Bulletin of Kyiv National University of Culture and Arts Series in Musical Art

Published by Kyiv National University of Culture and Arts
Online ISSN: 2616-7581
Publications
Article
The article analyzes the literary and documentary study of the famous Ukrainian diaspora writer Ulas Samchuk (1905–1987) “Living strings. Bandura and Bandurists” from the standpoint of musical source studies. The author of the article examines the structure and directions of thematic searches of U. Samchuk’s work, which were initiated by studying the phenomenon of the most famous Ukrainian diaspora collective – the Taras Shevchenko Ukrainian Bandurist Chorus. The article points out still applicable philosophical and aesthetic spheres of the book, due to understanding of kobza-bandura as a striking symbol of Ukrainian culture, and kobzar art – as its traditional phenomenon. The purpose of this research is to analyze the literary and scientific research of Ulas Samchuk “Living Strings” from the point of view of modern musical source studies. At the same time, the solution of the following tasks seems to be relevant: to determine the structure and directions of thematic searches and studies carried out by the writer in the work; to perform a chronological classification of the material; to outline the philosophical-aesthetic sphere of the book; to find out the significance of Ulas Samchuk’s work in comparison with other sources on research of bandura art of Ukraine and diaspora. The research methodology is determined by the use of historical, source, comparative, axiological and cultural approaches, as well as their corresponding methods. In particular, the historical-chronological method used to consider the sequence and stages of creating U. Samchuk’s study, axiological – to determine its artistic value, comparative – to float with other kobzar and bandura art studies, source and cultural approaches will contribute to the various aspects of bandura players art analysis in the global cultural space. The scientific novelty of the article is to determine the place and importance of U. Samchuk’s work in the context of scientific research source studies of bandura art in Ukraine and diaspora, as well as to characterize the writer's literary and journalistic style in his cultural work. Conclusions. In U. Samchuk's work, the bandura instrument is a national symbol that unites Ukrainians in its terrain and emigration parts through time and space, and kobzarism is a special stratum of the people, possessing the “power of revival” in all periods of history and on different continents.
 
Article
The purpose of this work is to attract an attention to little – known publication of a pianist and musical expert Sofiia Dnistrianska (1882–1956) about outstanding Ukrainian composer Stanislav Liudkevych (1879–1979), where his personality as a famous representative of modern Ukrainian music was represented hardly for the first time outside of Ukraine. The generalized characteristics of composer’s work was also shown. Methodology of the research consists of combination of cultural-historical method (elucidation of the composer’s work and its estimation in the historical context) and origin learning method (processing of archival documents). Scientific novelty of the article was caused by the fact that such archival materials were added to scientific circle, as: correspondence of S. Liudkevych and S. Dnistrianska about the article in German language newspaper “Prager Presse” (Prague city, Czech Republic), which was published on 19 May, 1925 on the occasion of the 25th anniversary of S. Liudkevych composer activity. The translation of the article from the German was done by the author of this research. Controversy, which expanded around this publication of S. Dnistrianska, was about interpretation of national factor in music activity. S. Liudkevych reacted delicately by making notes in encyclopedic editions about himself. The question of national style, which was within sight of S. Liudkevych as not only the composer but also as the musical expert (let us recollect his article “Nationalism in music”, 1905), became basis for analytical researches of Ukrainian scientists Ivan Liashenko and Oleksandr Kozarenko. Conclusions of the proposed research work result in drawing attention to understanding of the national music culture problem. The results of the research give opportunity to develop investigations of the history of national music.
 
Article
The article analyzes the specifics of the amateur choral art development from the second half of the XX century to the present in the context of Ukraine musical culture. It is emphasized that choirs are a form of revealing the creative potential of participants, act as a means of uniting people of different professions and ages by common interests, open opportunities to join the folk song heritage and participate in concert activities. The purpose of this research is to highlight the specifics and main trends in the development of amateur choral art in the second half of the 20th – early 21st centuries in the context of Ukrainian musical culture. This involves addressing the typology of groups represented in the domestic space, highlighting the key aspects of their concert and performing activities and identifying certain patterns of functioning in large and small cities and villages. The scientific novelty of the research lies in the determination of two socio-historical waves of influence on the development of Ukrainian folk choral art in the second half of the twentieth century, as well as the features of the folk choral groups functioning in large and small cities and in the countryside in Soviet times and in independent Ukraine. It also describes the factors that stimulate the preservation, transformation of organizational foundations and the growth of the creative level of amateur folk choral groups. The research methodology is based on the use of historical, comparative, source study, axiological and cultural studies approaches and the methods that follow from them. In particular, the historical-chronological method was used to establish the stages of development and continuity in the creative activity of folk choral groups, the axiological method to determine its socio-cultural significance, the comparative method for comparative characteristics of the functioning conditions of amateur choirs, the source study and cultural approaches help to consider the phenomenon of folk choral amateurishness is versatile, in a wide context. In addition, information obtained from official and unofficial surveys conducted in folk choirs of the Chernihiv region is used. Conclusions. The development of Ukrainian amateur choral art in the second half of the twentieth century was greatly influenced by two socio-historical waves. The first falls on the postwar period (1950-1960’s) when a huge number of vocal and choral groups were created at village clubs, city and factory houses of culture. The second (the 1990s) is related to Ukraine’s independence and the formation of completely new principles of the cultural and artistic life of civil liberties, the opportunity to participate in various festivals and competitions in Ukraine and abroad, and, as a result, rethinking the essence of amateur folk song, which is the basis of the repertoire of amateur choirs.
 
Article
The article focuses on the personalized genre and style approach to the analysis of Latin American composers’ artistic activity for the guitar, which gained universal acclaim and popularity in academic music culture. The background context for the following analysis causes the necessity in thorough learning of Latin American composers’ creative activity for the guitar as an inseparable part of Latin American music. The author highlights the peculiarities of the main forms and genres of guitar works by Argentinian composer Astor Piazzolla. There has been defined the linkage between guitar works and major style tendencies of Latin American music in the 20th century. Contemporary performance practice is being observed together with the examples of guitar redeeming by Astor Piazzolla. Scientific novelty consists in identifying the relevance of his creative activity and importance of his phenomenal creativity in combining genres of light and classical music in a modern guitar repertoire. Main scientific approaches, which have been presented in the article, are as follows: historic and cultural (to analyze the context of composition creating for the guitar), source-based method (to define notes and sound sources of the research), personality-theory (to analyze separate performers’ contribution to the representation of composers’ creative activity). Astor Piazzolla’s creative activity is based on the analysis of notes score and audios for the guitar by contemporary musicians, determining genre range as well as style characteristics. Creativity of Astor Pjaccolli, his unique performing style, a combination of authentic musical traditions of folk music and new musical images significantly influenced the development of guitar art, in particular, expanded the performing pedagogical and concert repertoire of guitarists.
 
Article
An important place in mass music culture belongs to the song hit – a phenomenon which attributes have not still been explored well finally. Among them – a video clip as a specific form of hit’s incarnation and an artiste’s image as a communicative feature of the phenomenon’s existence. The ascertainment of these aspects is the main objective of the study. The logic of achieving this objective led to the choice such a methodology: the method of analyzing scientific literature on the problem (to determine the degree of its elaboration and the prospect of further exploration), the method of intonation analysis (in the study of the musical language’s features and the principles of composition’s organization), the functional method (aimed at studying the degree of subject’s dependence on audience’s socio-cultural inquiries), the communicative method (that allows take into consideration the factor of the compositions’ existence in the public consciousness, the audience’s reaction to them and artiste’s personality), the comparative method (to study the genre and intonation and also the individual image components of the song hit). The song hit aims to reach the widest possible audience so this fact dues to the presence of such components as a media virus and a meme in its structure. They are directed at appealing to psychological “sensitive points”, the rooting in the mind and the causing of their further distribution, they can be found at all the song hit’s levels and they aim at the comprehensive coverage of the listener/viewer. Results. The song hit’s communicative nature determines the significance of its visual component represented by the video clip. In addition to the representative function, this embodiment is the most effective media virus tool. Moreover, the hit’s promoting, the marketing nature extends to its performer’s competitiveness. This aspect involves the obligatory presence the viral properties in the image, which can cause the audience’s emotional response. The artiste’s representative function necessitates constant and purposeful work on his image.
 
Article
Питання доцільності використання в опері мови оригіналу як єдино вірного варіанту виконання є спірним і набуло нині характеру міжгалузевого та творчого диспуту. Питання актуалізується у випадку, коли оперний спектакль ставиться у країні, в якій мова оригінального лібрето є незрозумілою для абсолютної більшості слухачів, і виникає проблема донесення ідеї, закладеної автором, до широкого кола слухачів. Існують різні підходи до розгляду цього питання – з точки зору зручності вокаліста, запитів публіки, інтенцій композитора і, нарешті, з точки зору завдань і цілей режисера. Якщо перші три аспекти раніше висвітлювалися в окремих наукових та науково-популярних публікаціях, то режисерський підхід потребує детального дослідження та обґрунтування. Мета дослідження – виявити та обґрунтувати основні режисерські підходи до слова як засобу донесення ідеї та необхідного психофізичного інструментарію актора в опері, як синкретичному жанрі. Методологія дослідження ґрунтується на комбінованому застосуванні універсальних методів наукового пізнання, зокрема теоретичного узагальнення та аналогії, використання яких дає змогу оптимально розкрити сутність досліджуваної проблематики. Наукова новизна дослідження – вперше досліджено практичні аспекти феномену діалогу між автором та публікою з позиції режисерського втілення драматургії. Окреслено значення використання доступної глядачеві мови в оперному жанрі з точки зору втілення режисерського задуму. Висновки. Поява «режисерського театру» у ХХ столітті зумовила переосмислення інтерпретації подачі опери та зміщення акценту на вибір мови. Оскільки акторська виразність, з точки зору режисера, неможлива без миттєвого осмислення драматургії опери, цілісність образу героя досягається лише тісним зв’язком пластики тіла із сценічним словом, чого тяжко досягти при виконанні опери іноземною мовою. Таким чином, доступна глядачеві мова – це єдиний спосіб подолання оперних умовностей та засіб досягнення режисером гіпертекстуального виміру драматургії. Саме в такому вираженні виникає феномен «вічного діалогу».
 
Article
Over the centuries, church liturgical practice has formulated perfect musical forms, the structure of which is built on internal genres, united by the common idea of all parts. The classification of their musical dramaturgy is determined by the musical-philological component that builds the liturgical and artistic integrity of the cyclic form of the work. This form is represented by the Easter canon, which holds a special place among all works of Byzantine hymnography. The purpose of the research is to consider the compositional structure of the Easter canon genre in the context of its theological and musical-poetic content. The methodology of the research is based on a comprehensive music-analytical, theoretical and historical analysis. The scientific novelty of the research is a comprehensive study of the canon genre from the point of view of establishing relationships at the level of melos, poetics and liturgical content. Conclusions. The dramaturgy of the Easter canon is based on the harmonization of theological accents with the means of poetic expression and musical instruments, in particular, intonation, metro-rhythmic, leitmotifs and the like. In this way, the integrity of all 9 canon songs is achieved throughout the cyclical form. The general construction of the Easter canon is inspired by the laws of rhetorical art, as well as by the defining principles of Christian hymnographers whose work was based on a combination of Old Testament and New Testament images. Thus, the musical and poetic logic of the unfolding of the general dramaturgy of the canon genre reveals an alignment of the aesthetic component with the dominant accents of the theological idea of the Easter holiday.
 
Article
The article analyzes the chamber-instrumental work of Jalal Abbasov, a brilliant representative of the modern Azerbaijani school of composition, in particular, ‘Munajat-I’. It also looks at the work of Jalal Abbasov against the background of the development of Azerbaijani music culture and explores the genre diversity of chamber-instrumental works. In addition, the study highlights the form and content, music, and harmonic language in the composer’s chamber-instrumental works, especially in the work ‘Munajat-I’. The article emphasizes the peculiar stylistic features of Jalal Abbasov’s chamber-instrumental work, its connection with musical folklore, and its tendency to modernity based on traditions. The purpose of the research is to analyze the work of Jalal Abbasov ‘Munajat’ and to study the individual stylistic features of the composer. The main features are the emergence of the characteristic features of the composer’s chamber-instrumental work and its special importance in the development of modern Azerbaijani musical culture. The basis of the research is the involvement of J. Abbasov, a worthy representative of the modern generation of Azerbaijani composers, in the detailed research work of the work ‘Munajat-I’, which has not been subjected to scientific and theoretical analysis. From this point of view, the research is based on the method of complex theoretical analysis. The research methodology is based on music-analytical, theoretical, and historical analysis. It was noted that the composer’s personal style has improved in the process of development, modern innovative ideas, modern technical methods have been used uniquely in the diversity of genres. At the same time, based on the scientific-theoretical principles and research of Azerbaijani musicologists, the article forms the methodological basis. The scientific novelty of the research is that the article, presented for the first time as special research work, is based on manuscripts dedicated to the chamber-instrumental work of the representative of the modern school of the composition of Azerbaijan J. Abbasov and the features of ‘Munajat-I’. For the first time in the presented article, the work "Munajat", which is important in the work of J. Abbasov, but has not been studied so far, has been scientifically analyzed. Conclusions. The comprehensive analysis of Jalal Abbasov’s chamber-instrumental work, especially ‘Munajat-I’ in the presented article, allows us to draw important conclusions about the features of the composer’s personal style. An important feature of the composer's chamber-instrumental works, distinguished by their original creative style, is the richness and deep content of the musical language. It was noted that J. Abbasov, who organically combined nationalism and modernity in his works, expressed his deep philosophical thoughts with high demand and seriousness. From this point of view, the elements of national music in the composer’s works with a bright content and individual style are expressed by the features of modern writing techniques. It was noted that the philosophical, rich imagery, deep meaning, and thoughtful thoughts characteristic of the composer’s work are reflected in his chamber-instrumental works, including ‘Munajat-I’. That is why the works of J. Abbasov have been successfully performed not only in his native Azerbaijan but also in many foreign countries and have successfully represented our modern school of composition. Jalal Abbasov is currently living in the period of the wisdom of his work, enriching Azerbaijani music by creating new modern works.
 
Article
The article analyzes approaches to graphic visualization of acousmatic music. The specificity of this electronic music’s genre variety is considered, the characteristic features of which are masking of the sound source and the absence of traditional written encryption – notation. The purpose of this research is to reveal the modern possibilities of graphic visualization of acousmatic works. The research methodology of the research is based on the use of the structural-functional methods to study the attributive characteristics of sound objects, as well as a comparative method aimed at analyzing different sound approaches to electronic scores. The principles of transforming the functions of musical notation in acousmatic works are revealed. It is noted that due to the absence of the performer, the notation loses its most important role – to serve as an instruction for repeatedly playing music since the composition is recorded in the studio and broadcast at the concert in the form of a phonogram. The scientific novelty of the research is to improve approaches to the study of avant-garde electronic music without author’s notation. Based on the study of composer’s scores “Vivente non vivente” by S. Gubaidulina, “Articulations” by D. Ligeti, “Electronic study No. 2” by K. Stockhausen, which are created on the basis of audio recordings, the functions of graphic fixation carried out after sounding are analyzed. Analogies with the notation of folk songs are drawn. Computer methods for visualizing acoustic processes are considered. It was revealed that almost all of them have the form of a graph of the sound vibrations distribution in the coordinates of frequency and time corresponding to the vertical and horizontal of traditional notation. The disadvantages of the automatic image of acoustic processes that do not reveal the uniqueness of the timbre and texture of sound objects are analyzed. A comparison of different musicological approaches to solving this problem made. Conclusions. The necessity of creating visualization for the study of compositions that do not have an author’s score has been substantiated. Based on the study of avant-garde notation patterns, an assumption has been formulated regarding the type and characteristics of graphic symbols. The principles of acousmographic visualization, which adds written signs to the sonogram aimed at revealing the author’s intention, have been investigated.
 
Article
This article is devoted to the method of aesthetic evaluation of the concert halls acoustics based on the properties of the perception of musical material by the human hearing system. For this purpose, a set of important evaluation criteria was defined: such as space, width, timbre, intelligibility, etc. Subjective evaluation criteria are closely interrelated and correlated with the objective acoustic parameters of concert halls. Concert halls were selected and brief information was provided to accomplish these tasks. For the aesthetic evaluation, the music pieces performed by the chamber orchestra were chosen. The assessment of sound in selected halls was conducted by sound engineers, composers, conductors, musicians, music critics and regular spectators of concerts and performances.The results of the survey were systematized and a comparative characteristic of classical music sounding in the two selected concert halls was given. The purpose of the research of the article is to offer a method of aesthetic evaluation of the acoustic properties of concert halls based on the subjective perception of the musical material sounding. The research methodology is determined by such methods as analytical – in the study of scientific literature; theoretical – to define specific terminology, to describe the phenomena that occur during the research and the parameters by which subjective assessment is done; empirical – when listening to orchestras in concert halls with a subsequent expert evaluation of the results; comparative – in the process of comparing research results; methods of analysis and synthesis – to process research results, and interviewing methods – to obtain information from musicians and active listeners. The scientific novelty of the research. It is made an attempt to compare the sound of orchestral music in different concert halls with the help of scientific study of subjective perception of musical material. Conclusions. Analyzing the results of the evaluation, we can say that the sound of the orchestras in the examined halls is significantly different. Each concert hall has its own individual and unique acoustics. Therefore, this should be taken into account when choosing a repertoire of concert groups and planning concerts. The application of aesthetic evaluation mechanism based on the subjective perception of the musical material sounding gives a positive result, so its use can be considered justified.
 
Article
The purpose of the research is to highlight the formation of the Precarpathian bandura quartet Gerdan and its creative and performing activities. It emphasizes the phenomenon of the female ensemble bandura playing as well as determines the contribution of the quartet to the development and popularization of modern bandura playing. The research methodology comprises the use of general scientific methods of cognition, namely, the chronological, analytical, as well as methods of generalisation and systematisation that gave the opportunity to study the formation and creative-performing activities of the Precarpathian bandura quartet Gerdan in dynamics and time. The scientific novelty of the study is that for the first time the stages of formation and creative performing activity of the Carpathian bandura quartet Gerdan in the context of the modern ensemble bandura playing development were studied in detail. Conclusions. The article underlines the dominance of female chamber ensembles, especially bandura quartets, in the development of modern ensemble bandura playing. The Precarpathian bandura quartet Gerdan is noted to be one of the prominent modern bandura quartets, which creative and performing activities brightly popularize the bandura art, both in Ukraine and abroad. Presenting the innovative approach and creativity to its own artistic activities, the quartet has become original and unique in the formation of its repertoire. The ensemble impresses with the wide range of performance opportunities in vocal and instrumental aspects. Its highly professional performing art skillfully combines the emotional sphere and the analytical approaches that focused great attention on the characteristics of creative and performing activities of the ensemble in the context of the development of modern music culture, which is characterized by national traditions as well as correspondence to European and world cultural and art standards.
 
Article
The article analyzes the musical language of the opera Kerem by A. Adnan Saygun. Ahmet Adnan Saygun was born during the Ottoman period and lived in the newly created Republic of Turkey. Saygun is one of the founders of the Turkish School of Composing, as well as one of the founders of the Turkish Five. The composer paid great attention to folk art and national values. You can always see folk music and folklore in his works. The purpose of the research is to analyze Sufi motives in the scenes of the opera. Mainly, the attention is paid to musical drama and harmonic aspects of the opera, which directly reflect Turkish folklore and musical culture in general. The research methodology lies in solving a scientific and theoretical problem. A number of theoretical and analytical methods have been applied, highlighting the principle of using a literary text in musical scenes that contain phrases that reflect “reunification with the Creator” in Sufism. The use of characteristic rhythmic patterns in mystical scenes, when searching for information, the methods of the axiological concept of culture were used, which made it possible to highlight the characteristic features of Turkish music. The scientific novelty of the research lies in the fact that for the first time the reflection of religious characteristics based on folk music, in particular, based on modal structures and maqams, analysis of the mystical motives of the opera, in combination with modern musical techniques is considered. Conclusions. Saigun’s opera Kerem is one of the rare works based on Sufi philosophy. A clear reflection of the main thought of Sufi philosophy was noted in Kerem, according to which the suffering of the seeker of truth is marked by a return to it. The way of light is the way of Allah. The composer, to show the unique colour and character of Anatolia, the life and customs of people, used the fret and rhythmic structure characteristic of Turkish music. As a result of the study, we see how in Kerem the author enthusiastically and passionately works on national values in all aspects of the opera.
 
Article
The article is devoted to the analysis of the concert for piano and symphony orchestra by the modern Azerbaijani composer R. Agababayev. The article is very relevant from the point of view of identifying ways to implement classical traditions in a modern piano concerto of the 21st century. It must be said that in this issue we have found many such stylistic features that testify to the strong reliance of Azerbaijani composers on classical traditions. This article is devoted to the study of identifying the stylistic features of R. Agababayev’s piano concerto in the context of the historical development of this genre. Research methodology. The choice of the methodological basis for this study is due to the above goals and tasks that we set ourselves in the framework of this work. Based on the subject matter of the article, the methodological basis of this scientific work is a complex analysis, which implies the interaction of several research methods at different levels. The basis for the analytical analysis of the piano concerto was a theoretical approach, in which such aspects of the work as the problem of form formation, stylistic features of individual elements of the musical language are subject to research. The scientific novelty of the research lies in the fact that for the first time as special research work is the study and detailed analysis of R. Agababayev’s piano concerto. Conclusions. The main conclusion of our scientific research was to determine the stylistic features of the Azerbaijani piano concert created in the 21st century. Based on the data obtained during the analysis, we were able to determine the main trends and ways of development of this genre at the present stage of the development of Azerbaijani academic music. One of the important, if not decisive, aspect in achieving this kind of goal is to identify issues of preserving and transforming traditions, as well as innovative tendencies in the composer’s solution of a particular work. Single-movement piano concertos have become widespread in academic music since the beginning of the era of romanticism. And in the Azerbaijani one-part piano concerts, connections with romantic traditions are deeply felt. Moreover, in each specific work, these traditions are reflected especially. Since the concert by R. Agababayev demonstrates an interesting and original one-part interpretation, combined with an inner poly-part one, this is a typically romantic tendency associated with the composers’ desire to compress the cycle.
 
Article
The article examines the chamber-instrumental work of Franghiz Alizadeh, a prominent representative of the modern Azerbaijani school of composition, People’s Artist, awarded the honorary title of ‘Artist of Peace’ by UNESCO. The article also highlights the characteristics of the musical and harmonic language, original timbre combinations, unusual dynamics, methods of using modern musical techniques of chamber-instrumental works of Franghiz Alizadeh, which is an area of her creative work that combines East-West music synthesis. The article analyzes Franghiz Alizadeh’s composition ‘Oasis for tape recorder and string quartet and gives specific features of the work. The article emphasizes that Franghiz Alizadeh’s presentation of Oriental thought in a synthesis of modern methods in the composition ‘Oasis’ is a unique feature of the work. The purpose of the research is to analyze the composition of Franghiz Alizadeh’s ‘Oasis’ and to determine the individual stylistic features of the composer. The interpretation of important innovations in Franghiz Alizadeh’s chamber-instrumental work and the discovery of its connection with modern music culture is especially emphasized. The basis of the research is the involvement of Franghiz Alizadeh, a prominent representative of the modern Azerbaijani school of composition, in the research work of the composition ‘Oasis’, which has not been subjected to scientific and theoretical analysis. The research methodology is based on music-analytical, theoretical, and historical analysis. It was noted that Franghiz Alizadeh’s chamber-instrumental work was formed in the context of the development of modern music, and modern technical methods were manifested uniquely. At the same time, the methodological basis of the article is based on the scientific-theoretical principles and research of Azerbaijani and foreign musicologists. The scientific novelty of the research is that for the first time, the general features of Franghiz Alizadeh’s chamber-instrumental creative work were studied within the framework of Azerbaijani music science, and the composer’s composition ‘Oasis’ was analyzed in detail. At the same time, based on the analysis, the article presents a detailed scientific study of the composition ‘Oasis’, which is of great importance in the work of the composer. Conclusions. The comprehensive analysis of Franghiz Alizadeh’s chamber-instrumental work and especially the composition ‘Oasis’ in the presented article allows drawing important conclusions about the features of the composer’s creative style. Franghiz Alizadeh is a modern Azerbaijani composer distinguished by her original creative style, and it was noted that the deep content of her works, distinguished by her unusual style of performance, is important in our national music art. It was noted that the East-West synthesis is dynamically manifested in the composer’s work, and this feature is directly felt like her works. From this point of view, F. Alizadeh’s camera-instrumental work is distinguished by the difference of modern writing techniques with rich images, and she has achieved great success not only in her native Azerbaijan but also far beyond its borders. It should be noted that Franghiz Alizadeh’s works, which combine East-West synthesis, have been performed in many countries and met with success. From this point of view, the composition of ‘Oasis’ differs by its rhythmic structure, artistic content, and texture form. It is especially emphasized that the unusual performance of the composition ‘Oasis’ was used to reveal a certain image. It is noted that the composition has a different musical language, along with deep content and non-traditional features. The combination of serial technique and mugam elements gives the composition ‘Oasis’ originality. It is noteworthy that the tape was used as an integral part of the camera-instrumental work. It was noted that the composition "Oasis", as a work of synthesis of theatre and music, has a theatrical effect. Franghis Alizadeh is currently living the period of wisdom in her work and enriches the professional music of Azerbaijan with her unusual works of modern type, which combine East- West synthesis.
 
Article
У статті аналізується аудіотворчість (звукозаписи) провідного колективу української діаспори Капели бандуристів імені Тараса Шевченка (Детройт, США) в контексті актуалізації досліджень розвитку бандурного мистецтва в Україні та зарубіжжі, зокрема відзначення 100-літнього ювілею колективу (2018). Поряд з активною виконавською діяльністю, тріумфальними виступами колективу в Месі Голл (Торонто, Канада) та Білому Домі (Вашингтон, США), Капела зафіксувала свою творчість в аудіозаписах, видала численні довгограючі платівки, касети, аудіодиски, відеодиски, опрацювавши понад 600 творів бандурного і хорового репертуару. Метою статті постає аналіз звукозаписних здобутків Капели бандуристів імені Тараса Шевченка з позицій репертуарно-тематичного, жанрового, інтерпретаційного, інструментознавчого, виконавсько-стильового аспектів. Здійснено історичну ретроспективу аудіотворчості колективу, введено до наукового обігу останній ювілейний диск «Браття! Будем жити!» (2018), що й становить наукову новизну дослідження. Відзначено тематичний спектр дискографії колективу. Зокрема, Капелою створений багатий каталог звукозаписів, до якого увійшли українська хорова класика М. Березовського, Д. Бортнянського, А. Веделя, О. Кошиця, М. Лисенка, С. Людкевича, К. Стеценка, А. Гнатишина, твори Г. Хоткевича, Г. Китастого, П. Потапенка, численні українські народні пісні, канти, псальми. Відзначено, що виконавські гастрольні тури Капели ставали поштовхом до фіксації репертуару – запису провідних тематичних напрямів, про що свідчать назви альбомів: «Ми знов з тобою, Україно», «Чорноморський тур», «Українські степи», «Бандурне Різдво» та ін. У статті використано історичний, аксіологічний, музикознавчий та культурологічний підходи та відповідні їм методи, які визначають методологію дослідження. Зокрема, історико- хронологічний метод використаний для розгляду послідовності й етапів звукозаписної творчості колективу бандуристів, аксіологічний – для визначення його мистецької цінності, музикознавчі та культурологічні методи сприятимуть різностороннім аспектам аналізу входження звукової творчості Капели бандуристів імені Тараса Шевченка у світовий культурний простір. Висновки. Аудіозаписи Капели бандуристів імені Тараса Шевченка зафіксували процеси удосконалення народного інструментарію в діаспорі, зокрема бандур харківського типу майстрів П. і О. Гончаренків, Ю. Приймака, М. Лісківського, А. Чорного, М. Дяковського, А. Бірка та ін. Аналіз звукозаписів колективу дозволив визначити динаміку як загальних тенденцій збереження і відтворення виконавських здобутків Капели, так і мистецьких досягнень у різні періоди її функціонування під керівництвом диригентів Г. Китастого, В. Божика, П. Потапенка, В. Колесника, О. Махлая та ін.
 
Article
This article deals with generalized analysis of artistic and scientific activity by famous performer and researcher from Canada – Andrij Hornjatkevyč (Edmonton), in context of bandura art development in Ukraine and abroad. This article deals with the complex analysis of Andrij Hornjatkevyč 's multi-vectoral activity, based on the research and popularization of kobzar art of past and present times. The phases of his life path and professional development, activity in spheres of Ukrainian language research, Ukrainian oral and music folklore, traditions of authentic kobzar movement, popularization of epic kobzar repertoire are being pointed out, and this is the first time for the information to be entered in scientific circulation as introductory research. The methodology of the study encompasses historical, systemic, axiological, cultural lens approaches and corresponding specific techniques of scientific knowledge: historical and chronological, systematic classification methods etc. Among priority subjects of scientific researches by Andrij Hornjatkevyč there are past and modern kobzar movements, especially about kobza-bandura, traditional kobzar art, articles-potraits of Ukrainian diaspora artistic personalities – Zinoviy Shtokalko, Hryhoriy Kytasty, Mykhaylo Teliha. These topics are being analyzed. Publication cycle about Lebian language, its meaning, interpretative dictionaries are also being reviewed. Andrij Hornjatkevyč’s contribution to the decryption and editing of Zinoviy Shtokalko’s methodical and repertoire manuscripts, publishing preparations and issue of «A Kobzar Handbook» – «Kobzarskyi pidruchnyk» (1992) and music sheet collection «Kobza» (2002), and also the research and generalization of sound recording activity and legacy of this bandura player are being noted. The general characteristics of Andrij Hornjatkevyč’s personal repertoire as musician-performeris are being made. It covers traditional genres of kobzar movement – dumas, historical songs, instrumental melodies. Simultaneously, personal features of Andrij Hornjatkevyč as a member of Ukrainian community, scientific and artistic organizations and unions – «Plast», Ukrainian Free Academy of Sciences, Shevchenko Scientific Society, Ukrainian National Composers’ Union are being underlined.
 
Article
Метою статті є аналіз одного з семи фортепіанних концертів видатного польського композитора сучасності Анджея Нікодемовича (1925–2017), в контексті пізнього стилю, з погляду засобів виразності та форми. У цьому жанрі композитор використовує сильно дисонуючий 12-тональний звуковий матеріал і складні ритмічні поділи, комплементарні ритми, створюючи тим самим щільну звукову структуру. В кінцевому підсумку, вони містять впізнавану стилістичну ідіому, суть якої – ліризм і експресія. Це результат постійної мінливості і різноманітності застосування розробки на рівні мікроформ. Фортепіанний концерт № 6 дещо відмінний від більш ранніх робіт композитора. Порівнюючи всі сім фортепіанних концертів, саме шостий має одну відмітну особливість: це елементи техніки поліфонії. Згадану техніку Анджей Нікодемович часто використовував у релігійних кантатах. Це звернення до традиційної барокової музики. Методологічною основою даної статті є застосування системного аналітичного підходу з виділенням музикознавчого, історичного та текстологічного підходів, що дозволяє виокремити провідні риси пізнього стилю у творах композитора. Науковою новизною даної статті є усвідомлення симптоматичної зміни стилю пізнього періоду у творах композитора як важливої складової його творчості, концерт вперше науково розглядається з епонімічної позиції. Висновки. Техніку поліфонії композитор вміло поєднує з лірично-експресивним музичним матеріалом, який домінує у творі. Відповідно, це є показовою зміною в рамках пізнього стилю композитора.
 
Article
Among the archaic archetypes of the Ukrainian musical culture, less researched ones belong to Indo-European (more specific – Indo-Iranian) origin. One of these is a tripartite music (troyista muzyka) that preserved deep links with pre-Christian (Scythian, Sarmatian-Alanian, Old Slavic) rituals, individual genres of the Ukrainian epic and calendar ritual folklore. The tripartite word genesis is associated with the ancient trizna Slavic word, related to the concept of a triple sacrifice – water, earth and sky, which Slavs-pagans offered to their gods. The triple ritual sacrifice is tied with the idea of a World Tree, which symbolized the ternary vertical structure of our ancestors’ universe. By analogy, the concept of tripartite correlates with the musical-spatial coordinate – the texture, its trinomial dimension. In the ancient rituals which have been accompanied by the instrumental play, the music has been performed the function of three-level vertical structuring space. An ancient Slavic ritual of triple sacrifice was accompanied by a play on a ritual musical instrument-mediator as an integral attribute of the ritual. The instrument realized a three functional idea, combining and protecting the integrity of the Universe (the world of people, gods and ancestors). Hence, the application of the tripartite idea semantics (trinomial, three-functional) to the tripartite music concept, from its sources rooted in the ritual, and the interconnection of tripartite music with the ancient pagan worship becomes clear. The same function has been performed by the tripartite music of the folk-professional instrumental ensembles of the Ukrainians, which later grew up with a lush blossom in the music of the Ukrainians’ professional tradition. The number of the tripartite musicians’ ensemble members can range from two to five or more musicians. The instrumental and instrumental parts functions are irreversible. The idea of trinomial in the tripartite music has been realized through its texture, the functional interconnection of the composition of three levels, they are upper, middle, lower, which have been embodied through the musical instruments system.
 
Article
The article examines the scientific work of one of the prominent representatives of the 20th century Azerbaijani piano performing school, Honored Art Worker, Professor Nigar Usubova (1914–1994). N. Usubova devoted an important part of her life to pedagogical activity, raising a generation of talented pianists. She made an exceptional contribution to the development of the Azerbaijani piano school and the definition of its future directions. N. Usubova’s pedagogical principles are reflected in her dissertation work and methodical manual. As it is known, N. Usubova studied in the class of A. Goldenweiser and wrote these scientific works under the guidance of the prominent pianist. An important part of these scientific works is devoted to the study of A. Arensky’s piano creative activity. Here, the musician touched upon the features of the composer’s piano performing, as well as the characteristic features of his music. The research also provides performing characteristics of the works analyzed and covering various genres. The purpose of the research is to study the fundamental results and main performing principles in the scientific works dedicated to A. Arensky’s piano creative work by Nigar Usubova, a brilliant representative of the Azerbaijani piano school of the twentieth century. In these scientific research works, N. Usubova touched upon the features of the prominent composer’s piano creative work, performing principles, circle of images; moreover, analyzed the form, genre, tone and other aspects and conducted research on the background of characteristic features of Russian music. We would like to bring to your attention that N. Usubova’s scientific works have not been published. This raises the scientific significance and relevance of the topic more. These scientific works are the first research work dedicated to the study of A. Arensky’s piano music in the Azerbaijani science of music. The research methodology is based on analytical and theoretical analysis, as well as on the source research method (work with archival materials). The main principle is the study and analysis of the fundamental results obtained by N. Usubova in the study of piano music by A. Arensky The scientific novelty of the research is that for the first time the scientific works of the outstanding pianist Nigyar Usubov are studied, their scientific significance, as well as the issues reflected in those works, are revealed. We would like to bring to your attention that these scientific works reflect N. Usubova’s method of approach to A. Arensky’s piano pieces as a pianist. For this reason, these scientific works are a valuable recommendation for every pianist who turns to A. Arensky’s piano creative work. Conclusions. Nigar Usubova is the author of two scientific works and her scientific creative activity is devoted to the definition of performing features of A. Arensky’s piano creative work. Each of these scientific-methodical works was written under the guidance of a prominent representative of the Russian piano school, pedagogue A. Goldenweiser. In these works, N. Usubova worked on A. Arensky’s creative work in a comprehensive and detailed way. According to the author, A. Arensky’s piano creative work is characterized by the clarity of form and texture, the richness of melodic material, which brings him closer to Tchaikovsky’s chamber music. Although the composer prefers miniature forms in his piano creative work, it is also possible to find virtuoso pieces, etudes, scherzos and capriccios. These works, in particular, influenced the formation of S. Rakhmaninov’s and A. Scriabin’s creative activity. The main characteristic features here are polyphonism, polymelodism and polyrhythmics of the piano texture. Simultaneously, N. Usubova thoroughly studied the influence of Western European composers on the formation of A. Arensky’s creative activity.
 
Article
Muslim Magomayev (1942-2008) is an outstanding singer who played a significant role in the history of vocal musical culture in Azerbaijan and the world. Arias from operas by various composers occupy an important place in Magomayev’s creative activity. He turned to these arias from the earliest stages of his career and managed to create unique pieces of art. The article thoroughly analyses the vocalist’s performance of opera arias and gives a distinct explanation of his performance principles. It should be noted that the peculiarities of M. Magomayev’s performance of opera arias have not been scientifically and theoretically studied and extensive research has not been previously carried out. The purpose of this research is to identify Magomayev’s principles of performing opera arias, the interpretation features of some of the works performed by the singer. The research methodology consists of various analysing methods of vocal performance. All this is presented in connection with the information about the singer published in various newspapers and magazines, and some moments from his life. The performance analysis carried out in the article is associated with the theoretical foundations for vocal science. Along with it, the analysis of vocal performance is presented on note samples. The scientific novelty of the research. It is for the first time M. Magomayev’s opera aria creativity has been reviewed, and the singer’s vocal peculiarities and his method of approaching the images have been determined. The study includes performance analyses of samples of musical works by Azerbaijani and Western European composers, as well. Conclusions. M. Magomayev gave priority to addressing opera arias by various composers in his repertoire. One of the main features of Magomayev’s performance is the preservation of the style of any aria during the performance. This is manifested both in a variety of performance techniques and in various ways of artistic expression. The singer brought out the subtle details of each image and transforms them into a characteristic feature of the protagonist. In these arias, he could demonstrate all capabilities of his voice. Features of his voice character, including the strength, volume range, good state of the voice apparatus, a wide range of vocal performance techniques and rich voice palette give grounds to say that the singer’s voice apparatus was given him by nature. The singer’s wide voice range allowed him to masterly perform arias written for bass and baritone timbres.
 
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This article is dedicated to the choral works of the famous Azerbaijani composer R. Mustafayev. The choral arrangements based on folk songs occupy a special place in the author’s heritage, encompassing the wide and diverse genres of the choir. The main purpose of the article is to reveal the characteristic features of the choral arrangements of the composer. The author of the article considers the author’s choral treatments based on folk songs, theoretically analyzes choral treatments based on the songs “The Handkerchief” and “Hey, Beauty Girl”. The article uses theoretical methods of analysis, discusses the harmony-intonation, rhythmic, harmonic, textural features of choral parties. Various stylistic features of choral treatments can be evaluated as a scientific innovation of the article. Firstly, in R. Mustafayev's choral arrangements, the possibilities of the vocal voice are consistent with the main stylistic features of the folk songs performance. The composer who owns the secrets of folk music, along with identifying the vocal capabilities of the collective, pays special attention to the disclosure of the image-emotional content in these songs. It should be noted the role of piano accompaniment in choral treatments. This instrument is not accompanying, as the piano's timbre features are used with a great skill.
 
Article
The article is devoted to the genre of arrangement of choral folk songs in the works of Ukrainian composer Mikhail Hayvoronsky (1892–1949). The relevance of the study has been inspired by the growing attention of art critics, folklorists and choral conductors to the little-known in Ukraine works of diaspora composers. The purpose of the article is to draw attention and get acquainted with Mikhail Haivoronsky’s cultural heritage as one of the outstanding Ukrainian living in the USA. The works of the composer were studied by diaspora musicologists (Vasyl Vytvitsky, Roman Prydatkevich, Antin Rudnytsky, Fedir Steshko) as well as Ukrainian experts (Boris Kudryk, Ksenia Kolessa). It was emphasized that the folkloristic work of famous ethnomusicologists, folklore collections and correspondence with famous folk music experts have provided the foundation for the work of Mikhail Haivoronsky. The composer has worked out folklore samples of the representatives of various ethnographic regions of Ukraine as well as Slavic (Belarusian, Croatian), American and Canadian peoples. Mikhail Haivoronsky’s innovations in the field of arrangements of folk song for choral performance find expression in the establishments of the choral course, precedence in Hutsul folklore, appliance of sound imaging (imitation of church bells in carols), development of Ukrainian national music style, and formation of the individual composer style. The high artistic level of Mihail Haivoronsky’s arrangements confirms their foregrounding in the performing practice of Ukrainian and Belarusian choirs and in the publications in foreign collected works. His evolutionary development as a composer and the importance of his creative contribution to the treasury of Ukrainian choral music has been emphasized.
 
Article
The personality oriented concept of students’ musical thinking development in higher educational institutions of art is analyzed in the article. Planning of educational process with the regularities of development and the individual self-development creates the favorable conditions for self-realization of the creative potential of future musicians-performers and for activation of their musical thinking. The peculiarity of the students’ musical thinking development in the context of the personality oriented approach, as an important factor of the process of professional training improvement, is revealed. The purpose of the article is to substantiate the personality oriented concept of harmonious development of students’ musical thinking in art higher educational institutions, the expediency of implementation in the process of professional training of future musicians-performers of a personality oriented methodical system of education. The basic ways of development of students’ musical thinking were defined. They are appliance in the educational process of the humanistic model of professional training of future musiciansperformers, which provides the personality oriented methods of teaching; researching of the musical thinking of students from the positions the interconnection of intellectual, emotional and personal development; the usage of personality oriented situations, in the process of which the creative musical and cognitive activity of students activates, the introduction of dialogue as a mean of subject-subjective relations formation in the musical lessons. It is proved that the effectiveness of the musical thinking development is in the direct correlation dependency from the personal qualities and characteristics of students’ musical thinking development. The most perspective forms and methods of personality oriented learning in the development of students’ musical thinking, which motivate to think independently, direct the musical thinking of students to active productive actions, creative artistic and interpretive activity, and creativity, are investigated. A complex of methods, which are directed on the activation of musical thinking in the process of personality oriented education, are applied, namely: solution of thoughtful musical tasks, personality oriented training, stylistic interpretation, analytical cognition of a musical composition, instrumental dialogue, improvisation, etc. Scientific novelty consists in the scientific and methodical development of the personality oriented concept of professional training of future musicians-performers as a whole structural process, It is directed on the the musical thinking development of students on a base of a personality oriented approach. Conclusions. The expediency of the personality oriented concept of the musical thinking development of students made it possible to develop a methodical system of phased formation of musical thinking, which will provide the effective professional training of the future musiciansperformers in the art higher educational institutions.
 
Article
The purpose of the research is to determine the influence on the spontaneous and creative formation of song symbolism (in particular, musical-typological), which took place through instincts. The research methodology uses scientific methods to emphasise that folklore is an extremely complex and much more difficult system to be systematized than literature and music. Therefore, the criteria of genre classification of written works to folklore can be used in part, aware of their conditionality. In folklore, which is the bearer of the pre-written experience of mankind, in addition to mental formative and aesthetic achievements, biological instincts are also reflected. Instincts influenced the intuitive and creative formation of song symbolism (in particular, musical and typological). The scientific novelty of the research is that it emphasizes the folklore to be a legacy of the Neolithic worldview (phenomena: magical, religious, organizational and social, legal – like a wedding). For several thousand years under the influence of historical circumstances, and then Christianity in the Neolithic and folklore heritage has undergone significant distortions. The most significant changes have affected the vocabulary of lyrics and melodies of songs: they are the least stable components of the song in the race of time. Much less time affected the rites, beliefs and especially musical forms of songs. The rhythmic structure of musical forms has been preserved the most, as well as the compositional structure of song texts, which is always organically combined with musical rhythmics. Conclusions. The stability of ritual actions over the millennia, which is inherent in all religions (and paganism as well), is due primarily to the influence of sacredness. But sacredness does not affect the mind, but the senses. In order to assert it, the magic of the cycle of the agricultural year and the linear movement of human life (from the cradle to the grave) was worked out. To consolidate in the minds of the genus (tribe) through magic the laws of the annual agrarian cycle, the Magi-priests intuitively developed a perfect musical system of cognitive signs: winter, spring, and summer. The same applies to family rites. In fact, ritual melodies have clearly defined rhythmic structures that are associated with a certain time of year, with family events.
 
Article
Purpose. The research is related to the study of bandura artist performances and the identification of means of their influencing the public in the region, based on the overview and analysis of concert programmes of the groups and of publications in the press. The methodology of research is to combine the sociological method used in the process of interviewing representatives of bandura art, and a descriptive method for the concert activity analysis of individual performers and bands of bandura players. Results and conclusions. The influence of social and cultural realities on the progressive development of bandura art in Volyn is emphasized. It has been proved that the performing art of bandura players is characterised by an educational and patriotic mission, namely the promotion of the best samples of elevated spiritual musical and poetic heritage, the popularisation of T. Shevchenko and Lesya Ukrainka’s works, as well as works of heroic and patriotic orientation (dumas, historical songs, striletski and guerilla songs), folklore melos. It was clarified that in various historical periods the performance of bandura players encouraged Volynians to preserve and develop spiritual traditions and cultural heritage, having become the means of spiritual enrichment of the Volyn community, the intention of the idea of national self-establishment. It has been found that bandura performance is a significant factor in the patriotic education of young people, which is especially important in the process of forming the national priorities of modern young generation and that will in some way affect the content and structure of the values of Ukrainian society in the future.
 
Article
The purpose of the research is to analyze the practical experience of musicians, performers, and participants of an art project, to study the issues of strategic planning of artistic activity and its further interactive realization in the Ukrainian music space on the example of “Jazz Kolo” creative project. The article considers the peculiarities of strategy formation in the organization of an art project, the interaction and relationship of the existence’s parameters and the development of the structure using democratic approaches to dialogue between members of the art team. Possibilities of using research results in the non-formal education of musicians are revealed. The research methodology consists in general scientific methods and approaches in particular: system approach – for structuring and generalization of the organization strategy of a creative project; analytical – to study the scientific and practical experience of this problem; axiological – to identify the importance of the synthesis of artistic, cultural and special professional issues The scientific novelty of the research is the study of the art project in the Ukrainian music space as a complex phenomenon; the components of strategic project planning (artistic performance experiments, educational and social functions, international adaptation and communication, and related activities to create a financial basis, mobility and efficiency of existence, creating content in the market of cultural and artistic services) are substantiated. Conclusions. With a comprehensive approach to creating a model of the organization of an art project, a system of interaction of different cultural environments, active exchange of musical information between countries, project participants enriched the team “Jazz Kolo” and proved that in the formation of a strategic plan of any art business project it is possible to succeed in its implementation, using a decentralized model of group communication, subordinate to the idea and the appropriate team structure.
 
Article
The article is devoted to the history of the choral music development in Azerbaijan and to highlighting the ways of choirmaster art formation. The development of choral art in Azerbaijan began, firstly, with the formation of the composer creative activity. The introduction of classical choral samples with the emergence of the first opera and the formation of an ensemble for performing it are considered to be the first step in this area. Later, the emergence of professional choral collectives, the development of the opera genre, as well as the activity of music education institutions included a new stage of development. Therefore, the formation of choral music genres allowed the development of the art of conducting, especially the areas such as an opera choirmaster who leads a choir collective, a chapel choirmaster. The purpose of the research is to highlight the formation of choral conducting in Azerbaijan, to study the ways of high-level development of choirmaster art and to explore the creative path of professional opera choirmasters. The research methodology is based on historical and theoretical principles, with the help of which the position of choral art in the musical culture of Azerbaijan, the history of the formation of choral art is considered. The theoretical and methodological basis of the study was the existing works of Russian and Azerbaijani musicologists in this field. The scientific novelty of the research is connected with the fact that for the first time in Azerbaijan the ways of development of choir art are comprehensively covered. Conclusions. The involvement of Azerbaijani choral art in the research and the study of the issue mainly in terms of the conducting and choirmaster art formation have shown that the development of this art was primarily connected with composer creativity. Since the emergence of classical samples of choral music is associated with the opera genre, the art of conducting and choirmaster has entered its stage of formation, in parallel. The professional development of choirmaster art took place in parallel and mutually with the art of conducting and it was associated with the high-level organization of music education in the country. Consequently, such professional choirmasters as L. V. Frolova, A. A. Yurlov, N. Malikov, L. Atakishiyeva, E. B. Novruzov, B. Vakilova, S. Agayeva, N. Mardanov, N. Nabiyev, Z. Ismayilova, Y. Adigozalov, G. Imanova and L. Mammadova have been trained in Azerbaijan. Besides, areas such as a chapel and opera choirmaster have also developed within choirmaster art.
 
Article
The purpose of the research is to reveal in the diachronic aspect some principles of the musical self-organization of the Azerbaijani heroic epic. The research aims also to study some features of the self-organization in the opera “Koroglu” by Uzeyir Hajibeyli. The research methodology is aimed at using methods of synergetic paradigm. The notion of non-linearity is a fundamental principle of asynergy. As well as synergetics, the application of certain methodological principles of a cognitive paradigm in the study of the musical language of the heroic epic would also be effective. The scientific novelty of the research. The article offered to the attention of readers one of the first experiments on the application of the principles of the synergetic paradigm in the field of ethnomusicology. Conclusions. One of the most formidable examples of the Turkish heroic epic, the “Book of Dede Qorqud” was a complex system developed on the principle of self-organization. The synergetic aspects of the study of the period of the early heroic epic allow an initial description of epic performance as a manifestation of cognitive processes. According to the author, the synergetic approach allows us to take a fresh look at the problem of “composer and traditional musical art”. In the most generalised form, it can be argued that due to the artist’s intertextual dialogue with the epic tradition, centuries-old concepts acquire new semantic shades in the modern historical and cultural context. The Opera “Koroglu” by the founder of the Azerbaijan compositional school Uzeir Hajibeyli is vivid evidence of this.
 
Article
The purpose of the research is to analyze the principles of voices classification according to the German Fach system through the prism of the integration of Ukrainian singers into world music culture. The research methodology is based on the application of the method of analysis of voices classification, which makes it possible to explore the principles of detailed differentiation of professional voices of opera singers. Source studies and music-theoretical methods were used during the search and analysis of the relevant literature. To substantiate the conclusions on the principles of voice classification, the method of terminology systematization and axiological method were used (to identify the most valuable professional qualities of the vocalist in each classified group). The scientific novelty of the research is that the principles of voice classification in the context of their appropriate professional specialization are analyzed and the principles of the Fach system to certain methods of modern educational vocal practice are extrapolated. Conclusions. In the process of researching the principles of singing voices classification, Fach found that it is based on a detailed analysis of the physical, psychological, emotional and vocal-technical capabilities of the singer in the context of requests for his professional realization in opera. A competitive artistic environment, which is actively expanding through integration processes, necessitates a clear understanding of the value of relevant professional opportunities and proper positioning in the professional sphere. The presence of these objective requests encourages them to be taken into account in the process of vocal formation of the singer, which should be reflected in the choice of certain elements of the methodology of vocal development, and the selection of repertoire and development of artistic thinking.
 
Article
Bandura’s performance, аs an important component in modern art space, is at the stage of theoretical understanding and search for mechanisms for practical implementation of technical, motor and performance tools to achieve artistic perfection in a wide range of multi-genre and diverse repertoire. The purpose of the research is to theoretically analyze the problems of bandura technique formation in the practical aspect of mastering and applying various performing techniques in artistic interpretation. The research methodology lies in a systematic approach. It is substantiated that the performance movements of a bandura player function in the system of the artistic process. The application of the comparative-analytical approach. The scientific novelty of the research is in the fact that mastering the modern bandura is so difficult that the specifics of this instrument require: a very fine, filigree differentiation in the functioning of the muscles; a special approach to sound production in achieving the ideal bandura sound; extensive use of an arsenal of modern sonorous and colouristic means, the latest techniques of performance, etc. The mechanisms of interaction of musical thinking, imagination, auditory control, the establishment of auditory-motor connections, and contact with the string for the realization of a sound ideal of a work context are considered. The main approaches in the formation of the basic elements of virtuosity – “small” technology and “large” technology are analyzed. The focus is on research on the analysis of the psychology of musical thinking, physiology of performance movement, applicative principles and the development of special exercises that meet the characteristics of sound production in the interpretation of modern bandura repertoire. Conclusions. It has been found that the contact with the bandura string varies depending on the nature of the music, tempo, dynamics and texture. The specifics of the interdependence of the choice expediency of the performance technique and the quality of the sound result are revealed. It is determined that the performance movement, due to the objective features of the bandura, is a process aimed at achieving the sound goal. It has been found that in the performance process, the artistic component and artistic and motor realization occur simultaneously, mutually conditioning and reinforcing each other, resulting in a holistic artistic phenomenon.
 
Article
Мета роботи – висвітлити один із недостатньо досліджених аспектів веделезнавчої проблематики – специфіку співвідношення музичного і вербально-текстового концептів духовно-хорових творів А. Веделя у процесі їх образно-драматургічного розвитку. Методологія дослідження ґрунтується на комбінованому застосуванні універсальних методів наукового пізнання, зокрема індукції, дедукції, історичного методу, культурологічної реконструкції, використання яких дає змогу оптимально розкрити сутність досліджуваної проблематики. Наукова новизна дослідження полягає у тому, що вперше в сучасному музикознавстві розглянуто специфіку взаємодії музичного і вербально-текстового рядів у духовно- хорових творах А. Веделя на перетині декількох евристичних проекцій, зокрема, музикознавчо-структуралістської, психологічної, релігійно-філософської. Висновки. Творчість А. Веделя є складним і поліаспектним феноменом, сутність якого розкривається крізь призму відповідності вербально-текстового і музичного образу.
 
Article
Based on the scientific research devoted to the problem of articulation in the piano performing art, the article summarizes its main provisions. The author identifies two interrelated aspects of achieving performance articulation. The different functionality of these aspects allows us to present musical articulation in two types: as an author’s (or editor’s) one and as a performer’s one. The author's articulation is the primary basis, objective and unchangeable reality, the idea encoded in the musical text by the composer, and the performer’s articulation is a derivative, subjective art infinitely cognoscible and recreated by the performer. The purpose of the article is to study the problem of articulation in the performing activities of the modern pianists of Azerbaijan. Research Methodology. The articulation research process has been carried out through methods of analysis, synthesis, and generalization based on listening to performers’ recordings of piano works of various styles and forms. The scientific novelty is that for the first time, the concept of articulation is formulated as an objective reality of a musical text and as a subjective recreation in the music interpretation process, that is, as an author’s, editor’s and performer’s one according to the historical and scientific-theoretical analysis of this problem. For the first time, the analogy is drawn between the speech punctuation marks against the musical punctuation signs making by a pianist during a performance. The punctuation signs such as musical ones: dot, ellipsis, comma, exclamation and question are introduced. Conclusions. The leading role of the author’s (editor’s) and performer’s articulation in the music interpretation process, as well as the musical punctuation tools, which significantly influence and determine the mastership in achieving the dramatic integrity of the work, are specified. The special creative role of the musician in creating a performing articulation based on a deep knowledge of the author’s or editor's articulation given in the musical text (legato, legatissimo, non-legato, staccato, marcato, tenuto, accent) is emphasized. It has been proved that the performing articulation mastership is directly and consistently dependent on the study and analysis of the musical text, the deeper and wider the knowledge of the performer, the more options for creative readings and interpretations are created by the performer.
 
Article
At the present stage of the modernization of the education system in Ukraine, the problem of the creative person formation and his or her ability to artistic and creative activity is one of the main issues in the modern artistic pedagogics of the present. The relevant task is to provide conditions for the artistic and creative development of the every child personality of the junior school age, which contributes to their harmonious and comprehensive development at the artistic educational institutions. These tasks require updating of artistic concepts and paradigms in the field of artistic and creative education of primary school students. The aggravation of the contradiction between the need of specialized artistic educational institutions in optimizing the creative development of this age children and the insufficient level of methodological providing of the educational process determine the relevance of this analysis. As it is in the process of artistic and creative activity of the junior school age children, an interest in different types of art develops, and in future love and an inexhaustible desire to engage in certain of them appear, therefore, the success and effectiveness of such development in art schools totally depends on the professionalism and competence of a teacher. Only the teacher in the process of studying is able to create such conditions that will facilitate the acquisition of grades 1–4 pupils of the basic skills of artistic and creative activity and children will be able to remember and recognize works of different kinds of art, to be excited about them, to admire about the content of works, the beauty of their forms and images. The purpose of this study is to substantiate the basic conditions for teachers of artistic educational institutions regarding the effectiveness of artistic and creative development in the process of studying through the integration of arts. The methodological basis of the article was the generaladectic principles (connection with the surrounding reality, systematic and sequential learning, and an individual approach to the children development of elementary school age), as well as the principles of artistic and creative development of grades 1–4 pupils in art schools, with the specifics of artistic activity various types: encouraging children to discover creative potential in the process of studying various arts; application in the process of integration of art as a means of artistic and creative development of children of junior school age; enriching the aesthetic experience of students, as well as the direction of artistic and creative development in understanding the artistic image by mastering the means of artistic expressiveness of various types of art. Many pedagogical studies have proved that it is the elementary school period that is favorable for the development of the child’s creative personality in the process of artistic and creative activity, and this very age contributes to its comprehensive cognitive development. Since pupils of junior school age have high cognitive activity and psychological readiness for artistic and creative activity, they are quite easy to learn and can absorb a large amount of information on different types of art. Application of integration in the process of studies in art schools with children of junior school age, above all, will allow to achieve integrity in the pedagogical process, to fully involve students in the world of art, through participation in various forms of artistic and creative activity, as well as to implement new methods and receptions of artistic and creative learning, due to the possibility of applying an individual approach to each child. Indeed, hence to the integration of the arts there is: first, the approach of children to artistic knowledge not only through reason, but also through feelings and emotions; second, the disclosure of the inner world of children of junior school age and their maximum rapprochement with the teacher. Conclusions The use of artistic integration in classes at artistic educational institutions contributes to a deeper assimilation of pupils of the junior school age of artistic culture and artistic heritage, the development of cognitive interest, and through the development of creative abilities and acquired knowledge, skills and abilities, helps to reveal their artistic and creative potential in the process of participation in various types of artistic and creative activity.
 
Article
The article is devoted to the tintinabuli style and creativity of the Estonian composer Arvo Pärt. The relevance of the research is due to the need to determine the distinctiveness of these phenomena, their underlying culture which gives possibility to characterize them in the context of the procedural being of European culture and patterns of its development in intentional period of its formation (the end of ХІХ – the beginning of the ХХІ centuries. The purpose of article is to analyze the tintinnabuli style and Arvo Pärt creativity in the context of the author's concept of culture and art intentionalism. The study used such research methods as cultural-historical in consideration of the tintinnabuli style and Arvo Pärt creativity in the context of the procedural European culture being in intentional period of its formation; procedural-structural in determining the structural dynamics and meanings, which determine the development of musical culture of the 20th - early 21st centuries; intentional-cultural - in defining the basic principles of intentionalism which determine their development. Scientific novelty of the work lies in the development of new research direction which is based on cultural basis and author’s conception of culture and art intentionalitsm. Tintinnabuli style and works of Arvo Pärt are distinctive by extraordinary originality. There aren’t any analogues of this style as well as the techniques of composition in the modern music culture. At the same time tintinnabuli style and Pärt’s creativity aren’t beyond the scope and express the specific content of European culture being in the final – intentional - period of its development. The peculiarity of these phenomena is conditioned by intention modeling, aimed at the research of accomplished cultural formation based on the actualization such basic principles of intentionalism as phenomenologism, prognostics as well as peripherality, intro-retrospection and compilation, extention in their phenomenological and prognostics content.
 
Article
Мета дослідження – висвітлення проблеми взаємодії мовленнєвих, музичних і вербальних жанрів у музичних творах. Запропоновано стратегію визначення оптимальних методологічних підходів та методик аналізу такої взаємодії. В контексті розглядуваної проблеми вперше запропоновано цілісну методологію вивчення і висвітлення питання специфіки мовленнєвих актів у музичному мовленні (прямих і непрямих), таксономії музичних мовленнєвих жанрів, застосування елементів семіотичного і дискурсивного аналізу музики та музичних наративів. Положення праці проілюстровано зразками аналізу музичних творів М. Мусоргського та П. МакКартні. Висновки. Доведено однакову природу мовленнєвих жанрів у вербальному і музичному мовленні, запропоновано і подано їх таксономію, розкрито способи взаємодії та висвітлено методики дослідження.
 
Article
У повоєнні роки Другої світової війни українська діаспора в Австралії зберегла харківську бандуру, спосіб гри, репертуар та техніку виконання до кінця 1980-х рр. У зазначений період на новому терені цей спосіб гри на бандурі зазнав низки трансформацій та нововведень. Традиція, яка збереглася, проливає світло на історію бандури та демонструє процес трансформації, що їх зазнає етнічна музична культура в ізольованих осередках, а також феномен інноваційного розвитку. Мета дослідження полягає у виявленні закономірностей, передумов трансформації та інновації в грі на бандурі харківського типу в українській діаспорі Австралії. Методологія дослідження побудована на історичному, системному, соціологічному та культурологічному підходах із залученням наукових досліджень у суміжних галузях музикознавства. Метод історично-хронологічного аналізу застосовується для виявлення особливостей традиційної гри на бандурі. Метод системної класифікації виконавської практики застосовується для порівняння збережених способів, що побутують в Україні, та виконавської практики в Австралії. Аналіз був сфокусований на харківську бандуру, техніку та репертуар Гната Хотеквича, його студентів та послідовників, його філософію відносно мистецтва гри на бандурі, з особливим акцентом на діяльність Г. Бажула та його студента П. Деряжного. Джерельну базу статті складають монографії, наукові статті та епістолярна спадщина традиційного та академічного виконання на бандурі, що розглядають бандурну діяльність Г. Бажула (харківський тип інструмента) в Австралії. Деякі висновки були зроблені на базі особистих спостережень автора та численних інтерв’ю з видатними представниками української діаспори Австралії. Наукова новизна праці полягає у залученні до наукового обігу органологічного та ерґологічного аналізу діяльності бандуристів, котрі застосовували харківський спосіб та техніку гри. Виявлено рівень збереження традиції, систематизовано еволюційні зміни способів гри, окреслено коло оригінальних прийомів гри, введених у виконавство у українській діаспорі Австралії. Висновки. Збереження традиційних артефактів української культури відбувається у численних ізольованих громадах діаспори по всьому світу. В українській діаспорі в Австралії харківська бандура, виконавство на харківській бандурі, харківський спосіб гри та репертуар функціонували до кінця 1980-х. Однак, на Австралійському континенті, цей стиль зазнав певної трансформації та новаторства, що відображало середовище, в якому цей культурний артефакт використовувався. Ці культурні залишки дозволяють нам краще зрозуміти та реконструювати невідомі сторінки історії бандурного виконавства в Україні, а також демонструють процеси трансформації, які традиційна етнічна музична культура зазнає в ізольованих центрах. Дане дослідження демонструє механізми впровадження інновацій у процеси розвитку культурних артефактів, їх систематизацію і дозволяє здійснювати аналогічні розвідки у ізольованих культурних осередках інших країн світу.
 
Article
The honoured artist of the Republic of Azerbaijan, Ilham Nazarov, is a prominent representative of the Azerbaijani school of vocal performance of the 21st century. He went down in the history of the art of vocal performance in Azerbaijan as the first performer with a countertenor sound timbre, wide vocal performance capabilities, and a sound range of 5 octaves. I. Nazarov’s field of activity is wide and diverse. Another direction of his multi-sided professional path is scientific creativity. The musician is the author of various programs, scientific articles, guidelines and manuals. The article also deals with the scientific activity of I. Nazarov and clarifies his features. At the same time, the author explains the importance of scientific works written by the performer for the musical science of Azerbaijan. We would like to note that the scientific work of I. Nazarov is studied in a broad sense for the first time. The purpose of this research is the study of the features of the scientific activity of I. Nazarov, the definition of his method of approach as a researcher, the scope of his scientific works. The research methodology consists of analytical and chronological analysis methods. Here are analyzed and systematized features of scientific creativity of I. Nazarov. The method of analysis as applied in the article is aimed at a thorough study of the musician’s scientific activity. The research analyzes scientific works authored by I. Nazarov and establishes a connection with his teaching activities. The scientific novelty of the research lies in the fact that here the scientific work of I. Nazarov is examined for the first time, as well as the importance of his method of approach as a researcher, the range of subjects of his works, research directions, innovations made into a music science of Azerbaijan, and the relevance of such research are identified. At the same time, the article deals with the research conducted in connection with the features of the countertenor sound timbre of I. Nazarov, as well as his research work considering the USSR People’s artist, prominent figure Muslim Magomayev. Conclusions. Based on the study of the features of the scientific activity of Ilham Nazarov, the following conclusions may be made. In the creative works of I. Nazarov, the research papers are of great importance. Despite the fact that the musician has been engaged in scientific activities since 2015, he is also the author of numerous scientific articles, guidelines, training programs, manuals, etc. The scope of the researcher’s topics is wide and diverse. We would like to note that some of the topics studied by I. Nazarov have been studied in the field of music science in Azerbaijan for the first time. From this point of view, these research papers are of great importance. Here we can note the study of the features of the countertenor sound timbre and the study of the work of the USSR People’s artist, Muslim Magomayev. The artist studied the features of the voice in a broad and comprehensive manner as a performer with a countertenor sound timbre. Let’s note that the first scientific article authored by I. Nazarov is related to the countertenor sound timbre. In this regard, the musician has developed training manuals, guidelines and programs. In a book called “The Technique of Countertenor Performance”, the researcher describes the features of countertenor sound and scientifically proves the authenticity of such a sound. The main characteristic feature of the scientific activity of I. Nazarov is applying modern methods. For example, in the dissertation paper related to the study of M. Magomayev’s creative work, I. Nazarov describes the performance characteristics through the physical parameters and computer programs on the example of cavatina of Figaro performed by the famous singer. This method was first applied in the musical science of Azerbaijan and it is an important step in studying the features of vocal performance.
 
Article
This article is devoted to the first conservatory creation of the Muslim East, which was opened in the city of Baku on August 26, 1921. In itself, this remarkable fact testifies to the difficulties that arose on the way to creating this Higher Musical Educational Institution in Baku. The article consistently highlights the most important facts related to the opening and activities of the conservatory. It is important to emphasize that despite all the difficulties that arise along the way, Uz. Hajibeyli and his associates persistently went to their cherished dream – the creation of the first conservatory in Baku. The purpose of the research is to identify the conditions in which the first conservatory of the Muslim East was created. Uz. Hajibeyli took years of consistent work to create that strong foundation on which the building of the conservatory was erected, now BMA named after. Uz. Hajibeyli. Note that August 26, 2021, marks the 100th anniversary of the first conservatory in Azerbaijan founding. The research methodology is based on genuine historical facts with which the activities of Uzeyir Hajibeyli were associated in the process of creating the conservatory. The scientific novelty of the research is associated with some facts of Uz. Hajibeyli’s life, which were not mentioned at all in Soviet times. All these facts, one way or another, come out of the time of the existence of the Azerbaijan Democratic Republic. The ADR national anthem was written by Uz. Hajibeyli. It is also the anthem of modern Azerbaijan. Conclusions. The approaching centenary anniversary of the first conservatory in Azerbaijan allows not only to evaluate the path it has travelled but also to pay tribute to its creator, Uzeyirbek Hajibeyli, the founder of Azerbaijani professional music, a great visionary who consistently leads Azerbaijani music along the path of progress and conquest of heights in composing, performing and educational processes in the republic.
 
Article
This article is devoted to the study of the evolution of the lyrical image in the ballets of Azerbaijani composers. The presented article emphasizes that the Azerbaijani ballet on the extension of the history of the Azerbaijani school of composition functioned indefinitely as an important component of the Azerbaijani musical culture. The theme of this article is actualized in the aspect of the historical approach, as each ballet of Azerbaijani composers, on the other hand, reflected the significant features of the artistic, historical and cultural context. On the other hand, the study of the evolution of the lyrical image in the Azerbaijani ballets reflects the dynamics of the development of the Azerbaijani school of composition. Moreover, the figurative system in Azerbaijani ballets represents the slender line of artistic connections of Azerbaijani culture. The purpose of the research is to study the role of the lyrical image in the evolution of the Azerbaijani ballet. The research methodology is based is based on the use of a historical approach to determine the basic definitions of the study. The expediency of the historical method is due to the fact that the development in the space of historical time should be based on certain basic categories that would reflect the school of composition, its national specifics. The scientific novelty of the research is that for the first time the peculiarities of the evolution of the lyrical image in Azerbaijani ballets – from its origin to modern functioning – are analyzed; the nuances of style creation in the Azerbaijani school of composers in the specified aspect are considered, and also certain art processes are systematized. Conclusions. It is proved that the combination of deep lyricism with dramatic emotions is characteristic of the transfer of lyricism in the drama of ballets at all historical stages of development, in different stylistic contexts. Lyrical images in the ballets of Azerbaijani composers have similar features and are due to the specific content of the national worldview.
 
Article
The article is dedicated to the piano creativity of Ogtay Rajabov, a brilliant representative of the 20th-century Azerbaijani school of composition. It should be noted that O. Rajabov is the author of many pieces for piano, and among them, the genres written for young pianists have a special place. The article analyzes some of these pieces. They include some small miniatures such as “Barkarolla”, “Lyric dance”, “Joke”, “Thought”, “Lyric waltz”, “Naughty kids”, “Remembering the Past”, “Remembering my mother”, “Sad mood” and “My memories”. In his works, the composer was able to bring the world of children to life with great skill. The article provides a theoretical analysis of each piece and specifies the stylistic characteristics inherent in the composer’s piano music. In the works, the traits of O. Radjabov’s composing style, a kind of transfer of elements of folk music, the different images within a small play, the rich imagination of the composer and many other things are highlighted. These works play an important role in the development of the technical capabilities, artistic thinking and aesthetic taste of the young performer. Here, the main characteristic feature is the variety achieved through dynamic nuances, the different development of the melody, the use of different registers, and other similar aspects. Such works are also extensive in terms of the subject matter. So, the images of various characters are reflected here. The purpose of the research is to analyze some of the small miniatures that hold a special place in O. Rajabov’s piano creativity work and set forth his stylistic features. The research methodology is based mainly on theoretical-comparative principles. The miniatures have been theoretically analyzed in terms of the means of expression of musical language and been characterized by its results. The theoretical and methodological basis of the research is constituted of works by Russian and Azerbaijani musicologists available in this field. The scientific novelty of the research lies in pioneering a study of the composer Ogtay Rajabov’s piano creation and his directly analyzed miniatures as a research object for the first time. That is to say, in this article, O. Rajabov’s piano works have been subjected to theoretical analysis for the first time. Conclusions. The contents commonality of the last four pieces, including the fourth one among the ten pieces we have analyzed, has united them somewhat in a series. As for such pieces as “Joke”, “Naughty kids”, “Lyric waltz”, “Barcarolle” and “Lyric Dance”, they mostly combine in one theme the different moods and emotional states of children’s world, expressing it in itself. Among the features that summarize and differentiate the pieces, there is a preferred type of texture, the methods of theme development, use of polyphonic style. In particular, the contrast that occurs as a result of dynamic nuances when playing the theme in different registers is observed in most of his pieces. The analyzed pieces serve as a valuable tool for the formation of a young pianist’s aesthetic taste, as well as the development of artistic and technical performance.
 
Article
The article is devoted to the study of the features of the vocal performance of the Honored Artist of the Republic of Azerbaijan Ilham Nazarov, who entered the history of Azerbaijani musical culture as the first performer with a countertenor timbre of voice. At the same time, the singer's uniqueness in vocal art lies in the fact that he has a wide range, as well as various vocal timbres, which determines the use of various performing techniques. The purpose of the research is to determine the features of Ilham Nazarov’s vocal performance technique as a countertenor and the influence of elements inherent in Azerbaijani music on his performance technique. The research methodology is based on the use of methods of music-analytical, historical, theoretical analysis, as well as physiological analysis of voice. In the article, the characteristics of the performer’s voice are also presented with documents, which are confirmed through laboratory tests. The methods and principles of the approach used in the framework of the research are aimed at studying the features of the musician’s voice and studying the characteristic elements of Azerbaijani music in its performance technique. The scientific novelty of the research is that the influence of Azerbaijani music on the performance of the Honored Artist of the Republic of Azerbaijan Ilham Nazarov is being investigated for the first time. At the same time, the author explains the place and importance of the musician’s work in the art of vocal performance in Azerbaijan. I. Nazarov is the first performer with a countertenor voice timbre in the art of vocal performance in Azerbaijan. Voicing samples of national music with such a timbre of the voice itself requires a technique of distinctive performance. In this respect, the structure of the musician's performance is a process based on a complex technique. These features have been first studied and investigated on a scientific basis. Conclusions. Based on the study of the features of I. Nazarov’s performance, the following may be concluded: I. Nazarov is a vivid example of the art of vocal performance in Azerbaijan. The features of the voice turn the performer into a unique phenomenon in the musical culture of Azerbaijan. The study focuses on the physiological features of the musician’s voice and presents the size of the vocal folds for the first time. This explains the volume of the broadband of the performer’s voice, as well as the reason for his performance by both the bass and countertenor timbre of the voice. The countertenor timbre of the voice has a distinct technique of performance. Performers having such a timbre of voice mostly refer to the composers’ works of the Baroque period. Voicing the national music of Azerbaijan with a countertenor voice timbre in itself means the combination of two different performance techniques. Thus, in his work, the performer successfully combined the technique of countertenor performance with the features of the original performance of Azerbaijani mugham. As a result, the musician was successful in forming a unique, original style of performance.
 
Article
In the XX century, specific individuals in the Ukrainian Diaspora preserved, developed and propagated aspects of bandura culture and tradition, much of which disappeared in Ukraine in the light of new political realities. This included such aspects as the loss of the Kharkiv type bandura, the Kharkiv method and technique of playing, and its traditional repertoire. During the 20th century, Vasyl Yemetz made a significant contribution to the development of the modern bandura and the establishment of the solo concert performance on the instrument. This study is an attempt to glean new information regarding traditional playing techniques he learned as a youth and new techniques he later developed, and also a reevaluation of his repertoire based on reminiscences and recordings made by the author in 1979. The purpose of this research is to focus on traditional, transformational and innovational aspects in the performance practice and playing technique of Vasyl Yemetz; to reevaluate those aspects of the kobzar tradition that he retained, and those that he modified in his concert performance practices, and to compare these to contemporary practices later developed in Ukraine. The research methodology is grounded in historic, systemic, sociological and cultural approach and related methods of scientific study, in particular, a historic-chronological analysis of the bandura playing techniques used by Vasyl Yemetz, in particular, the method of systematic classification and complex analysis of the playing techniques that he retained and also later developed. The study and analysis are directed toward the bandura playing technique and repertoire of Vasyl Yemetz and his philosophy regarding his approach to the bandura. The materials used in the preparation of this study include books and articles regarding the bandura, and specifically about Vasyl Yemetz, recordings on cassette tape and photographs made by the author. Separate conclusions and generalizations were made on the basis of personal interaction with the informant and also notes taken at that time. The scientific novelty of the research is the introduction into scientific circulation of an organological and ergological analysis of the activities of bandurist Vasyl Yemetz, the tradition, systematization of the various adaptations, and the development of independent innovations in the performance practice by this artist on this traditional Ukrainian folk instrument. Conclusions. Vasyl Yemetz was a unique man and musician. He made a significant impact on the development of bandura playing technique, repertoire and instrument construction. The artist combined in his work a traditional kobzar playing and innovations of modern concert performance. Audio recordings and photographic materials made during personal meetings contributed to the rethinking of his artistic, philosophical, cultural achievements, especially in the aspects of playing techniques and the formation of concert repertoire. Musical terms developed and implemented by the performer to describe playing techniques can still be used nowadays in the technique of bandura playing. The audio recordings of the melodies made during the interview contributed to reconstruct his repertoire and to involve these works actively in the concert repertoire of modern bandura players. The interrelation of technical performing techniques and design features of the instrument, which explains the motives of the philosophical understanding of the bandura art role in the world cultural process, is highlighted.
 
Article
Погляди щодо поляризації в мистецтві гри на бандурі в сучасній Україні. Порівняння автентичніх та академічних підходів до бандури, репертуару та конструкції, а також розвиток музичних переваг слухачів і вплив на сучасних виконавців.
 
Article
Метою дослідження є висвітлення діяльності Георгія Ткаченка, а саме виконавської практики гри на традиційній бандурі, підкреслення зростання інтересу до проінформованої практики виконання на бандурі, диференціація цього явища. Методологія дослідження заснована на історичному, системному, соціологічному та культурологічному підходах та відповідних методах наукового дослідження, зокрема, історико-хронологічному аналізі ігрової техніки Г. Ткаченка, методі систематичної класифікації та комплексному аналізі вивчення техніки й репертуару Г. Ткаченко та його послідовників, а також традиційного кобзарського репертуару. Матеріали, використані при підготовці даного дослідження, включають книги та статті про народну бандуру, про твори з репертуару Г. Ткаченко та його послідовників, аудіо- та відеозаписи зроблені автором. Науковою новизною роботи є уведення до наукового обігу всеосяжного органо-ергонологічного аналізу діяльності Г. Ткаченка та його послідовників, систематизація методики, використаної Ткаченком, зростаюча тенденція до виконавської практики виконання на традиційних українських народних інструментах. Результати дослідження сприяють осмисленню особливостей виконання традиційного бандурного репертуару на 21 струнній аутентичній бандурі та осягненню кобзарської спадщини в цілому. У результаті дослідження отримано загальну характеристику репертуару Г. Ткаченка, виявлено виконавські особливості дум, псалмів і кантів, історичних пісень та інструментальних танців.
 
Article
The article deals with the sociocultural origin of many well-known bandura art representatives of the Ukrainian diaspora. The work distinguishes the personalities of the diaspora bandura players, the natives of Galicia and their achievements in the context of the study necessity actualization in performing tradition broadcast, the preservation of the performing school characteristics, etc. The purpose of the article is to study the contribution of Galician bandura players to the development of bandura art in foreign countries. The scientific novelty of the research is the systematic information introduction about the representation of Galician bandura players in the Ukrainian diaspora, their priorities in the tools, repertoires, performances, and so on. The contribution of K. Misewych, D. Honta, D. Scherbyna to popularization of bandura in Poland in the interwar period is being determined. The activities of the Yuri Singalevich Lviv Galician school are being pointed out, whose students (S. Hanushevskyi, S. Lastovich- Chulivskyi, V. Yurkevych, Z. Shtokalko, etc.) not only promoted the bandura in Galicia, but also became successful in various types of bandura activity in the Ukrainian diaspora, synthesized their skills with traditional regional bandura schools. Particularly, the natives of Galicia V. Lutsiv and B. Shark, who in the Ukrainian diaspora synthesized the regional bandura schools of performance, were noted. The article uses historical, axiological, musicological and cultural approaches and their corresponding methods, which determine the methodology of research. In particular, the historical-chronological method is used to examine the stages of bandura players artistic path; the axiological - to determine the value of their achievements, musicological and cultural methods will contribute to the multi-vector representation of Galician bandura players contribution to the world treasury of Ukrainian culture. Conclusions. It has been determined, that in the process of bandura art development in Galicia, the unification of Western and Eastern bandura schools took place, the basic directions of music instrument functioning were laid, which ideas were continued in post-war emigration.
 
Article
The purpose of the research is to determine the vectors of creative universalism in the activities of bandura artists of the Ukrainian diaspora of the 20th – early 21st centuries. The article analyzes the principles and manifestations of creative universalism of the bandura art of the Ukrainian diaspora. The personalities of bandura artists of the diaspora, whose work has become a manifestation of universalism in the context of actualizing the need to generalize and analyze the achievements of bandura art abroad as part of Ukrainian musical culture, are highlighted. The research methodology involves the use of historical, axiological, musicological and cultural approaches and methods. They allowed considering the activities of bandura players in a non-national environment (historical approach), the value of their achievements in various vectors of creativity (axiological approach), and comprehensively present the contribution of bandura players to the world treasury of Ukrainian culture from the standpoint of universalism (musicological and culturological approaches). The scientific novelty of the research lies in the introduction into scientific circulation of the analysis of creative activity and achievements of bandura artists in the Ukrainian diaspora from the standpoint of universalism, priority of the type of activity or their synergy. Conclusions. In the bandura art of the diaspora during the 20th and beginning of the 21st century, the performing direction of activity has been defined as a priority (leading one). It covers different types of performance as a soloist or participant, conductor of a bandura ensemble, recording activities or a combination of some or all of these types. Auxiliary areas are such areas as design (substantiation of types of bandura models and their manufacture); composition (creation of author’s compositions, arrangements, arrangements for personal use and students or followers); pedagogical and methodical (teaching and formation of game methods); research and journalistic (publishing scientific articles, monographs and press publications); administrative and organizational (management of educational institutions, centres, management of teams, publications); managerial and organizational (preparation of concert, recording, publishing, scientific and festival events), etc.
 
Article
Запропоноване дослідження присвячене феномену універсальної творчої особистості, розглянутому в аспекті діяльнісного універсалізму. Мета дослідження – визначити й схарактеризувати особливості діяльнісного універсалізму творчої особистості в музичній культурі Ренесансу, Бароко та Класицизму. Методологія дослідження – авторський діяльнісно-структурний метод, що поєднує низку психологічних та мистецтвознавчих підходів до вивчення універсальної творчої особистості. Наукова новизна дослідження полягає у розробці та апробації теорії діяльнісного універсалізму творчої особистості. Висновки. У дослідженні простежено основні тенденції діяльнісного універсалізму особистості в ряді культур європейської традиції, доведено, що кумулятивний тип творчого універсалізму пов’язаний з типом музиканта-майстра, а синтетично- інтегративний – з типом музиканта-творця; з’ясовано сутність феномена універсальної творчої особистості Нового Часу; виявлено переламну функцію опери у становленні універсалізму особистості Нового Часу та роль Ж. Ф. Рамо як прототипа класичного універсала. Уточнено: зміст поняття універсальної творчої особистості; роль провідної та допоміжної діяльності у визначенні типу універсальної творчої особистості, а також роль універсальної творчої особистості і типів діяльнісного універсалізму в музично- історичному процесі. Загальне теоретичне значення роботи зумовлено розробкою структурно-типологічного, функціонального та індивідуального аспектів феномена діяльнісного універсалізму; застосуванням інтердисциплінарного підходу до осмислення універсальної творчої особистості. Доведено, що формування універсальної особистості у ХV–XVI століттях відзначене тенденціями екстенсивної полідіяльнісності та структурної невпорядкованості, у XVII–XVIII століттях – інтенсифікації та тяжіння до монодіяльнісності, і увесь цей час – домінування виконавства.
 
Article
The acceptance of the phonograph by the researchers of the Ukrainian folk music made an importants tepin the establishment and development of the professional musicalethnography. Thanksto Theodor von Steinheil (1870–1946), a socio-political and cultural activist, philanthropist, and diplomat, Ukrainians were among the top three nations in Europe to have taken advantage of the technical innovation. In July 1898, as part of work in the Horodok Regional Ethnography Museum (near Rivne), which he had created, the researcher used a phonograph cylinder to record a harvest song. Yet, in recent years, as a result of the latest research of the Ukrainian and foreign scientist, new data about the selfless work of the researcher in the field of music ethnography has become available, which has drawn other scientists’ attention to this topic. However, despite his momentous event in the history of ethnomusicology, the scientific feat of the baron was properly recognized only at the beginning of the ХХІ century in an article by Bogdan Lukaniuk. Nowadays, new data about the selfless work of the researcher in the field of musical ethnography has become available, stimulating interest in the topic. Therefore, the purpose of the research is to analyze the phonographic activity of Th. Von Steinheil and his museum associate V.Moshkov, adding to and verifying the data which had been published before. Having recorded his first several experimental phonographic audios, Th. von Steinheil did not stop at that. Already in autumn, he resumed his collecting work, and in addition too the pieces of music, recorded the repertoire of a lyrist. The baron in volveda folk loristanda military man V. Moshkov in the phonograph recording of folk music, who in 1898, recorded carol melodies for a Nativity drama, traditional Christmas felicitations, and some examples of Jewish folklore, hence establishing the beginning of the recording of Jewish tradition a musculature in Ukraine. Thanks to Th. Von Steinheilin four years, the phonograph recording of folk music became a separate field of research, whose culmination was the creation of the first archive of the phonograph cylinders in Ukraine and Europe. Nowadays, it is unknown what happened to the cylinders, neither is their whereabouts.
 
Article
The article analyses the features of the crowd scenes’ structure in the operetta “O olmasyn, bu olsun” (1910) by the outstanding composer Uzeyir Hajibeyli (1885–1948), who founded the Azerbaijani professional composer school at the beginning of the 20th century. In this operetta rich in comic imagery, the composer’s style is reflected in choral scenes influenced by harmonious recitatives and musical patterns and analyzed as a philosophical sphere of reflection of events in the comical plane. He also interprets the development of the operetta genre as a genre of contemporary music in the professional traditions of Western European music in Azerbaijan, as well as the features of intonation that are relevant in Azerbaijani folk music in terms of its structure and thematic focus. The purpose of the research is to analyze the modal features of the operetta “O olmasyn, bu olsun”. For this, the variety of characters available in the work, the line of development of these characters as an issue to study the compatibility of the inner world of characters, given both emotionally and comically, come to the fore. It is also noteworthy that the comparison of moods and intonations in the events taking place in the crowd scenes is naturally reflected here. The research methodology draws attention to the comparative and historical analysis of music theory and history of music, axiological and cultural approaches. Here, the principle of using texts in musical scenes reflects the originality of the composer’s style. Our analysis made it important to consider the research of various researchers who adhere to the principle of secularism. The scientific novelty of the research lies in the fact that for the first time in U. Hajibeyli's operetta “O olmasyn, bu olsun”, an extensive analysis of fret features in crowd scenes with different editions was carried out. The emergence of these features also serves as an example for musicians and composers working in the field of musical composition. Conclusions. The analysis of the modal intonations’ features of crowd scenes in the operetta by U. Hajibeyli “O olmasyn, boolsun” shows the clarity of the intonation principles in Azerbaijani folk music from the point of view of the correspondence of images. This aspect also shaped the composer’s intonation concept. Musical materials suitable for the composer’s comedy scene explain the different situations of the protagonist. The article draws attention to the combination of images and choral performance used in public scenes, for example, the combination of mood and intonation. The use of historical, musical theory, composition, modal intonation features on the public stage is more consistent with the fret concept created by the composer U. Hajibeyli.
 
Article
The purpose of the research is to establish the reasons for the editions’ creation of the opera “Taras Bulba” by M. Lysenko; analyze the differences between the author’s version and the options proposed by Revutskyi - Liatoshynskyi. After all, on the stage, the opera is performed being edited, in musicological literature (especially in recent years) the work is analyzed by the author’s piano (Z. Yuferova, L. Korniy), and scientific monographs of the Soviet-era provide either incorrect or semi-hidden information. The research methodology consists in a comparative textual analysis of the original score and editions of the work. The scientific novelty of the research lies in the comparative characteristics of the author's version of M. Lysenko's opera "Taras Bulba" and several versions created by L. Revutskyi, B. Liatoshynskyi and M. Rylskyi. Conclusions. As a result of the research, the author concludes that the original of Lysenko’s opera differs in genre from the work’s editions, because the author has a certain synthesis of lyrical and psychological opera with features of comedic and heroic-patriotic folk drama. Revutskyi - Liatoshynskyi has a historical and patriotic opera. So, today it would be necessary to make another version of “Taras Bulba”, closer to the author’s one. Of course, this is not an easy task. The new editor will have to compare not only Lysenko’s manuscripts, but also different versions of Revutskyi - Liatoshynskyi. However, there must come a time when the genre of the first Ukrainian opera will not be defined by the derogatory word “posterity”. Especially since it contradicts the truth.
 
Top-cited authors
Violetta Dutchak
  • Vasyl Stefanyk Precarpathian National University