Choice Of Repertoire Research Articles

Shakespearean Theatre in Criticism and Journalism of Petr Boborykin

The aim of the study is to analyze the functions and forms of Boborykin’s references to Shakespeare’s dramatic heritage and determine the extent of Shakespearean theatre’s influence on the formation of the writer’s creative system. The material consists of feuilletons and articles by P. D. Boborykin for the journals “Library for Reading” (1861, 1862), “Case” (1871), “Word” (1878), publications in the newspapers “New Time” (1876), “Theatrical World” (1887), as well as the book “Theatrical Art” (1872) and the memoirs “For Half a Century” (1929, 1965). It is shown that in his feuilleton publicism, Boborykin turns to Shakespeare to criticize the contemporary theatre in all its manifestations — from the quality of plays, the choice of repertoire by theatre administration, acting, to the level of the audience. When evaluating A. N. Ostrovsky’s dramaturgy, the writer uses criteria developed by himself for analyzing Shakespearean theatre. Boborykin does not recognize historicism in artistic texts due to the author’s inability to be unbiased in reproducing the realities of the depicted era. In relation to Shakespeare’s plays, the writer introduces the term “universal human nature”, implying the reflection by the playwright of his contemporary reality in the settings of the chosen era. Boborykin reproaches A. N. Ostrovsky for an abundance of epic elements which, in his opinion, are unacceptable in dramaturgical art. Shakespeare’s works became the aesthetic, artistic, and philosophical foundation for the writer’s system of evaluating theatrical art.

World Voice Day 2024: Resonate, Educate, Celebrate!

Abstract: The theme of World Voice Day 2024 is “Resonate, Educate, Celebrate!” NATS members are urged to celebrate the transformative power of singing through concerts and campaigns to raise awareness of the importance of singing and advocate for vocal diversity on Tuesday, April 16. Performers and teachers can broaden repertoire choices, incorporating varied musical traditions, new, and underrepresented voices, and suggests a “Giving Tuesday.” In preparation for NATS’ 80th anniversary and the upcoming NATS National Conference, NATS announces its partnership with the non-profit organization SocialOffset.

„Nie idzie tylko o poziom przekładu – osobowości nie mniejsza tu przypada rola”. Listowna współpraca Zofii Jachimeckiej z Mieczysławem Brahmerem

The purpose of this article is to complete the portrait of Zofia Jachimecka, who went down in history as an entertainer in one of the most important salons of Interwar Kraków and a model for the great portraitists, with her professional profile, most often presented either in residual form, or all together omitted from works focusing on the translator. The article presents an analysis of Zofia Jachimecka’s professional correspondence with Professor of Romance Studies Mieczysław Brahmer, who worked closely together from 1950 on the publication of the Polish translation of Goldoni’s comedies in the Ossolineum National Library series (Goldoni 1951, 1951, 1971), and later maintained social and professional contact for many years. The collaboration between the editor of the Goldoni editions and the translator, very well documented in the surviving correspondence (found in the Scientific Library of the PAAS and the PAS in Kraków archives and Jagiellonian Library manuscript collection), goes beyond the project and develops into a long-standing exchange of reading experiences, workshop and repertoire choices, comments on works sent to each other, as well as information on literary and repertoire news, which clearly show that in many fields it was Jachimecka, and not Brahmer, who assumed the role of the expert on Italian and French literature. According to the letters, Brahmer tries to help the translator to, among other things, find a publisher for the Pirandello dramas she translated, while Jachimecka repeatedly suggests Italian readings to the professor, and helps him find his way through the maze of contemporary literature. The article draws attention to the considerable issue of cooperation in resolving financial matters and Brahmer’s intermediation not only in the negotiations of remuneration for the translator for the volumes prepared jointly, but also when the professor was not directly involved in the project. The article is supplemented by an appendix presenting a compilation of Jachimecka’s theatrical translations.

Studio per due attrici: Adelaide Ristori ed Eleonora Duse

This essay investigates the relationship between two outstanding actresses, Adelaide Ristori and Eleonora Duse. They are the reference points for two opposing generations, and very different models in terms of art, repertoire choices, leadership. But they are linked by a surprising personal relationship. Dealing with these figures and their relationship also opens a gateway to other issues: the physiognomy of the two generations involved; the change, not only stylistic, between them; the kind of gaze of the older on the younger; women’s issue in theatre. In order to study 19th century theater, we have to take into account the presence of female artists of excellence, women directors, women in charge, women at the top. The situation of women in theatre is highly anomalous, both quantitatively and qualitatively. It is an important phenomenon, which affects all of Europe and Russia, and it is particularly significant in Italy. Within this anomaly the two great women artists choose two diametrically opposed paths: the strength of Ristori is to be in harmony with her times, and this is also confirmed in the management of marriage, declined in the conventional manner whereby the woman relies on and is supported by her spouse. Duse makes very different choices. And with her it becomes more difficult to deal.

FORMS OF COLLECTIVE MUSIC PLAYING ON PERCUSSION INSTRUMENTS IN MUSIC SCHOOLS

The article considers significant aspects of the organization of collective music-making on percussion instruments in music schools. Its purpose, tasks, and stages of learning are formulated according to age periodization. The author classifies percussion instruments, traces their evolution, and emphasizes new playing techniques that appeared as a result of the development of instruments and creative experimentation with sound. Different forms of collective music making are analyzed, such as march, classical, modern, and Latin American ones. It is emphasized that each of them has its own characteristics and advantages, but all of them can be successfully used to create educational music groups in music (art) schools. Crucial aspects of rehearsal methods and pedagogical strategies aimed at developing the musical skills and social skills of percussion ensemble members are revealed. Particular attention is paid to the choice of repertoire, the technique of playing percussion instruments, the development of students' listening skills and artistry, the coordination of musicians in the team, the interaction of teachers and students, the role of teachers in creating a musical and educational environment and a favorable atmosphere in the ensemble. The positive impact of collective music-making on the intellectual and psycho-emotional development of students studying in the percussion class has been revealed. New ideas are proposed that will contribute to scientific and methodical approaches improvement into the organization of collective music-making on percussion instruments.

Patterns of Repertoire amongst Toronto Chinese Orchestras

Toronto, among the most diverse cities in the world, is home to a massive Chinese diaspora and hosts no fewer than five Chinese orchestras. Varying in size from 20 to 60 members, and in status from professional to amateur, these orchestras have been providing a home for Chinese instrumentalists and exposing Torontonians to Chinese music since 1993. In this article, I analyze the repertoire choices of three of these orchestras since 1993 to consider how their repertoire relates to their members’ identities and the organizations’ goals. In particular, I argue that the repertoire represents complex negotiations of diasporic communities, both with their audiences and among the orchestra members themselves; for instance, these orchestras’ directors seek the balance between new repertoire and old repertoire without losing audiences. Moreover, these negotiations demonstrate the impact of transnationalism (Zheng Su, 2010) and hybridity (Ang Ien, 2003) on diasporic Chinese communities in Toronto. The city’s multicultural environment enables these Chinese orchestras to collaborate with musicians and music groups from different cultural backgrounds. This article provides insights into how the history of Chinese orchestras in Toronto contributes to our understanding of how Chinese diaspora music history is actually Canadian music history.

Appropriation of Mykola Kostomarov’s didactic ideas: methods of mobilization of emotions of popular historical publications readers at the turn of the 19th-20th centuries

At the turn of the 19th-20th centuries, agents of historical education faced the problem of choosing the ways to convey scientific knowledge to the lay public. One of the approaches of didactic research was associated with the attempts to mobilize the recipients emotionally. The purpose of the article is to study the appropriation of M. Kostomarov's didactic ideas among authors and critics of popular publications with an emphasis on their choice of repertoire of influence techniques on the emotions of the readers from the people. Methodology. The analysis is carried out in the theoretical framework of the concepts of "emotional mobilization" (M. Sher) and "we-feeling" (K. Bareiter). Scientific novelty. The article considers educational practices based on the ideas of M. Kostomarov and aimed at mobilizing the emotions of the readers of popular Conclusions. Appropriation of the techniques of influence on the imagination of the readers, used by M. Kostomarov, could be conscious and subconscious, occur directly or indirectly. Against the background of increasing politicization of public life and differentiation of the syncretic scope of historical "folk literature", there appeared requirements to localize the use of these techniques primarily for the development of historical fiction, as well as to reduce their use in didactic and popular science works. Methods of artistic influence on readers were used in various combinations. Their use allowed to project the expected emotions, and, as a result, to popularize scientific facts and evoke patriotic "we-feelings". The same techniques could contribute to the formation of different identities. The identification direction of the "we-feelings" depended on the cultural values embedded in the texts.

Music Theatre on Zoom: Significance in Integrating Virtual Performance in the Lives of Older Adults

Music Theatre on Zoom: Significance in Integrating Virtual Performance in the Lives of Older Adults Our study aims to explore the affordances of conducting research with an online choir for older adults and to examine how participant-observer experiences can inform our practices as performing musicians, music educators, and researchers. Studies show that participating in music and dance classes facilitates creativity, community, belonging, and enjoyment (Creech et al., 2013). Similarly, music enhances self-identity and reminiscing (McCabe, Greasley-Adams, & Goodson, 2013), while improvisational dance can foster a sense of expanded time and space (Almqvist, 2020). However, not enough is known about music theatre in a virtual platform and the role of participant-observers within this setting. To fill this research gap, we used a Collaborative Scholarly Personal Narrative methodology (Nash & Viray, 2013; Nash, 2019) as a means of interrogating our shared experiences as researchers on Rise, Shine, Sing!, a weekly, Kingston-based virtual music theatre program of approximately 20–30 participants. Drawing on observation reports collected over five months, we reflected upon participants’ levels and patterns of engagement, the choice of repertoire, and possible areas for improvement. We also reflected upon the advantages and disadvantages of conducting sessions online as opposed to in-person. Through a process of individual and shared inquiry, our findings revealed that building a sense of community led to increased engagement, with participants becoming more comfortable sharing their talents and conversing with others. Furthermore, our experiences with this online community of researchers and participants allowed for new forms of engagement and programming which will likely benefit our professional practices in significant and exciting ways.

Interrogating Trot, Situating the Boom: New(tro) Nostalgia, Old Songs, and National Identity Performance

Across 2019–2020 a number of South Korean TV competition shows branded their musical identity as “trot.” This term denotes a perceived genre of popular music considered normative to South Korea’s developmentalist decades and thereafter as the music of older generations, yet the surprise success of the TV shows seemingly indicated a younger uptake heralding a “trot boom.” However, in much of their choice of repertoire, the shows transgressed pre-existing expectations of the genre. The notion of a trot boom premised on a reified genre discourse is thus overly reductionist and fails to explain adequately the performed aesthetics and socio-musical phenomenon engendered by the shows. This article problematizes the received narrative(s) of “trot,” while highlighting three alternative trans-genre elements and aesthetic trends that operate in close proximity to trot discourse: “old song” collections, kug’ak (traditional music) fusion, and a discourse of Korean vocal affect. It analyzes the repertoire and performances of three of the most noted trot-branded television series, and juxtaposes them with two further case studies: YouTube channel Chu Hyŏnmi TV and a sample of “old song” collections dating 1969–1989. It argues that all three cases variously intersect and diverge from reified trot, while simultaneously exhibiting their own interrelations collectively bound by performed retro and newtro aesthetics, and national identity discourse.

Repertoire Policy of Theatrical Centers in Hlukhiv in 1900–1920

The aim of the study is to systematize the repertoire of Нlukhiv theater centers in 1900–1920 and to identify the main factors influencing its formation. The object of research is the theatrical centers in Hlukhiv in 1900–1920. The methodology of research of the chosen problems uses the system-analytical and typological methods. Their application contributes to a comprehensive approach in the analysis of the repertoire of Нlukhiv theater centers in the paradigm of historical, political and socio-economic conditions in 1900–1920. The relevance of the study. Analysis of the repertoire policy of the theater centers in Нlukhіv is not an urgent problem today. However, this process is an opportunity to identify the main trends in the formation of tastes of the Нlukhiv public, which is a kind of marker of the social and cultural level of development of the population. The study of the choice of repertoire of this period will allow to recreate a holistic panorama of the development of theatrical art in the city, to identify the leading factors and problems that shaped the tastes of the population; to reflect the main trends in the influence of the socio-political situation in the country on public inquiries and the general repertoire policy of Нlukhіv theaters. Findings and conclusions. Quite conditionally, the repertoire of Нlukhіv's theatrical centers can be divided into groups: plays by O. Ostrovskyi; plays by contemporary writes (late nineteenth - early twentieth century); comedy plays; children's productions; ideologically oriented plays; plays forbidden by censorship; plays on Jewish themes. The policy of forming the repertoire correlates with the historical background of Нlukhіv in 1900– 1920. The main factors influencing the choice of repertoire can be called: ideological and political (ideologically oriented plays, plays banned by censorship, plays on Jewish themes), consumer (plays by O. Ostrovskyi, plays by contemporary writes, comedy plays). The problem in the study of the repertoire policy of Нlukhіv's theatrical centers in 1900–1920 is the lack of reference to the authors of plays in the source base, which makes it not impossible to systematize part of the repertoire.

The importance of the discipline “Computer Arrangement” in the modern educational training of students-ovens

The purpose of this article is to substantiate the relevance and pedagogical necessity of the discipline “Computer Arrangement” for students-ovens, outlining the tasks and functions of this course. The methodology was general scientific research methods: analysis, comparison, generalization. The source method was also used - the theoretical basis was the research of domestic and foreign scientists on the problems of implementation of computer technology in the educational process of musicians. The scientific novelty lies in the expansion of knowledge in the field of computer music programs, the characteristics of music editors, which are most often used in teaching the discipline. In addition to recommendations for independent work of students, the choice of repertoire in teaching this discipline, and the main types of professional tasks of graduates, the author focuses on specific proposals for a more thorough introduction of music and computer technology in the educational process of students - ovens. Conclusions. First, it should be emphasized that the complex subject “Computer Arrangement” is designed to meet the needs of students in creative self-expression and provide basic knowledge and skills that will allow in the future, in addition to working with a brass band, to conduct creative activities of composer and arranger technologies. The study of music and music editors provides a fundamentally wide range of opportunities for systematization, organization, and presentation of educational material, which ultimately determines the effectiveness of the professional activities of the future leader of the brass band.

Elements of advanced vocal techniques in modern performance

The purpose of the article is the definition of elements of expanded vocal technique in the contest of artistic performance as the main aspect of improvement of modern singer’s technical skills. The methodology of the research is based on the methods of analysis and historical colligation, which became important in the study of the evolution process of performing requirements to vocalists during different epochs. The scientific novelty is the delineation of the elements of advanced vocal techniques in modern academic performance and the relevance of educational programs reforming in relation to the problem. Conclusions. Trends of the world modern performance promote the development of national scientific thought, the study of technological aspects. Analysis of studies confirms the relevance of the stated theme - practice of composers requires the necessary skills from the singer. Each vocalist, representative of the academic school has all inclinations for interpretation of the elements of advanced vocal techniques, but the formation of priorities in the choice of repertoire occurs through the self-analysis of tastes, preferences, vocal capabilities. It is also necessary to point out the prominent role of the teacher in the formation of the above qualities, and in general, in the formation of a vocalist-musician.

Promoting high culture

This article analyses the musical work of the Brisbane Musical Union (BMU) between its founding in 1872 and the consolidation of its position by 1898. During this period, the BMU benefited from the dedicated leadership of its main conductor, R. T. Jefferies, who drew upon his high standing as a violinist, ensemble player and conductor in Brisbane to present regular choral concerts, mainly comprising oratorios, with an amateur choir. Despite financial challenges, difficulties over rehearsal and concert venues, periodic problems concerning the choice of repertoire, an insufficient number of available professional musicians and competition from rival local musical societies, Jefferies’ work with the BMU promoted an important aspect of high musical culture to the public and laid the foundations for further development of classical musical performance in Brisbane.

A drum, deferred

During the 1960s, West African musicians rattled the New York jazz scene, bringing new sounds to late-night jam sessions, recording studios, and jazz festivals. Jazz scholars have interpreted musical imaginations of Africa by American jazz musicians as a sign of pan-African solidarity and cultural affinity among musicians of African and Afrodiasporic ancestry. While these studies have been important in identifying the political implications of such collaborations for African American musicians, they underplay the complex positioning of West African immigrants in these contexts and the social and musical gaps that separate African immigrants from their American counterparts. Drawing on my work with composer and percussionist Solomon Ilori, one of the leading Yoruba musicians in New York and amongst the last living exponents of the African jazz scene of the 1960s, I use the notion of décalage to explore how linguistic, social and historical gaps are articulated in musical recordings and public concerts in the 1960s African jazz scene in New York. Originally coined by Léopold Senghor to describe a sense of discrepancy between Africans and African Americans, décalage allows me to show how different perceptions of time, as well as choice of repertoire, instrumentation, rhythmic patterns and melodic material complicate a notion of musical pan-Africanism. Moreover, it explicates the unique ways in which African immigrants reacted socially and musically to the boundaries they face in the US and its particular formations of national, racial and musical identity.

Wybory repertuarowe Sceny Polskiej Tĕšínského divadla w Czeskim Cieszynie na rzecz zachowania tożsamości narodowej i regionalnej polskiej mniejszości narodowej na Zaolziu

The article quotes, as a context for the problematics defined in the title, demographic data indicating systematic decrease of Polish population in Zaolzie. The publication referred to, Wizja 2035. Strategia rozwoju polskości na Zaolziu [Vision 2035: Strategies for the Development of Polishness in Zaolzie] (2015), suggests that national and regional awareness are two fundamental values of collective identity which consolidate the community in question. According to the mentioned study, amongst the major positive factors that have to be accounted for while considering the future of the Polish national identity, Scena Polska Tĕšínského divadla w Czeskim Cieszynie is prominent. The repertoire choices presented in the article were made as early as in 1951 by the said professional theatre company run by Polish autochthons in Těšín Silesia, and those choice ought to be perceived as both the carriers of Polishness and an important indicator of regional identity. They prove unambiguously that the only Polish-language professional theatre operating outside Poland may be considered a benchmark of rejuvenating and embedding the national and regional awareness of the Polish minority in Zaolzie.

From Nationalist Rescue to Internationalist Cannibalism

Abstract In Rio de Janeiro, the emergent street carnival revival of the past twenty years has come to rival in importance the city’s “traditional” carnival of the samba school parades. This article explores the diverse repertoire choices of Rio’s alternative brass band movement, which originated in the street carnival revival. I show how the movement, drawing on what I call the alternative carnivalesque, has transformed from a dominant preoccupation with cultural nationalism to embracing a belief that carnival should be a spontaneous space “to play anything,” including a wide diversity of international genres. I explore how musicians have drawn on Brazilian tropes and ideologies from the past century regarding international engagements, such as “rescue” and “cannibalism.” With this example, I argue for local and historicized theorizing of musical circulation rather than relying on generic theories that miss what is important to musicians in their local context.

On the Question of the History of the First Professional Theatre in Slovakia

The article is devoted to the history of the birth and formation of the first professional theater in Slovakia – the Slovak national theater, covering the period from 1918 to 1938. The author focuses on the activities of the first leaders and directors who formed the artistic image and concept of the theater, as well as the influence that various foreign directors and theater schools had on it. The author emphasizes the role of Czech theatrical figures (Bedřich Jeřabek and the troupe of his East Bohemian Theatre, Milan Zuna, Oskar Nedbal, Viktor Šulc, etc.) in the formation of drama and opera troupes of the Slovak national theater, and in their choice of repertoire and artistic language. It was extremely important for the first Slovak theater to build a repertoire in the national language, but this process was quite slow because of the small number of original Slovak dramas and high-quality translations of foreign plays. Only after the arrival in the theater in the second half of the twenties of director Václav Jiřikovský, head of the literary part of Tido J. Gaspar, and later actor and director Janko Borodač, did the Slovak repertoire began to expand significantly. The very cosmopolitan cultural environment of Bratislava, as well as the division of the dramatic troupe of the theater into Slovak and Czech (1932) caused rivalry, surprise and provocation among the directors and artists. As a result, the Slovak theatre itself was gradually formed, and the first Slovak theatrical figures became known. In the future, this allowed the young Slovak theater to join the broad context of the European avant-garde theater and ensure that its original voice was finally heard throughout the world.

Sing it out loud! The entrepreneurship of SME opera enterprises in Scandinavia

The purpose of this study is to contribute new knowledge on the entrepreneurial facets of opera production based on an in-depth study of a dozen SME enterprises. Interviews have been conducted with a semi-structured set of questions. As the studied companies are SMEs, the majority of the respondents are their initiators, their artistic directors and their general managers - in short their entrepreneurs. The analysis shows that opera entrepreneurs do, fundamentally, follow normal entrepreneurial processes in their endeavours. However, along the path of that process there is a wide variety of choices made which influence the outcome, mainly regarding the choice of repertoire and its subsequent staging. For a few, there was some entrepreneurship or project management tuition in prior education. For most, the necessary skills have been acquired through trial-and-error experiences. The study includes an attempt at an 'observed quality' score and a value-for-money assessment.

Sing it out loud! The entrepreneurship of SME opera enterprises in Scandinavia

The purpose of this study is to contribute new knowledge on the entrepreneurial facets of opera production based on an in-depth study of a dozen SME enterprises. Interviews have been conducted with a semi-structured set of questions. As the studied companies are SMEs, the majority of the respondents are their initiators, their artistic directors and their general managers - in short their entrepreneurs. The analysis shows that opera entrepreneurs do, fundamentally, follow normal entrepreneurial processes in their endeavours. However, along the path of that process there is a wide variety of choices made which influence the outcome, mainly regarding the choice of repertoire and its subsequent staging. For a few, there was some entrepreneurship or project management tuition in prior education. For most, the necessary skills have been acquired through trial-and-error experiences. The study includes an attempt at an 'observed quality' score and a value-for-money assessment.

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It is noted that the formation of the mastery of the singer is a complex and lengthy process, which occurs due to the constant work on musical artistic material. It was emphasized that the choice of repertoire for the baritone is an important task. The criteria for the selection of the repertoire is the attention to the content side of the works. It is important to appeal to the works of both foreign and domestic authors.