Song Genre Research Articles

Song Creativity as Communicative Insight into the Era: An Example of the Evolution and Influence of Wolfgang Amadeus Mozart’s Vocal Legacy in European Musical Tradition

The purpose of this study is a comprehensive examination of Wolfgang Amadeus Mozart’s song creativity as a key communicative component of the era, focusing on its innovative essence and style genesis. This research explores Mozart's song compositions to provide a deeper understanding of the cultural and musical contexts of the time, as well as to uncover the influences and innovations he introduced into the genre. The significance of this work lies in studying song compositions as reflections of the social and cultural processes of the period. Research methodology. The research employs a multidisciplinary approach, combining historical musicological analysis, textual methodology, and comparative analysis. The examination of literary sources, including works by Angermüller, Giegling, Knepler, Lebrecht, Rattalino, Vill, and Wysocki, provides insights into various aspects of Mozart’s song creativity, its impact on the musical tradition of the era, and allows for comparisons with the works of other less-known composers. Scientific novelty. The article delves into the analysis of the communicative component of song creativity as a basis for creating a continuous link in the development of the era, both in Mozart’s work and in comparison with other lesser-known composers of the time. It reveals that the genesis of song serves as a foundation for the evolutionary process of genre formation and its integration into the characteristic features of the period. The study highlights the influences Mozart incorporated into his work and his contribution to the evolution of the song genre, demonstrating his exceptional ability to adapt and innovate. Conclusions. Wolfgang Amadeus Mozart significantly influenced the development of European musical tradition through his song creativity, elevating the quality of chamber vocal music and introducing innovations that became the foundation for the further development of the genre in the 19th century. His works reflect a profound understanding of contemporary trends and influences, creating a rich and emotionally nuanced musical dialogue that impacted subsequent generations of composers.

Traditional and innovative in the poetics of I. S. Nikitin (to the 200th anniversary of the birth)

The article examines I. S. Nikitin’s poetics from the point of view of its continuity in relation to the achievements of his predecessors, lyric poets, and those original features the poet himself developed. The main method is an end-to-end textual analysis of I. S. Nikitin’s poetry collection in the unity of content and form. Additionally, the study used the research methods of linguistic stylistics, linguistic poetics, semasiology, and structural-semantic syntax. The metrical features of poetic texts are given in the interpretations of M. L. Gasparov’s school. Though I. S. Nikitin considered A. V. Koltsov his immediate teacher, his poems contain noticeable images, motifs, and linguistic reminiscences referring to other poets’ creative work, especially A. S. Pushkin’s. I. S. Nikitin creatively interpreted certain Pushkinian linguo-poetic techniques (the antithesis of vice–virtue in the reflection on the role of the poet and poetry, the illustrative comprehension of canonical Christian texts, the realistic use of the ballad and idyll genres, the patriotic pathos of civic poems, the use of classical metrical schemes, and others). I. S. Nikitin made a significant contribution to improving the artistic language of Russian realist poetry. He developed the song genre in literature, introduced a variety of dramaturgical principles into lyric poetry, and proposed original compositional schemes for philosophical, social, and landscape poems. In his writings, I. S. Nikitin refined the poetic syntax of homogeneous constructions. Moreover, he extended the motivic boundaries of Russian lyric poetry through elaboration and precise observations, as well as enriched the linguo-stylistic repertoire of its vocabulary. I. S. Nikitin’s work is organically, closely, and versatilely connected with the content and language development of Russian poetry in the second half of the 19th century.

НАРОДНЫЙ ПЕВЕЦ Н. И. СТЕПАНОВ – НООРОЙ: ВЗАИМОДЕЙСТВИЕ ФОЛЬКЛОРНЫХ И ЛИТЕРАТУРНЫХ ТРАДИЦИЙ

This article touches on the problem of studying the interaction of folklore and literary traditions in the works of authors who came from the people, bearers of oral folk art. In Soviet times, in the literature of the peoples of the USSR, especially in newly written literature, folk singers played a significant role in poetic life. Their works successfully intertwined folklore and literary traditions: a certain synthesis of form and content occurred. In our work, we drew attention to the work of one author, Nikolai Stepanov – Nooroy, a member of the Union of Writers of the USSR, folk singer, olonkhosut, participant in the Great Patriotic War. The relevance of the article lies in the fact that until now the period of active creativity of folk singers of Yakutia, as authors, as creators of Soviet folklore, has been little studied. The subject of our research is the works of N. I. Stepanov – Nooroy, his songs and poems on Soviet themes. The work uses comparative, analytical, and analytical methods to reveal the interaction of folklore and literary traditions and the transformation of folk songs into original songs. The novelty of the research lies in the fact that this work studies the fusion of folklore and literary traditions, their interaction in the works of one author, a bearer of the traditional oral culture of the Sakha people. As a result of the study of the author’s poetic works on the Soviet theme, we concluded that in the poems, songs, and toyuks of N. I. Stepanov, the interaction of folklore and literary traditions is clearly observed. From the works of N. I. Stepanov it is clear that the folk singer, firstly, worked to preserve and transmit the traditions of folk art mainly in olonkho and toyuks, and secondly, he became one of the founders of a new type of folklore, a song genre called Soviet folklore. Stepanov’s songs about labor and workers can be considered historical, because they reflect reality and glorify real people. The writer’s poetic works on Soviet themes reflect historical facts and events of the Soviet period. His works have cultural value, and as works reflecting reality, they are a historical and cultural monument.

Who lit the fuse? Teaching practices with the song genre in Light of Historical-Critical Pedagogy and the enunciative-discursive perspective

Who lit the fuse? Teaching practices with the song genre in Light of Historical-Critical Pedagogy and the enunciative-discursive perspective

Bangla song genre recognition using artificial neural network

<p>Music has a control over human moods and it can make someone calm or excited. It allows us to feel all emotions we experience. Nowadays, people are often attached with their phones and computers listening to music on Spotify, Soundcloud or any other internet platform. Music Information retrieval plays an important role for music recommendation according to lyrics, pitch, pattern of choices, and genre. In this study, we have tried to recognize the music genre for a better music recommendation system. We have collected an amount of 1820 Bangla songs from six different genres including Adhunik, Rock, Hip hop, Nazrul, Rabindra and Folk music. We have started with some traditional machine learning algorithms having K-Nearest Neighbor, Logistic Regression, Random Forest, Support Vector Machine and Decision Tree but ended up with a deep learning algorithm named Artificial Neural Network with an accuracy of 78% for recognizing music genres from six different genres. All mentioned algorithms are experimented with transformed mel-spectrograms and Mean Chroma Frequency Values of that raw amplitude data. But we found that music Tempo having Beats per Minute value with two previous features present better accuracy.</p>

Songs Classification Problem Research by Genre Based on Neural Network

This article explores the use of neural networks for classifying musical compositions by genre based on their audio characteristics. With the increasing availability of large musical datasets and advancements in computational technologies, this topic has gained significant relevance. The article emphasizes the importance of selecting and processing audio features, particularly focusing on Mel-Frequency Cepstral Coefficients (MFCC), which reflect the key sound characteristics essential for genre identification. The approach to creating a neural network capable of effectively processing these characteristics and classifying songs is examined within the research. It outlines the main challenges associated with classification accuracy, error calculation, and the need to adapt to rapidly changing musical trends. This article also reviews and constructs a test neural network for classifying songs into three genres, creates diagrams to depict classification accuracy, and shows the distribution of each class by frequency characteristics. Additionally, it analyzes recent research in this field and highlights the importance of using MFCC. The article illuminates not only the technical aspects of creating and training neural networks for song classification but also the significance of such systems in the context of the widespread availability of musical content. It underscores the role of these systems in enhancing the quality of recommendation services, providing a more comprehensive musical experience to users, and supporting artists and musical styles. In conclusion, the article contributes valuable insights into the potential of neural networks in song genre classification, pointing to future research and development directions in this area.

A Literary and Interpretive analysis of Bihu Songs' Identity

The research paper titled “A literary and interpretive analysis of Bihu Songs' identity” attempts to conduct an artistic analysis of the symbols used in the text of the Bihu song. Symbols are objects, people, situations, or words that signify something else. In literature, symbols represent thoughts or emotions, which is one of the attractions of poetry. The idea of symbol has evolved in human culture over time. Parallelly, the symbols have been reflected in folk tunes. Bihu songs are the most characteristic genre of folk song in Assam, northeast India, both in terms of literary substance and musical mode. Symbols have played a significant role in Bihu Songs. This research gives an analysis of how different sorts of symbols are used in the text of Bihu songs. This paper's major research method is analytical. Data are gathered from library and field surveys.

“Go, Sirventoys, Swiftly as an Arrow”: The Unbound Transmission of Song in Crusading Contexts

ABSTRACT Available documentation of medieval music is almost exclusively limited to bound codices. Against this backdrop, this article explores how musical information was also communicated via more easily transportable, inexpensive material forms during the twelfth and thirteenth centuries, with an emphasis on leaflets that circulated independently of codices. I shall focus on three song genres that can be found in the context of the crusading enterprise: the Old French political song; the Latin liturgical prosa; and the Latin secular lament. Transmission across long distances was especially relevant in this crusading context – between the east and west of the Mediterranean as well as within the so-called crusader states. By integrating textual, musical, musico-palaeographical, and codicological methods of analysis, this article assesses the social and political significance of these songs and uncovers the motivations to disseminate them using such patterns of communication among crusader communities.

Recovering the Dalit Public Sphere: Vernacular Liberalism in Late Colonial North India

AbstractDrawing from publications by Swami Achutanand and the Adi-Hindu Mahasabha press between 1916 and 1940, this article examines the role of this north Indian Dalit organization in creating language and categories of liberalism in the Hindi vernacular. The Mahasabha poet-activists published numerous song-booklets in a variety of Hindi song genres to intervene in ongoing discussions on the subjects of representation and equality which they characterized as mulki-haq and unch-niche. Histories of liberties in late colonial India have typically examined its emergence within dominant Hindu and Muslim middle-class groups. This article uncovers the unique contributions of Dalit poet-activists who recognized the value of liberal ideas and institutions in challenging caste and abolishing “Manu’s Kanun” (lawgiver Manu’s Hindu law codes). It highlights the methodological importance of mohalla (neighborhood) sources usually located in Dalit activists’ houses in untouchable quarters. The chapbooks found in mohalla collections have enabled the writing of a new history of the Mahasabha’s activism and of the initiatives taken by poet-activists in founding a new Dalit politics in northern India. I explore the emergence of a Dalit literate public which sustained the activities of the Mahasabha and which responded with enthusiasm to its articulation of the new social identity of Achut (untouched) and a new political identity of Adi-Hindus—original inhabitants of Hindustan (India). Offering a new methodological approach in using mohalla sources and song-booklets composed in praise of liberal institutions, this essay makes a significant contribution to the recovery of a forgotten Dalit public sphere in early twentieth-century India.

The continuity of the vocal and performing heritage of the multi-genre song culture of the Kuban Cossacks

The object of the study is the continuous preservation of the multi-genre Cossack folk song, which represents a key purpose in the implementation of the preservation of the traditional mentality at the present stage. The subject of this work is the immanent complexes of traditional song culture in the folklore heritage. The purpose of this study is to structure the issue of the cultural interrelation of the ethnic canvas of the Kuban Cossack folk songs, in the originality of the genesis of the vocal and performing specifics of modern creativity. When discovering the fundamental foundations of the vocal performance of the Cossack song, special attention is paid to the study of the folklore primary sources of the Kuban folklorists, V.G.Zakharchenko, A.D.Bigdai, G.M.Kontsevich. Along with this, an expert assessment of the characteristics of the Kuban Cossack folk song according to the genre classification component is an important feature of the performance of vocal samples today. The theoretical basis is in an analytical approach to the peculiarities of the performance of a local source from the point of view of substantiating the scientific nature of the subject under consideration according to the functionally oriented elements of the report: traditions, traditional manner of performance, interpretation of the text, song melody. Methodological basis: components of the study of the local singing tradition, modernization of folklore song documents, the method of consistency-the genre diversity of Cossack performance. The author's approach to the correlation of musical sources as methodological characteristics of the Kuban Cossack singing traditions has been developed. We test the proposed system when working with archival documents, in the diagnosis of song samples recorded from informants. The key aspect is the musicological analysis of the musical collections of Kuban Cossack folk songs from the point of view of the continuously developing, multifaceted changing performing skills of the soloist and choir. The author takes into account the introduced model of performing Cossack songs since the resettlement of the Black Sea Cossacks, who brought the baggage of multi-genre sources and eventually introduced the Kuban folk singing art. The scientific novelty of the research lies in the author's analytical systematization of authentic song compositions recorded by folklorists, in the analysis of multi-genre Kuban Cossack sources (selectively) for further active performance on stage. The specific directions of performance according to characteristic song genres are determined: historical, military, everyday, marching, lyrical, wedding, ceremonial, round dance, comic. The reproduced orientation of the nature of the continuous preservation of folklore sources in the revised performance interpretation of Cossack vocal works gives rise to significant broadcasting opportunities today.

The role of vocal and instrumental ensembles in the evolution of the song genre in Soviet music of the 1960s–1980s

The article examines the phenomenon of the vocal­instrumental ensemble (VIA) and its role in the development of the song genre in Russian musical culture from the moment the VIA appeared until the end of the Soviet period in art. The relevance of the topic is based on the need to adequately assess the patterns of development of mass music of the Soviet period — that was ideologically ambiguous and gave rise to musical phenomena of various cultural values. The purpose of the article is to determine the influence of VIA on the evolution of the song genre in the 1960–1980s. The methodology of the article is based on the systemic and historical approach. As a result of the study, it was shown that during the indicated period, the activities of vocal and instrumental ensembles played an important role in the development of domestic song culture, contributing to the active broadcast of song genres. Two main factors that determined the specifics of song creativity in the field of VIA are marked out: 1) the search for new forms, techniques, ways of musical expression that would meet sociocultural needs of listeners and rely on the best traditions of domestic music; 2) the influence of Western culture with its searches in the field of electronic instruments, jazz, disco, techno, rock and pop music, mass production and commercialization of art.

Музыкально-фольклорная традиция ярских удмуртов автохтонного и сибирского бытования: современное состояние

This paper focuses on analyzing the current folklore tradition of the Udmurts of the Kemerovo Region. The first folklore and ethnographic expedition was conducted in the winter of 2023. In total, we visited seven settlements and interacted with 45 Udmurts, most born between the 1940s and 1970s and descendants of the first Udmurt immigrants in this region. The Udmurts who voluntarily migrated to the Kemerovo Region mostly came from villages in the Yarsky district of Udmurtia, such as Tsipya, Lekovai, Karavai, Ust-Lekma, Pudem, Bayaran, Chabyrovo, and others. A smaller portion of immigrants originated from the Balezinsky, Glazovsky, and Kez districts of Udmurtia, and they settled in these areas mainly during the mid-20th century. A special feature of the musical tradition of the Yarsky district, a part of the northern Udmurt area, is an archaic genre, krez. Krez involves improvised singing using onomatopoeic vocabulary from ritual and non-ritual song genres. The analysis has revealed that krez is diminishing both in the indigenous and resettlement traditions of Udmurts. We managed to record only oral information about the existence of the krez genre earlier in the tradition of the Udmurts of Kemerovo and recorded some trial tunes. The recordings made during the expedition revealed the prevalence of non-ritual songs, including five lyrical songs, one game song, and one lullaby. These songs are still popular among traditional performers in the indigenous Udmurt tradition. Today, the only way for Udmurt immigrants to join the tradition of their ancestors is through information found on the Internet.

Methodical Aspects of Stylistic Attribution Arrangement of Pop-Vocal Composition

The purpose of the research is to theoretically develop methods of characterisation and attribution of the style of arranging a pop-vocal composition. Based on the task of identifying active means of music expression, the most suitable methods for determining the characteristic features of style were used; the specific features of form, textural, temporithmic, timbre, melodic-thematic, and ladoharmonic organisation of the musical material of arrangement were analysed. As a result, the algorithm of analytical actions in the process of hearing expertise on the specific features of the musical language of arrangement is aimed at identifying the genesis of the stylistic profile of pop-vocal composition, which usually has features of genre-style synthesis of different areas of popular, jazz, folk, or academic music. In this regard, the parameters of temporithm and phonism are defined as basic criteria for recognising the stylistic dominant of the instrumental component of the song genre. The scientific apparatus of stylistic analysis methods, along with conventional musicological research methods, were used, as well as definitions of constant and aconstant types of the sound image of arrangement as operational criteria of stylistic differentiation of recyclic and through-dramaturgical principles of development of the sound idea of pop-vocal composition. During the comparative hearing analysis of the sound recordings of the famous Ukrainian song «I will go to distant mountains» in the original author's performance of Volodymyr Ivasyuk and its cover version performed by Kvitka Cisyk and arranged by Jack Cortner, the method of comparative stylistic characteristics of arrangements was carried out on the principle of contrasting comparisons or comparisons on the similarity of creative methods of instrumentation, formation, tempo-rithmic, melodic-thematic, and ladotonal organisation of musical material of instrumental accompaniments. The result of the study was the systematisation of the procedure of stylistic attribution of cover versions arrangements of works of popular song genres. The conclusions substantiate the need to consider the criteria of musical novelty and aesthetic value in evaluating the results of stylistic rethinking by the arranger of the original song musical text, which in the new version can appear as a unique, individualised concept that has actual artistic importance for modern listening audiences.

К вопросу эволюции этномузыкальной системы (на материале песенных традиций верхнеокских сёл Тульского региона)

The object of research in the article is formed by the contemporary mechanisms of modification of the ethno-musical system on the example of a regional song tradition localized on the territory of the Tula Region in the upper flow of the Oka River. Analysis is made of folklore-ethnographic expeditions carried out during the period from the mid-1970s until the early 2020s. The methodology of research is based on the positions of scholarly works by Evgeny Gippius, Borislava Efimenkova, and Margarita Engovatova in the vein of structural-typological research works. The article examines the parameters of the ethno-musical system from the perspective of the existence of song genres and the structure of the genre system, including the mechanisms of replacement of ancient melodies with newer ones. Analysis is made of the tendencies of development of the modal structure of a number of melodies, and indication is made of the mechanisms of “modernization” of the musical language and the peculiarities of correlation of the melodies of a later style with early anhemitonic melodies, the mutual influence of trichordal anhemitonicism with the diatonicism of the instrumental tunes. The article also traces out the paths of transformation of rhythmic structures, the reasons for the “departure” of such genres as Christmas riddles, as well as the principles of inclusion into the system of phenomena of the later urban style (“chastooshka” ditties in the role of spring folk songs, wedding songs in the role of shrove-tide songs). The characteristic feature of the present ethno-musical system from the positions of the present-day tendencies of its transformation has not been reflected previously in scholarly works, wherein the novelty of the present article is stipulated.

Астионимы в песенном творчестве мари и татар

Toponyms as the most important component of geography are a kind of link between a person and a geographical object, indicating its geolocation. They represent a source of information accumulated over a long period of the existence of an ethnic group and the associated traditional culture reflected in the songwriting of the people. The aim of the study is to describe astyonyms and their functioning in Tatar and Mari songs. The scientific novelty is accounted for by gaps in knowledge in the research on this issue in modern regional linguistics. The paper is the first to determine the general themes of the astyonyms in the semantic content of the songs of the Tatars and the Mari in a comparative aspect and also analyze the differences caused by the historical and cultural peculiarities of the peoples’ development. In both languages, the names of cities are endowed with the nominative, informative, deictic, appellative and communicative functions. Astyonyms function in various song genres: historical, lyrical, folk. They are divided into two groups: a) national toponyms (“small homeland” and Russia) and b) toponyms outside the country (foreign topological objects – Western European and Eastern). The results showed that the geographical space in the songs is represented by the names of real geographical objects reflecting the migration and event history of ethnic groups, their interaction with other peoples, national and cultural identity, chronotopic landmarks, national personalities, ways of self-presentation of inhabitants of regional territories.

S. Moniuszko's Songs for High Voices and Multi-Genre Palette of their Stylish Expression

The purpose of the research is to trace the Biedermeier background of the expressiveness of S. Moniuszko's Songs in their borderline to the musical realism-verism of the middle of the 19th century, using the example of the songs for high voice from the collection "Pieśni wybrane", 1, na głos wysoki (Polskie Wydawnictwo Muzyczne: Kraków, 1972), which timbre-register corresponds to the lyric soprano of the author of this essay. The methodological basis is the intonation approach of the school of B. Asafyev in Ukraine, represented, among other things, by the works of O. Markova, O. Muravska, Yu. Oleinikova, other authors, in which the basic method of analysis is stylistic comparative, musicological holistic analysis with hermeneutic approaches, as well as the historical-biographical method from the perspective of the "intellectual biography" of the subject of the study. The scientific novelty of the work is determined by the author's primacy of unfolding the stylistic vision of Moniuszko's Songs on its Biedermeier basis in relation to the nascent method of musical realism-verism. Also innovative is the analysis of the named Songs from the perspective of the stated stylistic interpretation of the expressiveness of the works of the great Polish composer. Conclusions. The 12 analysed Songs by S. Moniuszko within the stylistic Biedermeier attribution demonstrated the breadth of identifying signs of a small form – from monologue-serenades, three-strophe type bar-form to the "minimalism" of genre couplets. This gives birth to Biedermeier's characteristic combination of high Europeanism and demonstratively simplified "provincialisms" (the latter due to the genre of Kraków and Mazurka). The compensability of the parts of the voice and the piano gives the sound of the vocal-instrumental model of the madrigal-motet, which became one of the means of revealing the realism of life's "polyphony" (see the madrigal genre in the French lyric opera of S. Gounod) together with frank folkloristic findings that indicative of the aesthetics of musical realism of the middle of the 19th century.
 Keywords: song genre, musical genre, style in music, Biedermeier, realism-verism.

On Migration, Exile, and Cosmopolitanism: A Brief Survey of South African Art Song

One of the genres that comprise the different musics of South Africa is that of the art song. Imported through its European heritage, the art song has found a place in the portfolios of South African composers throughout the twentieth century. However, against the backdrop of its complicated history, South Africa’s art songs often seem to reflect themes of exile, inner struggle and nostalgia. This article contemplates how these themes resonate through South Africa’s complex history, and how they have subsequently been reflected in the genre of art song, with specific reference to songs by composers S. le Roux Marais, Hubert du Plessis, Arnold van Wyk, Peter Klatzow, Hendrik Hofmeyr, and Bongani Ndodana-Breen.

새로운 가사집 『금수강산유람기(錦繡江山遊覽記)』의 발굴과 자료적 가치

This study aims to describe and introduce a new modern collection of gasa, Geumsugangsan Travelogue . Geumsugangsan Travelogue was edited in August 1990 by Manjae(晩齋) Ju Won-taek(朱元澤). This book, which contains a total of 45 siga works across 81 pages(19cm × 26cm), is divided into two parts. The first part of Geumsugangsan Travelogue contains a total of 34 siga works, and the second part, Gasa Anthology, contains 10 siga works. In composition, most of the works except those in classical Chinese used the Chinese-dominant-Hangeul-subordinate style.
 The 34 siga works included in Geumsugangsan Travelogue consist of new siga works that have not been previously noted in academia. There are 31 works by Manjae Ju Won-taek, the editor of the book, and 3 works by Kim Dae-heon from Andong. The collection was compiled in August 1990, but a review of the individual works suggests that they were composed around 1965-1968. The works include place-name gasa such as “Yeongnam region praise-poems,” “Honam region praise-poems,” and “Chungcheong region praise-poems,” that sing of the scenery and customs of the region using place-names; travel gasa such as “Geumgangsan Punggyeongga,” “Gyeongju Travel,” and “Gwangdon-area Tamseunggi”; and play-game gasa such as “Cheoksapanron,” “Hwatuga,” and “Tobacco Song” that take games such as yut and hwatu as the subject matter. In the way of expression, it has a strong character of play on words using ambiguous expressions of blending characters (二重字義). A total of 10 works were included in the sequel Gasa Anthology, not all of which are new. There are “Gaksega” and “Dosanga” that convey Confucian morality and Japga-danga such as “Gangchonbyeolgok,” “Jeokbyeokga,” and “Chunghyogok,” which are song genres.
 Geumsugangsan Travelogue is significant as a collection of about 30 new gasa works composed in the modern-contemporary period that are valuable by confirming the creation and enjoyment of the Gasa Anthology after 1960.

Aspects of style attribution arrangement of cover version of pop-vocal composition

The purpose of the research is to theoretically develop methods of characterisation and attribution of the style of arranging a pop-vocal composition. The algorithm of analytical actions in the process of auditory examination of the specifics of the musical language of the arrangement aimed at identifying the genesis of the style profile of a pop-vocal composition is determined. In this regard, the parameters of tempo rhythm and phonism are defined as the basic criteria for recognising the stylistic dominant of the instrumental component of a song genre composition. The research methodology is based on a comprehensive study of the creative specifics of pop-song arrangements using a systematic typological approaches, inductive and structural-functional methods of analysing musical compositions, and also includes a descriptive auditory method and a method of comparative stylistic characterisation of arrangements, carried out on the principle of contrasting comparisons or comparisons based on the similarity of creative methods of instrumentation, form formation, tempo rhythmic, melodic and thematic and harmonic organisation of the musical material of instrumental accompaniments, is a method of identifying the stylistic dominant (genesis) of a song genre work with a particular direction of popular, jazz, folk or academic music. The research resulted in the theoretical development of a methodology for style attribution of arrangements of cover versions of works of popular song genres.

Amor: вербализация романтической любви в песенном жанре

The article deals with the ideas about romantic love in the song genre. The research is based Spanish-language texts of Julio Iglesias’ songs. It is established that romantic love is a rather vague concept that allows at least four interpretations: love-passion, intensity of love in general, falling in love and a specific love feeling that has its own characteristics. A generalization of the interpretations of romantic love indicates that it is a subspecies of erotic love, in which value and depression-euphoria moments are accentuated and a dramatic color is added to the circumstances of the evolution of this feeling. In Spanish, the feeling of love is verbalized through the triad amor, querer, cariño, where amor is the name of the generic concept of love, and querer and cariño are mainly focused on conveying its subspecies associated with the desire for physical intimacy and the desire for the good for the beloved. The texts of the song repertoire of Julio Iglesias are dominated by the characteristics of romantic love: a reference to tragic and dramatic life circumstances – betrayal and loss of love, separation, lack of reciprocity, doubts about fidelity, jealousy; features that are predominantly characteristic of the initial stage of love – bursts of euphoria and depression, a feeling of joy and grief, pleasure and suffering; manifestations of love affection – are mentioned frequently. The reflex of romanticism in the lyrics of Julio Iglesias is the deification of the object of love, confidence in the constancy of love, the opposition of “authentic” and “non-authentic” love, the idea of the merging of lovers into a single whole.