Traditional Genres Research Articles

"Genre Tradition as an Artistic Category (On the Example of Ukrainian Organ Music of the Late XX – Early XXI Century)"

"Some peculiarities of genre tradition as an artistic category are considered (based on the example of a modern Ukrainian pipe organ music). It was found out that the transformation of the genres are natural process, that directed to preservate the constant traits, that are considered as genre tradition. It has been proved that in Ukrainian organ music European genre traditions are such a set of genre characteristics, that sprout in new organ pieces and reflect the total “organ experience” of European composers. Genre traditions of organ music have external and internal aspects, that come out on structural and functional-dynamic levels. Due to this, genre can be presented as dialectic sum of unchangeable and changeable features. It was revealed that considering the genre tradition as a constant category it can be characterized in three pair of attributes – cult and secular, retrospective and perspective, national and international. The infusion of the primary genre in new minds is accompanied by a waste of power and real contextual links, which are saved in the memory of the genre and are manifested by composers in form of allusions. The embodiment of ancient organ music genre traditions in the new conditions is accompanied by the loss of its real contextual connections and intensification of association links. Considering genre tradition as a dynamic fenomena of European organ art we identificate three types of genre traditions’ interaction – interference, interpolation and inclusion. These ways ensure the productive prolongation of genres in the conditions of modern organ music creativity. The prospects of research of genre tradition as artistic category open ways to the comprehension of the modern musiс’s principles. Keywords: genre, tradition, genre tradition, genre adaptation, organ music, Ukrainian music, modern academical music "

Choral Music by Samuel Barber: Genre and Style Aspects

"The article is devoted to the research of choral music by Samuel Barber who was a 20th-century American composer. The research is carried out in terms of its genre and style diversity. It represents the historical stages of turning to choral art. The compositions are differentiated by voice composition into a cappella choirs and choirs with instrumental accompaniment. The orchestral scores are analyzed through the interaction of the poetic text and musical intonation taken into consideration. The figurative and semantic shades of religious and secular origin poems are discovered, the relationship between the music and ancient genres is revealed: Gregorian monodies, antiphons, plain chants, motets, madrigals, Easter hymns. The substantive music aspects are researched as projected on the historical genesis and synthesis of stylistic phenomena of different nature. It is researched how much the elements of medieval, renaissance, baroque, romantic and modern musical vocabulary influence the integral system of choral composition artistic means. Keywords: choral music, Samuel Barber, genre traditions, style aspects, chants, motets, madrigals. "

Genre Evolution of the Psalm and Ecclesiastical Miniature

"The article deals with the evolutionary processes of development of psalm and ecclesiastical miniature genres in choral music from the Renaissance to the present. It has been found that the wide possibilities of creating liturgical and non-church, concert and stage spiritual works gave the way to the enrichment of canonical канонічних principles of such traditional genre models as psalm and ecclesiastical miniature with individual stylistic features. Accordingly, gaining more and more popularity in church and secular music practice, psalms and ecclesiastical (prayer) miniatures have acquired nmiew qualities – canonical flexibility, genre mobility, openness to style and stylistic syntheses and authorial individualization in both textual and much more in musical aspects. The research methodology is based on historical-typological, genre-stylistic, and analytical methods. The historical-typological method relates to the problems of historical evolution of psalm and ecclesiastical miniature genre models, genre-stylistic and analytical methods allow to come to reasonable conclusions about the peculiarities of prayer texts in choral compositions created by modern Ukrainian composers. Traditions of Ukrainian spiritual music and at the same time the modern tendencies of the musical language are brightly shown in choral compositions. It is noted that the level of correlation between traditional and innovative referrence to psalm and ecclesiastical miniature genre models is determined by the individual creative approach of a certain composer, which requires making references to ecclesiastical texts and creating unique motets on their basis. Keywords: choral genres, psalm genre model, ecclesiastical (prayer) miniature, Ukrainian choral music, canonical texts. "

EKPHRASIS AS MEMORY SPACE IN M. PROUST’s “PORTRAITS DE PEINTRES”

The article considers ekphrasis as one of the ways to create visual images in M. Proust’s “Portraits de Peintres”. The relevance of the research is resulted from arising interest to the phenomenon of literary visuality as well as the absence of specialised works devoted to the early lyric cycle of French modernist. The purpose of the article is to analyse devices of intersemiotic translation from a visual impression into a verbal description. Despite the full neglect on the part his contemporaries and researchers’ scepticism to Proust’s sole lyric cycle, this early experience contains, in our view, a repertoire of Proust’s recurring images and motifs. Artistic discourse of “Portraits de Peintres” refers, at a minimum, to three artistic codes: traditional genres of painting, literary ekphrasis, musical illustration. M.Proust combines the details of several paintings in his description, thus creating a text-puzzle, in which recognisable objects and the sequence of their appearance represent the manner of an artist and/or the style of an epoch in the mind of a recipient. Ekphrasis does not refer to the particular painting but to the genre image: “rural landscape” (Cuyp), “elegiac landscape” (Potter), “ceremonial portrait” (Van Dyck), “theatre scenery” (Watteau). They correspond to four literary models: idyll (Cuyp), lamentation (Potter), panegyric (Van Dyck), madrigal (Watteau). “Portraits de Peintres” gave rise to the layering typical for “later” Proust, when each time the text encourages to guess the new source of the “quotation”: symbolic landscape of the Dutch art, “portrait gallery” of great artists, emblematic puzzle image. The analysis of visuality in Proust’s cycle allows to assume that his Ekphrasis is not oriented to an individual artwork but to a text corpus even if the object of imitation comprises the individual style.

An Analysis of the Influence of Ancient Chinese Frescoes on Modern Traditional Chinese Realistic Painting

Ancient Chinese fresco painting has a long history and is one of the important art forms of traditional Chinese painting. As a traditional genre of painting in China, traditional Chinese realistic painting has always adhered to the spirit of the times. This paper examines the relationship between ancient Chinese fresco painting and modern Chinese realistic painting, summarising the artistic characteristics of ancient Chinese fresco painting from three perspectives: composition, materials, technique and style, and exploring the inheritance and development of modern Chinese realistic painting on ancient Chinese fresco painting.

The Skin of Our Teeth, PlayMakers Repertory Company, Chapel Hill, North Carolina

<i>The Skin of Our Teeth</i>, PlayMakers Repertory Company, Chapel Hill, North Carolina

‘A Tiger’s Coming Down’: Gugak in the Metaverse

Prof. Dr. Jocelyn Clark is an assistant professor at Pai Chai University in South Korea. She has published in academic journals such as The World of Music, Asian Musicology, and Perspectives on Korean Music. Her research interests include orality, music of place, and contemporary “national music” performance practices in Korea, China, and Japan. She is engaged in long-term field research on sanjo and byeongchang, Korean traditional genres of which she is also a practitioner. She commissioned and/or premiered over 30 new works for Korean gayageum.

Orthodox Tradition in the Linguistic and Poetic Rarity of the Poem by N.A. Nekrasov “Blessed is the Gentle Poet” (to Help the Teacher of Russian Literature)

In the article, considerable attention is paid to the role of the Orthodox component in the creation of artistic images in this work, and the means of poetic expression are also comprehensively studied. The relevance is due to the fact that this poem has not yet been analyzed in terms of identifying the role of the Orthodox spiritual tradition in shaping the ideal of the poet. The goal is to study the linguistic and poetic means of the work, which serve to form the ideal of the poet, taking into account the Orthodox tradition. The novelty of the article lies in the study of these means on the basis of a cultural and dogmatic approach, the essence of which lies in the fact that the religious component is found in the relationship of the author and the characters of his works to enemies and friends, to the Motherland, people, God through the prism of the religious (Orthodox) worldview. Such an approach helps to reveal the implementation of religious and moral categories in the work of the master of the artistic word, taking into account their refraction in accordance with the author’s position. Based on the work done, the following results were obtained. It is established that the composition of the poem has an obvious antonymic character. It was revealed that the expressive background of the poem is created due to expressive tropes that carry a huge charge of generalization, as well as due to phonetic repetitions and forms of the present tense verb. It is determined that in the semantic space of the poem, thematic groups of words are in opposition and enter into mutually exclusive relationships. It is proved that the poem reflects the traditions of the hagiographical genre, expressed in asceticism, deprivation and sacrifice of a true poet. The value of the study is expressed in the possibility of applying the approach used in it to the study of poetic works of both Nekrasov himself and other Russian poets and writers, which will help to identify the switching of religious energy characteristic of the Russian soul to non-religious phenomena and objects.

О МОДУСАХ ФРАГМЕНТАРНОГО ПИСЬМА (СЕМЬ ФРАГМЕНТОВ)

I offer an ensemble of seven fragments featuring modernist and postmodernist authors who practiced fragmentary writing. Fragmented writing is seen as a way of addressing the epistemological problem of part and whole, the aesthetic architectonics of part and whole, as well as existential issues (death, end / nonfinalism). Accordingly, through the prism of modernist artists (Schwitters, Bellmer, Rilke, Mandelstam), the attitude to fragment and whole is demonstrated, which forms a special poetics of dissociation of speech, reconstruction and deconstruction of artifact body and novel character, subversion of narrative mechanisms, including problematization of visual work frame, beginning and end of narrative text. It is revealed that the destructed, fragmented image of the world is often expressed in traditional genres or exploited by stylizing and parodying them. Wittgenstein, Benjamin, Adorno and Hamacher are considered as philosophers and philologists who have chosen the form of fragment (collection of aphorisms, notes and extracts, quotations). In their modus operandi of reflection and style there is a connection with the early Romantic tradition of the fragment, according to which the fragment is both an isolated, completed short text and part of the whole (in the pragmatic sense, an ensemble of fragments; in the epistemological sense, an absolute whole). For Schlegel and Novalis the connection between the fragment and the whole was thought of as an anticipation of the whole in an infinite series of acts of reflection: the whole is unattainable, but the process is infinite. In the 20th and 21st centuries the difficulty, up to complete negation in poststructuralism, of grasping the transcendental signifier evokes a sense of melancholy and nostalgia, and provokes a utopian return to archaic, ascetic escapism. Fragmented writing thus becomes a form of reaction to the modernist acceleration of time, the instrumentalization of the mind and the alienation of the person. The review presented here is stylized in the form of notes-fragments, linked by leitmotifs and a number of ideas that allow not only the construction but also the problematization of fragmented writing.

Japanese Traditional Music: Songs of People at Work and Play by Kokusai Bunka Shinkokai

Reviewed by: Japanese Traditional Music: Songs of People at Work and Play by Kokusai Bunka Shinkokai Justin R. Hunter (bio) Japanese Traditional Music: Songs of People at Work and Play. Kokusai Bunka Shinkokai (1941). Text and translation by Naoko Terauchi. World Arbiter, 2016. One CD (77 minutes). 19 pages of notes (English), 16 pages of notes (Japanese). (CD) $15.95. Japanese Traditional Music: Songs of People at Work and Play is a compilation of music not likely heard outside of academic archives for some 80 years. In the pre– and immediate post–World War II era, many Japanese musicologists documented musics from throughout Japan in order to capture sounds thought to be in decline during those changing times. Equally important, these musicologists sought to present the unique qualities of Japanese traditional genres to the outside world. But much of this recorded material was lost or rests in archives, largely inaccessible to the general public. This CD compilation by Naoko Terauchi is a restoration project of recordings made during the 1940s, focusing on regional folk songs. As Terauchi writes, “Each song conveys a rich musical and lyrical expression closely related to local livelihoods and life styles” (7) from all over Japan. This is an extensive project compiling information and audio from the original recordings and from various archives. These recordings allow listeners to hear music of “unique historical importance and culturally valuable as a document of musical practices in traditional Japanese genres during wartime” (5). Indeed, Terauchi’s album highlights the music of commoners, not the elite musics or high art forms of urban centers, which were less at risk of loss. The folk tunes of the countryside reflect a time when the world had particular views about a militaristic nation gearing up for aggression and seeking to solidify a homogeneous and elevated position on the world stage. Terauchi’s compilation draws on the efforts of the Kokusai Bunka Shinkō- kai (KBS, International Organization for the Promotion of Culture), begun in the late 1930s. Forerunner of what is now the Japan Foundation, the KBS was created to promote cultural exchange between Japan and foreign countries. KBS produced Nihon Ongaku- shu (Album of Japanese music) as a compilation of various music genres recorded between 1941–42. Released as a 60- disc (120 sides) sound anthology arranged in five volumes, the set was intended to demonstrate the richness of Japan’s cultural practices. As Terauchi notes, [End Page 158] it is remarkable that this project was completed at all during such a turbulent time. Ethnomusicologists Tanabe Hisao (1883–1984) and Machida Kashō (1888–81)1 were part of the original project and played a major part in selecting the music included in Nihon Ongaku- shu. The original anthology included gagaku, koto, shamisen, and other elite genres as well as folk songs. The present CD, Japanese Traditional Music: Songs of People at Work and Play, includes 24 tracks of folk songs from the original Nihon Ongaku- shu that represent nearly every region of Japan. The original anthology included only Japanese music—I suppose appropriately, albeit unjustly—and omitted music of Okinawans, the Ainu, and other minority groups. Each track is provided with a detailed description in the liner notes, published in English by World Arbiter but available in Japanese on arbiterrecords.org. The notes in both English and Japanese resonate with the KBS original intent to make Japan’s culture more accessible to the world. As sources for the notes, Terauchi draws on the KBS compilation and from a few subsequent collections, including the major project by Nippon Hōsō Kyōkai (NHK), and from the collections of ethnomusicologists Tanabe and Machida. Terauchi’s rich liner notes are full of regional information and historical accounts. In a few instances she comments on the present. The source material for the liner notes, as Terauchi notes, is a compilation in itself. Track 13, Nishiryō no uta is a group of three songs from Hokkaido. It is related to herring fishing practices in the port town of Otaru and includes the song Okiage ondo, which today is widely known as Sōran- bushi. The interrelations of each track, most containing more than one song, presents a truly...

Just playing: Valera and Natasha Cherkashin

The paper outlines the game preconditions of artistic creativity of the artist Valera Cherkashin (Valery T.Cherkashenko, was born 1948 in Liptsy village, Kharkiv region, USSR) during the 1960s–1980s, as well asthe first period of his collaboration with Natasha Cherkashin (Natalia S. Polyakova, born 1958 in Damascus, Syria). From the first half of the 1960s to the 1980s, V.Cherkashin organized a number of art events in Kharkiv, using elements of Soviet and Western mass culture. Cherkashin’s artworks blur the boundaries between traditional genres and styles in the visual arts. While experimenting with the art form, Cherkashins in addition to the language of art action have been using the language of photography, of cinema, painting, graphics and video. Artists continue to create art in different media. Currently, Cherkashin’s artworks are in the collections of the leading museums and corporate collections around the world. The aim of the research is to reveal the ontological, methodological and axiological bases of Cherkashin’s artistic creativity. During the analysis the playing preconditions in Cherkashins’ creativity. Feelings of tension and joy, as well as sense of otherness are inherent in all the artistic work of the Cherkashins. V.Cherkashin creates a new conceptual meaning—the image of the “other” in the early photographic series of 1965–1966 and the image of a social outcast who is between two worlds in 1972. During Cherkashin’s play, the seriousness is eliminated, it becomes funny. The funny side of Cherkashins’ artworks is rooted in harmless nonsense. Artists turn ideological and verbal codes and images into “funny nothing”. Joyful life-affirming laughter in the Cherkashins’ works is the second “actor,” along with the ‘new plasticity.’ Biographical, conceptual, descriptive-phenomenological methods of analysis, comparative studies and hermeneutics were used during the research.

CINEMATIC CODE OF SHORT PROSE

The paper is motivated by new perspectives in expending the boundaries of the literary text analyses in the aspect of intermediality theory. The short story "Freeze-Frame" by Tatiana Belimova from the collection "Rose Jam" (2015) is examined in the context of intermedial studies. The relevance of the paper is emphasized by new attitude to the interplay between different arts. The analysed text is a bright contemporary example of the active interaction between literature and cinema, where cinema manifests itself not only in terms of subject matter and personosphere. Respectively, the key techniques of film poetics (retrospection, editing, framing, medium and close-up, detailing) are built into the structure of the traditional literary genre, presenting, at the same time, a kind of cross-genre experiment, which allows to consider Belimova's short story as a sample of film narrative. The findings support that these techniques allow to reveal new receptive and interpretive properties of the literary text and to study in depth the specifics of the "intermedial vision" of the writer.

Alexander Ryndin's 104 Psalm: the Problem of Expression of the Author's Will Within the Canon

The article considers the 104th Psalm from the all-night vigil cycle, dedicated to the memory of the father of Astrakhan composer Alexander Ryndin, who has a rich experience in church singing and the practice of composing on canonical liturgical texts. Biographical information about the composer and facts explaining the address to the composition on canonical liturgical texts are introduced into scientific use. The analysis uses an interdisciplinary approach to the study of the text, characteristic of liturgical musicology. It combines the actual musicological analysis and interpretation of the liturgical text in the traditions of Russian liturgy (from M.Skaballanovich’s point of view). Choral timbrization (differentiation of voices within the group) techniques, opposition and comparison of different choir groups were found in the psalm. Attention is focused on the stylistic reference point in the rules of church singing in the harmonisation of F.Lvov, a composer of classical-romantic style, not alien to sentimental notes. The principles of stylisation in the spirit of Old Russian chant arrangements, to the traditions of which the author also adheres, by composers of the new Moscow school are considered. The need to determine the measure of the author's will within the framework of the liturgical-singing canon, and the correspondence to the prayer states, characteristic of the evening service, are indicated. It is noted that taking into account their own auditory experience of perceiving other authors’ chants, the composer follows, first of all, the musical patterns of composition development. In this case, the original personal component significantly pushes the boundaries of the existing liturgical canon. A review of the methods by which it is possible to study original works on canonical liturgical texts is also carried out. The problem of secularisation, to which the traditional genres of Orthodox worship are subjected, is touched upon. It is associated with the renewal of the means of musical expression of choral music.

LETTER FROM THE EDITOR

LETTER FROM THE EDITOR

Genre Strategy of Modern Russian-Language Poetry in Kazakhstan

At the end of the 20th century, the poetry of Kazakhstan made a great stride forward, which can be compared with the ideas of the cultural revolution. Unlike Russian poetry being changed throughout the 20th century, Kazakh poetry has made a breakthrough in its development only for the last two decades, allowing it to fit the conventions of modern world poetry. The present article aims at revealing the features of the functioning of the Russian-language poetry of Kazakhstan at the end of the 20th – the beginning of the 21st century. The authors of the article define those changes that have occurred in the genre strategy of modern poetry in Kazakhstan. The genre canon is generally accepted as one of the essential manifestations of the dialogue between different texts, being a kind of recognizable quote; simultaneously, it is deformed in the works by poets of the beginning of the 21st century. The transformation of genre traditions and canons engenders a unique phenomenon in modern poetry of Kazakhstan – "the poetry of philosophers." The poets such as Sergei Kolchigin, Indira Zaripova, Zhanat Baimukhametov tend to be attributed to this category. Also, modern Russian-language poetry is distinguished by the aspiration for collecting incredibly lyrical emotion and the same "extreme" interest in extra-literary events within the boundaries of one text. All these features bespeak the formation of another poetics in modern literature of Kazakhstan.

#WokeTV Beyond the Hashtag: One Day at a Time and The Baby-Sitters Club as Woke Classic Television

ABSTRACT The twenty-first century TV landscape is dominated by high-gloss quality dramas, experimental single-camera comedies, and auteur dramedies. These shows use nihilism and irony to signify their inclusion in the newest pantheon of sociopolitical relevance: Woke TV. A textual analysis of One Day at a Time (Netflix/Pop, 2017–2020) and The Baby-Sitters Club (Netflix, 2020–), however, challenges the ironic detachment that typifies Woke TV. By leaning into the nostalgia of the TV remake, these shows offer a blueprint for a more earnest and active version of the genre that relies not on detachment, but on an audience’s emotional engagement with contemporary social, political, and economic issues. One Day at a Time embraces the artistic conservatism of the multicamera sitcom to, in true Woke TV fashion, shed light on the institutional structures that underpin hegemonic capitalist power and white supremacy. Similarly, The Baby-Sitters Club employs the sincere and earnest framework of the kids’ show to advocate for optimism, responsibility, and fairness in private and civic discourse. Taken together, these two shows exemplify a more populist taxonomy of the Woke TV genre that co-opts, rather than rejects, the traditions of televisual genre and format.

Nikolai Myaskovsky – 140th birth anniversary. Rediscovering the composer in the present times

Abstract On the occasion of the 140th anniversary of composer Nikolai Myaskovsky’s birth, in the spring of 2021, in the city of Ekaterinburg there took place the Myaskovsky Dialogues festival dedicated entirely to the Russian composer, being one of the few musical events with a musical programme based on his works. Known as the “father” of the Soviet symphony, Nikolai Myaskovsky was one of the pillars of resistance in Russian music culture in the first half of the 20th century, managing to maintain a stylistic balance between traditional genres, harmonic language with innovative tendencies, ideas promoted within the new political system and a neutral way of integrating communist ideals musically. Although his contemporaries perceived him with respect and consideration, N. Myaskovsky was discredited after the tensions and political events of 1948, entering a shadow zone during the Cold War, until the fall of the Iron Curtain. Therefore, it was only in the last three decades that he was rediscovered in the music world, due to the interest given to his works by well-known conductors such as E. Svetlanov, V. Gergiev, V. Petrenko, V. Jurowski. In this paper, our aim is to accomplish a historical perspective on N. Myaskovsky’s rediscovery and his approach in concert programs, records, reviews, chronicles, articles, musicological studies, papers and volumes from the 1970s to the present.

Riding East—Western Myths, Nostalgia, and the Crossing of Generic Boundaries in Hidalgo (2004)

<i>Riding East</i>—Western Myths, Nostalgia, and the Crossing of Generic Boundaries in <i>Hidalgo</i> (2004)

Creativity as a Defining Trend of Evolvement in Modern Documentary Cinema

In the era of digital globalization, instant exchange of information, ideas, data, all traditional genres are undergoing a transformation process. The advent of digital technology has created many opportunities for the world of documentary narratives. Digital recording and archiving, modern filming technologies, the Internet, and increasingly expanding communication flows are changing both the ways, methods and techniques of creating content, and the conditions for its presentation, display and consumption. The article is devoted to a relatively new trend digital time for both the expansion and modification of old forms, and for the creation/birth of completely new versions of non-fiction cinema – in a variety of formats. The key question is how traditional types of documentary films “mutate” in a dynamically changing reality and what is the specificity of the modern documentary narrative. During the research, authors followed the structural-analytical method, it was found that the method of creative documentaries is very diverse, the use of creative methods is motivated by the need to solve not so much technical as before but artistic and communication tasks. As a result, today there is an outbreak of creative documentaries on screens and streaming platforms, which in its form is practically a hybrid of game and non-fiction cinema, where the current and global agenda, along with the accuracy of fact, reliable information, has an artistic form, demonstrating a new and fascinating film-language. It is the experiments with form, the mixing of genres, the introduction and use of visual effects subordinate to the author’s idea that expand the space of modern documentary, contributing to the creation of new types of it, such as animation-documentary, web-documentary, VR (virtual reality) genre, documentary- show. Creative documentaries, according to the authors, marks a revolutionary turn both in the development of non-fiction cinema and in the field of modern culture, influencing the consciousness of the masses.

In the process of reassembling the cosmos

E. Pogorelaya’s interview of L. Yugay is built around the overlapping areas of two topics: contemporary poetry and modern philology. Poetic environment is assessed from the standpoint of a folklore scholar and a sociologist; the latest poetry — from the viewpoint of its adherence to traditional genres and ritualistic practices, etc. Among other topics, the interview discusses the unique characteristics of ‘poetic behaviour,’ taboos in modern literature, and the perception of a poetic text by an ‘outsider.’ In this regard, Yugay suggests that the recent scandals around feminist poetry emerge as a reaction to something forbidden: a statement on hitherto taboo topics is now identified as special, and its proverbial vehemence shows that desacralisation is still work in progress. Special attention is devoted to a poet’s biography; according to Yugay, it is losing its meaning as a tool for creation of an ‘artistic product,’ with the author’s biography considered separately from their oeuvre.