Concert Programs Research Articles

ФОРТЕПІАННИЙ РОМАНС: ОСОБЛИВОСТІ ЖАНРОВОЇ СТИЛІСТИКИ

In the studies of Ukrainian scholars about the piano music the special attention to the genre of piano romance was not drawn. Therefore, the article attempts to investigate the figurative and stylistic features of this genre in the piano creativity of Ukrainian composers.The genre fund of the Ukrainian piano music is rich and diverse. Lyrical instrumental genres occupy an outstanding place in it. Piano romance is similar to piano song, which is widely represented in works of the Ukrainian composers of different generations. A song was mentally closer to them. It is noted that the vocal romance, which originates from the author’s song of the urban tradition, differed in certain stylistic peculiarities, which were partly transferred to a piano piece. The article deals with the pieces named “Romance” written by Russian and Ukrainian composers of the second part of the nineteenth century to our time. It has been mentioned that piano romances were more characteristic of the representatives of the Russian national school and the Ukrainian composers from Naddnipryanshchyna. The Galician composers didn’t pay much attention to this genre; Ukrainian folk songs in piano arrangement prevailed in their work.The analyzed piano romances composed by the Ukrainian authors are the examples of romantic (M. Kalachevskiy, M. Lysenko) and neo-romantic (M. Lastovetskiy) national styles and the corresponding figurative-emotional circle. The main peculiarities of the genre stylistics of these works are: sincerity of feelings, exaggerated expression and some sentimentality at the same time. Singing is combined with narration, or recitative. For the development of musical material such techniques as sequencing, the presence of several climaxes, harmonic-texture variation, agogic nuances, three-part form, sometimes with contrasting parity of parts are typically used. Thanks to these piano romances are often performed in concert programs; they are popular in the educational repertoire.

КОМПОЗИТОРСЬКА ТВОРЧІСТЬ НАРОДНОГО АРТИСТА УКРАЇНИ МИКОЛИ БАЛЕМИ

The genre-style priorities of vocal and instrumental creativity of the famous Ukrainian composer, long-time artistic director and chief conductor of the Khmelnytskiy Academic ensemble of song and dance “Cossacks of Podillya” Mykola Balema are elucidated. Attention is drawn to his numerous national-patriotic, spiritual-liturgical, folkloristic, lyrical-customs artifacts, operas “Eternal Stage” (Karmalyuk) and “Prophet” (T. Shevchenko), etc. The composer’s music is characterized by a wide range of musical creativity due to the appeal to almost all musical forms: opera, symphony, cantata, ode, liturgy, suite, ballad, sonatas, romances, musicals, pop songs (folk, rock, jazz, pop), music for the theater, adaptation of Ukrainian folk songs. In total, the composer created more 700 musical works of different genres: 11 vocal and choreographic compositions, suite, 13 vocal and symphonic compositions, 200 adaptations of historical, Cossack, family-related, holiday-calendar folk songs of Podillya and Ukraine, 26 works for the academic choir on poems of Ukrainian poets and 31 children’s songs. On the basis of his own vocal-choral music, the composer created a number of various theatrical concert programs for choir, orchestra and ballet of the ensemble “Cossacks of Podillya”. He wrote the series “Marches of Ukrainian Victory” for military brass bands. In his musical language, modern musical instruments with a national tradition, historical and cultural origins are organically combined with a projection of the aesthetics of Ukrainian national-cultural revival.

Captain or the Ship? How Individual and Organizational Status Affect Innovation in Orchestras

Using a unique dataset on concert programming of symphony orchestras, we examine two under-investigated status dynamics in relation to innovation. From the supply side, we examine how the interplay...

The Digital Project of the RAI Archive: Catalogue, Chronology and Study of the Italian Broadcasting Orchestra

ABSTRACTThe RAI music archive, located at the “A. Toscanini” Auditorium of Turin (Italy), contains five different types of documents: a valuable collection of rare, autographed manuscripts (letters and scores); printed music of symphonic and entertainment repertoire; a historical collection of opera librettos; an enormous corpus of arrangements for radiophonic orchestras; and the collection of concert programmes from the nineteen-fifties to the present. All of this material, practically unknown to the musicological community, was catalogued according to internationally adopted standards and has been the subject of a partial digitization. The collected information is now accessible on line (www.osn.teche.rai.it), thanks to the digital intervention of Rai Teche experts. The on line publication of the catalogued records made possible studies in various fields: the philological analysis and historical contextualization of the manuscripts preserved in the “Autographs and Rare Manuscripts” fund; a research on the repertoire of the arrangements for radiophonic orchestras; a complete history of Rai concerts performed in Turin; a series of studies about the activities of the RAI orchestras. The project, funded by MIUR (Ministero dell’Istruzione, dell’Università e della Ricerca) was completed between 2012 and 2016.

Towards a strategic research agenda for social sciences and humanities in radiological protection

Reflecting a change in funding strategies for European research projects, and a commitment to the idea of responsible research and innovation in radiological protection (RP), a collective of research institutes and universities have developed a prospective Strategic Research Agenda (SRA) for Social Sciences and Humanities (SSH) in radiological protection. This is the first time such a research agenda has been proposed. This paper identifies six research lines of interest and concern: (1) Effects of social, psychological and economic aspects on RP behaviour; (2) Holistic approaches to the governance of radiological risks; (3) Responsible research and innovation in RP; (4) Stakeholder engagement and participatory processes in RP research, development, policy and practice; (5) Risk communication; and (6) RP cultures. These topics were developed through broad stakeholder consultation, in conjunction with activities carried out in the framework of various projects and initiatives (EU H2020 CONCERT programme, the EU FP7 projects OPERRA, PREPARE and EAGLE, the 2015–2018 RICOMET series of conferences, and the 2014 and 2016 International Symposia on Ethics of Environmental Health); as well as through dialogues with members of the European radiation protection research communities. The six research lines open opportunities to integrate a range of key social and ethical considerations into RP, thereby expanding research opportunities and programmes and fostering collaborative approaches to research and innovation.

РЕПЕРТУАРНА ПАЛІТРА УКРАЇНСЬКИХ ХОРОВИХ КОЛЕКТИВІВ (НА ПРИКЛАДІ ГАЛИЦЬКОГО КАМЕРНОГО ХОРУ)

The article briefly reviews the creative path of the Galician Chamber Choir since its foundation in the context of the formation of the repertoire concept of the collective. The general creative goal of the artistic director of the choir was determined, which became the impetus and the main factor of the repertoire concept; The main factors and ways of its realization are revealed: tours and competitive trips, forming of models of concert programs, creative projects, work with musicologists, creative cooperation with world firms, etc.The leading role in the professionalization of choral performance was played by choral groups at musical societies, which held active concert activities, developed secular choral art and significantly influenced the increase of the professional level of choral performance in Western Ukraine. The organizers of the choirs were bright personalities – talented choristers, who had the ability to create interesting collectives, encouraging singing of the general population.It is emphasized that exactly in chamber choir performance the highest level of professional skill is achieved. Choral groups and musical figures, who played an important role in the professionalization of choral performance in Western Ukraine, were considered. It was established that professional vocal performances on the western Ukrainian lands overcame a difficult path, preserved, guarded and multiplied their national traditions.

Impact of Medical Home on Health Care of Children With and Without Special Health Care Needs: Update from the 2016 National Survey of Children's Health.

Objective The medical home has been promoted as an optimal model of health care delivery for children. The purpose of this study was to examine the association between having access to a medical home and the health care experiences of children with and without special health care needs (SHCN) in the United States. Methods We analyzed data from the 2016 National Survey of Children's Health. We modeled logistic regressions to assess associations of having access to a medical home with health care experiences for 11,392 CSHCN and 38,820 non-CSHCN. Results We found that not having access to a medical home was negatively associated with preventive medical and dental care visits, greater unmet medical and dental needs, and hospital emergency room visits. Additionally, not having access to a medical home was negatively associated with the physical and oral health among CSHCN and oral health among non-CSHCN. However, we found no significant association between improved physical health status and having access to a medical home among non-CSHCN. Conclusions Results from our analysis suggest that having access to a medical home remains key determinant of improved health care experiences by CSHCN and non-CSHCN in the United States. Our findings underscore the need to develop policies and implement a more concerted program to increase access to health care delivered under the medical home model for CSHCN and non-CSHCN. Policymakers, health care administrators and physician groups can use these findings to inform future policy decisions and service delivery reforms.

The Information Searching Behaviour of Music Directors

Abstract
 Objective – This research project sought to elucidate some of the information searching behaviours of directors/conductors of performing music ensembles when selecting repertoire for performance. Of particular focus was the kind of information needed to select repertoire and where that information was sought and acquired.
 Methods – Semi-structured, guided interviews were undertaken with three conductors from varying musical ensemble forms (choral, orchestral, and wind). This included a graphical elicitation exercise following Sonnenwald’s concept of information horizon maps. A narrative analysis was done, and recurring themes were sought in the various responses to questions and created drawings.
 Results – The results indicated that directors make significant use of historical and print resources in creating personal lists of repertoire for current or future use. Professional connections for discussion of new or less well-known repertoire were also very important. One particularly interesting outcome was the non-temporally bound nature of conductors’ information searching behaviour, as the current models of information behaviour primarily relate to temporally bound searches. The Internet was noted by the three conductors not as an information source in and of itself but rather as an extension of other information sources.
 Conclusions – This research highlighted the atemporal nature of information searching behaviour in music directors and suggested a similar aspect in the broader information search process. It indicated a need for libraries that cater to performers to maintain historical lists of varying types (e.g., concert programs, similar lists created by other prominent members of the community, and other types of repertoire lists). Additionally, maintaining community connections and knowledge of new or newly available repertoire is important.

Styling in professional folk choreographic art of the present

Purpose of the article is to analyze the today popular trends - stylization of folk dance, as well as determining its place and role in professional choreographic art. The methodology of the research involves the use of general scientific methods of theoretical and empirical levels: analysis and generalization of scientific and theoretical research foundations, comparative and logical methods. These methods allow us to characterize stylization in folk choreographic art, analyze the creative activity of leading professional choreographic groups from different countries and determine the role of stylized folk dances in their repertoire. The Scientific Novelty of the research represents the analysis of the repertoire of leading professional groups from different countries, stylization of folk dance which is the main direction of their creative activity. Conclusion. The folk dance stylization attracts more and more attention of directors in different countries and even becomes a stage philosophy of many foreign professional groups creativity. In Ukraine, for recent decades, attention has also been grown to the stylization of folk dance, and although national teams do not "specialize" in stylizing folk dance today, stylized numbers are presented in almost every concert program. This trend is popular due to such characteristic features of modern choreographic art as the interpenetration of various styles, the diversity of forms and directions and entertainment. The way stylization will develop in the future depends on the theoretical knowledge and practical skills of the directors, their skill in the creative interpretation of folklore choreographic material.

Historical and cultural prerequisites for the creation of a state ensemble dance of Ukraine as a form of representation of national art of folk choreography

The purpose of the article is to trace the historical and cultural preconditions for the creation and functioning of one of the first state dance ensembles in Ukraine, which was supposed to not only collect and popularize folk dance but also represent it in a scenic version. Analyze the organizational and creative process in the early years of its existence and identify the role of choreographer P. Virsky in defining the course of the artistic team to preserve national cultural values, which is an inexhaustible treasury, which nourishes national choreographic art. The methodology of the research - to achieve the goal, the following methods were used: analytical and historical for the study of historical, cultural and cultural sources and literature, search-theoretical for the collection of materials confirming the author's conclusions of this article. Scientific Novelty. The results obtained are due to the goal, tasks and problems of the study related to the identification of cultural and historical prerequisites for the creation of the State Dance Ensemble of Ukraine as a form of representation of folk dances, which have greatly enriched national choreographic art. The article analyzes the early concert programs of the collective for the first time. Conclusions . After the recognition in the second half of the 30-ies in the country of professional groups, as the main form of representation of folk song dance art became a tangible tendency to create a network of professional dance groups in Ukraine. One of the first in 1937 was the State Dance Ensemble, headed by P. Virsky and M. Bolotov. This collective since the first years of its existence has become one of the best in Ukraine, contributing to the development of national ballet art.

Functional and transcriptional connectivity of communities in breast cancer co-expression networks

Transcriptional co-expression networks represent the concerted gene regulation programs by means of statistical inference of co-expression patterns. The rich phenomenology of transcriptional processes behind complex phenotypes such as cancer, is often captured (at least partially) in the connectivity structure of transcriptional co-expression networks. By analyzing the community structure of these networks, we may develop a deeper understanding of that phenomenology. We identified the modular structure of a transcriptional co-expression network obtained from breast cancer gene expression as well as a non-cancer adjacent breast tissue network as a control. We then analyzed the biological functions associated to the resulting communities by means of enrichment analysis. We also generated two projected networks for both, tumor and control networks: The first one is a projection to a network in which nodes are communities and edges represent topologically adjacent communities, indicating co-expression patterns between them. For the second projection, a bipartite network was generated containing a layer of modules and a layer of biological processes, with links between modules and the functions in which they are enriched; from this bipartite network, a projection to the community layer was obtained. From the analysis of the communities and projections, we were able to discern distinctive patterns of regulation between tumors and controls. Even though the connectivity structure of transcriptional co-expression networks is quite different, the topology of the projected networks is somehow similar, indicating functional compartmentalization, in both tumor and control conditions. However, the biological functions represented in the corresponding modules resulted notably different, with the tumor network comprising functional modules enriched for well-known hallmarks of cancer.

МУЗИКОЗНАВЧА СПАДЩИНА Д. ГОРДИНСЬКОЇ-КАРАНОВИЧ ТА ЇЇ РОЛЬ У РОЗКРИТТІ МУЗИЧНОГО ЖИТТЯ УКРАЇНСЬКОЇ ДІАСПОРИ США

The article covers the musical activity of Dariya Hordynska-Karanovych – the Ukrainian pianist, teacher, long-time president of the Ukrainian Music Institute of America and student of Vasyl Barvinskiy. Concert programs performed by Dariya Hordynska-Karanovych had always attracted public attention through their exceptional expressiveness and openness, perfection and artistry. Her solo piano performances took place in prestigious concert halls of Austria, Germany, the USA, Canada, and others. The unique performing style of the pianist is distinguished by broad sound palette, virtuoso piano technique, an internal assemblage, sense of rhythm, phrases and dynamics.The musical activity of Dariya Hordynska-Karanovych is marked with a large number of music works. Among them are creative portraits of Ukrainian composers (L. Verbytskiy, I. Nedilskiy, V. Barvinskiy), scientific reviews and reviews of various events, the creative evenings of some composers and concerts of outstanding performers (Kh. Petrovska, Y. Osinchuk, E. Beluts, S. Stepan, A. Brytan, Kh. Krysa, T. Chekina, P. Plishka, A. Dobrianskiy, T. Hrynkiv, H. Strylets, L. Vitoshynskiy, H. Bemko). Reviews on student concerts, publications about various cultural events in the life of the Ukrainian diaspora in the USA are also among them.Cooperating with various US magazines, she repeatedly published her works in the publications “Freedom”, “Our life”, “New days” and others.Dariya Hordynska-Karanovych had carried sincere love and devotion to the Ukrainian musical culture through all her life and her respectful attitude in various fields to Ukrainian musical art contributed to its popularization in the world of musical culture.

Franz Liszt's Heir: Ferruccio Busoni and Weimar

When Franz Liszt died, the world lost an innovative composer, mentor, and pianist. Although his influence did not die with him, few of his successors can claim to have walked in his footsteps – to have lived and taught in the same rooms – and to have shared many of his ideals. Ferruccio Busoni did just that when the Grand Duke Carl Alexander invited him to hold piano master classes in Weimar in 1900 and 1901, just as he had invited Liszt to do nearly two decades earlier (1881–1885).This article shows how Liszt's activities in Weimar as Pedagogue and as Kapellmeister (1848–1861) became models for Busoni as he sought to position himself as a prominent ‘musical polymath’ at the turn of the century. Yet Busoni not only emulated Liszt, he also promoted him in an age when the older composer was considered of only tangential importance.By producing authoritative editions of Liszt's music, and perhaps more significantly, by emulating Liszt's activities as a transcriber and composer, Busoni enhanced piano sonority while extending Liszt's ideas about the future of music. In that way, he shared attitudes associated with the Zukunftsmusik movement, and his outlook was rooted in Liszt's compositions, as opposed to Richard Wagner's. At the same time, he helped foster a lineage of young musicians who patterned their careers and music after Liszt.Drawing on surviving memoirs, letters, scores, essays and concert programmes, this article thus explores Liszt's impact on Busoni and his mentees. It reveals a musician not only emulating Liszt, but also expanding upon his ideas and promoting them to others.

ДУХОВНІ УЧИЛИЩА У РОЗВИТКУ МУЗИЧНОГО ПРОСВІТНИЦТВА ПІВДЕННО-СХІДНОЇ УКРАЇНИ ДРУГОЇ ПОЛОВИНИ XIX – ПОЧАТКУ ХХ СТ.

The correlation of the educational and enlighten the constituents of the region’s ecclesiastical colleges activity are considered in the article. The general and specific features of the activity of these two directions are revealied. The music and educational conditions of these special ecclesiastical institutions in the comparison with the church-parochial schools are analyzed. The distinctions of organization of the educational and enlighten process of ecclesiastical colleges and church-parochial schools are appointed.The analysis of the annual reports on the teaching and upbringing work of the church schools gave grounds for study the question on the teacher’s educational art disciplines of artistic cycle level: the church choir singing, the music instrumental performing, fundamentals of music theory, the orchestral and chamber-instrumental performing. The specific facts, which testified to the correspondence of the musical and educational training of the teachers of art disciplines to their positions, are recounted.On the basis of the analysis of music and educational program requirements, which are presented by theological schools for their pupils, as well as concert programs, containing information about public collective speeches, individual instrumental and vocal performance, the forms of musical and educational work of these educational institutions are revealed. These specific forms include the theological and philosophical reading, the literature and vocal evenings, the music evenings, the organization of concerts by secular artists, the school choirs’ participate at the concerts and at the famous secular (local and guest artists) singers’ concert performances. The regional ecclesiastical colleges’ role in the theological educational system of Russia imperia of that time is determined.The enlightenment activity of ecclesiastical colleges of the South-eastern Ukraine as the regional culture social phenomenon is characterized. We make the conclusion about predomination of collective forms of performing over individual ones as well as the choir performance over instrumental one, about the important significance of music enlightenment influence of ecclesiastical colleges for the formation of the local public’s aesthetic tastes, for the raising of the conscious receiving level of music art, about the expanding of music outlooks and gradual increasing of the music culture of the broad sectors of civil society.

Kamerni orkestar Akademije umetnosti u periodu 1982-1992

The paper will examine concert activities of the Chamber Orchestra of the Academy of Arts in Novi Sad in the period from 1982, when was the date of the first concert program in which the ensemble was announced under that name, until 1992, when the ensemble changed its name to Camerata Academica and continued to operate in new social circumstances. A large number of concerts and cooperation with foreign and national guest soloists testify to the extremely fertile period in the history of this ensemble, which provides insight into the details of the efforts for the institutional foundation of the orchestra, the organization of tours, the preparation of the repertoire and critical reception of the period. The research was conducted based on the material stored in the archives of theAcademy ofArts and the writingsfrom the daily newspapers of that time.

“Listen, Salieri, my Requiem”: Requiem by V.A. Mozart in the cultural life of Russia in the 19th and early 20th centuries

This article concentrates on the Russian reception history of the most famous church work by Wolfgang Amadeus Mozart, his Requiem mass in D minor, in the 19th–beginning of the 20th centuries, up to the Russian revolution. Taking as a premise some research methods outlined in current studies by Simon P. Keefe (Mozart’s Requiem, 2012) and Mark Everist (Mozart’s Ghosts, 2012), it shall propose its own research strategy that views the ʻRussian after-lifeʼ of this unfinished masterpiece from different angles. First, I shall contextualize the Requiem reception history within local editorial practices, scrutinising a number of editions, transcriptions, and arrangements, published in Russia in the period under consideration (e.g., a vocal score with A. Maykov’s Russian translation of the text printed in Saint Petersburg). Second, I will illustrate the process of Requiem’s integration into the repertoire of the most influential concert organisations (such as the Saint Petersburg Philharmonic Society), using a sample of extant concert programs and announcements. Third, I will outline a wide range of approaches towards this composition and its performances in musicological studies, critical essays, and concert reviews (for instance, in the Russian version of A. Ulybyshev’s Mozart Biography, translated by M. Tchaikovsky and commented by H. Laroche). Finally, I shall shed some light on the way Mozart’s masterpiece was creatively used in the current compositional process, examining its incorporation into works written by Russian musicians (e.g., in N. Rimsky-Korsakov’s opera «Mozart and Salieri»). Viewing the reception history from all these analytical angles helps create a multifaceted portrait of the Requiem’s ‘after-life’ in Russia, one that shows a gradual change of its meaning and soundscape in the process of interaction between Russian and Austrian cultures.

Bedřich Smetana: Myth, Music, and Propaganda by Kelly St Pierre

Reviewed by: Bedřich Smetana: Myth, Music, and Propaganda by Kelly St Pierre Elizabeth Legierski Bedřich Smetana: Myth, Music, and Propaganda. By Kelly St Pierre. (Eastman Studies in Music, 139.) Rochester, NY: University of Rochester Press, 2017. [166 p. ISBN 978-1-58046-510-6; $90] In the past twenty years or so, musicological research has been conspicuously silent regarding the "father of Czech music", Bedřich Smetana (Marta Ottlová, Milan Pospíšil, John Tyrrell, and Kelly St Pierre. "Smetana, Bedřich." Grove Music Online. 15 March 2019). The only English, full-length biographies of the composer were written in the 1970s (Brian Large, 1970; John Clapham 1972). While Bedřich Smetana: Myth, Music, and Propaganda does not endeavour to be a biography, it is refreshing to see modern musicology turn its critical eye towards this famous, yet enigmatic, Central European composer. In this study, Kelly St Pierre reopens the doors of inquiry into the origins of Smetana as a national symbol and nationalist composer. By examining the often-problematic relationship between nationalism and historiography in the burgeoning Czechoslovakia of the early twentieth century, St Pierre provides a critical investigation of the source materials on which all subsequent Smetana research depends. The book is divided into five chapters, with the first three exploring the founding and development of the Umělecká Beseda (Artistic Society) and its influence on Smetana reception in his day. The final two chapters briefly examine the effects of shifting political climes on Smetana scholarship, from the World War I era through the Velvet Revolution in 1989, and its implications for future Smetana research. In a detailed contextual outline of the socio-political world that alternately attacked and promoted Smetana, the author dedicates one-fifth of the monograph to the origins of the Umělecká Beseda (UB) as a 'fine arts club' which quickly became a political organisation that used the arts to promote its idea of a nationalist agenda. The author situates the UB as emerging out of the Romantic nationalism of the nineteenth century, emphasising the consequential shifts in cultural identities as Bohemians, still living under Habsburg rule, began to identify as 'Czechs' in seeking a political voice, and nation, of their own. These shifts are exemplified in the evolution of the UB. The author draws from the writings of UB members to illustrate the club's neutral political beginnings. At first, they sought to "… not necessarily cultivate a specifically Czech art, but to build a Czech arts community" (p. 14). In an effort to avoid insularity, and to place themselves as players on the international stage, the UB held events such as the Shakespeare Festival of 1864. Members of the UB began a publishing house, "Matice Hudebni" (Music Foundation), which was central to the political development of the UB. These UB publications, including the journal Dalibor, would be responsible for promoting Smetana and his music in his day, creating the bulk of the nineteenth-century source material on Smetana currently available. Readers can expect to delve into the specifics of concert programmes and UB member discussions as the author builds a case for the need to question the biases and political agendas of the first people to write about the composer, publish his letters, and either promote or neglect other composers based on "… aims [that] shifted from developing a Czech musical community during its earlier years to building a Czech tradition, promoting and prescribing specifically Czech aesthetics" (p. 19). In the second chapter, "Smetana, Czechness and the New German School", the author investigates how some of Smetana's contemporaries were in effect excised from the Czech arts community. Using musical examples to illustrate her argument, the author compares similarities between Smetana's "Vyšehrad" (Má Vlast) to Zdeněk Fibich's symphonic poem Záboj, Slávoj and Luděk. Fibich's symphonic poem was composed prior to Smetana's, a fact that scholars [End Page 217] such as Brian Large as late as the 1970s found problematic, as it created a cognitive dissonance with what St Pierre reveals as a myth surrounding Smetana as the sole creator of a Czech music. Though of interest as a historical document, Václav Novotný's...

Comparative analysis of musical-enlightenment concepts of L. Bernstein and D. Kabalevsky in Russian music education

The aim of this study is to compare the activities of Kabalevsky and Bernstein—two musicians who made a significant contribution to the musical education of the younger generation, reveals the principles, methods, forms of educational work and covers the subject of television programmes. In particular, the pedagogical and musical-enlightenment concept of the outstanding composer, scientist Dmitry Kabalevsky was widely spread in our country. Also, the achievements of American composer, lecturer, teacher Leonard Bernstein in the field of musical enlightenment differ in originality and are rarely used in Russian musical pedagogical practice. In accordance with the aim of the study, the following theoretical methods were used: analysis of the literature, epistolary texts, the repertoire of the concert programmes of the New York Philharmonic orchestra; generalisation of historical data on musical and educational activities of Kabalevsky and Bernstein, comparison of methods and techniques of music education, biographical method.
 
 Keywords: Conversation, enlightenment, Dmitry Kabalevsky, Leonard Bernstein, TV

Becoming of the chamber choir "Kyiv"`s repertoir concept ( on archive materials)

Problems of the in choral performance were developed by N. Krechenko, G. Parfenova, A. Dondyk, O. Marachev and others. At the same time, the existing publications do not actually cover issues related to the notion of which we define as a strategic vision of ways to realize the general creative goal of the artistic director of the collective. Therefore, the article is relevance of the study , and the material associated with the identified problem requires systematization and generalizations. Main objective of the study is to introduce into the scientific circle the concept of repertoire concept, to discover the causal link between the creative purpose and the concept of the choir collective. The author used the following research methods: source study ‒ for studying archival materials, printed sources; historical and chronological – to determine the stages of development of the chamber choir Kyiv; analytical ‒ for research of socio-cultural factors of development of the choir collective; generalization method – for summing up the research. Conclusion . Based on the study of archival materials, discussions with Mykola Gobdych, analysis of the available publications in the periodical press, we have grounds to assert that the Kyiv chamber choir has a clear concept. The main factor contributing to its formation from the very beginning was the leading creative goal of the conductor and the collective. The ways of its realization are tour and competitive trips, the formation of models of concert programs, creative projects, cooperation with musicologists, editorial and publishing business, work with world record companies and others. These facts are evidence that the Municipal Chamber Choir Kyiv, with specific, clearly defined artistic goal has built its own infrastructure, which today provides effective team functioning, development and competitiveness both in Ukraine and abroad

“One-Man-Orchestra” Alexander Nikolayevich Vinogradsky (1855–1912)

The personality of the outstanding musician, Alexander Nikolayevich Vinogradsky, chairman (1888–1912) and irreplaceable conductor of orchestral concerts of the Kiev Section of the Russian Musical Society (RMS), is presented within the broad spectrum of opinions of his contemporaries. It was particularly during those years in the content and amplitude of its concert activities, Kiev could be compared with such musical centers as Moscow and St. Petersburg. Examination is made of the components of Vinogradsky’s concert programs, which included the music of the most diverse epochs and schools. His role in popularizing the musical legacy of Beethoven and Tchaikovsky is emphasized. All of Beethoven’s symphonies received performances under the direction of Vinogradsky: thus, in Kiev he performed the First, Third, Fourth and Sixth Symphony, as well as “Manfred,” “Francesco da Rimini,” and other works by Tchaikovsky. The peculiarities of the conducting style of Vinogradsky are examined in this article for the first time not only in the aspect of interpretation, but also in the plan of the visual manner of his performances. Numerous opinions of the critics are cited, both the Russian critics (St. Petersburg, Moscow, Kiev, Odessa, Kharkov) and those from other countries – including those in which Vinogradsky toured numerous times (Germany, France). Emphasis is made of Vinogradsky’s role in the formation of musical education in Kiev, particularly, the establishment of the Kiev Conservatory. The basis of the article is formed by the Russian press during the period of the years 1880–1912. Keywords: Alexander Vinogradsky, orchestral conductor, Kiev, Beethoven, Tchaikovsky.