scholarly journals Chamber vocal works by Ivan Karabyts in the Ukrainian musicological discourse

2021 ◽  
pp. 196-201
Author(s):  
Viktoriia Kushch
Keyword(s):  
20Th Century ◽  
Analytical Methods ◽  
Vocal Music ◽  
Vocal Works

The purpose of the article is to characterize the most significant works of Ukrainian scientists dedicated to the chamber vocal music by Ivan Karabytsand to identify promising areas for further study. The methodology involves the use of theoretical, systematic, and analytical methods to characterize the scientific works of Ukrainian scientists, which examines the chamber vocal works by Ivan Karabyts. The scientific novelty of the work lies in the identification of promising areas of research of chamber vocal and pop song creativity by Ivan Karabyts as a representative component of Ukrainian music of the second half of the 20th century. Conclusions. In modern Ukrainian musicology, the work by I. Karabyts is incompletely presented: the least researched to date are his chamber vocal works and pop songs are almost unstudied, although this musical layer is representative of both the composer’s work and Ukrainian music of the second half of the 20th century. Among the scientific works of Ukrainian researchers, the most important are the dissertations by O. Haluzevska and O. Hurkova, in which the issues of musical poetics and stylistic features of several vocal cycles by I. Karabyts were considered. Among the promising areas of research of chamber vocal works of the composer are the interaction of verbal and musical components, the interpenetration of elements of academic and non-academic music, the processes of stylistic synthesis.

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.

The origins of syncopation in American popular music

Popular Music ◽  
2021 ◽  
Vol 40 (1) ◽  
pp. 18-41
Author(s):  
David Temperley
Keyword(s):  
African American ◽  
Popular Music ◽  
20Th Century ◽  
19Th Century ◽  
Vocal Music ◽  
Piano Music ◽  
Historical Process ◽  
American Popular Music ◽  
The 19Th Century ◽  
Fourth Position

AbstractThe origins of syncopation in 20th-century American popular music have been a source of controversy. I offer a new account of this historical process. I distinguish between second-position syncopation, an accent on the second quarter of a half-note or quarter-note unit, and fourth-position syncopation, an accent on the fourth quarter of such a unit. Unlike second-position syncopation, fourth-position syncopation tends to have an anticipatory character. In an earlier study I presented evidence suggesting British roots for second-position syncopation. in contrast, fourth-position syncopation – the focus of the current study – seems to have had no presence in published 19th-century vocal music, British or American. It first appears in notation in ragtime songs and piano music at the very end of the 19th century; it was also used in recordings by African-American singers before it was widely notated.

scholarly journals Heartfelt Love: Singing Maiden Characters in Romantic Vocal Music, 1800-1850

2021 ◽  
Author(s):  
◽  
Haiman Liu
Keyword(s):  
Nineteenth Century ◽  
Vocal Music ◽  
First Century ◽  
Italian Opera ◽  
German Lieder ◽  
Twenty First Century ◽  
Vocal Works ◽  
Female Singers ◽  
And Performance ◽  
The Relationship

<p>The images of maidens in Italian opera and German lieder from the period 1800-1850 are vivid. In the plots of the operas and the scenes and stories of the lieder almost invariably these characters focus enthusiastically on heartfelt love. This exegesis explores the relationship between the expression of love by unmarried women in selected lieder and opera of the first half of the nineteenth century and performance of these works by the young soprano in the twenty-first century. In the period when these songs and operas were written, performers of lieder would often have been of a similar age to the maiden characters portrayed in the songs, and in the case of Italian opera at the time, the singers who created such roles were usually in their twenties or early thirties. As a young soprano myself, in my study I consider some questions which are relevant for twenty-first century female singers who choose to perform these nineteenth-century portrayals of virgin characters. The figures in the works I have selected to study display a wide variety of personalities, moods and emotions, from the tenacious wild rose in Schubert’s ‘Heidenröslein’, to his passionate Gretchen and the melancholic Amina in Bellini’s La Sonnambula. I consider how the soprano may express the different emotions involved and approach performing young maiden characters such as these, whose experiences of life and status in society may be substantially removed from twenty-first century experiences.   In order to address these questions, I examine the selected song and aria texts in terms of the relationship between the content of the stories and the characters, as well as analyzing the vocal skills that can be used and vocal effects that may be applied when shaping these roles according to the music as written. In addition, I combine the background to the story and the plot with the musical markings in selected phrases to explore the emotional variety of the characters so as to interpret the deeper significance in the compositions. Through learning and performing these particular pieces I have explored the vocal techniques which are required in singing them from a practical perspective and this enables me to contribute insights I have gained to the general understanding of the skills required for this particular area of the repertoire. Having chosen repertoire for this study which combines Italian opera arias and lieder, and I also consider how the differences I have found in the vocal works may reflect their respective genres and distinguish the skills required for each. Through writing about my own research into the performance of these works, I provide new insights and ideas about these maiden characters which may be applicable to any young sopranos who sing repertoire from this period, and useful for their own vocal perfo</p>

scholarly journals SINGING PEDAGOGY AND CONTEMPORARY VOCAL MUSIC: A TROUBLED RELATIONSHIP

2017 ◽  
Vol 8 (2) ◽  
pp. 1-16
Author(s):  
Nicolás Alessandroni ◽  
Camila Beltramone ◽  
Laura Sanguinetti
Keyword(s):  
20Th Century ◽  
Knowledge Construction ◽  
Teaching Method ◽  
Vocal Music ◽  
Vocal Pedagogy ◽  
Vocal Repertoire ◽  
Vocal Technique ◽  
New Model ◽  
Slow Expansion ◽  
A Current

In this paper, we explore the interrelationships between knowledge construction in the field of Vocal Pedagogy and compositional forms of the academic music of the 20th century. We propose that research logics within Vocal Technique contributed to the thinking of the time providing a matrix to consider the vocal instrument from an objectivist position. The importance of the inquiries presented lies on the slow expansion that contemporary vocal music acquired in the last years, and in the absence of a Vocal Technique teaching method that considers the particular characteristics of this repertoire. As a current challenge, we consider necessary to chart a new model in Vocal Technique that favors the interpretation of the vocal repertoire of the 20th Century, and to establish a corpus of knowledge about (i) which are the new required skills and abilities, (ii) how they are produced, and (iii) how they should be taught.

scholarly journals Agreement of Four Analytical Methods Applied to Pb in Soils from the Small City of St. John’s, Newfoundland, Canada

2021 ◽  
Vol 18 (18) ◽  
pp. 9863
Author(s):  
Christopher R. Gonzales ◽  
Anna A. Paltseva ◽  
Trevor Bell ◽  
Eric T. Powell ◽  
Howard W. Mielke
Keyword(s):  
20Th Century ◽  
Analytical Methods ◽  
Traffic Congestion ◽  
Coal Ash ◽  
Environmental Research ◽  
Small City ◽  
Analytical Instruments ◽  
Aerosol Emission ◽  
Us Epa ◽  
1960S And 1970S

In the small city of St. John’s, NL (2020 population ~114,000), 100% of the soils of the pre-1926 properties exceeded the Canadian soil Pb standard, 140 mg/kg. The Pb was traced to high-Pb coal ash used for heating and disposed on the soils outside. Analytical instruments became available in the late 1960s and 1970s and were first used for blood Pb and clinical studies and repurposed for measuring environmental Pb. The environmental research part of this study compared four common soil Pb analysis methods on the same set (N = 96) of St. John’s soil samples. The methods: The US EPA method 3050B, portable X-ray fluorescence spectrometry (pXRF), The Chaney–Mielke leachate extraction (1 M nitric acid), and the relative bioaccessibility leaching procedure (US EPA method 1340). Correlation is not the same as agreement. There is strong agreement (Berry–Mielke’s Universal R) among the four soil Pb analytical methods. Accordingly, precaution is normally advisable to protect children from the high-Pb garden soils and play areas. A public health reality check by Health Canada surveillance of St. John’s children (N = 257) noted remarkably low blood Pb. The low blood Pb of St. John’s’ children is contrary to the soil Pb results. Known urban processes causing the rise of environmental Pb and children’s Pb exposure includes particle size, aerosol emission by traffic congestion, and quantities of leaded petrol during the 20th century. Smaller cities had minor traffic congestion and limited combustion particles from leaded petrol. From the perspective of the 20th century era of urban Pb pollution, St. John’s, NL, children have blood Pb characteristics of a small city.

scholarly journals Heartfelt Love: Singing Maiden Characters in Romantic Vocal Music, 1800-1850

2021 ◽  
Author(s):  
◽  
Haiman Liu
Keyword(s):  
Nineteenth Century ◽  
Vocal Music ◽  
First Century ◽  
Italian Opera ◽  
German Lieder ◽  
Twenty First Century ◽  
Vocal Works ◽  
Female Singers ◽  
And Performance ◽  
The Relationship

<p>The images of maidens in Italian opera and German lieder from the period 1800-1850 are vivid. In the plots of the operas and the scenes and stories of the lieder almost invariably these characters focus enthusiastically on heartfelt love. This exegesis explores the relationship between the expression of love by unmarried women in selected lieder and opera of the first half of the nineteenth century and performance of these works by the young soprano in the twenty-first century. In the period when these songs and operas were written, performers of lieder would often have been of a similar age to the maiden characters portrayed in the songs, and in the case of Italian opera at the time, the singers who created such roles were usually in their twenties or early thirties. As a young soprano myself, in my study I consider some questions which are relevant for twenty-first century female singers who choose to perform these nineteenth-century portrayals of virgin characters. The figures in the works I have selected to study display a wide variety of personalities, moods and emotions, from the tenacious wild rose in Schubert’s ‘Heidenröslein’, to his passionate Gretchen and the melancholic Amina in Bellini’s La Sonnambula. I consider how the soprano may express the different emotions involved and approach performing young maiden characters such as these, whose experiences of life and status in society may be substantially removed from twenty-first century experiences.   In order to address these questions, I examine the selected song and aria texts in terms of the relationship between the content of the stories and the characters, as well as analyzing the vocal skills that can be used and vocal effects that may be applied when shaping these roles according to the music as written. In addition, I combine the background to the story and the plot with the musical markings in selected phrases to explore the emotional variety of the characters so as to interpret the deeper significance in the compositions. Through learning and performing these particular pieces I have explored the vocal techniques which are required in singing them from a practical perspective and this enables me to contribute insights I have gained to the general understanding of the skills required for this particular area of the repertoire. Having chosen repertoire for this study which combines Italian opera arias and lieder, and I also consider how the differences I have found in the vocal works may reflect their respective genres and distinguish the skills required for each. Through writing about my own research into the performance of these works, I provide new insights and ideas about these maiden characters which may be applicable to any young sopranos who sing repertoire from this period, and useful for their own vocal perfo</p>

scholarly journals Traditional vocal music as a reference in contemporary Serbian art song

Muzikologija ◽  
2016 ◽  
pp. 151-170
Author(s):  
Ana Stefanovic
Keyword(s):  
20Th Century ◽  
Art Song ◽  
Vocal Music ◽  
Special Relationship ◽  
The Status ◽  
Modern Context

The article examines the relation between traditional vocal music and contemporary compositional poetics in Serbian art song, created in the last two decades. The special relationship between the ?eastern? Balkans inheritance and ?western? compositional practices which characterized Serbian music throughout the 20th century is considered in a contemporary, post-modern context and within a particular genre framework. The status of the reference itself, as well as of referential relationships, are examined through examples taken from three works: Dve tuzbalice (1997) for soprano, viola and piano by Djuro Zivkovic (1975), Da su meni oci tvoje (2008) for soprano, flute and piano by Ivan Brkljacic (1977) and Rukoveti (2000) for soprano and orchestra by Isidora Zebeljan (1967).

scholarly journals Handel's use of plucked instruments

2013 ◽  
Vol 5 (2) ◽  
Author(s):  
Orlando Fraga
Keyword(s):  
18Th Century ◽  
Early Period ◽  
Vocal Music ◽  
17Th Century ◽  
Basso Continuo ◽  
Instrumental Color ◽  
Baroque Music ◽  
The Subject ◽  
Vocal Works ◽  
Early 18Th Century

Three central features of Baroque music encompass a large portion of questions about the performance of this particular repertory: its improvisatory aspect, the use of basso continuo, and the instrumental color and variety. Teorbo and lute solos, aside of playing a role as a continuo, filled in the intermissions of oratorios in Italy since late 17th century, while organ concertos provided the same function for English oratorios in the early 18th century. It is from Handel's early period ‒ his first trip to Italy in 1707 ‒ that teorbo and archiliuto start to appear in his vocal music. Handel employed either the teorbo or archiliuto (or simply liuto) in twelve vocal works and in one instrumental Ouverture.  A complete examination of the circumstances that involve this particular aspect of Handel's music is the subject this paper.  

scholarly journals Development of Analytical Methods for Calculating Time Standards for Shunting Operations

2021 ◽  
pp. 51-64
Author(s):  
D. M. Kozachenko ◽  
A. I. Verlan ◽  
R. H. Korobiova
Keyword(s):  
20Th Century ◽  
Analytical Methods ◽  
Historical Analysis ◽  
Operating Conditions ◽  
Railway Transport ◽  
Industrial Enterprises ◽  
Literary Sources ◽  
Initial Location ◽  
Scientific Principles ◽  
Time Standards

Purpose. The article is aimed to conduct a historical analysis of the development of analytical methods for standardizing the duration of shunting operations, as well as assessing their compliance with the existing operating conditions of railway transport. Methodology. The research in this article was carried out on the basis of an analysis of literary sources and methods of the theory of the organization of the operational work of railways. Findings. The standardization of the duration of shunting operations is one of the most important tasks of the theory of operational work of railways. The existing method of standardizing the duration of shunting operations developed in the first half of the 20th century and is used to this day. The performed analysis shows that the scientific principles underlying it generally correspond to the modern conditions of the railway transport. Additional research in this area can be associated with assessing the influence of the initial location of cars on the tracks on the average duration of shunting operations, taking into account the influence of length restrictions of the cars groups being moved, as well as monitoring the implementation of established norms by statistical methods. The article also shows that the values of modern time standards for shunting operations, in many cases, are set for technical means and technologies that were used in railway transport in the 50–70s of the 20th century and do not correspond to the operating conditions of real stations and sidings of industrial enterprises. Therefore, they require revision. Originality. In this paper, based on historical analysis, the process of development of methods for setting the time for shunting operations is described and the factors influencing the current value of norms are established. Practical value. The research results make it possible to identify the reasons for the discrepancy between the existing time standards for performing shunting operations and the real operating conditions of stations and sidings of industrial enterprises, as well as to establish the main elements of the methodology for standardizing the duration of shunting operations that require revision.

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