scholarly journals Borrowed and Original Techniques in the Trio by Leonid Hrabovsky

2021 ◽  
pp. 106-120
Author(s):  
Oleksandr Shchetynsky
Keyword(s):  
Comparative Analysis ◽  
Large Scale ◽  
Musical Form ◽  
Tonal Music ◽  
Pitch Organization ◽  
Avant Garde ◽  
Ternary Form ◽  
Krzysztof Penderecki ◽  
Mixed Choir ◽  
Violin And Piano

Relevance of the study. During several years that preceded the creation of the Trio (1964), Leonid Hrabovsky wrote many other works in various genres and forms, ranging from suites and a sonata for solo instruments, a song cycle, and a cappella choruses, to large-scale compositions for orchestra and for mixed choir with orchestra, and even two one-act operas (piano scores). The composer’s stylistic priorities had been rapidly and strikingly evolving from “social realism with a human face” as evident in the Four Ukrainian Songs, towards a much more radical “sharp” expressionism and constructivism. This evolution caused the necessary changes in the techniques utilized by the composer. Hrabovsky was deeply impressed by the article Genealogia nowej muzyki (Genealogy of the new music) of the Polish musicologist Tadeusz Zieliński that was published in the magazine Ruch muzyczny, n. 20–21, 1963. Zieliński stated that, after historical periods of monody, polyphony and functional harmony, a new sonoric and timbral era had come. These ideas inspired Hrabovsky to move towards the radical avant-garde. The object of this research is the Trio by Leonid Hrabovsky. The purpose of the study is to reveal the inherent features that differentiate the piece from other avant-garde works of the early 1960s. Methods of research include technical analysis of the musical form and its dependence upon the pitch organization of the work, as well as comparative analysis. The results and conclusions. Being composed during several days in the spring of 1964, Trio became the first piece of Hrabovsky’s written in a definitely avant-garde style. It was premiered in 1966 and since then has become one of the composer’s most frequently performed works. The reason for such a success lies in the original concept of the piece that essentially differs from the other avant-garde works of that time. When discussing Trio, Hrabovsky always stresses the influence of the Polish avant-garde music attracting him during that period. Indeed, he borrowed a lot of devices from Miniatures for violin and piano by Krzysztof Penderecki, a score Hrabovsky knew and studied at that time. However, a comparative analysis of the two works reveals serious differences between them. While Penderecki operated with purely timbral (sonoric) objects and did not pay special attention to the pitch organization, Hrabovsky composed almost a classical three movement suite with the first movement in a ternary form and the last movement in the binary form. The classical principles of the pitch organization and the distribution of the pitch structures in Trio are similar to those in tonal music. These principles have been unusually applied to the sound material that has nothing in common with tonality. A combination of the traditional and new approaches to the form provided Hrabovsky’s Trio with unique qualities which made it not only an interesting artifact of the avant-garde period but one of the most valuable and artistically perfect works in the Ukrainian chamber music.

Tonality or Atonality in Bartók’s Sonata for Violin and Piano no. 2? From Folk Modalities to a Twelve-tone Language

2021 ◽  
Vol 62 (1-2) ◽  
pp. 55-69
Keyword(s):  
Large Scale ◽  
Focal Point ◽  
Art Music ◽  
Eastern European ◽  
Twelve Tone ◽  
Pitch Organization ◽  
Tone Language ◽  
Stylistic Elements ◽  
Scale Levels ◽  
Violin And Piano

Abstract External political circumstances as well as Bartók’s personal activities in the early 1920s were decisive in contributing to the expansion of the basic principles of his musical language. Bartók’s Second Sonata for Violin and Piano (1922) may be considered a focal point in his evolution toward ultramodernism. Concomitant with this tendency, both Sonatas for Violin and Piano of this period have become paradigmatic of the controversial notion set forth by certain scholars regarding the existence of an atonal Bartók idiom. Within the ultramodernist style of the Second Sonata, the essence of Eastern-European folk music is still very much in evidence. The intention of this article is to show how Bartók’s move toward synthesis of varied folk and art-music elements in this work produces a sense of an organic connection between atonality and tonality. The close connection between these two principles was suggested by Bartók in an essay of 1920. I intend to show how both contradictory principles are conjoined within a highly complex polymodal idiom based on the tendency toward equalization of the twelve tones. Within the stanzaic structure of the Romanian “long song,” stylistic elements of recitation, improvisation, and declamation are essential in the gradual unfolding between these two contrasting concepts of pitch organization. Despite tonal ambiguity on both local and large-scale levels, the sense of polymodal tonality is ultimately established as primary.

Motivic cohesion and parsimony in three songs from Gentle Giant's Acquiring the Taste (1971)

Popular Music ◽  
2014 ◽  
Vol 33 (2) ◽  
pp. 269-292
Author(s):  
Mattias Lundberg
Keyword(s):  
Large Scale ◽  
Musical Form ◽  
Tonal Music ◽  
Musical Tradition ◽  
Progressive Rock ◽  
Small Set ◽  
Rock Movement ◽  
1960S And 1970S ◽  
Dominant Tendency ◽  
The 1960S

AbstractIn addition to a hierarchy of harmony and fundamental pitch, large-scale modal or tonal music generally needs to generate considerable portions of its substance from a limited number of melodic ideas in order to be readily comprehended as musical form. In Western musical tradition this has typically been achieved by means of motivic development. A distinctive trait in the mainstream of popular music in the 1960s and 1970s, on the other hand, is the predominance of clearly demarcated phrase-bound structures, where either no smaller unit than the phrase could be perceived, or where the smaller units (as in the case of riffs and ostinato figures) have functions that are subservient or complementary to the phrase-structure. Some genuine exceptions from this otherwise highly dominant tendency can be identified in the music from the so-called progressive rock movement in the early 1970s. This article investigates the case of the British group Gentle Giant (active 1970–1980). A motivic analysis of three songs from the album Acquiring the Taste (1971) elucidates how a small set of motives could be used in concatenations to unify larger and more dynamic song structures than what is possible in non-reducible phrase-bound forms.

In Beethoven's and Wagner's footsteps: Phrase structures and Satzketten in the instrumental music of Béla Bartók

2007 ◽  
Vol 48 (1-2) ◽  
pp. 113-131 ◽  
Author(s):  
Per F. Broman
Keyword(s):  
Instrumental Music ◽  
Large Scale ◽  
Phrase Structure ◽  
String Quartets ◽  
Formal Structure ◽  
Bela Bartok ◽  
Classical Period ◽  
Tonal Music ◽  
Violin And Piano ◽  
Hybrid Forms

Abstract Recent studies of formal structure in themes in the Classical repertoire (William Caplin) as well as the music of Wagner (Matthew BaileyShea) point towards the enormous importance and potential of the Sentence phrase structure with its hybrid forms for analyzing tonal music. Initially described by Schoenberg, a Sentence is phrase consisting two main events of equal length, a presentation phrase (consisting of one repeated basic idea) and a continuation phrase. In this paper I will demonstrate Bartók's dependence upon Classical and Romantic phrase structures, including the Sentence, and also the Classical Period (consisting of an antecedent and consequent phrase). In both his small-and large-scale works, Bartók's sentences display a Classical coherence, despite the lack of a functional harmonic framework, due to their clear formal articulation and clearly defined modal pitch centers. Bartók also utilized chains of Sentences, Satzketten, in several works including Concerto for Orchestra. I will describe the different paradigmatic types utilized by Bartók in works such as Divertimento, the String Quartets, along with the Violin and Piano Concertos. Particularly significant is how Bartók alters the repeated basic idea and elaborates the continuation phrase and the creation of compound forms.

A comparative analysis of “Hutsulka” in the performing interpretations by two violinists representing the tradition of the Kosmach-Brusturiv areal

Ethnomusic ◽  
2018 ◽  
Vol 14 (1) ◽  
pp. 142-177
Author(s):  
Jarema Pavliv ◽  
Keyword(s):  
Comparative Analysis ◽  
Large Scale ◽  
Mobile Elements ◽  
Strategic Performance ◽  
Distinctive Features ◽  
Eastern Carpathians ◽  
Linear Movement ◽  
Melodic Line ◽  
Individual Interpretation ◽  
Formal Features

In the offered article, a comparative analysis of two performing versions of the wedding ceremonial dance “Hutsulka”, dominant in the Eastern Carpathians region of Ukraine has been made, with outstanding violinists-capellists, which, based on traditions and their own virtuoso style, developed this dance genre due to the accumulation of stable and mobile elements of melo-, rhythm- and form-making, as well as the establishment of aesthetics of regional styles. The material for the study was the audio version of the “Hutsulka” recorded on the basis of the performance of two violinists representing the region of Kosmach- Brusturiv villages tradition – Kyrylo Lyndiuk (“Vityshyn”, 1929–2003) (recorded by prof. Bogdan Lukaniuk in 1991) and Ivan Sokoliuk (born in 1944; Musician's own recording of 2017) – and transcribed by the author of the article. The performance of “Hutsulka” by each violinist is characteristic of common and distinctive features concerning the formation of the variative composition, the thematic material (respectively, 29 and 43 themes of kolomyika, kozachok and voloshka bases), tonality and rhythmic structuring, individual interpretation of ornamentation, which is collectively connected with artistic orientation on certain artistic and performing directions, presented by iconic musicians-predecessors. The formal features of the Hutsulka composition depends on scenery where it is performed (1); the tonality outline determined by established regional tradition (2), and rhythmic outline, by the overall style, varyation technics, updating and ornamentation of rhythmic formulas, characteristic of the personal manner and style of the performer (3). Ornamentation, as the essence of the performing style of any Hutsul musician, in K. “Vityshyn” is characterized by intense interweaving of short melismatic legal groups and non-legal figurations within melodic line and texture. I. Sokoliuk 166 enriches the linear movement with prolonged melismatic groups and rhythm- intonational and figurational turns that decorate it and amplify the expression of dance overall sonority. In performing aesthetics of K. Lyndiuk prevails an acute articulation of melodic expressiveness with accented and often pointed rhythmic patterns that provides representative-temperamental virtuosity. For strategic performance aesthetics of I. Sokoliuk, rich in virtuosic expressiveness, is characterized by choral and transparent ringing articulation in the context of “stratum”-development creation of the whole large-scale virtuoso composition. Each version reveals individual compositional, improvised, techno-performing, emotional as well as aesthetic mind of their creators. All these qualities, formed by both musicians in a single tradition and expressed in related kolomyika and kozachok-voloshka tunes, present the decision of developmental, composite, rhythmic, intonational, articulation, tempo and many other aspects of style, characteristic of folk violinists – soloists and capellists, inherent to each of them, in their performing manner, evident in “Hutsulka” rendering.

scholarly journals Lend-lease Program through the Prism of Official and Ego Sources

2021 ◽  
pp. 53-73
Author(s):  
O. Lysenko ◽  
O. Fil ◽  
L. Khoynatska
Keyword(s):  
World War Ii ◽  
Soviet Union ◽  
Large Scale ◽  
Two Dimensions ◽  
Industrial Complex ◽  
Avant Garde ◽  
Global Challenge ◽  
Military Equipment ◽  
The Soviet Union ◽  
Red Army

Discussions around various aspects of World War II in the world’s scientific space and memory field have continued throughout the postwar decades. Initially, they were determined by polar and antagonistic ideological paradigms, and after the end of the Cold War – the discovery and introduction into scientific circulation of previously classified sources, testing of avant-garde methods of scientific knowledge, the development of interpretive tools. In the late 1930s, the Soviet Union found itself virtually isolated, alone with the Axis bloc and their allies. It was difficult for the Soviet leadership to overcome the existing threats on its own, especially after the German attack. Only the realization by the Western Allies that Berlin’s aggressive course had become a global challenge made it possible to find a constructive way to join forces in the fight against a common enemy. One of the channels of cooperation between the states of the Anti-Hitler Coalition was the organization of supplies to the USSR of military equipment, ammunition, food, and materials necessary for the facilities of the Soviet military-industrial complex within the framework of the land lease program. Until recently, the problem of land lease was more in ideological discourse than in purely scientific. The currently available source base allows for an unbiased analysis of this phenomenon and elucidation of the place and role of foreign revenues to the USSR in strengthening its defense capabilities during the war against Germany and its allies. However, to this day, the researchers look out of focus, because of the perception of this phenomenon by veterans who fought on foreign military equipment, ate food from overseas. The authors of the article sees their task as combining these two dimensions of the lend-lease and finding out its impact not only on the scale of the large-scale armed confrontation, but also on the moral and psychological condition of the Red Army, for whom the war was an extremely difficult test.

scholarly journals Notes on the nature of avant-garde and constructivism

2020 ◽  
pp. 106-119
Author(s):  
Vadim Markovich Rozin
Keyword(s):  
Comparative Analysis ◽  
Avant Garde ◽  
Analysis Methods ◽  
Figurative Art ◽  
The Family ◽  
Methods Of Reconstruction ◽  
Applied Arts

Based on the materials of the family of architects Zimonenko-Feierstein, this article examines the peculiarities of avant-garde and constructivism. Roman Feierstein and Lyubov Zimonenko graduated the Moscow University of Arctitecture and were taught by pedagogues – the representative of avant-garde and constructivism. To understand the nature of avant-garde and constructivism, the author characterizes the goals and tasks solved by these trends and concepts, as well as analyzes the works of Roman Feierstein and Lyubov Zimonenko. It is demonstrated that constructivists create artistic reality, juxtaposing and simultaneously combining various processes and contents, sending over consciousness of a spectator to a particular reality. This pattern is inherent not only to figurative art, but also literature. The article employs situational and comparative analysis, methods of reconstruction of the works of applied arts and generalization. As a result, the author was able to reveal certain peculiarities of avant-garde and constructivism as an approach and activity, as well as underline that avant-garde and constructivism as approaches also suggest conceptualism. The role of conceptualism consists in outlining and explaining of reality, created by an artist for their audience.

scholarly journals Creativity And Innovation Thinking

2021 ◽  
Vol 03 (04) ◽  
pp. 93-98
Author(s):  
Gulnoza Sabirovna Sultanova ◽  
Keyword(s):  
Comparative Analysis ◽  
Young People ◽  
Creative Thinking ◽  
Large Scale ◽  
Analytical Analysis ◽  
Creative Processes ◽  
Distinctive Features ◽  
Innovative Thinking ◽  
Creativity And Innovation

In this article, a comparative analysis of creative and innovative thinking in a similar and different way will be made. The peculiarities of creativity and the essence of innovation are considered to be brought up as an object of philosophical research. Within the framework of the theme, it is mentioned about how our young people can use the opportunities created in our country on a large scale, about the achievement of the goals, the pursuit of innovation, creative thinking consisting of creative processes in a specific way and the various methods used in the mobilization of its implementation and their practical opportunities. Also, analytical analysis of the characteristic aspects of innovative thinking was carried out.The essence and essence of creative and innovational thinking, its distinctive features are considered to be brought up as an object of philosophical research. The views on innovation and creative thinking were also analyzed comparatively. In particular, it is noted that the formation of creative and innovative thinking is a period demand as well as a social need.

scholarly journals FEATURES FOR THE RESPIRATORY SYSTEM DISEASES MORBIDITY IN THE CHILD POPULATION LIVING IN THE IMPACT AREA OF EMISSION COMPONENTS OF LARGE-SCALE ALUMINA PRODUCTION

2019 ◽  
pp. 28-33
Keyword(s):  
Comparative Analysis ◽  
Respiratory System ◽  
Large Scale ◽  
Poor Quality ◽  
Morbidity Rate ◽  
Alumina Production ◽  
Atmospheric Air ◽  
Child Population ◽  
Actual Attendance ◽  
The Impact

We made hygienic assessment of the atmospheric air quality of the observation territory and comparison according to monitoring and field observations, carried out a comparative analysis of the respiratory system diseases morbidity of the child population according to the form of federal statistical observation and actual attendance for medical care for 2014–2017, evaluated the relationship of respiratory system diseases morbidity with the effects of the studied chemical factors. Atmospheric air poor quality for a number of substances has been established in the residential development of the observation territory. An increased morbidity rate of respiratory system diseases and certain nosological forms (chronic diseases of the tonsils and adenoids and bronchial asthma) in areas with stable atmospheric air pollution by emission components of large-scale alumina production has been established as a result of a comparative analysis of morbidity rates. We proved the dependence of the occurrence probability of additional cases of respiratory system diseases on the content in the atmospheric air of suspended solids, fine PM10, PM2.5 fractions, nitrogen dioxide, aluminum, manganese, solid and gaseous fluorides, chromium.

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