Antecedents, and Development of the Sacred Choral Concerto in Russia

2020 ◽  
Vol 65 (2) ◽  
pp. 173-192
Author(s):  
Mónika Végh
Keyword(s):  
Choral Music ◽  
18Th Century ◽  
Church Music ◽  
Vocal Music ◽  
Historical Background ◽  
A Cappella ◽  
Russian Music ◽  
Choral Repertoire ◽  
Russian Composers

"Upon dealing with Russian religious choral music of the 18th century, one may clearly recognize the outlines of a unique genre, the duhovny kontsert, or in other words, the genre of the religious choral concerto. The subject is suppletory, since very few people in Hungary have dealt with pre-19th century Russian music, let alone with choral repertoire. In the present study, we may follow up the legalization and development of polyphony in church music – which was strictly monophonic up until the 1500s – and the different types of multivocal hymns. We will also get to know the Russian composers of the 17th and 18th centuries, who contributed to the genre with their own works. We will receive a detailed description about concertante techniques used in European vocal music, and about their appearance in the 18th century Russia, which was unique to a cappella choral concerto. We will also get to know more about the structure and characteristics of the duhovny kontsert, while taking a glance at the historical background. In the final part of the study, we will see how the genre influenced subsequent eras, and how the stylistic marks and techniques appear in the choral oeuvre of Rachmaninoff. Keywords: Russia, 18th century, church music, choral concerto, Bortniansky, Berezovsky"

scholarly journals Confessional as an Emotional Component of Russian Music (On the Example of Romance and Song)

2019 ◽  
Vol 8 (3) ◽  
pp. 5111-5118
Keyword(s):  
Church Music ◽  
Vocal Music ◽  
Aesthetic Value ◽  
Russian Music ◽  
Emotional Component ◽  
Spiritual Potential ◽  
Comprehensive Study

The article deals with the emotional facets of Russian romance and song, in particular, such components as confessional. Russian song and romance literary and musical potential and the means that form the confessional beginning of this genre are analyzed. The article considers the origins of Russian romance and song formation, their connection with Church music, which largely influenced the formation of the confessional beginning of this genre. Special attention is paid to the work of S. Y. Lemeshev - the performer who raised the genre of Russian romance and song to a qualitatively new level and revealed the spiritual potential of Chaikovsky's romances and vividly embodied their confessional. Russian vocal music, whose spiritual, historical and aesthetic value is not in doubt, is the necessity of a comprehensive study of the article; the unexplored nature of the topic; the disclosure of new aspects relating to Russian romances and songs, their performance.

scholarly journals The Characteristic Features of Vassily Titov’s Choral Music

ICONI ◽  
2021 ◽  
pp. 61-67
Author(s):  
Alexandra G. Trukhanova ◽  
Keyword(s):  
Choral Music ◽  
18Th Century ◽  
Folk Songs ◽  
Spatial Effects ◽  
Musical Culture ◽  
Choral Works ◽  
Baroque Music ◽  
Characteristic Features ◽  
Russian Composers ◽  
The Church

Among the Russian composers of the turn of the 17th and 18th centuries a special position is held by the sacred choral works of Vassily Titov (ca. 1650 — ca. 1715), one of the bright representatives of the polyphonic part singing, in which the originality of the Russian Baroque musical culture. The music of Vassily Titov, an outstanding master of choral writing, is diverse in terms of its genres, it comprises nearly two hundred compositions, many of which predominated in the church music repertoire of Russian churches during the course of the 18th century. A study of Vassily Titov’s choral works has made it possible to disclose the characteristic features of the composer’s polyphonic style. The latter include the multi-choral presentation with its bright spatial effects, the antiphonic juxtapositions of large choral masses, the principles of concertizing based on the succession of solo voices and tutti, on the juxtaposition of the chordal-harmonic and the polyphonic exposition, as well as the skillful mastery of imitational counterpoint, up to polyphonic variation. Features of national originality reveal themselves most vividly in the musical thematicism of the compositions, where along with the ornamental design of the intertwining melodic lines and turns of an instrumental type, use is made of intonations of folk songs, cants and church chants. In his musical oeuvres Vassily Titov revised and reevaluated the basic characteristic traits and forms of Western European Baroque music in correspondence with the particularities of Russian musical culture, thereby preserving and enriching the traditions of the Russian national style.

scholarly journals Russian musical “Petersburgiana”: a historical journey

2020 ◽  
pp. 1-10
Author(s):  
Mariya Vladimirovna Kholodova
Keyword(s):  
18Th Century ◽  
Research Work ◽  
Comprehensive Analysis ◽  
Main Task ◽  
Music Culture ◽  
Russian Music ◽  
Trace Back ◽  
Interdisciplinary Nature ◽  
Key Topics ◽  
Russian Composers

The article considers one of the most important topics of Russian discourse - the issue of St.Petersburg, particularly the understanding of the phenomenon of Petersburg in the works of composers. The purpose of the research is to trace back the process of formation of Russian musical “Petersburgiana”. The main task is to reconstruct segmentary materials related to the aspects of manifestation of Petersburg in the works of Russian composers. The research methods are determined by the interdisciplinary nature which synthesizes the approaches of comparative history, culturology, and music theory. As the key works, the author chooses the works related to the “Petersburg text”, particularly the work by V.Toporov who was the first to introduce this term into the literature studies. It serves as a basis for the understanding of the phenomenon of Petersburg in other forms of art. The scientific novelty of the research consists in the fact that it is the first to study the evolution of Russian musical “Petersburgiana”, which started in the 18th century and during its 300-year history produced more than 800 opuses. The author outlines the key topics and images of Petersburg embodiment using the examples of the works of the composers of the 18th - 21st centuries, organized according to their genre and chronologically. These materials are the result of the research work; they outline promising concepts and aspects for the further comprehensive analysis of Petersburg in Russian music culture in terms of the works of its creators.

The Notation of the 20th and 21st Century Choral Music

2020 ◽  
Author(s):  
Ágnes Török
Keyword(s):  
Key Words ◽  
21St Century ◽  
Choral Music ◽  
Vocal Music ◽  
Graphic Representation ◽  
Historical Background ◽  
Avant Garde ◽  
Musical Notation ◽  
Graphic Elements

The Avant garde schools required a notation style different from the traditional one both in instrumental and vocal music. This study points to the historical background of contemporary notation and the interdependence of the graphic representation of sound and notation. The illustrations are primarily quotes selected from the Hungarian choir literature and further material is used to introduce the authentic elements used for modes of expression. Key words: choral music, contemporary musical notation, graphic elements, chance

Vasyl Bezkorovayny’s vocal works in Ukrainian music of the first half of the XX century

2019 ◽  
pp. 500-515
Author(s):  
Nataliia Kosaniak
Keyword(s):  
Choral Music ◽  
Instrumental Music ◽  
Symphony Orchestra ◽  
Vocal Music ◽  
The United States ◽  
Musical Life ◽  
Western European ◽  
Vocal Works ◽  
Post War ◽  
Talented Artist

Vasyl Bezkorovayny (1880–1966) was a talented artist, an active figure in the musical life of Galicia and a representative of post-war Ukrainian emigrants in the United States of America. He wrote more than 350 works of various genres. Among them are compositions for symphony orchestra; vocal works — for chorus, ensembles or solo singing; chamber and instrumental music — for piano, violin, zither, cello; music for dramatic performances. The article deals with the archival and musicological analysis of expressive and stylistic features of V. Bezkorovayny’s vocal works, based on the materials of Stefanyk Lviv National Library of Ukraine. Attention is paid to the place of the composer’s vocal masterpieces in the context of Ukrainian vocal music of the first half of the XX century. The most important achievements of the composer related to the genres of choral and chamber vocal music. In style, the composer’s works combine the influences of M. Lysenko, composers of the «Peremyshl school» and Western European romantic and post-romantic models. The original secular choral music of V. Bezkorovayny covers genres of songs, plays, and large-form choirs. In his solo songs the influences of romantic western European music and Ukrainian folk songs affected the formation and approval of the composer’s style. Keywords: vocal music, chorus, solos, melodic-intonation means, harmony, rhythm.

GUO SHUZHEN IS ONE OF THE FIRST CHINESE PERFORMERS OF TATIANA IN THE OPERA "EUGENE ONEGIN" BY P. I. TCHAIKOVSKY

2021 ◽  
Vol 1 (3) ◽  
pp. 157-163
Author(s):  
Wang Dan ◽  
Keyword(s):  
Vocal Music ◽  
Chronological Order ◽  
Russian Culture ◽  
Russian Music ◽  
Eugene Onegin ◽  
Bolshoi Theater

The article presents a portrait of the famous Chinese soprano singer Guo Shuzhen, who was one of the first performers of the role of Tatiana in China. It reconstructs in chronological order the stages in the creative path of Guo Shuzhen, who turned 2021 in 94. She began her ascent to the opera Olympus at the Central Conservatory of Beijing, where she was a student of Professor Sheng Xiang, the "Chinese Caruso", and completed her studies at the Moscow Conservatory, which she graduated with honours. In the class of Professor E. K. Katulskaya, а former soloist of the Bolshoi Theater, the singer joined Russian culture and Russian music and mastered the classical opera repertoire. The part of Tatiana seems to have been inherited by her teacher as E. K. Katulskaya sang this part at the Bolshoi Theater. In 1962 Guo Shuzhen took part in the production of the opera "Eugene Onegin" by P. I. Tchaikovsky at the Beijing Tian Qiao Theater and helped in the translation of the opera's libretto into Chinese. To date, Guo Shuzhen is a Professor of Vocal Music and Opera Department at the Central Conservatory of Beijing.

THE INFLUENCE OF TANEYEV’S STYLISTIC PRINCIPLES ON RUSSIAN CHORAL MUSIC OF THE XXTH CENTURY

2020 ◽  
Vol 1 (2) ◽  
pp. 75-80
Author(s):  
V. P. Tereshchenko ◽  
Keyword(s):  
Choral Music ◽  
Compositional Style ◽  
Rational Approach ◽  
A Cappella ◽  
Unique Combination ◽  
Xxth Century ◽  
Leading Role ◽  
Baroque Music ◽  
Special Area

The article touches upon the unique combination of Taneyev’s stylistic principles, which consists in an organic synthesis of protective and innovative features. Taneyev consciously turns to the polyphony of strictly writing, Baroque music and Viennese classicism in forming his own individual compositional style. The paradox is that Taneyev acted as an innovator who foresaw a vision for the future of music through the prism of the distant past. Stylistic principles such as historicism of thinking, rational approach to creativity and leading role of counterpoint forms became the basis of new trends in music art of the XXth century. A special area of the composer's innovative achievements is choral music. Taneyev founded of a number of genre trends that developed in the XXth century, among them a lyrical-philosophical cantata, "spiritual concert" vocal-instrumental and symphonic music, a choral a cappella cycle to secular text.

Transcending the Past: Singing and the Lingering Cold War in the Korean Christian Diaspora

2021 ◽  
pp. 1-21
Author(s):  
HYUN KYONG HANNAH CHANG
Keyword(s):  
United States ◽  
Cold War ◽  
South Korea ◽  
Choral Music ◽  
Vocal Music ◽  
The United States ◽  
South Korean ◽  
Identity And Agency ◽  
Protestant Christianity ◽  
The Cold War

Abstract Protestant music in South Korea has received little attention in ethnomusicology despite the fact that Protestant Christianity was one of the most popular religions in twentieth-century Korea. This has meant a missed opportunity to consider the musical impact of a religious institution that mediated translocal experiences between South Korea and the United States during the Cold War period (1950s–1980s). This article explores the politics of music style in South Korean diasporic churches through an ethnography of a church choir in California. I document these singers’ preference for European-style choral music over neotraditional pieces that incorporate the aesthetics of suffering from certain Korean traditional genres. I argue that their musical judgement must be understood in the context of their lived and remembered experience of power inequalities between the United States and South Korea. Based on my interviews with the singers, I show that they understand hymns and related Euro-American genres as healing practices that helped them overcome a difficult past and hear traditional vocal music as sonic icons of Korea's sad past. The article outlines a pervasive South Korean/Korean diasporic historical consciousness that challenges easy conceptions of identity and agency in music studies.

scholarly journals COMPREHENSIVE COMPARISON BETWEEN THE QING IMPERIAL GARDEN AND THE ENGLISH LANDSCAPE GARDEN IN THE 18TH CENTURY: A CULTURAL HERITAGE STUDIES APPROACH

2019 ◽  
Vol XLII-2/W15 ◽  
pp. 1235-1239
Author(s):  
Y. Yin
Keyword(s):  
Cultural Heritage ◽  
18Th Century ◽  
Historical Context ◽  
Historical Background ◽  
Natural State ◽  
Heritage Studies ◽  
The World ◽  
Foreign Land ◽  
Comprehensive Comparison ◽  
Chinese Gardens

<p><strong>Abstract.</strong> In 17&amp;ndash;18<sup>th</sup> century, the spread of the image of the Qing Imperial Garden witnessed the cross-cultural exchanges and promoted the development of English Landscape Garden style. The reciprocal ‘far away foreign land’ between Chinese and British cultures and the influence of historical context had caused the discrepant view of European on Chinese gardens. This project focuses on the differences of cultural heritage values found in the two kinds of gardens: from the design of space and structure, poems and paintings representing designers' concepts, humanities factors, design conception, gardening elements and etc. Which hopes to fill up the gaps of relevant studies and stress the importance of documentation for gardens between the East and West. There are three aspects to illustrate the inner differences under the surface similarities between the two kinds of gardens. Firstly, the distortion and discontinuity through out the introduction and translation.This research attempts to cross-examine such an argument through an investigation into the journey to the West by the carrier of Chinese Imperial garden ideas. Then the meaning of ‘views of nature’ in the English Landscape Garden was inconsistent with the Chinese concept of ‘natural state of the world’. Thirdly, the differences of historical background, culture and values between the Qing Imperial Garden and the English Landscape Garden. All in all, this research could well invite a more factually-based understanding of the Sino-English architectural interactions as well as the Chinese contributions to the world architecture.</p>

scholarly journals Several Populations of Sunspot Group Numbers – Resolving a Conundrum

2021 ◽  
Author(s):  
Leif Svalgaard
Keyword(s):  
Solar Activity ◽  
Sunspot Number ◽  
Degrees Of Freedom ◽  
18Th Century ◽  
Number Series ◽  
Solar Observations ◽  
Group Sunspot Number ◽  
Group Number ◽  
Working Groups

&lt;p&gt;The long-standing disparity between the sunspot number record and the Hoyt and Schatten (1998, H&amp;S) Group Sunspot Number series was initially resolved by the Clette et al. (2014) revision of the sunspot number and the group number series. The revisions resulted in a flurry of dissenting group number series while the revised sunspot number series was generally accepted. Thus, the disparity persisted and confusion reigned, with the choice of solar activity dataset continuing to be a free parameter. A number of workshops and follow-up collaborative efforts by the community have not yet brought clarity. We review here several lines of evidence that validate the original revisions put forward by Clette et al. (2014) and suggest that the perceived conundrum no longer need to delay acceptance and general use of the revised series. We argue that the solar observations constitute several distinct populations with different properties which explain the various discontinuities in the series. This is supported by several proxies: diurnal variation of the geomagnetic field, geomagnetic signature of the strength of the heliomagnetic field, and variation of radionuclides. The Waldmeier effect shows that the sunspot number scale has not changed over the last 270 years and a mistaken scale factor between observers Wolf and Wolfer explains the disparity beginning in 1882 between the sunspot number and the H&amp;S reconstruction of the group number. Observations with replica of 18th century telescopes (with similar optical flaws) validate the early sunspot number scale; while a reconstruction of the group number with monthly resolution (with many more degrees of freedom) validate the size of Solar Cycle 11 given by the revised series that the dissenting series fail to meet. Based on the evidence at hand, we urge the working groups tasked with producing community-vetted and agreed upon solar activity series to complete their work expeditiously.&lt;/p&gt;

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