisciplinary approach, applicable to the education of students in 1st – 4th grades, which can be realized through literary and musical symbolism, are examined. Arguments supporting statements regarding the essence of symbols and the possibility of them functioning as denotation for one of the criteria for the manifestation and functioning of linguistic and musical intelligence, included in H. Gardner's Theory of Multiple Intelligences, are brought forth. The focus is on the essence of the two types of symbols – literary and musical as means of forming and developing the respective types of intelligence. The publication also examines some practical and applied aspects, the main emphasis being fairy tales as a literary genre and program music, which are rich in symbolism. Specific approaches to pedagogical interaction are listed such as “building musical characterization of a literary symbol”, “making sense of a specific musical work with the help of literary symbols”, “using literary symbols to realize musical content”. In this way, it is proven that they are a real basis for the implementation of an interdisciplinary educational approach in the education of primary school students.

Partes Concerts of the 1730s–1740s from the Kyiv Collection: New Assets

Relevance and current status of research. The Kyiv collection of partes music, which is kept in the Institute of Manuscript of V. Ι. Vernadsky National Library of Ukraine, is the largest in Ukraine. It includes about 700 choral works, and only a few dozen of them have been decoded, edited and published. In 2020, within the Musica sacra Ukraina project the author of this article decoded and prepared for performance three new partes concerts from the Kyiv collection. These are twelve-part anonymous concerts of the 1730 s – 40 s “The troubles of my heart”, “O sing unto the Lord a new song” and “Come, o people”.
 The purpose of the study is to describe the Kyiv partes collection and the current status of its research; to outline the main steps of working with partes manuscripts: deciphering, score compiling and editing; to present deciphered concerts in the context of current research problems of European baroque music, such as the aesthetics of oddity, as well as musical symbolism and rhetoric, which allow us to reveal the inextricable connection between the verbal and musical text of the works.
 Methodological framework. The work is based on proven methodologies of decoding and scientific editing of handwritten musical text, and methods of musical theoretical analysis are also used.
 Results and scientific novelty of the work. Three anonymous twelve-part partes concerts of the 1730 s –1740 s from the Kyiv collection “The troubles of my heart”, “O sing unto the Lord a new song” and “Come, o people” were deciphered, edited and analyzed. A comprehensive approach to studying Ukrainian baroque music is presented. It involves deciphering, editing (preparation for performance) and musicological interpretation of the work. The proposed musicological analysis, which is based on modern approaches to the analysis of baroque music, updates the European context of the Ukrainian baroque heritage

Azerbaycan'daki düğün törenlerinin çeşitliliği bağlamında Nahçıvan bölgesinin düğün gelenekleri

Bu makalenin amacı Azerbaycan müzik folklorünün önemli öğelerinden biri olan düğün törenlerinin Nahçıvan yöresine ait özelliklerinin kültürel ve müzikal açıdan incelenmesini amaçlamaktadır. Araştırma modeli, nitel araştırma yöntemlerinden durum çalışması ve doküman analizi tekniklerine uygun olarak tasarlanmıştır. Düğün türkülerinin derlenmesi ve Sibelius Music Notation Software programı ile nota analizleri yapılmıştır. Araştırmada, Nahçıvan bölgesinin seçilmesinin nedeni bölgenin folklorik özellikleri açısından zengin içeriğe sahip olması ve folklorik doğasının korunmasıdır. Araştırmada veri toplama araçları olarak ilgili dokümanlar ve görüşme yöntemi kullanılmıştır. Araştırmada Nahçıvan düğün ritüelinin öğeleri ve müzikal özellikleri ilgili kaynaklar ve görüşmeler ışığında sunulmuştur. Düğün ritüelinin unsurlarından icra edilen eserler müzikal açıdan analiz edilmiştir. Nahçıvan yöresi düğünlerinde; kız beğenme, söz kesme, elçilik, nişan, bayramlık, kız düğünü, kına gecesi, erkek düğünü, duvak töreni, el öpme aşamaları bulunmaktadır. Yallı Dansı, yörenin önemli bir müzikal sembolüdür. Bu dans topluca yapılır, çeşitliliği ve dans ezgileri kendine özgüdür. Düğünlerde kültürel aktarımla günümüze kadar gelen oyunlar Köçeri, Tanzara, Tello, Galadan-galaya, Urfanı’dır. Araştırmada, Hakışta, Gülüm Hey, Kına Gecesi ve Gelin Uğurlama türkülerinin nota analizleri yapılarak sunulmuştur.

Construction of Music Intelligent Creation Model Based on Convolutional Neural Network.

The application of machine learning technology to intelligent music creation has become a very important field in music creation. The main current research on music intelligent creation methods uses fixed coding steps in audio data, which lead to weak feature expression ability. Based on convolutional neural network theory, this paper proposes a deep music intelligent creation method. The model uses a convolutional recurrent neural network to generate an effective hash code, first preprocesses the music signal to obtain a Mel spectrogram, and then inputs it into a pretrained CNN to extract from its convolutional layers. The network space details and the semantic information of musical symbols are used to construct the feature map sequence using selection strategy for the feature map of each convolutional layer, so as to solve the problem of high data feature dimension and poor recognition performance. In the simulation process, the Mel cepstral coefficient method (MFCC) was used to extract the features of four different music signals, and the features that could represent each signal were extracted through the convolutional neural network, and the continuous signals were discretized and reduced. The experimental results show that the high-dimensional music data are dimensionally reduced at the data level. After the data are compressed, the correct rate of intelligent creation is as high as 98%, and the characteristic signal distortion rate is reduced to 5% below, effectively improving the algorithm performance and the ability to create music intelligently.

Research on the Narrative Function of Musical Symbols in Youth Movies

Film is an art form that combines sound and picture, and music, as a symbolic expression, plays an increasingly important role in films. In genre films, musical notation often has its own aesthetic value and ideographic function. As an important film genre, youth-themed films have formed a set of proprietary "systems" in the process of continuous development. Its function is not only to cooperate with the picture, but also to express the meaning and textual value of the music independently in the narrative process. Through the analysis of musical symbols in youth-themed movies, this paper attempts to clarify the ideographic mechanism of music in youth movie texts, interpret the main role of musical symbols as an interpretive link in the narrative process of movies, and make Chinese genre film music more vital.

A Fuzzy Multicriteria Assessment Mechanism towards Musical Courses Using Deep Learning

Nowadays, the musical courses have been quite prevalent spiritual activities in online or offline scenarios. However, the teaching quality is diverse and cannot be easily assessed by general nonprofessional audience. Limited by the amount of experts, it is supposed to investigate intelligent mechanisms that can automatically assess the teaching quality of musical courses. To deal with such issue, the combination of artificial intelligence and conventional music knowledge acts as a promising way. In this work, a fuzzy multicriteria assessment mechanism is used towards musical courses with the use of a typical deep learning model: convolutional neural network (CNN). Specifically, note that features inside the musical symbol sequences are expected to be extracted by residual CNN structure. Next, multilevel features inside the musical notes are further fused with neural computing structure, so that feature abstraction of initial musical objects can be further improved. On this basis, notes can be identified with use of bidirectional recurrent unit structure in order to speed up fitting efficiency of the whole assessment framework. Comprehensive experimental analysis is conducted by comparing the proposed method with several baseline methods, showing a good performance effect of the proposal.

THE BRAILLE SYSTEM: THE WRITING AND READING SYSTEM THAT BRINGS INDEPENDENCE TO THE BLIND PERSON

The braille System is the most adopted writing and reading process in relief worldwide and includes the writing of the alphabet and of mathematical, chemical, phonetic, computer, and musical symbols. This text aims to explain what the braille System is and its importance for the independence of the blind person. In addition to demonstrating the appropriate distance between the points and proving that writing on the conventional slate is the best resource for correct writing in braille, the main objective of the research is to emphasize the importance of using the braille System and to value the conventional slate as a braille writing instrument. From the reading of theoretical texts and writings performed using both slates, the result is even more evident that writing on the conventional slate meets the tactile reading of the blind person, who uses the pad of the index finger to feel the braille dots.<p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0941/a.php" alt="Hit counter" /></p>

A Music Curriculum Integration and Reconstruction Model Based on Advanced Iterative Reconstruction Algorithm

Music curriculum fusion and super-resolution reconstruction based on musical elements have gradually attracted the attention of researchers. The traditional music element fusion and reconstruction algorithm is based on the fusion and reconstruction of all the pixel information of the source music element, which has the problem of high time and space complexity. Based on the advanced iterative reconstruction theory, this paper uses the measurement matrix to measure the dimensionality of the music signal, compresses the music element data while acquiring the music elements, reduces the sampling frequency, reduces the sampling amount of the music element data, and greatly reduces the data. It solves the problem of spatial resolution reduction caused by degradation and the problem of music element feature extraction, classification, and identification and can obtain more music element features and detailed parameters. Aiming at the back-projection algorithm of musical symbol filtering, the advanced iterative reconstruction algorithm of musical symbol filtering of a triangular line array is simulated. The experimental results show that the feasibility analysis factor of the scheme reaches 0.917, and the running time of the reconstruction algorithm is reduced to 0.131 s, which promotes a large amount of data in music curriculum element fusion and super-resolution reconstruction.

The Importance of Musical Symbols in Cultural Interpretation Systems

Bir müzikal sembolün anlamı, ancak tarihi birikim yoluyla, kültürel yorum sistemleri (edebiyat, felsefe, mimari, beden dili, görsel medya) ile etkileşiminde, özel kültürel çevre ve bağlı olduğu kültürel-sanatsal sembollerle ilişkili olması durumunda elde edilebilmektedir. Müzikal semboller, yüzeysel olarak, kültürel yorum sistemlerindeki sembollerden farklı ve bağımsız algılanabilirler. Örneğin anlamsal olmayan bir örnek (kavramsal olmayan), anlamsal bir sembolden bağımsız gibi görünebilir. Ya da temsili olmayan bir sembol ifadesi, temsili olan örnekten bağımsız gibi algılanabilir. Bununla birlikte insan, kültürel sembol sisteminin bir parçası olarak, müzikal sembollerin anlamsal olmayan ifadeleri için hiçbir zaman semantik ve simgesel gibi içsel ve açıklayıcı ilişkisinden ayrılmamıştır. Sembolik anlam, kültürel yorum sistemlerinde ve kültürel-sanatsal sembollerle doğrudan ve dolaylı ilişkisinde kendini göstermektedir.Yapılan araştırmada, müzikal sembollerin mutlak anlamları ile referans anlamlarına değinilmiş, kültürel-sanatsal sembollerle etkileşimleri ve yorumları incelenmiştir. İnceleme, kültürel yorum sistemlerindeki sembollerin önem ve çağrışımlarının, müzikal sembollerle karşılaştırılmasını hedef alarak birbirleriyle etkileşim ve entegrasyonunu araştırmaktadır. Konu kapsamı, müzikal sembollerle edebi sembollerin (müzik tonu ve dil tonu), beden dili sembollerinin (müzik performansındaki beden duruşu), görsel medya sembollerinin (müzikal imgelem ve medya), felsefi sembollerin (diyalektik ve armoni) ve mimari sembollerin (müzik formu ve tasarım formu) karşılıklı yorumlanması başlıklarıyla genişletilmiştir. Araştırma, müzik disiplini araştırması (müzikoloji) sınırlarında kalmayıp diğer disiplinlerin literatürlerinden de faydalanarak kültürel-sanatsal sembollerin yorumlanmasına müzik disiplini üzerinden yaklaşmayı amaçlamıştır.Çalışmanın, müzik kültürü kapsamında olması, diğer kültürlerle ilişkisi ve müzikal sembollerin işlevsellik ve niteliğinin bu ortamlarda yorumlanarak değerlendirilme amacından dolayı yöntem olarak nitel araştırma yöntemi, model olarak betimsel araştırma modeli kullanılmıştır. Bulguların sınıflandırılması ve belirlenen hedeflere ulaşabilmesi için literatür taraması yapılarak konu kapsamına en yakın kaynaklar belirlenerek derlenmiştir. Araştırmanın sonunda, müzikal sembollerin, edebiyat, felsefe, mimari, medya, vücut dili ve görsel sembollerle, nitelik ve nicelik korelasyonunda anlamsal bağlantıları olduğu gözlenmiştir.

Optical Music Recognition of Printed White Mensural Notation: Conversion to Modern Notation Using Object Detection Mechanisms

Today, the majority of music performers and vocalists are not able to read mensural notation fluently, and so conductors and music ensembles require modern editions for performing historical music. However, the conversion of printed white mensural sheet music into audible and performable modern notation currently requires elaborate manual editing by specialized music scholars. To close this gap, the present research proposes an algorithm that automatically converts scanned music score sheets of that historic period (the sixteenth and seventeenth centuries) into a file format that is readable in current notation software. This includes the optical recognition of musical symbols and respective semantic interpretation, for example note pitch determination. Based on works by the composers Sebastian Ertel and Paul Peuerl, the article presents a case study that combines convolutional neural networks with further computational process steps towards an integrated algorithm within a four-step optical music recognition (OMR) approach. As a result, the used musical material could be correctly converted into the MusicXML format with a recognition rate of 99 per cent. In the wake of these promising results, in future research we propose to extend our work to other materials, epochs, note symbols and advanced semantic analyses.

Music’s Textual Dilemma

Music is sound: audible, unique, ephemeral. For music composed before the advent of electronic recording a century and a quarter ago, musical texts — the unique arrangements of musical symbols by which music is represented in visible form — are our principal evidence for how that music sounded when it was created. But the texts in which Western music of the past is preserved are not necessarily accurate representations of the music they record. Although the symbols that make up Western musical notation have remained relatively stable over the centuries, much that they represent has changed. Tunings and temperaments have varied — from repertoire to repertoire and from place to place. So have styles of singing and of playing instruments. So have the instruments themselves. Most important in the present context, the conventions for realizing texts have varied substantially; the idea that performers should follow their texts closely dates only from the mid eighteenth century. In these contradictions lies music’s textual dilemma: music historians and performers must depend upon texts, but even supplemented by research in performance practice, texts do not necessarily provide the information necessary to support informed discussion.

A Sequence-to-Sequence Framework Based on Transformer With Masked Language Model for Optical Music Recognition

Optical music recognition technology is of great significance in the development of the digital music. In recent years, the convolutional recurrent neural network framework with connectionist temporal classification has been used in music recognition. However, its loss function is calculated in serial mode, which leads to low efficiency in training and difficulty in convergence. Additionally, because of the gradient disappearance of excessive long music sequences, the existing music recognition models are hard to learn the relationships between musical symbols, resulting in high sequence error rate. Therefore, we propose a sequence-to-sequence framework based on transformer with masked language model to deal with these problems. The context representation between musical symbols can be captured further by the self-attention module in the transformer, which will reduce the sequence error rate. In addition, we refer to the masked language model and design a mask matrix to predict each musical symbol in a parallel way, so as to speed up the training process. Our experiments are carried out on the printed images of music stave dataset, and the results show that our proposed method is training-efficient and has great improvement in sequence accuracy rate.

Senzorna integracija kao preduslov za razvoj akademskih veština dece

The readiness to start school includes the emotional and social maturity of the child. In order for a child to master the demands of the school program as easily as possible, a certain harmony is needed in the development of his abilities. The ability of sensory perception and the ability to integrate sensory stimuli specifically determine the development of reading and writing skills. The aim of this study is to analyze the ability to read and write in hypersensitive and hyposensitive types of sensory integration disorders, with special reference to the analysis of individualization measures in the work with these students in the school system. Disorder of sensory integration is expressed in two basic forms: increased sensitivity (hypersensitivity) and decreased sensitivity (hyposensitivity). In the school system, both forms of sensory integration disorders dominate. Hypersensitivity is manifested by rapid mental fatigue compared to other children. These children have difficulty reading and writing at the same time. They can read a word in many different ways without realizing it. Compared to the hypersensitive child who seems inert, the hyposensitive child is in constant motion, craving additional sensory stimuli in the classroom. These children have great problems with reading and writing figures and symbols such as tables, geometric shapes and musical symbols. Adjusting the teaching material for these children means increasing the font and font color before reading, dividing large-scale tasks into smaller units, using different types of writing pens, constantly emphasizing important units in the lesson, providing a summary of the lesson at the end of the lesson, and occasionally checking the legibility of the handwriting. In this way, students are provided with easier visual, auditory and tactile processing, and therefore more successful writing, reading and understanding of the read material. Thus, a student with sensory processing disorder can achieve academic success, but it is necessary to adapt the curriculum to the appropriate level of sensations.

On Mystery, Ineffability, Silence, and Musical Symbolism. Reading Augustine

On Mystery, Ineffability, Silence, and Musical Symbolism. Reading Augustine

Философско-семиотический анализ истории музыкальной знаковости: от XVII до XХ века

The philosophical analysis of the problem of the musical language as a system of special symbolism from the period of the birth of individual composer creativity to the period of the New Time described in the article. This is the first part of the theoretical interpretation of the history of musical symbolism. The philosophical and aesthetic interpretation of the sign structures of the musical language considered to be presented in the context of the evolutionary and historical development on the basis of the methodology of semiosis analysis. Composer's creativity is based on certain techniques and innovative experiments, sometimes on mathematical calculations or on the improvement of existing techniques. Beginning approximately from the 11th-14th centuries, when individual composer creativity was born, and in the epoch of the 17th-20th centuries, reaching its apogee, European composer music produced the highest examples of opus music. This is an autonomous art that sets laws for itself and does not require meaningful injections from the outside - religion or philosophy, from a household or ritual situation, from the lifestyle or everyday experiences of people. The system of autonomous opus music of the twentieth century represents, on the one hand, the absolutization of the artistic specification of the art of sounds, and on the other, the fragility and vulnerability of creativity, isolation from life concreteness or from symbols included in traditional ceremonies, ceremonies, cult life, which often alienates professional opus music from the mass audience makes it incomprehensible and inaccessible. Since music and its language have a sign-symbolic nature, the process of semiosis is the mechanism by which decoding of musical symbolism is possible. Therefore, we are talking about the philosophy of musical semiosis as a process of understanding musical significance in the context of its evolution from its inception to the present day. Musical semiosis is the process of interpreting and structuring musical signs and symbols, as a result of which the open space of human emotions and sense-values is generated. A semi-musical form of musical thinking arises in terms of symbolic and symbolic meaning-making and is a mental construction, interpretation and understanding of musical signs.

Music of the “Anthem of Ukraine” by Mykhaylo Verbytsky in the Words of Pavlo Chubynsky: Spiritual Symbols

The study is devoted to the main musical symbol of the Ukrainian people. It is revealed that the work has a high prophetic symbolism regarding the evolutionary development of the country. The method of analysis of the spiritual content of melodies helps to identify a systematic objectification of its potential, based on the category of “spiritual reality”, and is considered from a musicological point of view. The melody reveals a symphonic technique of proto-intonation development. The genre basis of the melody is prayer. The system reproduces the basis of musical drama of Ukrainian folklore. The method of microminiature art, typical of Ukrainian folk masters, is embodied. The methodological basis helps to focus on the development of the sacredness of space-time content. The program potential of this work is able to lead the transformation of the spiritual state of man. Sacred symbols are placed in the center of energy development. The music conveys the idea of a renewed pulse. The people recognize Nature as the Temple in which man exists. The world of spirituality is sanctified by its living perception. The music of the “Anthem of Ukraine” perfectly combines the world and consciousness of people who woke up from eternal slavery. The melody contains courage and tenderness, firmness of spirit and faith in a good awareness of Truth and Joy. The cosmic law of consonance, the law of analogy is embodied. In the microstructure of the thematic core of the melody there is a point and its energy “engine” – dotted rhythm, a microelement of the iambic foot of the One Whole, which serve as two symbolic parameters of the formed core of themes. They perform in the energy layer the fundamental microfunction of the level of the heart, the function of the highest prayer to the Spirit, which helps the manifestation of spiritual consciousness in the density of the musical structure. the masculinity of the major is affirmed and ends with the gentle, feminine softness of the parallel minor, which indicates the systematic fluctuations of their paired periodicity in melodic-syntactic structures. A peculiar system of expressive symbolism of artistic and figurative drama of Ukrainian folklore, a reflection of the powerful genre of youth lyrics, the core of the spiritual greatness of culture, which is still preserved in the folk traditions of family education. The most popular image of the Mother of God is inspired by the Ukrainian prayer site, a sacred symbol of the famous icons “Protection of the Blessed Virgin” of the Zaporozhian Cossacks. The highest feminine principle encourages the protection of the male community, the whole nation, endows the Almighty with an effective symbol of patriotism, covers with its omophorion, gathers an army of men on the battlefield, the sanctity of monasticism, which protects spiritually. Intuitively and intelligently, the composer-priest conveyed that the invisible Hierarchy of Light stood up for the protection of hearts that dream and know of dignity and honor, honesty and spiritually high justice in the reality of earthly existence.

Music of the “Anthem of Ukraine” by M. Verbytsky in the Words of P. Chubynsky: Spiritual Symbols

The study is devoted to the main musical symbol of the Ukrainian people. It is revealed that the work has a high prophetic symbolism regarding the evolutionary development of the country. The method of analysis of the spiritual content of melodies helps to identify a systematic objectification of its potential, based on the category of “spiritual reality”, and is considered from a musicological point of view. The melody reveals a symphonic technique of proto-intonation development. The genre basis of the melody is prayer. The system reproduces the basis of musical drama of Ukrainian folklore. The method of microminiature art, typical of Ukrainian folk masters, is embodied. The methodological basis helps to focus on the development of the sacredness of space-time content. The program potential of this work is able to lead the transformation of the spiritual state of man. Sacred symbols are placed in the center of energy development. The music conveys the idea of a renewed pulse. The people recognize Nature as the Temple in which man exists. The world of spirituality is sanctified by its living perception. The music of the “Anthem of Ukraine” perfectly combines the world and consciousness of people who woke up from eternal slavery. The melody contains courage and tenderness, firmness of spirit and faith in a good awareness of Truth and Joy. The cosmic law of consonance, the law of analogy is embodied. In the microstructure of the thematic core of the melody there is a point and its energy “engine” – dotted rhythm, a microelement of the iambic foot of the One Whole, which serve as two symbolic parameters of the formed core of themes. They perform in the energy layer the fundamental microfunction of the level of the heart, the function of the highest prayer to the Spirit, which helps the manifestation of spiritual consciousness in the density of the musical structure. the masculinity of the major is affirmed and ends with the gentle, feminine softness of the parallel minor, which indicates the systematic fluctuations of their paired periodicity in melodic-syntactic structures. A peculiar system of expressive symbolism of artistic and figurative drama of Ukrainian folklore, a reflection of the powerful genre of youth lyrics, the core of the spiritual greatness of culture, which is still preserved in the folk traditions of family education. The most popular image of the Mother of God is inspired by the Ukrainian prayer site, a sacred symbol of the famous icons “Protection of the Blessed Virgin” of the Zaporozhian Cossacks. The highest feminine principle encourages the protection of the male community, the whole nation, endows the Almighty with an effective symbol of patriotism, covers with its omophorion, gathers an army of men on the battlefield, the sanctity of monasticism, which protects spiritually. Intuitively and intelligently, the composer-priest conveyed that the invisible Hierarchy of Light stood up for the protection of hearts that dream and know of dignity and honor, honesty and spiritually high justice in the reality of earthly existence.