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.
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.
The purpose of the research is to determine the genre and thematic directions of the creative activity of bandura players of the Ukrainian diaspora and Ukraine in the context of the Ukrainian Free University (Munich, Germany) in the period of the 80s and 90s of the twentieth century. In particular, audio recordings from the collection of the UFU archive and reports on the activities of the educational institution from 1985-1990 were used. Research methodology. The researcher used the source, historical, axiological, musicological, and cultural approaches. The source study method was used to analyze new archival sources (textual, documentary, and audio-media) to research Ukrainian bandura art in its mainland and diaspora dimensions. Other approaches and methods made it possible to consider the areas of activity of bandura players in a foreign environment (historical and typological and historical and chronological methods), the value of their achievements for the promotion of bandura art in the world in the period of the 80s and 90s of the twentieth century (axiological approach), and to analyze the contribution of bandura players from North America, Europe, and Ukraine at the compositional, performing, and pedagogical levels to the world Ukrainian culture (musicological and culturological approaches). Scientific novelty of the research. For the first time, the materials of the audio archive of the Ukrainian Free University concerning bandura art are introduced into scientific circulation. Conclusions. The main principles and manifestations of the popularization of bandura art abroad in the 80-the 90s of the twentieth century are revealed. The personalities of soloists and groups of bandura players from the diaspora and Ukraine, lecturers and instructors of bandura training held at the Ukrainian Vulnerable University, whose creative activity was presented at public concerts in Munich, interviews and presentations on the air of Radio Svoboda, are highlighted. The article analyzes the period that marked not just the intensification of the concert and pedagogical activities of bandura players from other foreign countries but also the expansion of their cooperation with bandura players from Ukraine on the eve and at the beginning of independence. These factors remain relevant in the context of the need to generalize and analyze the achievements of bandura art abroad as a component of Ukrainian musical culture and its development in different historical and temporal periods.
Мета дослідження – проаналізувати конструктивні особливості європейських ксилофонів з дво- та трирядним розташуванням пластин, установити строї, діапазон, різні системи упорядкування звукоряду та використання в народному й професійному виконавстві ХІХ – першої половини ХХ ст. Методологія дослідження ґрунтується на комплексі конкретно- та загальнонаукових методів: інструментознавчого – для аналізу конструкції інструментів; порівняльно-типологічного – для дослідження різновидів ксилофонів; етномузикознавчого – для дослідження застосування в народній музичній практиці; аналітичного – під час опрацювання наукової літератури, архівних та іконографічних джерел. Наукову новизну дослідження становить уведення до наукового обігу маловідомих широкому загалу матеріалів, що стосуються функціонування дво- і трирядних ксилофонів у європейській народній та професійній музичній культурі ХІХ – першої половини ХХ ст. Висновки. Від доби Середньовіччя до кінця XVIII ст. у народному та професійному виконавстві використовували однорядні ксилофони, що мали обмежений діапазон. На початку ХІХ ст. розпочався процес поєднання двох однорядних ксилофонів у єдину систему з метою збільшення обсягу діапазону й подолання тональних обмежень. Перші дворядні ксилофони з’явилися в Австрії (Тіроль) та Німеччині, звідки вони поширилися країнами Центральної та Західної Європи. Від середини ХІХ ст. у Німеччині та Швейцарії виникли дві нові системи розташування двох рядів пластин – «у зуб» та за принципом фортепіанної клавіатури. Від другої половини ХІХ ст. паралельно з дворядною виникає трирядна система розташування пластин ксилофона. У народній і професійній практиці трирядні ксилофони використовували переважно в Німеччині, Угорщині та Румунії. У Німеччині трирядна система не зазнала такого поширення, як дворядна, а в традиційному інструментарії Угорщини вона була основною та мала давні традиції виконавства на цьому різновиді ксилофона.
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.
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.
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.
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».
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.
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.
The purpose of the research is to outline the principles and systematize the information on the formation of vocal and performance skills of academic singers in voice training classes in the context of their own experience, studying the experience of Solomiya Krushelnytska’s work with beginner singers, Alexander’s technique and Estill Voice Training. The research methodology is based on the following methods: analysis of various vocal techniques in the field of vocal art, which made it possible to study and determine the principles of forming the vocal and performance skills of an academic vocal student, as well as methods of generalization and systematization, historical and personal experience, which made it possible to outline the principles of forming skills in the academic vocal. In the course of analyzing the professional literature, the music-theoretical and source studies methods were applied. Scientific novelty of the research. Based on an in-depth study of S. Krushelnytska’s methodology, Alexander’s technique, and Estill Voice Training, the author presents her own practical experience in the context of the importance of developing vocal skills from the musicological and performing point of view. Conclusions. The study of vocal skills is based on various methods, among which we can distinguish the method of S. Krushelnytska, Alexander’s technique and Estill Voice Training. Each of these methods focuses on the development of certain aspects of vocal art and provides tools for developing various elements of vocal technique, such as the respiratory system, body posture, and vocal cords. Mastering professional knowledge and skills is a prerequisite for the further professional growth of vocal students, enabling them to develop their vocal skills, expand their repertoire, and realize their creative potential in various styles of vocal art.
The purpose of the research is to analyze the use of the ready-select bayan (button accordion) flavour in the arrangements of folk songs by V. Marchenko for the collections “Wide Roots” (Issue 1 and Issue 2). Research methodology. The following general scientific methods were used: analysis (to identify the flavour possibilities of the ready-select bayan); formal-analytical (to compare technical performance and musical-expressive means); generalization (to formulate conclusions). Scientific novelty of the research. For the first time, the pieces from V. Marchenko’s collections “Wide Roots” (Issue 1 and Issue 2) are analyzed, the colouristic possibilities of the instrument are characterized, and the specific features of the ready-select bayan in the folk songs’ accompaniment are revealed. Conclusions. The research is based on the author’s own long-term artistic experience. The article highlights the peculiarities of instrumental accompaniment on a ready-select bayan and reveals the regularities of combining a folk melody and bayan accompaniment to reflect the artistic intent of the song in depth. The process of composing bayan accompaniment for pieces of folk art from different local regional traditions of Ukraine poses complex tasks for the author, and the main one is to preserve the traditional regional melodic flavour. A thoughtful approach and attention to the subtleties of the recording interpretation process, which together determine the artistic value of the works, and penetration into the essence of the song should become significant aspects of the composer’s interpretation process.
The purpose of the research is to identify the regularities of emotional intelligence in the process of concert activity of a pianist-accompanist. Emotional intelligence is a powerful means of communication between a pianist-accompanist and a soloist. Understanding the mechanisms of such psychological activity and their implementation in the creative process is an essential condition for the professional literacy of the accompanist. The research methodology. The main tool in the research is the method of analytical observation, which is based on the comparison of stationary and variable data. The fixed data are a piece of music and a pianist e. g. violin sonata by C. Franck and M. Argerich. The variables are different soloists, musical instruments, years of performance, and the presence of the audience. The scientific novelty of the research. The article considers 15 performing versions of the sonata. The analysis of interpretations focuses on two semantic planes: general parameters of the work and strategic places in the sonata. The general parameters are the tempos of the sonata’s parts, the integrity of the work from the point of view of the thorough development, the distribution of roles in the ensemble, and the degree of contact between the accompanist and the soloist. The strategic points of the sonata include piano entrances and losses, culminations, leitmotifs (the degree of flexibility of the intonation in relation to the soloist’s presentation), and some pianistically and ensemble difficult places. Conclusions. The interpretations are classified by the degree of inclusion of the accompanist in the artistic process. Depending on the strictness of following the author’s text and the intensity of the soloist's individuality, 3 types are distinguished: classical (the lowest degree of inclusion of emotional intelligence), romantic (the average degree of activity), and expressionist (the highest activity of emotional intelligence).
The purpose of the research is to study the history of the chamber choir “Moravski” formation, creative, performing, and popularizing activities as a bright representative of modern Ukrainian amateur choral art. The research methodology is based on the use of empirical methods (chronological, descriptive, analytical), as well as methods of generalization and systematization, historical and cultural methods, which allowed to outline the history of the group's formation and creative and performing activities in the modern domestic choral art in chronology. The scientific novelty of the research lies in the fact that for the first time in the cultural and musical scientific space, the stages of chamber choir “Moravski” formation are studied, and creative and performing achievements are outlined through the prism of modern choral performance in Ukraine. Conclusions. The activity of the chamber choir “Moravski” is, first of all, the need of the young Ukrainian society in the development of national culture, and secondly, the popularization of national culture and national ideas through choral singing for the mass audience both in Ukraine and abroad. The revival of the amateur choral movement in Ukraine testifies to the need of the society for highly intellectual activity, where the choir has ceased to be a transmitter of political ideology and has regained the diversity of artistic activity. Therefore, the emergence and development of amateur art lead to an increase in the level of cultural awareness of the nation and the strengthening of intercultural, interethnic ties.
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.
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.
The purpose of the research is to propose a method of acoustic research of concert halls to improve the classical music sound conditions with the help of innovative computer technologies. The research methodology is as follows: to improve the sound conditions of classical music, a computer simulation method is proposed, which involves the use of specialized software. The method of subjective evaluation through the criteria of the established sample is used to systematize the results of the study. The comparative method was used to analyze the sound of audio materials of the created spatial sound images of the orchestral music sample. The scientific novelty of the research is that it presents a methodology of acoustic research for the environment, in particular concert halls, which arose as a result of changes in the acoustic conditions of classical music. Conclusions. As a result of the experiment, the main goal was achieved – to improve the sound conditions of classical music. The result was achieved by modeling changes in the acoustics of the concert hall. The use of this methodology can be recommended during the research of existing and projected concert halls. In further studies, the use of diffusers with low absorption coefficients in the lower frequency band can be recommended. It should also be noted that interference with the interior of a historic building should be discreet, as this may cause dissatisfaction among the authorities controlling heritage preservation.
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.
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.
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.
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.
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.
The purpose of the research is to analyze the application of artificial intelligence in Ukraine in the music field and to outline its technologies’ impact on the domestic music industry. The research methodology is based on the use of empirical, experimental, theoretical and theoretical research methods, which made it possible to study the phenomenon of artificial intelligence application in the modern domestic music industry, systematize the available knowledge and facts on the issue, draw conclusions and theoretically summarize the impact of artificial intelligence on the development of music in Ukraine. The scientific novelty of the research lies in the fact that for the first time in the cultural and musicological scientific space, the points of the application of artificial intelligence technologies in the music industry of Ukraine are analyzed, aspects of the popularity of individual resources, practical application and their impact on product popularization are highlighted. Conclusions. The use of artificial intelligence technologies in the Ukrainian music industry has not yet gained mass recognition, which is officially recorded in several facts, including the creation of a music product and the production of a video for a music video. The issue of legal regulation of the involvement of artificial intelligence in the development of a music product and the definition of intellectual property rights remains open. The author has outlined the main areas of artificial intelligence technologies’ usage in applications related to the music industry. The role of artificial intelligence in the popularity of a music product is analyzed.
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.
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.