Vocal Cycle Research Articles

“Zwei Venetianische Lieder” by R. Schumann in the tradition of Austro-German romantic song

Introduction. Given article considers R. Schumann’s “Zwei Venetianische Lieder” / “Two Venetian Songs” (ор. 25, №17–18) on poems by T. Moore, in F. Freiligrath translation. Often the creation of the Venice ambience in art works was due to trips and impressions on this city. In 1829, R. Schumann, as a student of Heidelberg University, went on a trip to Switzerland and Italy during his study vacation. One of the cities on the travel map was Venice. R. Schumann “resurrected” the city ambience only eleven years after in the “Zwei Venetianische Lieder” (“Two Venetian Songs”), which became part of the song cycle “Myrthen” (1840). How do these two vocal miniatures, that are one of the first in the composer’s vocal creativity, reflect the individual style of his writing? Do they correlate with the nature of the “true” Schumann, who is known for his famous works, such as the cycle “A poet’s Love”? Objective. The purpose of the article is to comprehend composer methods of Venice image embodiment in “Zwei Venetianische Lieder” in the context of creative tradition of the Austro-German romantic song. Methods used in the research: 1) historical method, allowing to comprehend the selected material in the perspective of the development of Austro-German song of the 19th century; 2) intonational method, which involves the study of vocal melody in terms of melodic reactions to figurative content; 3) genre method, caused by the features of chamber vocal lyrics; 4) stylistic method, corresponding to a specific opus consideration in the general context of the composer’s creative work. The results of the study. “Zwei Venetianische Lieder” were grown up in the artistic climate of its era. The popularity of traveling in the circles of well-educated youth was a practical realization of spiritual impulses and the inner need to push the boundaries of the information space for awareness of the nature of self-own identity through a meeting with a different culture and worldview. Italy, and the entire Mediterranean areal, as the cradle of the Christian humanist culture, was a center of attraction for the German romantics. The creation of the artistic and aesthetic archetype of Italy and Venice by J. W. Goethe in “Italian Travels” and “Epigrams” has created a tradition of perception these themes not only in German literature, but also in music. R. Schumann was one of the first to respond to this creative idea. He was also the first among German composers to turn to the “poetic” Venice of the Englishman Thomas Moore and initiated the appearance of a series “Venetianische Lieder” in Austro-German music of the 19th century. A number of authors were involved in the creation of this series – F. Mendelssohn Bartholdi, A. Fesca, С. Dekker, and others. The melancholic mood of the many “Venetianisches Gondellied” written by German composers was the result of the process of mythologizing the image of Venice. The creative people (poets, writers, composers, painters) were involved in this process. They perceived this city through the prism of artistic relations, associations, and sought in its canonical symbols (channels, gondolas, sea, mirror, mask) new semantic dimensions, means of the expression of self-reflection. “Zwei Venetianische Lieder” from the song cycle “Myrthen” by R. Schumann stand apart on this list as not only the first, but also as the works distinguished by its originality. 1840 year is considered as the “song year” in the composer’s work. In this year 138 songs and the best of song cycles were written by the composer: “Liederkreis” ор. 24, “Myrthen” ор. 25, “Liederkreis” ор. 39, “Frauenliebe und Leben” ор. 42, “Dichterliebe”, ор. 48. After the “piano decade” (1829–1839) Schumann’s appeal to the song came a surprise, in particular, for the author himself. This led to the change in his musical aesthetics, to the revision of the hierarchy entrenched in the consciousness, about the primacy of music over other arts and the instrumental music over the vocal. Although the cycle “Myrten” op. 25 (1840) is one of the first in the vocal works by R. Schumann, it is distinguished by the maturity of style writing. R. Schuman’s psychological sensitivity to the poetic word is conveyed in the intonational nature of the songs, careful selection of harmonic means, finely tuned tonal plans that can emphasize both, contemplation and rebelliousness. Musical and poetic integrity is also ensured by the increased importance of the accompaniment and the piano part in whole that include the expressive instrumental introductions and postludes aimed at revealing of an image. Conclusion. The study of R.Schumann’s “variations” on Thomas Moore’s “Venice” as a separate scientific topic makes it possible to realize the scale of the creative competition established by the outstanding composer in his “Zwei Venetianische Lieder” from the vocal cycle “Myrthen”.

Genre Liederabend in creative practice by J. Kauffmann

Genre Liederabend in creative practice by J. Kauffmann

THE INNOVATIVE INTERPRETATION OF THE CHAMBER-VOCAL GENRE IN THE LATE WORKS OF SCHUBERT

The purpose of the study is to prove the innovative approaches of F. Schubert in vocal works on the example of his later opuses – the vocal cycle „Winterreiseˮ, op. 90 („Winter Roadˮ) and the song collection „Der Schwanengesangˮ („Swan Songˮ). The methods of this proposed scientific article are based on the research approaches (historical, compare, analytical), which allow to us to follow the path of dramatization of the song in the late works of F. Schubert, as well as to determine the conformity of the vocal intonation to the poetic text. The material of scientific intelligence there are ten separate songs, namely, five songs from the vocal cycle „Winter Pathˮ and five songs on the lyrics by G. Heine from the collection „Swan Songˮ. In our opinion, they are not only indicative, but also similar in form, methods and content. The scientificnovelty of this research is to in the treatment to the issues of determining the correspondence of vocal intonation to a poetic text. Conclusions. Lyrics by Wilhelm Muller and Heinrich Heine are the peak of Schubertʼs vocal lyrics, the starting point for the further development of the song (romance) genre. Simplicity and the associated „sociability” of song intonation, on the one hand, naturally continue the traditions of the Austro-German song Lied. However, while the melody of Schubert reveals time fundamentally new qualities caused by the composerʼs innovative attitude to its formation. The reason for this is a great attention to the verbal text. The close interaction of poetic words and music, especially in the late works of the composer romantic, gives rise to a fundamentally new type of vocal intonation, a new level of voice and accompaniment and, as a final result, the emergence of a new quality of the chamber-vocal work – „poems with music”, thereby pushing on the further path of development of chamber vocal genres.

Співвідношення музичного та поетичного ритму в ранніх вокальних циклах Валентина Бібіка

Розглядаються принципи втілення віршового ритму в трьох ранніх вокальних циклах В. Бібіка – «Пісні батьківського дому», «Акварелі» та «Два інтермецо», які відбивають пошуки композитора власного шляху у цій жанровій сфері на ранньому етапі творчості. У першому опусі автор використовує різні типи вокалізації віршованого тексту, однак залишається у руслі традиції. Для одночастинної композиції «Акварелей» притаманні сонористичні ефекти, відмова від метричної сітки, особливі прийоми виконання, які забезпечують своєрідність ритміки вокальної партії. В «Двох інтермецо» В. Бібік розширює виконавський склад, залучаючи до традиційного дуету голосу та фортепіано ще й флейту. Цей твір постає новим етапом активних пошуків композитора у жанрі камерно-вокальної музики.

“The Eight Songs” by Zhao Jiping as the embodiment of the vocal and instrumental poem

“The Eight Songs” by Zhao Jiping as the embodiment of the vocal and instrumental poem

The formation of the chamber-vocal style of Zhu Jian’er: early works

The formation of the chamber-vocal style of Zhu Jian’er: early works

The vocal cycle “Facelia”: the experience of “sound existence” in Sofia Gubaidulina’s early creativity

The vocal cycle “Facelia”: the experience of “sound existence” in Sofia Gubaidulina’s early creativity

Principles of interpreting P. Tychyna’s poetry in the vocal cycle “Enharmonic” by L. Dychko

Principles of interpreting P. Tychyna’s poetry in the vocal cycle “Enharmonic” by L. Dychko

АНАЛИЗ ОТЕЧЕСТВЕННОЙ АВАНГАРДНОЙ МУЗЫКИ В ВУЗОВСКОМ КУРСЕ «ОСНОВЫ ТЕОРЕТИЧЕСКОГО МУЗЫКОЗНАНИЯ»

The article is devoted to a relevant problem of the modern pedagogy of special and general musical education - insufficient attention to avant-garde music in the process of future music teachers’ professional training. The paper provides a survey of modern domestic music experts’ views on this issue. The author identifies the reasons for a relatively insignificant place of avant-garde music in the educational process of the musical faculties of pedagogical higher education establishments. The author argues that in the process of studying the discipline “Fundamental Concepts of Theoretical Musicology”, future music teachers should acquire competence in analysing domestic avant-garde compositions. As an example of the practical usage of a domestic avant-garde composition in educational process the author analyses the vocal cycle “Blätter” by E. Denisov. The paper examines the specificity of the composer’s interpretation of the poetical original source, the form of the composition, its pitch pattern, tone and texture peculiarities determined by the principles of serial technique, micro-chromatics and sonorism. The analysis of this composition allows identifying the original combination of traditional composition principles and modern composer’s technique.

Сultural aspects of interpreting vocal-symphonic cycle in the works of composer Valeriy Antonyuk

Purpose of the article: identify сulturals aspects of interpreting vocal-symphonic cycle based on the example«Cantata for soprano and symphony orchestra on the lyrics by A. Pushkin» by the modern Kyiv composer Valeriy An- tonyuk. Methodology. The study applied culturological approach and used structural-systemic, interpretative, complex methods with the generalization of the results. Cantata score interpretation by singer Valentyna Antonyuk and conduc- tor Volodymyr Sheik is presented by us as a method of reconstruction and analysis of interpretation, which contributes to the creation of a holistic system of the musical and poetic text. Scientific Novelty is due to the fact that this musical composition by the composer Valeriy Antonyuk has been analyzed for the first time. Conclusions. The vocal- symphonic cycle, being a great form of chamber vocal music, is a kind of generalization of the performer‘s experience. The notions of chamber and cyclicity determine the ways of the performer‘s interpretation of vocal cycles not only as a comprehension of the composer's ideas but also own creative interpretation of the work. Performer‘s articulation, com- bining cognitive, creative, reflexive components (through the immersion into the atmosphere of a certain era, world outlook and aesthetic orientations of artists – composer and poet) activates the work during the concert. Study of a can- tata from the point of view of the cycle formation patterns is directly associated with the problems of the repertoire of contemporary concert-chamber performances, the formation of which is interconnected with the new messages for the listeners. The use of the possibilities of musical analysis and a wide range of potentials of the culturological approach makes it possible to combine individual features and details of the research process into one canvas of the creative por- trait of the composer V. Antonyuk in the context of his time.

Multi-disciplinary clinical protocol for the diagnosis of bulbar amyotrophic lateral sclerosis

Introduction and objectivesThe objective of this study was to examine the role of different specialists in the diagnosis of amyotrophic lateral sclerosis (ALS), to understand changes in verbal expression and phonation, respiratory dynamics and swallowing that occurred rapidly over a short period of time. Materials and methods22 patients with bulbar ALS were submitted for voice assessment, ENT evaluation, Multi-Dimensional Voice Program (MDVP), spectrogram, electroglottography, fiberoptic endoscopic evaluation of swallowing. ResultsIn the early stage of the disease, the oral tract and velopharyngeal port were involved. Three months after the initial symptoms, most of the patients presented hoarseness, breathy voice, dysarthria, pitch modulation problems and difficulties in pronunciation of explosive, velar and lingual consonants. Values of MDVP were altered. Spectrogram showed an additional formant, due to nasal resonance. Electroglottography showed periodic oscillation of the vocal folds only during short vocal cycle. Swallowing was characterized by weakness and incoordination of oro-pharyngeal muscles with penetration or aspiration. ConclusionsA specific multidisciplinary clinical protocol was designed to report vocal parameters and swallowing disorders that changed more quickly in bulbar ALS patients. Furthermore, the patients were stratified according to involvement of pharyngeal structures, and severity index.

Редакторський стиль О. Зілоті: досвід інтерпретації (на матеріалі редакцій творів Йоганна Себастьяна Баха та Моріса Равеля)

The article presents results of research of editorial style of Oleksandr Ziloti are through the prism of own performance experience of author of prosecution of piano treatments of instrumental and vocal works. An organ prelude by Iohann Sebastian Bach and the part of vocal cycle by Maurice Ravel on two Jewish themes of “Kadish” are taken as an example to study. Editing is one of dominant vectors of Oleksandr Ziloti’s activities, because he only carried out writing of clavier of operas “Asleep Beauty” and “Queen of Spades” by Petro Chaikovskyi. Despite the fact that Chaikovskyi did not always agree with all the issues of Ziloti’s work, he highly appreciated the work of his editor, which is also noted in the article. A number of citations are given that substantiate the conclusions about the editorial work of Oleksandr Ziloti. However, the main author for Oleksandr Ziloti to work with is I. S. Bach. The given citations of such creative personalities as A. Rubinstein and A. Ossovsky reveal Oleksandr Ziloti’s attitude to the work of the German maestro not only from the prism of editing, but also from a performing and interpreting point of view. It is investigated the peculiarities of editing of I. S. Bach’s works, which were created at the time of Oleksandr Ziloti’s work in this genre. In addition, in his works he tries to be as close as possible to the original, covering works of different eras, styles, and genres. In view of this, Oleksandr Ziloti’s editions are useful in pedagogical and performing repertoire. That is why it is so important that the transcriptions of the artist take their place of honor on the piano stage.

Orchestration from the Perspective of the Project Management (for I. Karabits’s Pastels)

It is proposed to pay attention to the progressive management methodology of project management as a promising activity model for the creative personality. Based on the interdisciplinary approach, certain methodological points of intersection of such scientific and practical spheres as project management and musical composition and art practise were found to exist. Special aspects of creative procedurality as the specific feature of professional activity of the composer (orchestrator, arranger) from the perspective of the life cycle of the project were considered. The research has an autocommunicative character, bears the imprint of the professional reflection of the author — composer T. Bachul, who turned to the creation of the orchestral version of the vocal cycle @Pasteli@ by I. Karabits (under the text of P. Tychyna). It was noted for the need to revise of the terminological apparatus of instrumental science, and the terms «orchestration-process» and «orchestration-result» were proposed for use. The theoretical researches of the vocal cycle of I. Karabits by Ukrainian musicologists were considered and, accordingly, the informative level of the opposite musicological images of the work was analyzed, which assisted in understanding the complex multi-level symbolic world of «Pastels» by I. Karabits. For the first time, some milestones of the composer’s life and creativity, the author of the original source, were followed up in the light of such professional manifestations of the artist’s activity as orchestration, arrangement, art management. The prospects of the project type of thinking as an attribute of a new creative entrepreneurial culture, of which professional music is a part, were considered. Some features of the orchestration of a musical work (or part оf its facture) as a specific form of creative practice in the general ideological framework of the project approach were determined. A certain conceivable model has been created for presentation of new musicological meanings. The general characteristic of project management as a special culture of thinking, having acquired procedurality, ordering the creative activity and emphasizing priorities is presented.

The parameters of co-creation: a performing look at “The Six Romances for the Words by A. S. Pushkin” by G. Sviridov

The parameters of co-creation: a performing look at “The Six Romances for the Words by A. S. Pushkin” by G. Sviridov

Re-semantization of A. Pushkin’s poetry in the creative work of V. Kosenko (on the example of “The Five Romances”, op. 20)

Re-semantization of A. Pushkin’s poetry in the creative work of V. Kosenko (on the example of “The Five Romances”, op. 20)

Peculiarities of the embodiment of H. Heine’s poetry translations in the vocal cycle of D. Klebanov

Peculiarities of the embodiment of H. Heine’s poetry translations in the vocal cycle of D. Klebanov

О драматургии вокального цикла «Твой облик милый» Эдисона Денисова

В статье впервые представлен анализ драматургии вокального цикла «Твой облик милый» Э. Денисова для голоса и фортепиано на стихи А. Пушкина. Отдельно изучена поэтическая драматургия цикла и акцентировано внимание на важности этого аспекта в произведении. Раскрыты особенности музыкальной стилистики вокального цикла, в которой оригинально соединены традиции романсовой лирики с индивидуальным «стилем EDS» Э. Денисова.

Скосырева А.В. Организующая роль семантических и звуковысотных рядов в «Altenberg Lieder» А. Берга

The article is dedicated to A. Berg’s vocal cycle “Five Orchestral Songs after Postcards by Peter Altenberg” (“Altenberg Lieder”) op. 4 which is considered as the implementation of the Mahlers traditions. The main task of the author is to analyze the interpretation of the orchestral song genre, as well as the spheres of figurative and intonational content of the “Altenberg Lieder” in order to identify the artistic relationships with the works of G. Mahler. The article examines the reasons for Mahler’s influence on the representatives of the Second Viennese School and, in particular, on A. Berg. The line of succession connecting the “Altenberg Lieder” cycle with “Songs of Dead Children” (“Kindertotenlieder”) in the context of the development of the genre of orchestral song is revealed. A detailed analysis of the implementation of important semantic themes of Mahler’s symphony “Song of the Earth” (the first and sixth movements) in Berg’s vocal cycle op. 4 is carried out. The intonation relationship between “Altenberg Lieder” and Mahler’s “Symphony in songs” is considered. Attention is paid to Berg’s expressionistic rethinking of themes and images, which are typical for Mahler’s works and late romanticism in general.

Three Songs about the Parting in Shang Dei’s Legacy: The Genre Features of the Concealed Vocal Cycle

Three Songs about the Parting in Shang Dei’s Legacy: The Genre Features of the Concealed Vocal Cycle

Multi-disciplinary clinical protocol for the diagnosis of bulbar amyotrophic lateral sclerosis

Introduction and objectivesThe objective of this study was to examine the role of different specialists in the diagnosis of amyotrophic lateral sclerosis (ALS), to understand changes in verbal expression and phonation, respiratory dynamics and swallowing that occurred rapidly over a short period of time. Materials and methods22 patients with bulbar ALS were submitted for voice assessment, ENT evaluation, Multi-Dimensional Voice Program (MDVP), spectrogram, electroglottography, fiberoptic endoscopic evaluation of swallowing. ResultsIn the early stage of the disease, the oral tract and velopharyngeal port were involved. Three months after the initial symptoms, most of the patients presented hoarseness, breathy voice, dysarthria, pitch modulation problems and difficulties in pronunciation of explosive, velar and lingual consonants. Values of MDVP were altered. Spectrogram showed an additional formant, due to nasal resonance. Electroglottography showed periodic oscillation of the vocal folds only during short vocal cycle. Swallowing was characterized by weakness and incoordination of oro-pharyngeal muscles with penetration or aspiration. ConclusionsA specific multidisciplinary clinical protocol was designed to report vocal parameters and swallowing disorders that changed more quickly in bulbar ALS patients. Furthermore, the patients were stratified according to involvement of pharyngeal structures, and severity index.