ЖАНРОВО-СТИЛЬОВІ ОСОБЛИВОСТІ КАМЕРНО-ВОКАЛЬНОЇ ТВОРЧОСТІ І. МАРТОНА

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Twentieth Century ◽  
Folk Songs ◽  
Folk Song ◽  
Musical Culture ◽  
Harmonic Language

Досліджено камерно-вокальну творчість українського композитора І. Мартона, з ім’ям якого пов’язана професіоналізація музичної культури Закарпаття другої пол. ХХ ст. На основі аналітичної характеристики обробок народних пісень та збірки солоспівів зроблено висновок, що вони виявляють ознаки пізньоромантичної та неокласичної стилістики, які розкриваються у ладо-гармонічній мові (опора на тритонові інтонації, зменшені септакорди, енгармонічні модуляції), образному змісті (переважання у циклі лірико-драматичних, елегійних, ліричних мініатюр), формі (куплетно-варіаційна; невелика за масштабами, струнка). В обробках народних пісень автор орієнтується на фольклорні зразки. Незначні зміни у ладо-тональному й фактурному аспектах надають їм самобутніх рис.Ключові слова: камерно-вокальна творчість, І. Мартон, музична культура Закарпаття, українська музика. The article explores the chamber and vocal work of the famous Ukrainian composer I. Marton, whose name is associated with the professionalization of the musical culture of Transcarpathia in the second half of the twentieth century. On the basis of the analytical characteristics of folk song processing and the collection of solo songs, it is concluded that they show signs of late-romantic and neoclassical stylistics, which are revealed in the harmonic language (reliance on tritonic intonation, reduced septaccords, harmonic modulations, preference) elegiac, lyrical miniatures), form (couplet-variational; small in scale, slender). In the treatment of folk songs, the author focuses on specific folklore samples. Minor changes in the tone-and-textural aspects give them distinctive features.Key words: chamber and vocal creativity, I. Marton, musical culture of Transcarpathia, Ukrainian music.

scholarly journals Modern Stylization of Ukrainian Song Folklore

2021 ◽  
Vol 4 (2) ◽  
pp. 201-208
Author(s):  
Anna Tkach
Keyword(s):  
Genetic Relationship ◽  
Comparative Method ◽  
Synthesis Method ◽  
Folk Art ◽  
Literary Text ◽  
Folk Songs ◽  
Folk Song ◽  
Musical Culture ◽  
Original Musical ◽  
The Difference

The purpose of the research is to study contemporary musical culture and reveal the specifics of Ukrainian song folklore stylization in academic and non-academic practice. The research methodology is aimed at using a comparative method, with the help of which the difference between the processing of a folk song and the stylization of folklore is highlighted. The method of analysis is implemented to highlight the essential features of stylized folklore. Using the synthesis method, the results of research from academic and non-academic musical creativity have been extrapolated, in which the introduction of the stylization of folklore has been discovered. The scientific novelty of the research is examining the symbiosis of composer and folk art, as a result of which stylized song folklore appears in the modern musical culture of Ukraine. Conclusions. In the modern musical culture of Ukraine, the principle of stylization of song folklore is widely used. The introductions of adaptations of folk sources, along with stylization, are two options for the interaction of composer and folk art. The stylization is characterized by a deep interpenetration of elements of the author’s and folklore principles, which is accompanied by the formation of an original musical text that has a genetic relationship with folk Melos. The author’s text, which traces the presence of folk songs stylization, often includes typical intonational complexes with small ambitus, repetition of rhythmic formulas, and the prevalence of the variant-variative principle of the musical fabric development. The literary text of works related to the stylization of folklore is characterized by the use of folk texts or dialectics, lexemes that liken a vocal work with folklore. The effectiveness of folk stylization in musical culture is enhanced by the use of an authentic folk singing manner. The stylization of folklore is inherent both in the works of the leading classics of the Ukrainian composing school and in groups working in different directions of non-academic music of our time.

scholarly journals Ukrainian folk songs of the stormy years (songs of captivity of the Second World War)

2020 ◽  
Vol 10 (19) ◽  
pp. 62-74
Author(s):  
Tamara Nikolchenko ◽  
◽  
Maria Nikolchenko ◽  
Keyword(s):  
Twentieth Century ◽  
Folk Songs ◽  
Second World War ◽  
Folk Song ◽  
Forced Labor ◽  
World War ◽  
Complex Processes ◽  
History Of ◽  
Second World ◽  
Folk Poetry

The article covers the complex processes of folk art during the Second World War, in particular slave poetry. In times of war, the creation of folk poetry is intensified, which is caused by the need to respond to events, to record them, above all, in memory. These song responses to events take place on the material of "old" samples of poetry that are already known. And «innovations» are used by participants of events and are saturated with new realities. Such is the folk song of the period of fascist captivity during the Second World War. The genesis of the poetry of captivity of the studied period can be traced on a large factual material, it is proved that genetically slave poetry of the period of the Second World War is connected with the cries of slaves and has its roots in the long history of Ukraine. These motives are still heard in the old Cossack thoughts, in which the lamentation gradually turns into a lyrical song. And during the war troubles of the twentieth century, these songs became relevant and sounded in a modern way. The article analyzes recordings of songs that reflect the grief of young girls taken to forced labor in Germany, the suffering of mothers who lose their children. Most of the analyzed works are stored in the funds of the IMFE of Ukraine, as well as in the own records of the authors of the article. The folklore of captivity, according to the authors of the article, fully reflects the deep universal feelings. It is the basis of artistic culture, because the socio-pragmatic world is conditioned by spiritual ideas about its integrity and ideals. The folklore of captivity, according to the authors of the article, fully reflects the deep universal feelings. It is the basis of artistic culture, because the socio-pragmatic world is conditioned by spiritual ideas about its integrity and ideals.

scholarly journals Folk music in the repertoire of the amateur student choir

2012 ◽  
pp. 35
Author(s):  
Olga Kosiborod
Keyword(s):  
Folk Music ◽  
Folk Songs ◽  
Folk Song ◽  
Practical Work ◽  
Critical Component ◽  
Musical Culture ◽  
Methodological Basis ◽  
Cultural Functions

This paper examines the problem of student band repertoire policy and the use of folk songs the concert - performing practice is. The goal is to consider some theoretical aspects related to the folklore and folklorisation of choral academic singing and practice of implementing it in the field of amateur choral performances. The oretical studies of domestic scientists and practical work of the author were used as a methodological basis for the article. Folk song was, is and will be a critical component of the musical culture and it is, naturally, presented in the repertoire of the student collective works of this genre and is the most important component for the implementation of all socio - cultural functions inherent in the amateur team.

French Folk Songs and the Invention of History

2016 ◽  
Vol 39 (3) ◽  
pp. 248-271 ◽  
Author(s):  
Sindhumathi Revuluri
Keyword(s):  
Twentieth Century ◽  
Music History ◽  
Folk Songs ◽  
Folk Song ◽  
Fin De Siecle ◽  
History Writing ◽  
French Music ◽  
Early Twentieth Century ◽  
Fin De Siècle ◽  
Late Nineteenth

A favorite project of scholars in late-nineteenth- and early-twentieth-century France was to collect folk songs from various French provinces and to add new harmonic accompaniments before publishing them. This folk-song project, like so many others, has obvious nationalist undertones: gathering songs from every French province and celebrating an essential and enduring French spirit. Yet the nuances of this project and its broader context suggest a diverse set of concerns. An examination of the rhetoric around folk-song collection shows how French scholars of the period conflated history and geography: they made the provinces the place of history. Collecting songs from the provinces thus became a way of recovering France's past. Paired with contemporary discussions of musical progress and especially those related to harmony, the addition of piano accompaniments to monophonic songs now reads as a form of history writing. In this article, I argue that French music scholars of the fin de siècle acted out their preferred narratives of music history through folk-song harmonizations. What seemed like a unanimously motivated nationalist project actually reveals the development and contestation of the discipline of music history.

Latvju dainu atbalsis Veltas Sniķeres lirikā

2020 ◽  
pp. 124-134
Author(s):  
Sintija Kampāne-Štelmahere
Keyword(s):  
Indian Philosophy ◽  
First Language ◽  
Folk Songs ◽  
Folk Song ◽  
Ethical Values ◽  
Exile Literature ◽  
Gold Silver ◽  
Research Objects ◽  
Literary Methods ◽  
Prehistoric Time

The research “Echoes of Latvian Dainas in the Lyrics of Velta Sniķere” examines motifs and fragments of Latvian folk songs in the poetry by Sniķere. Several poems that directly reveal the montage of folk songs are selected as research objects. Linguistic, semantic, hermeneutical and historical as well as literary methods were used in poetry analysis. The research emphasizes the importance of Latvian folklore in the process of Latvian exile literature, the genesis of modern lyrics, and the philosophical conception of the poet. Latvian folk songs in the lyrics of Sniķere are mainly perceived as a source of ancient knowledge and as a path to the Indo-European first language, prehistoric time, which is understood only in a poetic state. Often, the montage of Latvian folk songs or their fragments in the lyrics of Sniķere is revealed as a reflexive reverence that creates a semantic fracture and opposition between profane and sacred view. The insertion of a song in the poem alters the rhythmic and phonetic sound: a free and sometimes dissonant article is replaced by a harmonic trochee, while an internationalism saturated language is replaced by a simple, phonetically effective language composed of alliterations and assonances. The montage of folk songs in a poem is justified by the necessity to restore the Latvian identity in exile, to restore the memory of ancient, mythical knowledge, to represent the understanding of beauty and other moral-ethical values and to show the thought activity. Common mythical images in the lyrics of Sniķere are snake, wind, gold, silver, stone etc. The Latvian folk song symbolism and lifestyle of the poet are organically synthesized with the insights of Indian philosophy.

Concerto for Orchestra “The Yellow Stars” by Isaac Schwartz: In the Mirror of Ashkenazi’s Musical Culture

2021 ◽  
pp. 19-37
Author(s):  
И.Ф. Двужильная
Keyword(s):  
Jewish Identity ◽  
Folk Song ◽  
Huge Number ◽  
Musical Culture ◽  
Entire Life ◽  
The Holocaust

В статье предпринят анализ последнего произведения выдающегося петербургского композитора Исаака Шварца (1923–2009) — мемориального опуса памяти жертв Холокоста. Аргументированно доказывается, что ашкеназская культура, в том числе и музыкальная, была органичной частью всей жизни композитора. Об этом свидетельствуют сформировавшийся в детские годы этнослух И. Шварца, огромное количество песен на идиш, которые он мог играть наизусть часами и, безусловно, тематизм инструментального концерта «Желтые звезды», в котором наряду с цитатным материалом выявляются и многочисленные авторские темы, отмеченные знаком еврейской идентичности. В них прослеживаются традиции синагогальной молитвы, клезмерского музицирования, идишской народной песни. Вместе с тем в работе с тематическим материалом, с формой, с оркестровкой обнаруживается прочная связь И. Шварца с ленинградской-петербургской композиторской школой. The article analyzes the last work of the well-known Petersburg composer Isaac Schwartz (1923–2009) which is a memorial opus in memory of the victims of the Holocaust. It is argued that the Ashkenazi musical culture was a natural part of the composer’s entire life. This is evidenced by the ethnic rumor of Schwartz formed in his childhood, a huge number of songs in Yiddish that he could play by heart for hours and, of course, the themes of the instrumental concerto “The Yellow Stars”, which demonstrates, along with quotation material, numerous author’s themes, marked by Jewish identity. They trace the traditions of synagogue prayer, klezmer music, Yiddish folk song. At the same time, the work with thematic material, with form, and with orchestration, reveals Schwartz’s tight relationship with the Leningrad-Petersburg school of composition.

Harmonious Investigators of Nature: Music and the Persona of the German Naturforscher in the Nineteenth Century

2003 ◽  
Vol 16 (1-2) ◽  
pp. 121-145 ◽  
Author(s):  
Myles Jackson
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Critical Role ◽  
Folk Songs ◽  
Cultural Resource ◽  
Early Nineteenth Century ◽  
Crucial Component ◽  
Choral Society ◽  
Scientific Identity ◽  
German Association

ArgumentDuring the early nineteenth century, the German Association of Investigators of Nature and Physicians (Versammlung Deutscher Naturforscher und Ärzte) drew upon the cultural resource of choral-society songs as a way to promote male camaraderie and intellectual collaboration. Investigators of nature and physicians wished to forge a unified, scientific identity in the absence of a national one, and music played a critical role in its establishment. During the 1820s and 30s, Liedertafel and folk songs formed a crucial component of their annual meetings. The lyrics of these tunes, whose melodies were famous folk songs, were rewritten to reflect the lives of investigators of nature and physicians. Indeed, the singing of these Liedertafel songs played an important part in the cultivation of the Naturforschers’ persona well into the twentieth century.

scholarly journals Lusatian Folklore in the Slavic Research of the Italian Wolfango (Wolf) Giusti

2020 ◽  
Vol 69 ◽  
pp. 36-44
Author(s):  
Yarema Kravets’ ◽  
Keyword(s):  
Key Words ◽  
Folk Songs ◽  
Folk Song ◽  
Way Of Life ◽  
Research Papers ◽  
Short Essay ◽  
Mood Classification ◽  
The Way ◽  
Literary Legacy

Purpose: The article is devoted to the Sorbian studies work of the Italian Slavic scholar of Lusatian origin Wolfango Giusti (1901-1980) “The Folk Lusatian Serbian Song” (1926), totally unknown in Ukrainian Slavic scholars’ circles. The author of a large number of Sorbian studies publications printed in the 1920s and 1930s in the pages of Italian Slavic editions, he became a true popularizer of Lusatian culture, and his works found a special reverberation in the research papers of authoritative Sorbian scholars. W. Giusti’s name as researcher and translator has recently been more frequently mentioned in Slavistic publications, his interest in Ukrainian poetry, esp. in the 1920s, is written about. The interest in W. Giusti’s literary legacy is linked, in particular, to his being interested in T. Shevchenko’s and M. Shashkevych’s lyrics. In the research under analysis, the Italian scholar stressed that “the soul of the Lusatian people has found its best and fullest expression in their folk song”. Also mentioned by W. Giusti were Ukrainian folk songs, rich in their multi-genre samples. Results: The paper presents a classification of the most characteristic folk songs, the classification coming to be basis-providing for the Italian scholar: W. Giusti relied on authoritative research papers, including those by the scholars K. Fiedler and B. Krawc. The Italian Slavicist acquaints us with songs of love between brother and sister, love songs about the way of life of the whole people, songs resonating with the motif of fidelity. Neither has the literary scholar bypassed the issue of the neighbouring peoples’ influence experienced by Lusatian culture, particularly that of a Germanic culture, providing some examples of a “spiritual analogy” with German folk songs. W. Giusti completed his short essay by promising to offer the reader, before long, “other genres of the extremely rich Lusatian folklore”. The promise came to be fulfilled as early as the next year, in the work published under the title “Folk Lusatian Serbian Songs”. Key words: Lusatian folklore, Wolfango Giusti, folk song, motif of fidelity/infidelity, dramatic mood, classification of songs, aspects of “Wendish” folklore, Germanic influence.

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.

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