scholarly journals TO THE PROBLEM OF THE MAGNIFICAT GENRE READING IN CREATIVE WORK OF JOHN RUTTER

2019 ◽  
pp. 111-119
Author(s):  
Maryna Varakuta ◽  
Vladimir Dashko
Keyword(s):  
Comparative Methods ◽  
Creative Work ◽  
Musical Culture ◽  
Contemporary World ◽  
Model Based ◽  
Artistic Images ◽  
Canonical Texts ◽  
First Time ◽  
Research Analysis

 The purpose of this article is to uncover some features of realization of the Magnificat genre in the creative work of John Milford Ratter, contemporary world famous composer, conductor, arranger, notes publisher, which received wide recognition, in the first place, as the author of numerous artistic compositions into the sphere of academically professional choral art. The round of scientifically investigative methods relies on a genre-based approach, stylistic and functional approaches of the research analysis. The explorers are also having the process of applying the structurally analytical as well as comparative methods, specialized ways for studying of the above-mentioned problem. The scientific novelty of the article is in the illumination of compositional features, timbre-texture decisions in the Magnificat genre in creative work of John Ratter that until now did not appear in modern domestic musicology research. The authors of represented article are investigating, for the first time, in the Ukrainian musicological thought, the problem concerning succession and regeneration of leading, the most crucial genre indications of Magnificat in compositionally artistic observation by John Milford Ratter. Conclusions. The Magnificat of John Rutter illustrates a new way of reading of this genre by the prime example of an unconventional embodiment of the classic genre model based on the synthesis of canonical and not canonical texts. The choral work attracts by its openness, sincerity, lyric artistic images that can be easily remembered, its melodious and harmonious colours, simplicity for understanding. The composer harmoniously combines traditions and their talented renewal: in this sense, the Magnificat is a model for the musical culture of the second half of the XX century and the beginning of the XXI century.

scholarly journals Russian fairy tales in the USA: Alexander Alexeieff’s graphic interpretation and Roman Jacobson’s scientific comprehension

Neophilology ◽  
2021 ◽  
pp. 165-179
Author(s):  
Lola U. Zvonareva ◽  
Oleg V. Zvonarev
Keyword(s):  
Fairy Tales ◽  
Point Of View ◽  
Russian Orthodox ◽  
Creative Work ◽  
Traditional Values ◽  
The Usa ◽  
Roman Jakobson ◽  
Artistic Images ◽  
First Time ◽  
Graphic Interpretation

We analyze the graphic commentaries of Alexander Alexeieff, the illustrator and the first wave emigrant, made for The Russian Fairy tales published in the USA in 1946. We believe A. Alexeieff to have been the second to illustrate The Russian Fairy tales in the USA as Ivan Bilibin, the eminent Russian painter and book illustrator had preceded him. A. Alekseev brought his vision of artistic images to the illustration of The Russian Fairy tales, combining ancient Slavonic motives with Christian symbolism. We assume the publication also to be unique as Roman Jakobson, the well-known philologist an ancient Slavonic and Russian folklore explorer wrote the foreword to the book being cited in Russian for the first time. Having briefly considered R. Jakobson’s life and creative work, we presume it to be quite logical Jacobson to have been baptized according to the Russian Orthodox tradition, as well as to have backed up the theory of Eurasianism. From this point of view, the analyzed edition of The Russian Fairy tales is holistic in content, harmoniously combining the traditional values of the cultural heritage of the Russian world and the work of outstanding figures that developed and propagated its values and enduring significance through their works.

scholarly journals LEVKO KOLODUB. LETTERS TO A STRANGER (formation of professionalism in the mirror of the epistolіa)

2021 ◽  
Vol 58 (58) ◽  
pp. 198-232
Author(s):  
Iryna Sikorska
Keyword(s):  
Young People ◽  
Theoretical Background ◽  
Creative Work ◽  
Student Life ◽  
Symphonic Poem ◽  
75Th Anniversary ◽  
Musical Culture ◽  
The Family ◽  
To Come ◽  
First Time

Introduction. Levko Kolodub – is one of the most outstanding Ukrainian composers of the 2nd half of the XX-th – the beginning XXI-thcentury. Studying of his creative work will never lose its actuality in the context of understanding the integrity, depth and diversity of our national musical culture. Theoretical Background. There is no fundamental monograph about L. Kolodub. The brochure by M. Zaghajkevych (1973), collected articles based on the conference materials, dedicated to the 75th anniversary of the Master (2006), books by K. Bila (2010) about the instrumental concert and by L. Makarenko (2015) about folklore principles of his work, so as biographical articles for the Ukrainian Music Encyclopedia (V. 2, 2008) and for the Festival booklet (2019) – became a milestone on this path. Eight letters from Levko (1954) to Janna Brondz (his future wife Zhanna Kolodub), with whom they lived for almost sixty-five years!), recently found in the family archives, – are important for the scientific reconstruction of L. Kolodub’s creative biography. Objectives. The article aims to describe the letters, first submitted for publication and commented in detail, and determine the meaning of this period. Methods. It was used: analytical – to analyze the literature on this issue; historical – to comment and identify the significance of June 1954 in the L. Kolodub’s life; biographical – for the studying of life facts; interviews with J. Kolodub during 2020–2021 to clarify some details; and also – a source method for studying the epistolary corpus. Results and Discussion. The impetus for the letters was a brief acquaintance of two young people after a symphony concert at the Kyiv Philharmonic during the Republican Plenum of the Ukraine Composers Union. The correspondence lasted a little over a month – until the end of their student life. In the first letter, Levko describes in detail how he first saw Janna, decided to approach and talk. Then he tells about himself, about the years of his study at the Kharkiv Conservatory. As he finishes his own Cantata to the state exam in the specialty. How the composition lessons were held in the Professor M. Titz’s class. He remembers also, how he came to M. Titz on December 31, 1947 at the first time and almost until the New Year he showed the Symphony, improvising on the clarinet. Another letter tells, how Levko prepares carefully for the piano exam, where he will also play his own works – Scherzo and Fuga. During the preparing for the composition exam – in really a symphony concert at the Kharkiv Philharmonic – L. Kolodub considerably reworked his Symphonic poem; he describes the changes in detail because he is sure, she’ll be interested in it. We learn about the passing of the colloquium from the last letter, where the author expresses his confidence in the upcoming meeting: after his graduation he is going to come to Kyiv and congratulate Janna on her diploma. Conclusion. So, from these letters we found out L. Kolodub as a competent specialist – erudite, self-critical, hard-working composer, aimed at self-improvement.

EVGENY GOLUBEV AND NATIONAL MUSICAL CULTURES

2021 ◽  
Vol 1 (4) ◽  
pp. 187-194
Author(s):  
A. K. Sanko ◽  
Keyword(s):  
Folk Art ◽  
Musical Culture ◽  
National Cultures ◽  
Musical Cultures ◽  
Russian Composers ◽  
First Time

The article is devoted to the pedagogical activity of Evgeny Kirillovich Golubev (1910– 1988) — composer, professor of the Moscow State Conservatory, whose 110th birthday was celebrated in 2020. The relevance of the study lies in the fact that for the first time Golubev's contribution to the education of not only Russian composers, but also representatives of different national cultures — Hrant Grigoryan, Kapan Musin, Todor Popov, Andrey Eshpai and others is considered. The questions of the master's compositional pedagogy, which were little studied until now, are touched. The object of the research is Golubev's diary "Alogisms", as well as the memories of his students. The author highlights activities of Golubev's students who connected their creativity with other national cultures. Among them were Valentin Konchakov (1933–1993) who worked in Karelia and contributed greatly to the development of folk art in this republic, and the composer Aida Isakova (1940–2012) who participated in the formation of Kazakh musical culture in Alma-Ata and wrote essays on national themes.

Verwendung, Verleugnung, Wiederentdeckung – Ligeti und ethnische Musiken

2016 ◽  
Vol 57 (1-2) ◽  
pp. 35-47
Author(s):  
Márton Kerékfy
Keyword(s):  
Folk Music ◽  
Creative Work ◽  
Eastern European ◽  
Late Period ◽  
Ethnic Music ◽  
East European ◽  
Ambivalent Attitude ◽  
First Time

Regarding György Ligeti’s relation to ethnic music, his oeuvre can be divided into three periods. Until 1956 he used East European folk music in the manner of Hungarian composition of the 1940s and 1950s, but upon leaving Hungary he apparently rejected folkloristic inspiration. In his late period from 1978 on, however, ethnic musics became again central to his creative work, albeit in a basically different way than in his youth. This article provides an overview of Ligeti’s early folkloristic pieces and a brief characterization of his use of elements of Eastern European folklore in Le Grand Macabre, Hungarian Rock, Passacaglia ungherese and the Horn Trio. Finally, it traces back Ligeti’s “lamento melody,” that appears for the first time in the last movement of the Horn Trio, to certain types of the Hungarian folk lament. Ligeti’s references to folklore do not mean an idealization of his past, but are rather signs of an ambivalent attitude toward his own roots, in which nostalgic longing, ironic distancing, and desperate mourning are equally present.

scholarly journals Meters of Ukrainian children's choral art: Eleonora Vinogradova (on the occasion of the 90th anniversary)

2021 ◽  
Author(s):  
Svitlana Shcherbiі
Keyword(s):  
Point Of View ◽  
Historical Period ◽  
Creative Activity ◽  
Musical Culture ◽  
Choral Conductor ◽  
Other Information ◽  
Archival Documents ◽  
Biographical Approach ◽  
Basic Ideas ◽  
First Time

The purpose of the article is to analyze the creative activity of the outstanding representative of the national choral culture Eleonora Vinogradova. To substantiate the importance of the choral conductor's personality and its influence on the formation of modern children's choral performance. To outline the multifaceted activity of E. Vinogradova as a choral conductor, teacher, music, and public figure in the context of active universalism. Understand that the biography of a creative person is an expression of the most typical features of the era, its basic ideas, and is a reflection of historical and socio-cultural events. Methodology. Features of the biographical approach allow us to explore the artist's biography as a way of reconstructing the cultural-historical concept. A systematic chronological approach is being implemented. The scientific novelty lies in the expediency of research and replenishment of new facts of E. Vinogradova's biography from the point of view of the development of choral culture. An attempt was made to recreate for the first time, full of selfless work, the creative path of the artist with an awareness of the essential characteristics of a particular historical period, its culture. Conclusions. According to archival documents and other information sources, the process of formation and formation of professional principles, as well as stylistic features of E. Vinogradova's creative activity is analyzed. The leading sphere of creative activity is defined, namely, the activity of the choral conductor. It is emphasized that the outstanding choral conductor and teacher, the representative of the Kyiv conducting and choral school Eleonora Vinogradova is an active participant of the Ukrainian artistic life with high professional potential. The high cultural potential of the universal creative personality of the conductor-teacher in the processes of formation and development of the national musical culture is proved.

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 Особенности бурятских вариантов Гэсэриады

2021 ◽  
Vol 14 (4) ◽  
pp. 847-857
Author(s):  
Ludmila S. Dampilova ◽  
◽  
Erzhena B. Ayusheeva
Keyword(s):  
Central Asia ◽  
Comparative Studies ◽  
Traditional Culture ◽  
Comparative Methods ◽  
Authentic Texts ◽  
Detailed Review ◽  
Central Asian ◽  
Introductory Part ◽  
The Common ◽  
First Time

Introduction. The article aims to analyze Buryat versions of the epic Geser to identify their local features. It includes a detailed review not only of published texts, but also of manuscripts stored in the archives of Buryatia. For the first time, the regional versions of Geser are systematically examined as a necessary stage for further comparative studies of the genesis and transformation of epic traditions in Central Asia. Methods. The work uses comparative-historical and comparative methods of analysis. Of these, the latter was of key importance in comparing the versions of the epic that differ in terms of the place of their origin and temporal parameters. Results and discussion. The analysis began with a detailed discussion of published authentic texts of Geser represented by the Ekhirit-Bulagat and Ungin versions. Then, the features of archival versions of the epic are systematized and defined. The previous work on the plot composition and characters of each individual text is thoroughly compared to finally identify the features of the Buryat versions of the epic. Conclusion. The authors argue that the Ungin versions are quite close to the Mongolian ones, while the Ekhirit-Bulagat version, in their opinion, stands apart both in terms of their composition and themes. The introductory part of the uliger, a mythological prologue with a shamanic pantheon of deities, is characteristic only of the Buryat versions of Geser. Also, as far as the Western Buryat version is concerned, it may be pointed out that the influence of Buddhist teachings, which were not widespread in the heyday of the epic, was minimum. Of relevance are also the contaminations of the common Mongolian storytelling traditions with the characteristic motifs of the Central Asian epic. The identification of specific features of the local versions of Geser may expand our understanding of the specifics of the national epic as one of the main manifestations of traditional culture.

scholarly journals Analysis of the Opera Kerem by Akhmet Adnan Saygun

2021 ◽  
Vol 4 (1) ◽  
pp. 11-20
Author(s):  
Aysel Asadova
Keyword(s):  
Folk Music ◽  
Structure Characteristic ◽  
Theoretical Problem ◽  
Musical Language ◽  
Musical Drama ◽  
Musical Culture ◽  
National Values ◽  
Characteristic Features ◽  
First Time ◽  
The Way

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.

A Newly Discovered Annotated Partimento Manuscript : "Rudimenti di Musica per Accompagnare del Sig. r Maestro Vignali" (1789)

2021 ◽  
Vol 8 (1) ◽  
pp. 60-88
Author(s):  
Sean Curtice ◽  
Lydia Carlisi
Keyword(s):  
Eighteenth Century ◽  
Real Time ◽  
Present Article ◽  
Teaching Methods ◽  
Oral Tradition ◽  
English Language ◽  
Musical Culture ◽  
First Time ◽  
Unknown Manuscript

The partimento tradition of eighteenth-century Italy developed within a musical culture that prioritized oral pedagogy. While these teaching methods were successful in producing generations of great composers, they have left scholars with vexing questions concerning the precise manner in which partimenti should be realized. The recent appearance of a remarkable and previously unknown manuscript—"Rudimenti di Musica per Accompagnare del Sig. Maestro Vignali," dated 1789—promises to shed invaluable new light on the oral tradition of partimento instruction. The manuscript's likely author is Gabriele Vignali (c. 1736– 1799), a maestro di cappella active in Bologna; it is unique in the presently known canon owing to the detailed footnotes that accompany each of its twenty-four Bassi (one in each major and minor key). Vignali's annotations provide precisely the sort of commentary that was ordinarily restricted to real-time explanation, teaching the student to recognize keys, scale degrees, modulations, cadences, typical bass progressions, and significant motives. The present article and accompanying English-language edition examine this exceptional partimento collection in detail, offering modern partimentisti the opportunity for the first time to listen in, as it were, on a series of lessons between an eighteenth-century maestro and his student.

scholarly journals August patron of the learned priest from the province

2019 ◽  
pp. 23-26
Author(s):  
Аndrey Yu. Butin
Keyword(s):  
Scientific Work ◽  
Creative Work ◽  
First Time ◽  
Historical Thought

The issue of influence of a circle of acquaintances on life and creative work of the provincial scientist from spiritual estate Mikhail Yakovlevich Diyev thanks to which, Kostroma historical thought became known to the scientifi c world of Russia, is considered in this article. The author for the first time has revealed the degree of influence of the environment of the scientist priest, represented by the botanist and naturalist from the nobility Aleksandr Boshnyak, Professor of Moscow University, ethnographer Ivan Snegiryov, poet Vasily Zhukovsky. The article deals with the key moments of Mikhail Diyev's life that contributed to his fame at the Emperor's court. The provincial priest became known to Emperor Nicholas I and his heir. Only the Imperial patronage stopped the wave of harassment of the rural scientist priest by the local diocesan authorities and provided him with the opportunity of fruitful scientific work and pastoral service.

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