Compositional Style Research Articles

The news and structural style in the poem of Ibn Zurayq Al-Baghdadi (La Taathleh)

This research deals with the two styles of news and composition in Ibn Zuraiq Al-Baghdadi’s poem (Do not torture him); These two styles are the pillars of Arabic speech and the basis of its discourse, and each of them has linguistic, grammatical, stylistic, and rhetorical characteristics that distinguish it from the other. In this research, we will discuss the definition of the two styles in language and terminology, and provide a brief overview of the poet mentioned in our research. Then we will move on to mention the declarative places, as well as the constructional ones, and how Ibn Zuraiq al-Baghdadi used them in each place, and the reasons for his use of each style. And exploring the aesthetics of all of the above to conclude a set of results in which we mention the aesthetics of each style in poetic discourse, and the extent of this poet’s ability to employ methods to attract the recipient’s attention towards what he presented. The aim of the study is to highlight the stylistic and rhetorical features of the two styles as well, and to work on analyzing the aforementioned verses, including predicates or constructions. It should be noted that there are verses that contain both styles, so we will analyze the style in which we see the appropriate or strongest significance, even though we have analyzed the two styles in a way that we hope to It will be enough. After that comes the list of sources and references that we have adopted in this research. They are diverse sources and references, including traditional, rhetorical, grammatical, and contextual sources, as well as the books of hadith scholars due to their importance in rhetorical and contextual studies.

Les Leçons de Ténèbres: Marc-Antoine Charpentier’s Holy Week in Louis xiv’s France

Abstract The Tenebrae Lessons were important components of Holy Week in baroque France. While François Couperin’s (1668–1733) settings of the Tenebrae Lessons hold a significant place in both the repertoire and scholarly literature, Marc-Antoine Charpentier’s (1643–1704) voluminous settings of the Tenebrae Lessons deserve a place alongside those by Couperin. This article first outlines the liturgy of the Tenebrae service. Second, it examines the welcoming and influences of the Italian style on the French Leçons de Ténèbres at a time when Lully’s seizure over stage music was complete. Third, it illustrates the influence of secular music-making on this important Liturgical Office. Fourth, it briefly discusses the importance of rhetoric for Charpentier and his contemporaries and rhetoric’s influence on Charpentier’s compositional style of liturgical music.

Scherzo Op. 31, No. 2 by Frédéric Chopin

Frédéric Chopin’s contribution to the development of the genre of scherzo is unique. The four independent Scherzos composed by Chopin represent the development and the innovation he brought to the traditional scherzo. Chopin’s Scherzos share very little of the playful character of the classic scherzo, being considered rather dramatic works. Chopin’s different approach to the genre and the names of the genres went along with the stylistic changes of the early 1830s. His approach can be described as renovating, creating a kind of internal order in the permissive world of the pianistic genres of the nineteenth century. Chopin did not choose the genre titles arbitrarily, nor used them without sense. They had thought it was not necessarily conventional, generic meaning. The composer, however, did not ignore the connotative values of the titles. More than that, he has absorbed them and built values based on these titles that he later transformed into new genres. The purpose of this article is to decipher the features of Chopin’s scherzo and his style of composition, through the analysis of Scherzo No. 2 and comparing all the scherzos composed by Chopin, which will lead to a better understanding of his musical language. Keywords: scherzo, trio, tradition, independent genre.

Scaling Painting Style Transfer

AbstractNeural style transfer (NST) is a deep learning technique that produces an unprecedentedly rich style transfer from a style image to a content image. It is particularly impressive when it comes to transferring style from a painting to an image. NST was originally achieved by solving an optimization problem to match the global statistics of the style image while preserving the local geometric features of the content image. The two main drawbacks of this original approach is that it is computationally expensive and that the resolution of the output images is limited by high GPU memory requirements. Many solutions have been proposed to both accelerate NST and produce images with larger size. However, our investigation shows that these accelerated methods all compromise the quality of the produced images in the context of painting style transfer. Indeed, transferring the style of a painting is a complex task involving features at different scales, from the color palette and compositional style to the fine brushstrokes and texture of the canvas. This paper provides a solution to solve the original global optimization for ultra‐high resolution (UHR) images, enabling multiscale NST at unprecedented image sizes. This is achieved by spatially localizing the computation of each forward and backward passes through the VGG network. Extensive qualitative and quantitative comparisons, as well as a perceptual study, show that our method produces style transfer of unmatched quality for such high‐resolution painting styles. By a careful comparison, we show that state‐of‐the‐art fast methods are still prone to artifacts, thus suggesting that fast painting style transfer remains an open problem.

THE PIANO PHENOMENON IN KARMELLA TSEPKOLENKO’S CREATIVITY: FROM CONTENT TO RECORD

The study is focused on the main works of the piano creativity by Carmella Tsepkolenko. This concerns her Concerto-drama No. 1 and Concerto-drama No. 2 for piano and orchestra, which are seen as one megastructure that is open to further continuation. The compositional techniques used in them are described. It has been found that the presentation of musical material by means of modern notation gives the performer the opportunity to more clearly define his own attitude to the work and opens wide prospects for a unique interpretation. The role of the piano in Carmella Tsepkolenko's work is emphasized as a leading tool for searching for new means of self-expression and communication with the listener. It has been established that the rejection in avant-garde music of traditionally established principles of notation and changes in the organization of sound material, as well as its presentation on paper, took place under the influence of deep crisis phenomena of the 20th century and changes in society's consciousness. Emphasis is placed on the inevitability of establishing empathic connections between the author and the performer, taking into account the specifics of the presentation of the musical material. It was established that Carmella Tsepkolenko's individual compositional style is characterized by the use of not only traditional means of notation, but also the wide use of such types of modern compositional techniques as atonality, aleatorics, pointillism, sonoristics. The main feature of the composer's individual compositional style is characterized — the presence of obligatory scenario development of each work. The general orientation of Carmella Tsepkolenko's work towards theatricality in music of all genres is emphasized. It is proven that in order to create a convincing artistic image, the author sometimes turns to the artistic medium so-called Performance, which requires certain acting skills from the performer. The expediency of using a performing gesture as a special artistic tool that enhances the emotional impact on the listener is substantiated. Emphasis is placed on the need for performers to familiarize themselves with the basics of modern musical notation in educational institutions.

Performance Techniques and Insights of the Guzheng Concerto “Chan Ge”

This paper explores the performance techniques and insights gained from playing Wang Jianmin’s guzheng concerto “Chan Ge.” By examining the concerto’s literary background, overall structure, and musical elements, the study reveals the intricate connections between the modern guzheng composition and classical literature. This approach aids performers and listeners in comprehending the cultural roots and messages behind the guzheng piece. From a performer’s perspective, the study analyzes “Chan Ge” in terms of its compositional background, tuning, structure, and performance techniques, highlighting its artistic features. Furthermore, the study delves into the cultural significance of the piece, examining the interplay between tradition and innovation, as well as individuality and universality. It showcases how the integration of Chinese and Western elements is reflected in the composition. This study helps deepen the understanding of Wang Jianmin’s compositional style and aims to promote China’s rich musical heritage, contributing to the flourishing of guzheng art in China. Moreover, it seeks to enhance the promotion and preservation of traditional guzheng music culture, providing valuable reference materials for guzheng performers.

The creative interaction of composers Zhou Wenzhong and Edgar Varese

The subject of the study is the mutual influence of the compositional ideas of the Chinese-American composer Zhou Wenzhong and the French-American composer Edgar Varese. Edgar Varese, known as a composer and innovator who had a significant influence on the concepts of the post-war avant-garde, was also a brilliant teacher. One of his students was Zhou Wenzhong. Subsequently, Zhou Wenzhong became the editor of Warez's works, his biographer, an indispensable assistant and keeper of the archive. The article presents the facts of Zhou Wenzhong's biography, special attention is paid to the study of the composer's period of study with Varez, the trajectory of his influence, and the pedagogical principles that he adhered to in his teaching. Zhou Wenzhong needed to assimilate the innovations of Varese, form his own compositional style, based on the cultural traditions of China, forming points of intersection with the ideas and concepts of the avant-garde in cross-cultural interaction. The work has an interdisciplinary character, mediated by a key trajectory – the problem of the interaction of musical cultures of the East and the West. The author relies on source-based, analytical, comparative, historical and theoretical methods. Zhou Wenzhong (1923-2019) is one of the most influential and major American-Chinese composers. Despite the importance of this person, his work is still unexplored in Russian musicology, and therefore, filling this gap in the history of the development of new compositional trends in Chinese music, which marked the beginning of the phenomenon of the "New Wave" (after 1978), seems extremely relevant and important. The scientific novelty of the study is associated with the introduction into scientific use of information about the American period of Zhou Wenzhong's work – the time of his studies with Edgar Varese.

Stylistic and structural peculiarities of the sonata ”Ludus Fistula” for flute and piano by Pavel Rusu

Pavel Rusu’s creation encompasses a wide range of musical genres, ranging from symphonic and choral to chamber music – both instrumental and vocal. Stylistically, P. Rusu was attracted by the diversity of 20th-century composition on the one hand, and on the other, he was particularly interested in folklore, allowing this field to shape his individual compositional style, while his opuses were dominated by the intonation and colors of folk music. The Sonata for Flute and Piano Ludus Fistula (1984) is a concert piece that perfectly exemplifies these observations. Having never been researched or published, the Sonata will be the object of study of the present article, in which the first attempts are made to fill this gap in the historiography of national music..

Exploring the Compositional Style of Art Songs in Caccini's New Music

Exploring the Compositional Style of Art Songs in Caccini's New Music

Choosing and Assessing Vocal Repertoire: A Comparative Study of Grading Rubrics to Determine Difficulty

Abstract: An issue that voice teachers face, particularly in the early stages of their career or when encountering a unique compositional style, is determining the difficulty level of a song. Various voice pedagogues have developed grading rubrics to guide teachers in making informed repertoire decisions. Two small comparative studies of six grading rubrics were conducted in order to understand how songs are currently evaluated, what criteria are used, what the challenges are for assessing difficulty, and to determine whether or not there should be a standardized grading rubric. The utility of tailoring a rubric to a specific composer or genre is also considered.

A regularization algorithm for local key detection

In the field of music information retrieval, the detection of global key in both popular and classical music has been studied extensively, but local key detection has been studied to a lesser extent, even though modulation is an important component of compositional style. It is particularly challenging to identify key change boundaries correctly. We modeled this task as an optimization problem, that of finding out how to divide a piece into sections in different keys taking into consideration both the quality of the fit between the key and the section and the number of sections. We determined the optimal assignment of key to section using the Krumhansl–Schmuckler algorithm with a slightly modified version of the Krumhansl and Kessler key profile. We included a regularization algorithm in the formulation of our problem to balance the number of sections and avoid superfluous modulations. Using a dataset of 80 randomly chosen pieces of music in a variety of genres and levels of complexity, we compared our algorithm with a hidden Markov model (HMM) to determine which method is better for identifying local key. Our approach yielded significantly more accurate results and suggests future avenues of research.

Comparative Analysis of The First Movements in Beethoven's and Mozart's C Minor Piano Concertos

This paper compares the first movements of Beethoven's and Mozart's piano concertos in C minor, exploring the similarities and differences between these two seminal works. By examining various aspects, including the key, composition background, form, motifs, harmony, orchestral arrangements, dialogue between instruments, and piano writing, the study reveals Mozart's profound influence on Beethoven while highlighting the latter's unique innovations. The analysis delves into the significance of the C minor key for both composers, their use of the double exposition form, and the structural design of the movements. The study also investigates the composers' employment of similar motifs and materials, demonstrating how they maintained unity throughout their respective works by deriving most elements from the first exposition. Furthermore, the paper examines the intricate dialogue between the piano and the orchestra, showcasing how both composers utilized the orchestra for harmonic support, melodic enhancement, and imitative counterpoint. Particular attention is given to the way Beethoven paid homage to Mozart through his treatment of the cadenza and the coda. The comparison of piano writing reveals similarities in texture and general structure, with both composers employing arpeggios, scales, and trills as central themes, contrasted with lyrical sub-themes. However, the study also highlights Beethoven's more dramatic and extended treatment of the contrasting sections. Through this comprehensive analysis, the paper illuminates the profound influence of Mozart on Beethoven's compositional style while also showcasing the latter's innovative approach, which helped usher in a new era of musical expression at the dawn of the Romantic period.

Lingual Means of Creating Cinematic Effect in the English Literary Text

The article is devoted to the cinematic effect within a descriptive language register of the English literary text. The article reveals the essence of cinematic effect as a literary technique based on cinematographic montage composition style that is the use of certain compositional-syntactic means to create brisk, dynamic description and represent a viewer’s shifting perspective. Cinematic effect enhances the plausibility of the literary text and should be considered more than just an imitation of
 cinematographic montage techniques but rather a lingual reflection of the natural process of perception and interpretation. The article reveals the concept and characteristic features of the descriptive language register of a literary text as a model
 for representing events, where the speaker describes what is actually observed at the moment of speech through sensory experiences. The article provides a thorough analysis of linguistic means of creating a cinematic effect within the framework of the
 descriptive language register of a literary text. The special attention is paid to lingual means that manifest the perception by various modalities, and their role in creating a cinematic effect within the descriptive language register of a literary text. The author concludes that the use of the reproductive register is predefined by the genre peculiarities of the material under study, since the way of representing events within the framework of the descriptive language register is most conducive to conveying viewer’s shifting perspective, the effect of the reader's direct presence at the events described, i.e. cinematic effect

‘I am in love, I am in love, I am in looove!’: The visual economy of the Indo-Swiss-film–tourism complex around 20001

In the wake of such blockbuster films as Dilwale Dulhania Le Jayenge (DDLJ) film-related travel from India has become an important economic factor in the tourist industry in Switzerland, to the point where the luxury suite in one of the most prestigious five-star hotels in the country is now dedicated to the style and memory of pioneer producer Yash Chopra. Tracing the romance between commercial Hindi cinema and Switzerland from the 1980s to 1990s onwards, the Chopra suite in the Viktoria Jungfrau hotel in Interlaken can also be read as an indicator of an important cultural constellation: a composite style in visual and design culture.

Children’s choir in the works of Valentyna Drobiazhina

Relevance of the research topic. Music for children’s choir is represented by a significant layer in the creative heritage of Ukrainian composers. However, children’s choral music has hardly been considered in musicolo-gical research. Among the composers of the Kharkiv region, the choral works of V. Drobiazhina received special recognition. The lack of musicological research on the composer’s work has determined the relevance of this work.
 The purpose of the article is to analyze the peculiarities of the artistic aesthetics and compositional style of V. Drobiazhina’s choral music for children.
 The methodology of the theoretical analysis combines fundamental methods and approaches to modeling a holistic picture of the composer’s children’s choral heritage: genre-stylistic; functional-structural; systemic.
 The results. The first collection “Merry Songs” for junior children’s choir, was published in 1976. Jazz rhythms and harmonies, alternating recitation and singing, consonant intonation characterize this cycle. “In the Forest Workshop” is the most popular one among V. Drobiazhina’s works, and it is performed by many children’s choirs in Ukraine. The choir imitates the sounds of the winter forest and creates a premonition of spring. “Spring” is one of V. Drobiazhina’s last compositions. The artist’s extremely delicate sensual soul, passionate love for Ukraine and its musical culture are fully reflected here.
 The scientific novelty of the research. The genre-stylistic aspect of V. Drobiazhina’s choral music for children, the peculiarities of aesthetics and composer’s style are highlighted in the article for the first time.
 The practical significance of the article lies in the fact that these materials can be used in the courses “Choral Literature” and “History and Theory of Choral Performance”.
 Conclusions. Music for children’s choir is one of the most outstanding pages of V. Drobiazhina’s composi-tional heritage. The uniqueness of V. Drobiazhina’s children’s choral music lies in the combination of the extraordinary richness of the musical material with accessibility both for perception and performance. The composer’s music organically combines Ukrainian national traditions with modern means of expression.

Prelude Op.3No.2 by S.V. Rachmaninoff and prelude Op.11No.10 by A.N. Scriabin : two facets of drama

The two considered dramatic preludes were written by the young S.V. Rachmaninov and A.N. Scriabin almost at the same time, with a difference of two years. The article examines the interrelationships and features of these two plays. The basis for the joint study of these miniatures is the same tonality (C-sharp minor), one genre definition, as well as a number of similar features in imagery (drama) and in the dramatic idea (the juxtaposition of the "fatal" beginning and the pleading voice). The interrelations are manifested in form, texture, harmony, and specific compositional techniques. On the other hand, distinctive features are also studied in the form, texture, harmony, concert scale, and features of the melodic relief of these compositions. An attempt is made to substantiate the specificity of the figurative and semantic content of the plays by the peculiarities of the musical language. S.V. Rachmaninov's prelude Op.3No.2 and A.N. Scriabin's prelude Op.11 No.10 are studied by comparison. The method of sequential comparison makes it possible to study in detail the interrelationships, as well as to clearly identify the features, individuality of the figurative and semantic content and musical language of each of the miniatures. For the first time, these two famous preludes are considered in comparison with each other in detail, sequentially in the context of each part. It can be argued that preludes have a number of similar features (dramatic, compositional, textural) that have not been discussed before. As a result of the comparison, both the peculiarities of imagery and the peculiarities of musical language are highlighted in a new way. A number of these features will later, in the course of the evolution of creativity, become distinctive features of the compositional styles of each of the authors. Due to these individual characteristics, one dramatic idea is embodied in each of these preludes in its own way: the idea of contrasting and further interaction of two contrasting images - "rock" and "supplication" is embodied in each prelude in its own way. These features emphasize the difference in the nature of the drama of each of the plays. This difference is related to the individuality of the emotional, figurative, semantic content of creativity and the specifics of the aesthetic positions of the two Russian contemporary composers.

Shy One: The Songs of Rebecca Clarke

Abstract: Rebecca Clarke, 1886–1979, was a trailblazing British violist and composer. She was one of the first women to play in a professional symphony orchestra, and her compositions were exemplary, even though the press in her lifetime doubted they were written by a woman. This article provides a detailed biography of Clarke’s life, an overview of her general compositional style, pedagogical considerations for singing her music, and a closer look at eight of her strongest songs. For each song, a synopsis of the poem and musical analysis is presented, as well as details about range, tessitura, song length and suggested voice type.

Expression in the music of Andrzej Krzanowski

Abstract Despite the many research perspectives from which Andrzej Krzanowski’s music has been analyzed, so far there is no study that would attempt to interpret this work from the point of view of expression. The aim of the text is to answer the question about expression in Krzanowski’s music and his original compositional style. In the article, I refer primarily to the score (in Mieczysław Tomaszewski’s terms – the phase of musical conception). The starting point is the performing cast, with very often goes beyond the traditionally understood instruments (whistles, sirens). I am trying to find out what are the roots of using such an unusual cast and what significance it has for issue at hand. A separate place in the text is devoted to the expression of the voice as well as the influence of vocal genres (song, aria, chorale) on the instrumental music of this composer. The last issue related to the expression of the piece is the layer of verbal instructions. The number and repetition of many of them indicate how important for Krzanowski was not the recording itself, but its interpretation in performance. The analysis of Krzanowski’s scores in terms of the above-mentioned aspects ultimately leads to the conclusion that the musical choices he made resulted from the author’s autobiographical experiences, which shaped the original language of the author’s musical expression and, consequently, its type of expression.

C. P. E. Bach, Haydn and the Evolving Keyboard Idioms of the Later Eighteenth Century

AbstractThe long careers of Carl Philipp Emanuel Bach and Joseph Haydn coincided with fundamental transformations in how keyboard instruments were built and played and how composers wrote for them. Haydn's keyboard music probably saw the more profound changes in compositional style, yet C. P. E. Bach and others preceded him in discovering ways to incorporate new keyboard idioms into pieces written for new types of instruments. Bach gradually shifted from writing generic keyboard music to composing in idioms most appropriate to two-manual harpsichords, unfretted clavichords or fortepianos. Haydn likewise began writing in a generic idiom; many works that have been posited as having been meant for the clavichord cannot in fact be assigned clearly to that or any other specific instrument. Although Haydn did eventually turn to writing specifically for the fortepiano, he too made a gradual, and relatively late, transition from a generic approach to one that centred on the grand fortepianos of the late eighteenth century. Bach's influence on Haydn is inseparable from the matter of the keyboard instruments. Although the precise nature and extent of Bach's influence cannot be determined, compositional elements derived by Haydn from Bach's music range from superficial thematic and notational parallelisms to fundamental conceptions of what keyboard music could be or could express.

CellT-Net: A Composite Transformer Method for 2-D Cell Instance Segmentation.

Cell instance segmentation (CIS) via light microscopy and artificial intelligence (AI) is essential to cell and gene therapy-based health care management, which offers the hope of revolutionary health care. An effective CIS method can help clinicians to diagnose neurological disorders and quantify how well these deadly disorders respond to treatment. To address the CIS task challenged by dataset characteristics such as irregular morphology, variation in sizes, cell adhesion, and obscure contours, we propose a novel deep learning model named CellT-Net to actualize effective cell instance segmentation. In particular, the Swin transformer (Swin-T) is used as the basic model to construct the CellT-Net backbone, as the self-attention mechanism can adaptively focus on useful image regions while suppressing irrelevant background information. Moreover, CellT-Net incorporating Swin-T constructs a hierarchical representation and generates multi-scale feature maps that are suitable for detecting and segmenting cells at different scales. A novel composite style named cross-level composition (CLC) is proposed to build composite connections between identical Swin-T models in the CellT-Net backbone and generate more representational features. The earth mover's distance (EMD) loss and binary cross entropy loss are used to train CellT-Net and actualize the precise segmentation of overlapped cells. The LiveCELL and Sartorius datasets are utilized to validate the model effectiveness, and the results demonstrate that CellT-Net can achieve better model performance for dealing with the challenges arising from the characteristics of cell datasets than state-of-the-art models.