scholarly journals Anthropological turn in the Music of the Twentieth Century

2021 ◽  
Author(s):  
Viktor Stepurko
Keyword(s):  
Twentieth Century ◽  
Sacred Music ◽  
World Music ◽  
Music Culture ◽  
Musical Culture ◽  
Twelve Tone ◽  
Modern Culture ◽  
Artificial Environment ◽  
Compositional Structures ◽  
Artistic Image

The purpose of the article is to determine the cultural and historical determinants of the anthropological turn in the music of the twentieth century when the civilizational desire to create an artificial environment led to the invention of new forms of compositional structures (twelve-tone system, aleatorics, etc.). The methodology consists of theoretical and interpretive models of analysis of mechanisms of cultural creation to determine their narrative orientation, systemic and comparative approaches to determine the specifics of the musical reality of modern culture to understand the interconnectedness with world social processes. The scientific novelty is to reveal the features of the interaction of social perceptual and artistic image in music at the turn of the XIX-XX centuries as a reality of musicological reflection, as well as to characterize the interaction of globalization processes and ethnic background in the music culture of late XX - early XXI centuries. Conclusions. The musical culture of Ukraine of the twentieth century is becoming one of the priority factors in the dialogue of cultures of both the post-totalitarian "Soviet" space and world music culture, due to the intensification of the search for new ways of human development. Expansion of spheres of interaction, integrative and globalization tendencies are not fixed as restoration of cultural-historical potential, on the contrary, polystylism as a general platform of formation is presented by appeals to Ukrainian baroque culture, the renaissance of sacred music, the revival of the ethnic component in art, search for new ones. Keywords: musical culture, anthropological turn, globalization, dialogue of cultures.

scholarly journals Festivals of spiritual songs in socio-cultural space of Ukraine of the end of the XX - the beginning of the XXI centuries

2021 ◽  
Author(s):  
Oleksandr Antonenko ◽  
Margaryta Antonenko
Keyword(s):  
Twentieth Century ◽  
Sacred Music ◽  
Musical Culture ◽  
Systematic Method ◽  
Choral Singing ◽  
Cultural Conditions ◽  
Cultural Method ◽  
Late Twentieth ◽  
First Time ◽  
Cultural Components

The purpose of the article is to study the activities of festivals of spiritual songs in the context of the development of the musical culture of Ukraine in the late twentieth – early twentieth century. The methodology is based on historical and culturological approaches. A systematic method is also used to characterize festivals of the Orthodox music tradition in their connection with other components of culture; socio-cultural method – in the study of socio-cultural components of the artistic phenomenon of the festival. The scientific novelty of the work is that for the first time the activity of festivals of Orthodox sacred music as a new phenomenon in the musical culture of Ukraine is comprehensively analyzed. Conclusions. The emergence and active functioning of festivals of spiritual songs is one of the leading trends in the development of Orthodox musical culture in Ukraine. The ideological direction of the festivals is primarily of religious content, and, in addition to overcoming the negative trends in the field of culture, their leading function is the revival of orthodox traditions. Festivals of sacred music in Ukraine currently perform two main functions: educational and cultural. They contribute to the revival of the traditions of orthodox musical culture; demonstrate the traditions of orthodoxy in modern socio-cultural conditions; revive centuries-old traditions of spiritual choral singing of Ukraine; revive centuries-old traditions of spiritual choral singing of Ukraine.

scholarly journals Defined aspects of the development of Ukrainian pop song within the postcolonial period of the late XX – early XXI century

2021 ◽  
Author(s):  
Anatoliy Oronovsky ◽  
Ganna Tsap ◽  
Larysa Oronovska
Keyword(s):  
World Music ◽  
Operating Conditions ◽  
Social Changes ◽  
Music Culture ◽  
Musical Culture ◽  
The World ◽  
Flexible Mechanism ◽  
First Time ◽  
Ukrainian Society

The purpose of the article. To consider and analyze some aspects of the development of modern Ukrainian pop songs in the postcolonial period of the late XX - early XXI century. The methodology involves the use of a systematic approach to research, as well as the use of methods of analysis, synthesis, historical and comparative, which allowed analyzing the development of Ukrainian pop songs in the Soviet system and after independence when it was in the field of Russian influence. which is the glow of long-term colonial status. The scientific novelty is that for the first time the development of Ukrainian pop songs was considered not only in the context of art analysis but also the research of postcolonialism, which generally affected the development of Ukrainian culture of XX - early XXI century. Conclusions. Changes in music culture are evidence of the adaptation of the flexible mechanism of music creation to new operating conditions. And although it is difficult to predict further social changes and their impact on the formation of musical culture not only in Ukrainian society but also in the world, the main trends have already been outlined. They consist of a certain unification of musical and stylistic standards, which will eliminate the differences between performers of popular musical compositions around the world. Accordingly, globalization dictates fashion in the field of music culture. In general, at the beginning of the third millennium, Ukrainian pop song culture entered the context of European and world cultural processes and became the property of world music culture, and its brightest representatives occupy a worthy place among world masters. Keywords: pop, pop song, postcolonial influences, national self-identification.

scholarly journals Polish Music Culture in the Life and Work of the Composer Sergey Slonimsky

2021 ◽  
Vol 27 (4) ◽  
pp. 129-138
Author(s):  
O. L. Devyatova ◽  
Keyword(s):  
Cultural Relations ◽  
Music Culture ◽  
Musical Culture ◽  
Modern Culture ◽  
Polish Music ◽  
Political Differences ◽  
Creative Life

The article is devoted to the problem of cultural relations between Poland and Russia in the second half of the 20th and early 21st centuries, which are studied using the example of musical culture and Russian-Polish relationships in the creative life of the St. Petersburg composer Sergei Mikhailovich Slonimsky. The significance of the genealogical and genetic roots and musical and creative contacts of the greatest master of modern culture with Poland and Polish music, both in the 19th and 20–2I-th centuries, is proved. It is concluded that it is musical culture, represented by its outstanding creative figures, that is capable, despite political differences, to establish strong, fruitful creative and friendly relations between the two Slavic countries.

Symphonic compositions of Boris Tishchenko and the world music culture

2021 ◽  
pp. 10-17
Author(s):  
Iurii Eduardovich Serov
Keyword(s):  
World Music ◽  
Musical Language ◽  
Music Culture ◽  
The World ◽  
The Subject ◽  
The 1960S ◽  
Artistic Image

The subject of this research is the symphonic works of the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko (1939 – 2010). His symphonic pieces synthesize different images, ideas, genres, and forms. This article explores various stylistic and linguistic effects upon his works, reveals the origins of fresh and unique artistic thinking. Emphasis is placed on the innovative role of B. Tishchenko in the revival of Russian symphonic style of the 1960s. Special attention is given to Tishchenko's succession of the great Russian symphonic tradition. The main conclusion lies in the thought that B. Tishchenko is one of the few among his contemporaries to remain faithful to the genre of great, “pure” symphony, as well as is the successor of the symphonic line of his brilliant teacher D. Shostakovich. The novelty consists in proving the thesis that symphonic style of B. Tishchenko is a holistic, meaningful, and truly modern phenomenon. Tishchenko amusedly delved into the new composing techniques, highlighting dodecaphony, aleatoric music, sonorism, pointillist music; however he did no remain faithful to these genres to the end; he constantly “refined” his musical language, introduced novelties for creating an artistic image.

scholarly journals The cultural potential of Modest Mentsinsky's work in the context of the development of the musical culture of the early twentieth century

2021 ◽  
pp. 62-68
Author(s):  
Lesia Turchak
Keyword(s):  
World Music ◽  
Music Culture ◽  
Musical Culture ◽  
Performance Style ◽  
Considerable Contribution ◽  
Creative Evolution ◽  
The World ◽  
Chamber Repertoire ◽  
The One

The purpose of the article is to establish the contribution of the opera singer and famous tenor Modest Omelianovych Mentsynskyi to Ukrainian and world music art. The methodology is based on using historical, biographical, and analytical methods, which allows distinguishing and reviewing the special features of the Ukrainian singer‘s ―internationally universal‖ performance style as well as tracking the stages of his creative evolution. The scientific novelty of the research is in the affirmation that the artist‘s work within the mentioned period, on the one hand, led to the ―Europeanization‖ of the Ukrainian music culture, which influenced the formation of the national vocal and opera school, and, on the other hand, his high vocal level and popularization of the Ukrainian music in the walls of numerous European theaters promoted the popularization of the Ukrainian music culture in the world. Conclusions. Relying on the achievements of the three most famous opera schools (Italian, German and French) and his own experience, the signer formed the ―internationally universal‖ performance style, which helped him make a considerable contribution to the development of opera art in at least three countries: Germany (as the most prominent singer of Wagner‘s plays with a vocal role of a ―heroic tenor‖), Sweden (as a performer and pedagogue who stood at the origins of the vocal school in this country) and Ukraine (as a talented interpreter of the Ukrainian chamber repertoire and popularizer of the national music heritage in the world).

Historiography and Invisible Musics: Domestic Chamber Music in Nineteenth-Century Britain

2010 ◽  
Vol 63 (2) ◽  
pp. 291-360 ◽  
Author(s):  
Christina Bashford
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
National Identity ◽  
Chamber Music ◽  
Music Composition ◽  
Music Culture ◽  
Musical Culture ◽  
Cultural Ideologies ◽  
Music Making ◽  
Historical Contextualization

Abstract A persistent idea in chamber music historiography is that nineteenth-century Britain lacked a significant, serious domestic chamber-music culture of the type so prevalent in Austro-Germany. Such activity is assumed to have dried up ca. 1800, along with indigenous chamber-music composition, to be replaced by music making at the parlor piano and attendance at public concerts. This essay challenges that view and suggests a continuing, coherent subculture of private chamber music spread across Britain, often in unexpected settings and in communities of upper- and middle-class males. Underpinning the analysis is new, suggestive documentation from a range of sources including private diaries, letters, magazines, and auction catalogs. At the same time, many publicly oriented sources are silent about British chamber-music life, or contrast it poorly with Germany. Historical contextualization of this evidence suggests that received thinking in the twentieth century owed much to cultural ideologies embedded in the nineteenth. A knot of British anxieties in the nineteenth century around masculinity, class, intellectualism, and national identity led to the serious, private pursuit of chamber music among men of wealth being downplayed in public, caricatured, or even ignored. While the tenacious positioning of chamber music as inherently German stemmed in part from Germany's construction of its own national identity, it also owed much to the Victorians' tendency to perpetuate a limited view of their own musical culture.

Sacred music: hereditary problems in national musical culture

2019 ◽  
Vol 2(13) (2019) ◽  
pp. 7-12
Author(s):  
Larysa Ihnatova ◽  
◽  
Oleksandr Marach ◽  
Anatolii Levchenko ◽  
Liliia Stets ◽  
...  
Keyword(s):  
Sacred Music ◽  
Musical Culture

scholarly journals Beyond Post-Tonal: A Broader Approach to the Fourth Semester Course

2020 ◽  
Vol 7 ◽  
Author(s):  
Kristina Knowles
Keyword(s):  
Twentieth Century ◽  
Core Curriculum ◽  
Undergraduate Curriculum ◽  
World Music ◽  
Degree Programs ◽  
Avant Garde ◽  
Wide Range ◽  
Twentieth Century Music ◽  
Musical Interests ◽  
Broad Overview

In this article, I argue for organizing the undergraduate curriculum around topics that are applicable to a wide variety of repertoires. Doing so allows students to continue to learn the central concepts and skills that theorists seek to impart via the core curriculum but through a wider variety of musical styles and traditions. Pairing this approach to the curriculum with a wide range of musical activities and projects that extend beyond analysis to include improvisation, arranging, performance, composition, and research helps students connect the content to their own instruments, degree programs, and musical interests. I describe my application of this philosophy towards curricular reform within the context of a fourth semester course on twentieth-century music, where twentieth-century music was treated as a broad category encompassing post-tonal and avant garde music alongside jazz, popular, and world music. This article presents a broad overview of the course, discusses the successes and failures of this approach, and offers some suggestions for how it may be implemented and adapted for various teaching contexts.

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