Works Of Other Composers Research Articles

Augmented Feedback: A Compositional Approach to Acoustic Feedback in Digital Spaces

The research entitled "Augmented Feedback", is focused on developing a compositional practice, centered around acoustic feedback processing in digital spaces. I wish to explore acoustic feedback that occurs in virtual spaces, including the hybrid world of physical and digital space and physical phenomena that occurs from the excitation of feedback through microphones and loudspeakers. I will focus on experiments, reflections, developing techniques and functions that I have discovered while composing and experimenting with pieces that have used processed acoustic feedback as sonic material, microphones and loudspeakers as instruments. The outcome will have brief background and development reflections about my approach to feedback around my personal compositional practice, the historical side of feedback and how it relates to the works of other composers and artists, technical and philosophical content of feedback in compositional situations, and how my compositional approach led me to the term “augmented feedback”. “What if the sonority of feedback was not the center focus point of a piece? What else can we develop by using feedback and imagining it in different sonic landscapes? What is the mystique of its nonlinearity? How can we deal with microphones and loudspeakers as a musical instrument through using software environments?” are the main questions that drove me into researching feedback. Dividing these questions into subcategories: conceptual and compositional.

The Music of Fausto Romitelli: Concerning the Question of “Musical Material”

The end of the 20th century demonstrates an expansion of horizons of the comprehension of musical sonorities, the conception of their transformation from music into “sound,” which radically changes the perception of timbre: this element becomes transformed from a peripheral component of sound to the primary element, thereby changing entirely the entire conception of musical material. Thus, the theory of music material developed by outstanding German philosopher Theodor Adorno in the middle of the 20th century has found its confirmation. The latter’s concept of the historicity of music material was upheld and further developed by Italian composer Luigi Nono, who fundamentally changed the sphere of perception of this phenomenon, which subsequently was testified by his German student Helmut Lachenmann. This required not only new combinations of sound, but a reevaluation of the attitude of working with them. Fausto Romitelli (1963–2004) pertains to the generation of composers that discovered new paths for work with sound. In his musical output sound becomes a complex multicomponent phenomenon presuming an interaction between acoustic instruments, electronic sounds and reverberation — the sound “aura” and the sound “halo,” both of which are also composed consciously (presenting “composed resonance”). Romitelli’s individuality demonstrates itself in the fact that he builds this component of his musical material, basing himself on sonar discoveries in the sphere of rock music, in particular, the Pink Floyd ensemble, which finds reflection in such of his works as EnTrance, Professor Bad Trip, etc. Romitelli characterized the “aura” of his sound as “dirty,” comprehending this as a specific resonance of the sound of the electric guitar in rock music. Romitelli’s “composed resonance” is not characteristic solely of him; “composed resonance” as an element of musical material may be discerned in the works of other composers, in particular, Kaija Saariaho in her Amers for solo cello and ensemble.

Viola Compositions in the Context of Alexander Levkovich’s Creation

The article examines compositions for solo viola of the modern Ukrainian composer O. Levkovich. Their exceptional significance for the composer’s creation as well as for the solo viola repertoire is emphasized and substantiated. Also it has been revealed the complete absence of the musicological researches devoted to this problem. This factor determines the obvious relevance and scientific novelty of the article. Its main objective is to involve the listed viola compositions into the musicological circulation, which, on the one hand, can become an additional tool for their popularization, and on the other will promote a broader view of the creative portrait of O. Levkovich. In the process of writing our article, we used a set of different scientific methods, the main of which are: historical and biographical (when selecting information about the composer’s biography, studying the circumstances of his works creation); structural and intonation analysis (in the analytical section), as well as comparative (in various comparisons). A parallel is drawn between the compositional and dramaturgical features of his viola works and the viola works of other composers, in particular D. Shostakovich. The author determined the objectivity of the manifestation of the composer's thinking in the creating viola works. The uniqueness of his composer's thinking and strongly expressed non-standard individuality, which are manifested both in the compositional and formative structure of viola works, and in the intonation and melodic features of their sound, have been proven. The conclusion is that the basis of the compositional and dramaturgical features of the interpretation of the Oleksandr Levkovych’s alto works are the deep philosophical reflections of the artist, the tendency to approach the sound of the instrument to the human voice, as well as its muted and melancholic timbre, which is consonant with the composer's worldview — the most acceptable for his musical expression. Prospective directions for further research into the specificity and characteristic features of the interpretation of Oleksandr Levkovych's alto works are suggested taking into account his individual compositional style.

“34 Preludes and Fugs” by Valentin Bibik: nnovative Features in Realization of the Compositional-Dramaturgical Concept of the Great Polyphonic Cycle

Relevance of the article. In 1978, Valentin Savich Bibik completed his work on the monumental polyphonic cycle “34 Preludes and Fugues” opus 16, he began working on it in 1973. This composition is a continuation of the composer’s work in the polyphonic genre: in 1968, the cycle “24 Preludes and Fugues” opus 2 was written, and in 1970 two preludes and fugues opus 7 were written.
 A significant motivating factor for a detailed study of the “34 Preludes and Fugues” is the original musical language, the tonal, metro-rhythmic and thematic organization of the cycle. They radically distinguish it from the works of other composers in this genre. The insufficiently studied polyphonic works of Valentin Bibik determine the relevance of this study.
 Purpose of the article. To identify innovative features of the implementation of the compositional and dramatic concept in the cycle “34 Preludes and Fugues” by V. Bibik.
 Scientific novelty. In studies devoted to "34 Preludes and Fugues" by V. Bibik, the features of the innovations of this cycle (avant-garde techniques, the complexity of the musical language) are only ascertained; the fact of connection with Bach’s traditions is mentioned. The deep processes involved in the formation of the integrity of a large polyphonic means as well as the levels of embodiment of the composer’s concept of the cycle remained hidden behind the descriptive presentation of the fact. The article traces and formulates for the first time the main features of composer innovation in the framework of the compositional and dramatic concept of a large polyphonic cycle.
 The research methodology includes the use of systemic and functional methods.
 Main results and conclusions. V. Bibik’s “34 Preludes and Fugues” demonstrate an innovative version of the interpretation of the polyphonic cycle, due to the original combination of modern techniques with polyphonic principles and methods of development. The most significant innovations in the cycle are the rejection of the functionally centralized ladotonal system, the original interpretation of metrorhythmic organization and the specifics of the theme, which, in turn, led to significant transformations at all stages of fugue formation. In addition to these features of innovation, the cycle has deep internal connections between the elements, from the moment of creating the theme to the formation of the integrity of the cycle.

Dohnányi's Orchestrations of Schubert's Fantasy in F Minor and the Moments musicaux Piano Cycle

Abstract Ernst von Dohnányi's brilliant instrumentation skills were already recognized by his contemporaries. His former disciple and first monographer Bálint Vázsonyi published an anecdote, according to which Béla Bartók considered the orchestral version of Ruralia hungarica (op. 32) as the first truly “orchestrated” Hungarian symphonic work. Nevertheless, neither Dohnányi's own orchestration practices nor the transcriptions he prepared for symphony orchestra from the works of other composers have been studied. This paper examines two of these orchestrations, made in 1928 on the occasion of the Schubert Centenary – Dohnányi's orchestral transcriptions of the Fantasy in F Minor, originally written for piano four hands, and the piano cycle Moments musicaux – both being virtually unknown to the public. The analysis also provides an insight into Dohnányi's interpretation of Schubert, including his approach to the Austrian composer.

Statistical analysis of songs by composers of the Romantic era: A comparison of F. Schubert and his contemporaries

The study investigates musical compositions via quantification using mathematical methods. The investigation is based on Franz Schubert’s song cycle Die Winterreise, Robert Schumann’s song cycle Myrthen, and on works by other composers. The study obtained p-value estimates for each quantity to assess its adequacy and probability of getting reliable result. The obtained p-values show probability of obtaining corresponding mean value of the investigated parameters. The results will allow finding objective criteria for describing his work in comparison with the works of other composers. They are useful for restoring musical notations, analyzing and classifying works of unknown authorship.

Семантический анализ музыкально-художественного содержания «Трансцендентных этюдов» Ф. Листа (на материале этюдов As-dur и f-moll)

For more than a century and a half, Franz Liszt’s “Transcendental Etudes” have occupied one of the key places in pianists’ repertoire. The aim of the research is to reveal the main aspects of the artistic-figurative and symbolic content of this piano cycle by the example of two etudes - A-flat major and F-minor (№ 9-10) with the help of a complex musical-theoretical analysis. The scientific originality of the article lies in the author’s reference to the theme of motivational symbolism in the work under consideration: within the framework of semantic analysis, for the first time, special attention is paid to F. Liszt’s use of musical-rhetorical figures; the artistic connections of “Transcendental Etudes” with the works of other composers are analysed, and issues of semantics of tonalities are considered. As a result of the study of the analysed musical material and a systematic review of scientific and literary sources, Liszt revealed the sustainable use of characteristic techniques that reflect his conceptual representations in the formation of the semantic content of “Transcendental Etudes”, which is of key importance for the interpretation of artistic and musical images of the cycle.

Вплив Арнольда Шенберга на музичну стилістику XX–XXI століття Лебідь Юлія Вплив Арнольда Шенберга на музичну стилістику XX–XXI століття

The article analyzes the specifics of Arnold Schoenberg's creative method. Attention is paid to the periodization of his work. Schoenberg was not the first composer, who invents the dodecaphonic technique, but he gave it a complete and logical expression. The arrival of the dodecaphonic system was not a certain experiment or coincidence. It is part of a natural process that resulted from the gradual transformation of the composer's worldview. The composer in some works that belong to the late period of creativity, combining elements of different styles, without striving to adhere to a single style. This factor further confirms the thesis that in the foreground for Schoenberg, was the artistic truth and authenticity of the statement. A. Schoenberg is convinced that only a composer who has a large auditory baggage can turn to the dodecaphonic method, because the use of dodecaphony introduces many restrictions. It is determined that the exclusive role of Schoenberg is to form a school whose representatives worked in a single direction. Among his students, it is worth mentioning, in addition to A. Webern and A. Berg, also Ernst Kshenek, Egon Welles, Hans Eisler, Stefania Turkevich. The formation of dodecaphonic technique, its design within the activities of representatives of the Novoviden school, occured simultaneously with the work of other composers. It is emphasized that the technique of twelve sounds was introduced at the same time by by the Ukrainian composer Yu. Golyshev. The leading importance of dodecaphonic technique for further academic art is emphasized. The systematic activity - theoretical, compositional and teaching of A. Schoenberg, allowed the dodecaphonic technique to become a model that other creators have already tried at their own discretion. The dodecaphonic technique used by many composers of the Western European tradition, as well as by Ukrainian artists, in particular V. Silvestrov, L. Grabovsky and Yu. Ishchenko.

A. Karamanov’s piano concerts: “curve” of the style and language evolution

The article is devoted to the peculiarities of the concert-piano style of A. Karamanov, an outstanding Ukrainian composer, whose works have only recently become the subject of musicological discourse. The “curve” of style and language evolution is outlined, the stages of which are marked by three large-scale concerts of the composer, the last of which called “Ave Maria” has already gained worldwide popularity and entered the repertoire of outstanding performers both in Ukraine and abroad. Based on a comprehensive analysis of the genre-stylistic complex of the phenomenon of “piano concert”, a definition of the concept of “concert-piano style” is offered, which is extrapolated to the author’s style of A. Karamanov in this genre. The characteristic features of the composer’s three piano concerts are highlighted and generalized, a kind of triptych cycle, in which through the work of A. Karamanov as a composer-pianist, constant and individually innovative features of the genre are embodied, which became symphonic conceptual model not only in his work, but also in the styles of other authors of the late XX — early XXI centuries.
 The relevance of the chosen topic is determined by the need for a systematic consideration of the triptych of piano concerts by A. Karamanov as a significant phenomenon of Ukrainian and world pianism at the turn of the XX–XXI centuries.
 The purpose of the research is to reveal the peculiarities of the style and language evolution of A. Karamanov’s work, the stages of which are represented by his three piano concerts.
 The methodology is a combination of general scientific and special musicological approaches to the disclosure of the stated topic. Among them are: the method of deduction, which determines the movement of research from the general (concert as a principle of musical thinking) to special (piano concert) and specific phenomenon (triptych piano concerts by A. Karamanov); methods of genre and stylistic analysis used in considering the drama and form of all three concerts; methods of performance and texture analysis aimed at identifying the features of Karamanov’s concert pianism.
 The results of the research reveal the combination of traditions and innovations in the interpretation of the genre in the concert-piano style of A. Karamanov. All three of his piano concertos are based on different models of drama and form, but common to them is the attraction to the symphonic concept, which brings the concert forms in his music closer to the symphony as a genre of “high generalizations” (Asafiev, 1971).
 The scientific topicality of this research is determined by the fact that for the first time In Ukrainian musicology it presents a comprehensive review of the aesthetics and poetics of three piano concerts by A. Karamanov, which reflect the characteristics of modern interpretation of the genre with a tendency to symphonization.
 The practical significance of this scientific research is determined by the possibility of applying its provisions and conclusions in the further study of the laws of modern concert-piano style in the works of other composers. The article can be useful for performers who turn to interpretations of Karamanov’s piano concerts, as well as for teachers and students of piano departments and branches of art universities of Ukraine.
 Conclusions. The review carried out in this article showed that the concert-piano style of A. Karamanov is an original phenomenon of world piano culture, and therefore requires more in-depth study and performance attention. After all, it embodies the characteristics of a new worldview paradigm, formed on the basis of classical traditions and it is considered as a “bridge” between them and modernity.

Besteci Rauf Hacıyevin operetlerinin müzik dilinin üslup özellikleri

The operetta and the genre of musical comedy take a special place in the works of Azerbaijani composers. The investigation of the establishment and development of this genre is of great importance for the science of musicology. The creation of this genre took place in different decades of the twentieth century and also had a special impact on the work of other composers. The main task of the genre of operetta is to solve a problem with the help of humor, to show an unexpected flow of events and an unusual attitude of the characters to what is happening. Rauf Gadjiev used the genre of operetta and musical comedy in his works. His works in the genre have gained popularity not only in Azerbaijan but also in post-Soviet countries. The first work of R. Gadjiev, dedicated to the genre of musical comedy from the first days of his career, “Pranks of Students,” dates back to 1940, which corresponds to the student years of the composer. The work was written based on the work of the English playwright Brandon Thomas “Aunt Charley.” The work was the first test of the composer, and R. Gadjiev returned to this genre in 1960. One of his bright operettas is “Romeo is My Neighbor,” the premiere of which took place in Baku under the name “Neighbors.” Soon after this, the work also received great sympathy among the Moscow public. The song “My Lover” (“Sevgilim”), passing as a leitmotif, subsequently continued its independent concert life in the repertoire of outstanding singers. The combination of people from different strata of society, old and young, with different worldviews and ways of thinking, and the depiction of the characters by brilliant music of each image are among the reasons for the high appreciation of the operetta of R. Gadjiev. Far from musical comedies and operetta styles on the stage of the Azerbaijan Musical Theater, the composer managed to create a new style that used modern musical expressions and delighted the audience. In 1963, the composer presented his new work to the Moscow Theater. The operetta “Cuba, My Love” was dedicated to the 5th anniversary of the Cuban Revolution. The courage exhibited by the Cuban people in achieving their freedom was met with great enthusiasm in Soviet countries, and the plot of the operetta was dedicated to the struggle of the Cuban people for freedom. This theme, which does not correspond to the operetta genre, posed a number of problems in front of the composer, but he was able to justify himself by comparing serious and comic, humorous and satirical, lyrical characters. In 1969, the composer presented the work “Don’t Hide Your Smile,” and in 1971 the operetta “The Fourth Vertebra” in a new style. “Don’t Hide Your Smile” was more of a vaudeville character. Its main feature is the bright national atmosphere. The operetta of the composer “Crossroads” was met with great enthusiasm in 1981. The theme of this work is the revolutionary events of the early twentieth century. However, this theme was presented in a unique way. Although there are no scenes representing these events in the work, they indirectly play an important role. The primary attention in the operetta is paid to ordinary people, who must bear the burden of these events. This is shown in the first act. The overture of the operetta is somewhat different from the traditional one: the polyphony of sound symbols, which combine contrasting images, prevails here, the call for prayer “Ezan,” the factory bell, and a charming song are mixed. This musical number represents the bright face of revolutionary Baku of that time. The image of the city also opens in the market. The main characters live in the middle of this market. A typical home scene presents the first presentation of images. The composer used a wide range of folk song genres. This scene is also typical for the beginning of the main dramatic line of the work. A total of 7 operettas of the composer, 5 of which were staged on the stage of the Moscow Theater, were successful. The contribution of the composer to the development of the genre of operetta and musical comedy is priceless. In his operettas, literary and musical dramaturgy is enriched with new studies. The composer managed to create brilliant musical masterpieces by widely using a variety of pop and jazz music.

«Я над голой музыкой хохотал, как угорелый…». Оперетта Бородина «Богатыри» в письмах Виктора Крылова Николаю Савицкому

The article is the first publication of 22 letters by playwright Viktor Krylov to Nikolay Savitsky, Stage Director of the Moscow Opera Сompany. The letters were discovered in 2020 in the State Historical Museum. The preparation of the article included dating and commenting on the letters. All the letters date from 1866 to 1867. Most of them are devoted to Heroic Warriors (1867), an operetta by Alexander Borodin based on the libretto by Krylov. The discovered documents allow to trace back how the operetta was composed, beginning with the emergence of Krylov's idea. The article clarifies the chronology of Krylov's work on the libretto as well as Borodin's work on the music of Heroic Warriors. It also reveals some previously unknown details of the composer's concept. Krylov writes in detail about passing two stages of theatrical censorship. It allows to establish the correct date of the final approval by the Theater and Literature Committee: July 29, not June 29 as previously thought. This fact explains why Borodin did not have enough time to compose fully original music for the operetta as well as why he was so often forced to parody works of other composers.

The transformation of the baroque genre invariant in the Cantata for soprano and chamber orchestra by Valentyn Sylvestrov into verses by Fyodor Tyutchev and Alexander Blok

Relevance of the study. The article is devoted to the genre of solo cantata, the emergence and formation of which was realized in the epoch of baroque. The long path of development of solo cantata, like many other genres based in the Baroque era, indicates its high flexibility and adaptive properties in accordance with the new aesthetic flavors of the following eras. Adaptation to the new historical-style paradigm is inevitably linked to the internal transformation of the genre, which is expressed through the process of saving or changing its parameters. The newest stage in the development of solo cantata — the 20th century, is also represented in the works of Ukrainian composers. The main features of the genre are considered on the example of the work of V. Sylvestrov.The main objective of the study is the search for a correspondence between the invariant of the solo cantata genre, which was formed in the 17th century and the Cantata for soprano and chamber orchestra of V. Silvestrov into verses by F. Tyutchev and A. Blok, dating from the 20th century.The research methodology is based on the use of analytical, comparative and historical-logical methods. The indicated methodological approaches allow revealing the peculiarities of the transformation of the genre invariant of the solo cantata in the work by V. Sylvestrov.The scientific novelty consists in identifying genre parameters characteristic of the solo cantata in the cantata for soprano and the chamber orchestra of V. Sylvestrov.The significance of this article is to identify the continuance of function of the solo cantata genre as one of the chamber vocal genres in the 20th century. It is widely spread in the national musical tradition. A detailed analysis of the work reveals many common parameters with the baroque genre — solo cantata. That is why the genre definition of “solo cantata”, both in relation to the works of V. Sylvestrov and to the works of other composers based on this genre invariant, allows to define more broadly the spectrum of compositions of accompaniment and to more clearly reveal the nature of the genre as in previous centuries, and in contemporary music.

M.-A. Hamelin’s composing and performing style in the context of postmodern aesthetics

M.-A. Hamelin’s composing and performing style in the context of postmodern aesthetics

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

VIOLIN TRANSCRIPTIONS AS ONE OF THE METHODS OF YURI GINA'S PRACTICE AS A COMPOSER

The purpose of the paper is to analyse and characterize one of the fields of work of Yuriy Gina – violin cover versions, interpretations and transcriptions; to reveal the peculiarities of the Bukovynian composer's work on the borrowed material. Methodology. The methods of historical-cultural, theoretical and genre-style analysis were used and allowed to determine the basic principles of covering the works of other composers in the creative work of Y. Gina. The scientific novelty consists in scientific understanding of the process of development of professional musical art of Bukovyna; in revealing peculiarities of creative thinking of the composers of the region; in clarifying the principles of violin music of the region; in the analysis of music by Y. Gina, whose works have not been sufficiently studied in contemporary musicology. Conclusions. Particular importance in the creative work of Yuriy Gina is acquired by the works intended to be performed by the violin or by ensemble violin composition, which is closely linked with the performer's activities of the composer. Among the works of Y. Gina quite distinguishable are the cover versions and interpretations of the works of other composers. As a result of the analysis of this field of the artist’s work, the basic principles of work on the borrowed material were discovered and there was determined relevance of this genre type to transcriptions. It has been mentioned that the purpose of this composer experiment was not only the replenishment of the repertoire for the violin and the violin ensemble, but also the desire to reinterpret the content and components of the musical form in a new way, to add virtuosity to works that were intended for another composition of performers. Consequently, on the basis of violin transcriptions of Y. Gina, one can identify the features of an individual style of the composer.

Formation of a New Harmonic Language in Elliott Carter’s String Quartet No. 2

One of the most significant aspects of Elliott Carter’s Second String Quartet (1959) is that it represents the composer’s workshop for developing his characteristic harmonic language. Many sketches in the collection depict the composer’s systematic process of understanding the properties of all-interval tetrachords—how they combine into larger units to complete the 5-, 6-, 7-, 8-note collections, the 12-note aggregate, or how they break down into smaller units of dyads and trichords. This process did not come easy to Carter—it took many years before it evolved into a system of chord syntheses. In addition to systematizing chord properties, sketches and documents reveal that Carter studied other methods (serialism) and works of other composers he admired (such as Webern and Schoenberg) while searching for his own way of expression. This type of systematic development, combined with experimentation using different compositional techniques, clearly suggests that Carter was in the developing stages of his own harmonic language.

Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno ed. by Steven Vande Moortele, Julie Pedneault-Deslauriers, Nathan John Martin

Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno. Edited by Steven Vande Moortele, Julie Pedneault-Deslauriers, and Nathan John Martin. (Eastman Studies in Music, vol. 127.) Rochester, NY: Rochester University Press, 2015. [vi, 456 p. ISBN 9781580465182. $120.] Music examples, illustrations, index.Almost two decades have passed since publication of William E. Caplin's seminal treatise, Classical Form, in which he proposes a theory of formal functions. defines a formal function as the specific role played by a particular musical passage in formal organization of a work (Caplin, Classical Form: A Theory of Formal Functions for Instrumental Music of Haydn, Mozart, and Beethoven [New York: Oxford University Press, 1998], 254). However, as disclosed by Janet Schmalfeldt in special afterword of Formal Functions in Perspec - tive: Essays on Musical Form from Haydn to Adorno (hereafter, FFP), had been involved in spirited discussions about formal functions with Schmalfeldt, his colleague at McGill University, since late 1970s, when he translated a treatise on musical form by Arnold Schoenberg's student, Erwin Ratz (p. 435). positive impact of Caplin's subsequent work-including articles that led to publication of Classical Form, treatise itself, and its pedagogically-oriented update (Caplin, Analyzing Classical Form: An Approach for Classroom [New York: Oxford University Press, 2013])-persists in music theory classrooms and conferences across North America and Europe by his numerous students, colleagues, and peers, which gives great cause for Steven Vande Moortele, Julie Pedneault-Deslauriers, and Nathan John Martin to edit a festschriftof thirteen essays in Caplin's honor.In their introduction to FFP, editors begin with a simple fact: Few writers have contributed as much to revival of Formenlehre in current English-language music theory as William E. Caplin (p. 1). Yet, they also recognize intentional constraints of Caplin's idiom-specific theory of formal functions (i.e., instrumental music of Haydn, Mozart, and Beethoven ca. 1780-1810): The theory's very richness- its fine-grained delimitation of classical style-entails a corresponding loss of generality (p. 4). Consequently, scholars have started to examine works of other composers outside of late-eighteenthcentury Viennese masters and test theory's versatility. One goal of FFP is to offer essays that open up new analytical and theoretical vistas while continuing to engage with basic themes and commitments of Caplin's work (ibid.).Grouped into six parts (i.e., five groups of two and one group of three), thirteen essays in FFP do not follow each other in a tight chronology of works or theorists (as may be implied by subtitle, which captures subjects of first and final chapters, respectively). Instead, I find it equally useful to group these essays by their general analytical considerations and musical objects to comprehend potential of expanding Caplin's ideas into other repertoires. Seven essays analyze a set of works by one composer to discover something new about composer's style: four essays focus on instrumental music and three essays analyze opera and song forms. Two other essays stand out for their primary focus on shared genres between multiple composers (e.g., one considers a cornucopia of nineteenth-century piano concertos by Field, Dussek, Hummel, Moscheles, Chopin, Cramer, Mendelssohn, Schumann, and Liszt). Three more essays relate via their intense analysis of only a single piece or movement. However, Vande Moortele's essay in chapter 13, The Philosopher as Theorist: Adorno's materiale Formenlehre, stands apart from other twelve as it transmits a history of Theodor Adorno's part/whole approach to analysis of musical form in Mahler, Schoenberg, and Beethoven and offers similarities between Adorno's theory and works of both and Schmalfeldt. …

WRITING MUSIC (AND MUSIC HISTORY): REFERENTIAL RAMIFICATIONS IN CLAUS-STEFFEN MAHNKOPF'S KURTÁG-ZYKLUS

AbstractOne of the most striking aspects of Claus-Steffen Mahnkopf's Kurtág-Cycle (2001), is the abundant use of intertextual references: Mahnkopf includes references to compositions of his own, as well as to works of other composers (e.g. Mark Andre). He also refers to literary sources, such as texts by Borges and Nietzsche. In first instance, this article provides a detailed inventory of these many musical and extra-musical references. Second, we highlight some of these interconnections by zooming in on the relationships between the different compositions within the Kurtág-Zyklus. A music analytical approach reveals the compositional strategies adopted by Mahnkopf in this work. Third, we examine the motivations behind Mahnkopf's specific choices: Why does Mahnkopf include references to certain composers such as Mark Andre and György Kurtág? And which underlying aesthetic, ideological or personal points of view guided the composer when establishing these specific connections? This paper presents a critical assessment of the interrelations between the two aspects of Claus-Steffen Mahnkopf's work: his theoretical writings and his musical compositions.

СТИЛЬОВІ ТЕНДЕНЦІЇ "НЕОКЛАСИЦИЗМ" І "НЕОФОЛЬКЛОРИЗМ" У МУЗИЦІ М. СКОРИКА

The purpose of the work. The research studies the famous Ukrainian composer M. Skoryk’s music works (second half of XX – beginning of XXI centuries), which relate to the stylistic trends of neoclassicism and neo- folclorism. Methodology. The research carries out the stylistic analysis of a number of composer's works, reveals new traits in his music, written in these styles, and carries out a comparative analysis of the Skoryk’s compositions and the works of other composers. Scientific novelty. The study has identified the specific features used by M. Skoryk in these styles. If his neoclassicism has originated from the synthesis of Baroque features and modern music language, his neo- folclorism has few variants: 1) folk melody is intact – harmony is modern 2) folk melody does not change – backup is updated: harmonically-rhythmically-timbrally 3) author's improvisation in folklore sense is synthesized with the help of modern means of music expression: harmony, rhythm and orchestration. Conclusions. The article is focused on the students of music schools. It will help them to study Ukrainian and foreign music history of the XX century. The following need arose: along with the main theme (innovative features of Skoryk’s music written in the styles of neoclassicism and neofolclorism) to reveal the formation and evolution of these styles in European music of the first half of the ХХ century. (M. Ravel, B. Bartok, P. Hindemith, I. Stravinsky).

Dowland's iPod: some possible models for John Dowland's lute fantasias

Scholars have long searched for possible models for Dowland’s pavans and other dances, and found liberal quotations from the madrigals of Luca Marenzio in some of his lute songs, but serious analysis of Dowland’s lute fantasias has not been pursued as actively, the assumption being that these works were original creations representing the essence of Dowland’s distinctive musical personality. It has become increasingly clear, however, that in his fantasias Dowland was strongly influenced by the works of other composers, including vocal music, keyboard music, viol consorts and lute music. While some of these similarities may be coincidental, there can be no doubt that Dowland knew the music of his contemporaries extremely well and took full advantage of the riches he discovered therein. I refer to this repertory as being a part of ‘Dowland’s iPod’, the music he listened to or played on a daily basis. Familiarity with this repertory allows us to make connections and understand Dowland’s music in a fuller, more revealing context.