Subject Material Research Articles

Втілення концепту мистецького образу Кобзаря

The article deals with the possibilities of representation of an artistic image with the help of computer technologies, which is implemented in the scenario of a musical and theatrical miniature dedicated to the representation of the concept of T. Shevchenko’s work. The artistic image of Kobzar created by multimedia is interpreted as a character in action, which directly complements other – real – participants. The literary and musical canvas of the action was the poet’s song samples selected in order to reproduce the typical features of the Ukrainian worldview with dominant accents of the lyrics. In addition to the classical means of theatrical drama, the organization of the artistic material in action was significantly influenced by the peculiarities of the drama of the cinema and the drama of musical genres with constructive elements of musical forms. In particular, the determination of the dynamic cross-cutting final section by the smooth “flowing” of simple “song forms” caused crescendo type deployment of thematic material. One of the dramaturgical “accent” was the creation of conditional-simultaneous action, hidden (“horizontal”) scenic two-dimensionality in “small” cyclical “contexts” of relatively closed musical formations and the final culminating “descent into the epicenter” of all previous figurative and thematic lines according to the principle “lyrical cinema” with a dramatic ending. In the created artistic continuum, the “temporal equivalents” of the past-present-future are “baroque intertwined” in a single artistic plane based on a single complementary whole emerges. Moreover, the mental picture of the spiritual existence of Ukrainians is generally represented. The experience of the integrated application of computer technologies in the development of an idea, scenario and their implementation in an artistic event based on the Lviv Krushelnytska State Music Lyceum can be successfully extrapolated to art projects of humanitarian disciplines of general secondary and specialized art education institutions. We believe that despite the philosophical undertones of the action, enhanced by its staging, its implementation is within the reach of both primary and  secondary school students.  

The Ethics of Unmeaning: Noise and the Non-inscribable Slave Voice

The Ethics of Unmeaning: Noise and the Non-inscribable Slave Voice Edward Piñuelas In the nexus of literature from within chattel slavery, music has provided scholars of various slave traditions a potent material for reading the influences of enslavement on everyday life in bondage, as well as the remnants of that life in contemporary culture. It was slave music that caused W. E. B. Du Bois to “set a phrase, a haunting echo of these weird old songs in which the soul of the black slave spoke to men” (536), and provided Frederick Douglass “[his] first glimmering conception of the dehumanizing character of slavery” (51). In short, the music of the enslaved and their immediate descendants has provided a window into aspects of the experiences of enslaved people not easily communicated through written testimony, as well as a medium for expressing Black subjectivities in ways denied by the mechanisms of racial slavery. This is especially true in the United States, where the work song and the spiritual have come to form their own genre of literature, offering expressive traditions that exceeded and often resisted those of the master class. These traditions have served as the fundamental building blocks of culture and civil society throughout the United States and have been essential to freedom struggles and political organization since slavery’s abolition. Shana L. Redmond’s recent work on Black music in social and political movements within the Diaspora provides a poignant example of how the spiritual provided postbellum movements with the rhythmic and thematic material to mobilize African American laborers and community organizations (Anthem 146–47). This turn to Black music as a political object began in the antebellum period, when abolitionists pointed to the music and songs of enslaved communities, particularly western religious hymns and spirituals, as evidence of slaveholders’ failing attempts to dehumanize their captives. [End Page 161] Ironically, the very music used by abolitionists to condemn the peculiar institution provided the slaveholding class evidence of its uplifting, indeed humanizing, effects. Many supporters of slavery heard in work songs signs of contentment and in religious songs signs of salvation. As Roger D. Abrahams explains in his historical account of slave music in the antebellum South, “[s]inging and dancing were regarded as signs of happiness, in spite of the fact that many whites could understand that the songs were often about the agonies of separation and alienation” (xix). These interpretations were more than mere misreadings of the often veiled expressions of sadness and resentment among enslaved singers, more than mere selective understandings that sought to confirm biases and assumptions already in place. They resulted from a mode of listening that sought to make meaning of a foreign, though familiar, phenomenon by relating it to assumptions common among members of the master class. In seeking to abstract from the material elements of slave music—the ephemeral, physical, and spatial phenomena of sounding and hearing—slavery’s advocates resorted to discursive practices contingent upon a disembodied, interchangeable, exchangeable enslaved body, a body that does not mark its domain with sound, but communicates only as sign. This reliance on exchangeability and reified value echoes what Saidiya V. Hartman notably identifies as the “fungibility” of the enslaved, the “joy made possible by virtue of the replaceability and interchangeability endemic to the commodity” (21). Faced with a material form of which they were neither the catalyst nor the prescribers, slaveowners and slavery’s supporters often described the music of the enslaved according to narrative frameworks based on this fungibility, not unlike those used for interpreting slave value, productivity, and soundness. These frameworks fundamentally disembodied enslaved voices so as to provide members of the master class a grammar of slave sound. In the process of figuring African American voices through the mechanics of fungibility, these proslavery depictions of Black voices likewise figured an antebellum southern soundscape loaded with numerous cultural and social values meant to buttress the moral argument in favor of the peculiar institution. While opponents of slavery sought to correct the misreadings produced by this body of proslavery literature, I argue here that even in seeking to assign enslaved voices alternative meanings, meanings that [End Page 162] were themselves salvos...

Rhythmical and Thematic Structures in the Croatian Church Slavic Life of Saint Wenceslaus

The first Slavic version of the mediaeval Life of St Wenceslaus (FSL) offers myriad opportunities for scholarly research on a number of levels, rhetorical, stylistic and thematic. The current article seeks to coordinate an understanding of how the formal rhythmical structures of the vita enhance the work’s thematic material. In this regard it is shown that the FSL is composed in rhythmically structured prose as described in R. Picchio’s theory of the isocolic principle and that the rhythmical patterns of the texts play a significant role in both enhancing the oral performance aspects of the work and, in turn, in highlighting the work’s themes and messages. Including both the exposition of Wenceslaus as a good and saintly prince and martyr, and the implied exhortation to the listeners to follow the example of Christian behaviour, these theologically oriented and biblically inspired leitmotifs are skilfully applied to the events of Wenceslaus’ pious life. From the rhetorical and compositional point of view it is shown that the interplay of isocolic rhythms with their contrasting patterns enhances the presentation of the themes through artistic juxtapositions and contrasts, parallels, disjunctions, and similar rhetorical devices. It is concluded that contrary to some assessments of the FSL as a somewhat ‘primitive’ composition, the Life is an artistic complex of Christian themes and motifs, artfully presented.

CADENZA IN SOLO-ORCHESTRAL CONCERTO AT THE INTERSECTION OF SCHOLARLY VIEWS

Statement of the problem. Studying of research literature proves that the scholars express different opinions on typical traits of cadenza. Even though there are occasional coincidences in the meaning, it does not contribute to creation of universally accepted viewpoint on cadenza. Thus, a need arises to systemize views on cadenza and to generalize its semantical field. The purpose of the article is to reveal the nature of cadenza in solo-orchestral concerto by examination of modern scholarly views on this phenomenon. This problem caused the choice of such methods of research as axiological, statistic and comparative ones. Results and discussion. Even though cadenza is one of distinctive attributes of solo-orchestral concerto, there are some types, in which cadenza either does not become an important factor of compositionallydramaturgical process or is simply absent. In dominantly-solo type of concerto, marked by accentuation of virtuoso solo side, typical features of cadenza almost dissolve in general context of the work influencing the whole communicative process. Conversely, in a “parity concerto” (a term coined by I.Kuznetsov) cadenza becomes a concentrated expression of the very idea of solo performance contrasting to orchestral forces, thus contributing to preserving of genre qualities, which is especially needed in cases when concerto moves towards symphony. Such different types of cadenza’s “behaviour” predetermine the character of its connection to the whole work as it seems to be necessary, but in fact it is not strictly defined. This “self-sufficiency” of cadenza causes instability of its form and content revealed in historical projections and individual artistic conceptions. Thus, there are two types of reasons causing scientific polemics on defining essential and attributive traits of cadenza: objective ones, caused by necessity to adapt, and subjective ones, coming from cadenza’s nature itself. There are different opinions on such seemingly obvious trait of cadenza as improvisatory character. For instance, A. Merkulov believes that cadenza used to be improvised just in front of the audience is a myth, as he studied sheet music (including cadenzas) and documents belonging to the era of concerto’s formation, and these sources indicate that cadenzas were created either by the author of the concerto himself, or by other composers, or by the performer, who had composed the cadenza for the upcoming performance beforehand and memorized it. Furthermore, the scholar discovered collections of cadenzas recommended for the performer, so a latter even had the right of choice. These facts cause the scholars to distinguish between improvisation as a way of spontaneous creation of music and improvisatory nature as a trait of thematic material and a way of its presentation (E. Shlykova). The same applies to other sides of cadenza. The scholars propose to differentiate cadenza in historical perspective between: Baroque cadenza (element of imrovisatory culture), Classicistic (based on sonatasymphonic development) and Romantic, approaching a monological saying (E. Fomenko). On the other hand, throughout its history cadenza retained traits of Baroque, Classicistic and Romantic types, which has been shown by M. Bondarenko on the example of numerous XIX century cadenzas. All abovementioned allowed E. Denisov to regard a cadenza as a mobile part of a concerto, due to its endless metamorphoses. On the premise of numerous viewpoints on cadenza this article proposes a set of parameters by which it is possible to present it as a specific type of integrity: authorship, musical content, compositional logics, way of existence, place and function in the compositionallydramaturgic process. In the future, this complex can serve as a tool of analysis in the study of the phenomenon of cadenza of solo orchestral concerto on specific musical material.

Authentic Social-Cultural Reading in Foreign Language Learning and Teaching

The paper concerns the use of authentic social-cultural reading materials in foreign language learning and teaching of international students. The study was started from the assumption that authentic materials allow international students to link mastering a foreign language and the real world since they meet learners’ needs and contribute to better social adaptation in a foreign country. The purpose of the article is to characterize the place and role of work with authentic social-cultural reading materials in foreign language learning and teaching of international students. The theoretical and mixed methods were used to achieve the purpose. The study was conducted with first-year international students of different faculties of SNAU. In the context of the mixed method both quantitative (numerical) data from questionnaire (in the middle of the semester) and qualitative (namely students’ comments, observation and analysis of students’ activity during foreign language classes, monitoring the students’ reaction to the use of authentic reading materials from different sources (printed mass media, TV, Internet) throughout the semester were gathered and processed to bring the results together in the overall interpretation. Conclusions: the outcomes demonstrate that international students consider authentic social-cultural reading worthwhile and see more potential advantages in work with them than constraints. International students support using different thematic materials from personal contexts (family life and habits) to public ones (country’s traditions and events). The benefits of using them also include a possibility for enhancing reading skills, acquisition of the language and reality of the foreign country, better students’ social adaptation, and motivation to learning.

The “Wild Beauty” of Brahms’s Rhapsodies, Op. 79. Structural Analysis and Comparative Analysis of Performances

"The present paper focuses on the Two Rhapsodies, Op. 79 which, along with Op. 119 No. 4, form the triad of Brahms’s rhapsodies for piano. Devised according to the ancient notion of the rhapsody, with the development of the epic tension, these works evoke the “Charites and the Heroes”, following the technical and compositional patterns laid out in the piano miniatures in Op. 76, at the same time, recalling the ideas that lay at the basis of the Ballads Op. 10. In the first part of the paper, aspects regarding the analysis of the structure are revealed, the aim of the research being the disclosure of the constituting structure, which will inspire the performing artist to convey and reveal the composer’s intentions. A system of structural ramification has been made, starting from the overall image to the smallest details, represented in tables that contain the following aspects: structure, main structural elements, thematic material, tonal scheme. Within the analysis, the harmonic and rhythmic dimensions will be indicated as well. The second objective of the research concerns three important renditions of pianists Radu Lupu, Martha Argerich, and Murray Perahia – three distinct conceptions regarding the performance, the style, and technique as well. Elements pertaining to the following dimensions will be observed: agogic accents and dynamics, phrasing, tempo, faithfulness towards the score, the identification of attack techniques, touch of the keys, and use of pedals, along with the resulting sonority and the semantic connotations of the sound. Keywords: Brahms, piano, Rhapsodies Op. 79, structural analysis, comparative analysis "

PENGEMBANGAN SUMBER BELAJAR DENGAN TEKNIK DESAIN E-BOOK

Research based on E-book learning resources is the studies that can add skills and insight in increasing teacher potential. Based on the needs analysis of MI Sunan Pandanaran teachers who need research related to increasing ability, creativity and skills to develop learning media for students. The development of learning resources for students based on E-books is considered appropriate and directly related to the student learning process which is carried out offline and online. The research methods used include demonstration, discussion, assignment, simulation, and documentation of product results. The results showed that the teacher had the skills to explore learning in the classroom with innovative learning media and technology. Research on learning resource design skills is able to add teacher innovation to be used as learning ideas that are tailored to the characteristics of children, as well as create scientific works in the form of art reports as an increase in teacher competence. The work of E-book based learning resources is expected to be an interesting form of learning and according to the characteristics of thematic material for student education at MI Suanan Pandanaran. Keywords: learning resource media, E-book, potential development

Translation and/as simulation: first attempts at imitating James Joyce’s Ulysses in Hong Kong, 1960-1963

Imitations of texts of foreign origin, as a form of cross-cultural rewriting, are of considerable interest to literary comparatists, though much of this interest has been targeted at the transference of thematic material. The concept of influence becomes incurably vague in many accounts of Chinese imitations of Western literature, for instance, precisely because the ‘textual’ links are neglected. The author believes that translation studies can help throw some light on what influence is all about, in ways that comparative literary studies has not. The present article focuses specifically on three Chinese imitations of Joyce ’s Ulyssesfrom the early 1960s, all published in Hong Kong. The styles and strategies of these imitations are contrasted with those of one translation of the “Hades” episode from 1960. In the conclu-sion, an attempt is made to address the different conceptualizations of imitation in China and the West, and to justify the inclusion of imitations as a viable object of investigation in translation studies.

Semantic Properties of the Rhythmic and Modal-Intonational Elements of Folkloric Origin in the Piano Creations of the Composers from the Republic of Moldova

The national character of piano pieces written by composers of the Republic of Moldova, its means and forms of expression are a recurring topic in the analysis of autochthonous piano repertoire. From this standpoint, the present study reviews some piano pieces by Moldovan composers that have become a part of concert and pedagogical repertoire. Bearing in mind the varied character of approaches to folklore in the autochthonous piano works, the author identifies the main tendencies in the development of musical language of Moldovan composers and characterizes their attitude towards the folk base of musical material. Factual basis for the review of particularities of thematic material is included in the article in the form of music score excerpts, selected according to the methodologies generally accepted in musicology and ethnomusicology. In the analysis of character and tempo, a distinction is made between cantilena and virtuoso pieces: it is shown that while cantilena pieces have a close connection to the genre of doina, the virtuoso ones are inspired by Moldovan folk dances. The author also underlines that the style originality of the works reviewed in the article stems mainly from the folk elements that have impregnated naturally in their language, becoming an inherent component of musical canvas.

DEVELOPING INTEGRATIVE THEMATIC MATERIALS BASED ON LOCAL WISDOM ON SCIENCE SUBJECT OF THEME 3, HEALTHY FOOD, AT GRADE V

The objectives of this study were 1) to analyze teachers’ input to develop Integrated Thematic Materials Based on Local Wisdom on Science subject Theme 3: Healthy Food, for Grade 5 Elementary School, 2) to find out how to prepare Integrated Thematic Materials Based on Local Wisdom for Science subject Theme 3: Healthy Food, for Grade 5 Elementary School , and 3) to reveal the effectiveness of the Integrated Thematic Materials Based on Local Wisdom on Science Subject Theme 3: Healthy Food, for Grade 5 Elementary School. This research was Research and Development (R & D) adapted from Sugiyono including ten steps. The validation of teaching materials wascarried out by proficient material experts and media experts. The results showed that the products in this development research were declared feasible and effective to be used as supporting teaching materials for grade V. The feasibility of this thematic module product was based on the validation results of material experts which obtained a total score of 73 in very good category and the results of validation by media experts which obtained a total score of 116 in very good category. The feasibility of the thematic module product was also strengthened by the results of the effectiveness test (N-Gain) on the product trial which obtained a score of 85.2968 or 85.30% in effective category for the experimental class, and the effectiveness test (N-Gain) on the trial which obtained a score of 88, 5386 or 88.54% with the effective category.

The Implementation of Project-Based Learning in Pilot Project Elementary Schools in Banyumas District

This descriptive research examines the tendency of teachers in implementing project-based learning on thematic materials in pilot project schools of the 2013 curriculum. This research aims to describe: 1) the types of product produced in the implementation of project-based learning, 2) the realization of student's involvement in the implementation of project-based learning, 3) the student's skills in the implementation of project-based learning; 4) the assessment instruments used by teachers in the implementation of project-based learning. The result of this research shows that 1) the produced products are real objects, written reports, oral presentations, and dance. 2) the student's involvement includes seeking information, exploring information and data, creating products, sharing, and only two teachers involved the students on solving problems. 3) several skills given to the students are the use of material, collaboration and cooperation, oral and written communication, technology mastery, and there were two teachers who provided critical thinking skill. The assessment instruments used were: product-oriented performance-based assessment, practice-oriented performance-based assessment, and there were two teachers who used exhibition. No teachers applied Journal assessment. Based on the result of the research, it can be concluded that the tendency of teachers on the implementation of project-based learning in elementary school level has not provided the critical thinking skill and complex problems.

Mastering the content and aspect terminology of the French language on the basis of co-working with students of materials for distant content

Introduction. The relevance of the research is determined by the demand for the development of new content of training programs, including through the creation of educational and control materials based on them together with students in the process of mastering theoretical grammar. The purpose of the article is to optimize the process of teaching theoretical language disciplines using the capabilities of electronic resources, as well as to develop students' skills to create control and measurement materials, including those based on electronic constructors/products. Materials and methods. The study involved 45 students of the French-English department of the Faculty of Foreign Languages of the Bryansk State University in 2015/2016/2017. The dynamics of learning outcomes in the course of step-by-step training was established both on the basis of a subjective assessment of students ' responses by the teacher (I and II training models), and on the basis of electronic reports and training program schedules reflecting the assessments of subjects in different ranges (III training model). The results of the study. It is established that the interactive version of the study of thematic material in the electronic learning system (ESO) in the organizational mode "student – task co-developer" (model III-the creation of interactive tasks by students based on lecture material) is characterized by a fairly high level of indicators: 100% coverage of subjects and almost the same indicator of independence in the process of completing tasks. In accordance with the electronic reporting provided by the graphic material, 95-100% of the subjects have good and excellent indicators (4.5/5 – on a five-point scale; 8.5/10-on a ten-point scale). Discussion and conclusion. The peculiarities of mastering theoretical grammar on the basis of interactive resources of training programs can be taken into account by other researchers in the field of methods of teaching theoretical disciplines. In the future, the study of this topic can be continued in collaboration with developers of electronic products for philologists.

Creative Unions in the Process of Cultural Creation of Civil Society

The purpose of the article is to analyze the factual and practical experience of creative unions of Ukraine in the context of cultural creation of civil society. Methodology. General scientific methods of analysis, synthesis, generalization, induction, deduction allow to present the material in their cultural and historical integrity, to outline the features of the functioning of creative unions and to trace their impact on the development of civil society. The study of cultural mode is based on the use of the phenomenological method. Scientific novelty is to highlight the cultural aspect of the activities of creative unions for the development of civil society. The research can be used by creative unions in planning, implementation of cultural and artistic projects, development of thematic scientific and methodological materials, as well as in reading cultural disciplines in higher education. Conclusions. Factual and practical material on the activities of creative unions in Ukraine exists in a separate, non-systematic manner. Creative unions are basically charged with a cultural approach to the search for and implementation of modern projects, which are mostly clustered in nature. The cultural mode of creative projects, combining content and form with their aesthetic and artistic reproduction of reality, value-semantic dominants, innovative discoveries, identity, are decisive in the development of civil society.

Webs of Meaning in John Corigliano’s Tarantellas

Abstract The final movement of John Corigliano’s Gazebo Dances (1972)—a light-hearted suite for two pianos—and the second movement of his Symphony No. 1 (1988)—dedicated to friends lost to AIDS—use the same tarantella refrain as their main thematic material, revealing opposing associations possible with tarantellas. Corigliano’s earlier work exemplifies the witty virtuosity of what I describe as a “humorous” tarantella, while the later work forefronts associations with mental illness and death in what I describe as a “crisis” tarantella. The symphonic movement conveys a process of thematic disintegration that resonates with theories of narrative and irony.

Musical Totem: A Collaborative Composition Methodology During the Covid-19 Pandemic

As part of the Action Research Network of the Americas, the Musical Learning Community is a collaborative group, founded during the COVID-19 global pandemic, that has brought together musicians, artists, and educators to generate shared experiences. As members of this community, we explore new ways for collaborative music-making. Through creative, cultural, and conceptual influences, the idea of the Musical Totem emerged as a collaborative music composition methodology to transcend geographical distancing. We sought interpretative freedom by adopting methods of the surrealist technique Cadavre Exquis (Exquisite Corpse) while relying on the rich concept of totems to find thematic material and set compositional parameters. The process was carried out using arts-based and autoethnographic research approaches, which provided insights into our creative musical responses and remote collaborative working processes. This endeavor showed us that symbolism can provide compositional and performative challenges and that, as a methodology, the Musical Totem can create freedom and constraints depending on the musician, the conceptual influences, and the instrumentation. We also learned that engaging in a collaborative music-making process led to increased community bonding through shared creative expression.

A model of large-scale thematic structure

The coherent organisation of thematic material into large-scale structures within a composition is an important concept in both traditional and cognitive theories of music. However, empirical evidence supporting their perception is scarce. Providing a more nuanced approach, this paper introduces a computational model of hypothesised cognitive mechanisms underlying perception of large-scale thematic structure. Repetition detection based on statistical learning forms the model's foundation, hypothesising that predictability arising from repetition creates perceived thematic coherence. Measures are produced that characterise structural properties of a corpus of 623 monophonic compositions. Exploratory analysis reveals the extent to which these measures vary systematically and independently.

Discovering music cryptograms in the works of Viorel Munteanu through computer aided methods

Abstract This analytical approach aims to demonstrate the connection between music and technology in the creation of composer Viorel Munteanu. The purpose of this paper is to identify and analyse the music cryptograms in Symphony No. 1 “Glossa” using digital analysis tools. Viorel Munteanu is a modern composer characterised by avangardist tendencies, but with a desire to revive the past. In his creations, the composer uses folkloric themes and byzantine chant, while evoking important personalities of Romanian culture. In Symphony No. 1 “Glossa”, Munteanu uses the music cryptogram of poet Mihai Eminescu and composer George Enescu, these structures being used as thematic material and cyclic motifs. For graphical illustration of the music cryptograms we used the digital library LibRosa and for the identification process we use a musical software which identifies these structures in a MIDI score. Also, we would be analysing the cryptograms’ functions, rhetorics and aspects influencing the form and genre of the symphony.

Classical “non-classical” metodology of analysis by M. D. Tits (to upcoming 125th birthday of the scholar)

Background. The goal of given article is to reveal methodology of M. D. Tits’s analysis on the premise of textbook “About thematic and compositional structure of musical pieces” (1972), to comprehend uniqueness, innovation and research value of some theoretical postulates in his approach to analysis of a melody, to typology of themes, thematic development and period. The study of the methodology of Tits’s analysis was not the subject of a special study. This is the scientific novelty of the proposed article. Conclusions. Textbook “About thematic and compositional structure of musical pieces” is a synthesis between a textbook and scholar research. It is founded on non-classical methodology of analysis of musical work, supposing start of the course not from basic elements of musical language, but from complex holistic phenomena of melody, themes, period. M. D. Tits’s methodology might be seen as some sort of resistance to analysis of abstract, dogmatic superficial approach. Non-classical methodological approach on the new level and in conditions of a new genre (textbook) continues tradition of classical analysis, founded by E. Kurt, B. Asafyev, M. Arkadyev, regarding process of musical form, as well as connected with another researchers of energetic and intonational essence of music. M. D. Tits’s textbook showed new level of theoretical generalization due to encyclopaedical knowledge of the author. The course embraces different eras, styles, genres, compositional techniques. M. D. Tits’s approach to melody, unlike one of L. A. Mazel, is mainly a teaching on melodical movement, where it is not notes that are important, but the movements from one tone to another, connections between sounds, inside the pauses. This analysis supposes unique results as it embraces intuitive and sensual comprehension of melodic process. The textbook contains valuable thought about diversity of forms of thematic material. M. D. Tits distinguished three main types of themes, introduced concept of “thematic nucleus” on thematicism. M. D. Tits suggested the most comprehensive classification of four main principles of thematic development, without contradictions between levels of motives and themes; without terminology burdened by connotations with defined musical forms. M. D. Tits developed classification of period on the basis of structural and thematic factors. He introduced period of “unfolding” type, with its variants reaching outside the baroque era. We must state that this article outlines the most basic moments of M. D. Tits’s methodology of analysis in his textbook. However, the significance if the theoretic scholar for analysis and practice is much bigger and can not be limited to these postulates.

Chopinian Particularities in Piano’s Sonata op. 58

The paper herein highlights those aspects of Chopin’s Piano Sonata Op.58 that demonstrate the strong connection with the classical-type sonata, its significance and the evolution of expression. Chopin’s Third Piano Sonata, Op.58 is the largest solo work of his late period. Chopin’s successful combination of the Classical and the Romantic aesthetic, results in an effective balancing of structural integrity and emotional fulfilment. Every moment of Op.58 possesses qualities of movements in a traditional sonata cycle; however, the tendency to blend structural elements, the expansion of thematic material and the postponement of climaxes contribute to Chopin’s distinctive treatment of the sonata genre style include blurring of genres, complex use of chromaticism, intricacy of counterpoint, textural and thematic variety

ASSOCIATIVITY AS A FORMATION SOURCE OF A MUSICAL COMPOSITION EDITING FORM OF THE SECOND HALF OF THE 20TH CENTURY

The object of the research in this article is associativity as a characteristic feature of 20th century art. The nature, the role of the association in the work of artistic thinking, the principles of its functioning are considered. The subject of the research is the editing form of a musical work of the second half of the 20th century. Particular attention in the article is paid to the consideration of such an important factor influencing the formation of a stable associative connection as repetition. At the same time, it is specified that repetition is caused by a specific life situation. This repetition forms a chain of associations that create an integral content space of a musical work. The work uses general scientific research methods in the framework of comparative and logical analysis, including generalizations and comparisons. The work is based on the analytical method and has a systemic interdisciplinary nature as well. In revealing the specifics of the installation form, the author of the article turns to the theory of compositional ellipsis V. Bobrovsky. The main conclusion of the study is that the importance of associativity in the work of Russian composers in the second half of the 20th century is increasing, reaching the status of a characteristic feature of artistic thinking. The process of expanding associativity manifested itself, in particular, in the emergence in musical creativity of a new type of form creation - editing. The analysis revealed the features inherent in the montage type of construction of a work of art. This is the dismemberment of thematic material, the syntactic isolation of thematic structures, the organization of the form «from the end», the internal unity of the mosaic structure, and others. The novelty of this research lies in the fact that for the first time associativity is considered as a source of montage shaping, in the choice of research methodology, as well as in the identification of special features of the composition, manifested in the conditions of montage drama.