T. LESCHETIZKY'S PIANO TRADITIONS AND THEIR REFRACTION IN THE ACTIVITY OF SARATOV CONSERVATORY TEACHERS

2020 ◽  
Vol 1 (3) ◽  
pp. 91-97
Author(s):  
A. E. Lebedev ◽  
◽  
D. V. Voynova ◽  
Keyword(s):  
Teaching Methods ◽  
Initial Period ◽  
Piano Performance ◽  
Musical Culture ◽  
Xxth Century

The article is devoted to the problem of continuity of performing traditions in musical art. The relevance of the article is determined by the need for a detailed study of the Saratov piano school, especially in the initial period of its existence. The purpose of the article is to show the development of the piano school of T. Leschetizky, its influence on the musical culture of Saratov and the formation of education in the region using the example of the famous Saratov pianists I. Slivinsky, V. Adamovsky, A. Satanovsky and A. Katz. The main qualities of Leschetizky’s performing style, his contribution to the development of piano performance and the results of his pedagogical work are revealed. Special attention is paid to the activity of the famous Saratov pianist A. Satanovsky, his pedagogical attitudes and teaching methods. The novelty of the research is determined by the use of previously unknown archival materials, as well as information from the periodicals of the early XXth century, interviews of the authors with the teachers of the Saratov Conservatory.

scholarly journals PARALITURGICAL WORKS AS A SACRED-AESTHETIC ELEMENT OF UKRAINIAN MUSICAL CULTURE

2020 ◽  
pp. 26-53
Author(s):  
Hanna Karas ◽  
Keyword(s):  
Golden Age ◽  
The Other ◽  
Close Connection ◽  
Musical Culture ◽  
Strong Connection ◽  
Xxth Century ◽  
Material Development ◽  
National School ◽  
Other Hand ◽  
Aesthetic Ideal

The purpose of the section is to clarify the place of Ukrainian diaspora composers’ paraliturgical works of the XXth century and, in particular, the works of Mykhailo Hayvoronsky (1892–1949) in the spiritual musical culture of Ukrainians. Paraliturgical works include spiritual songs and chants performed outside the church’s Christian canonical rite. In the works of composers it is: a series of chants from Pochaiv’s «Bogohlasnyk», arrangements of koliadkas, songs of the Virgin and Resurrection, prayers to the King of Heaven, communions. Paraliturgical music of diaspora composers testifies to a strong connection with traditions: here we have the influence of «part-song», and the achievement of the «golden age» of Ukrainian music, and creative achievements in this genre of older contemporaries – M. Lysenko, M. Leontovych, K. Stetsenko. On the other hand, there is a close connection of this music with folklore sources, first of all, in the field of melody, texture, principles of musical material development. The sacral-aesthetic element of M. Hayvoronsky’s spiritual music is expressed by the figurative content of these works (bright, contemplative mood, sorrowful-focused prayer spirit, joyful exaltation, mood spirit), aesthetic categories (sublime, beauty, harmony, aesthetic ideal). Due to its genre and stylistic features, the paraliturgical music of diaspora composers became an integral part of the national school of composers development and contributed to the establishment of its identity.

scholarly journals Amateur Piano Music-Making and the Ufa Section of the Imperial Russian Musical Society

ICONI ◽  
2019 ◽  
pp. 73-82
Author(s):  
Ninel F. Garipova ◽  
Keyword(s):  
Piano Music ◽  
Piano Performance ◽  
Musical Culture ◽  
Early 19Th Century ◽  
The Public ◽  
Musical Education ◽  
Music Making ◽  
Academic Genres ◽  
The City ◽  
In Virtue Of

The geographic position of Ufa, which in the early 19th century was a deep province, was not conducive to the development of musical culture. However, we must consider as an important element in its formation the active spread of household music-making and the wish of amateurs to participate in the city’s concert life. The “Society for Singing, Music and the Art of Drama” was founded in 1885 in Ufa following the wishes of the city residents. The twenty-year-long existence of the Society has left a considerable trace in the development of musical education and the exposure of the public to the academic genres of the art of piano performance; it played a signifi cant role in the development of musical literacy and the musical hearing of the residents of Ufa. In virtue of a number of existing social reasons the Society was closed down, but following the request of the most educated part of the local nobility and intelligentsia the Ufa Section of the Imperial Russian Musical Society (IRMS). Having existed for only a few years, until the revolution of 1917, it was able to lead the art of music to a new, higher level. Professionals with a higher musical education were conducive to the further expansion of promotion of music with their concert performances and teaching lessons in the musical classes and enhanced the development of the art of professional music in Bashkiria.

MA SICONG AND HIS ROLE IN THE DEVELOPMENT OF CHINESE MUSICAL CULTURE

2021 ◽  
Vol 1 (4) ◽  
pp. 79-84
Author(s):  
Luo Yuanyuan ◽  
Keyword(s):  
Cultural Revolution ◽  
Performing Arts ◽  
Historical Period ◽  
Social Activities ◽  
Musical Culture ◽  
Xxth Century ◽  
Artistic Life ◽  
Musical Traditions ◽  
Creative Life ◽  
The Cultural Revolution

This article focuses on the life and creative activities of Ma Sicong, one of the most significant Chinese musicians of the mid-XXth century, a multi-talented and outstanding violinist who showed his prowess in various spheres of artistic life: performing, teaching, composing, musical and social activities. Ma Sicong contributed to each of these fields as a virtuoso soloist whose example was followed by his contemporaries, young musicians and as a teacher who trained numerous students retaining the most enthusiastic memories of their professor. The highly professional violin school he established, which continued Chinese and European musical traditions, became a fruitful source for the development of modern performing arts. Ma Sicong's creative life was not an easy one; periods of brilliant achievements and growth alternated with dramatic peripeteia, which led to his departure from China in the most difficult historical period for the country — the period of the "Cultural Revolution" (late 1950s — early 1970s ).

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 Online Classes in Musical Culture for General-Education High-School Students in Moodle LMS

2018 ◽  
pp. 130-146
Author(s):  
Valida Tvrtković Akšamija
Keyword(s):  
High School ◽  
High School Students ◽  
General Education ◽  
Teaching Methods ◽  
Web Application ◽  
Online Teaching ◽  
Online Classes ◽  
School Students ◽  
Musical Culture ◽  
The Web

Distance learning can be equally successful as the traditional classes, if appropriate teaching methods, technologies, etc. are applied. This paper is aimed at presenting the prospects of developing, managing, and assessing the online teaching process using the web application Moodle LMS in the musical culture classes in a general-education high school, the way in which students acquire knowledge, and what their role is in online classes using Moodle LMS.

ROCK OPERA GENRE AND ITS OUTSTANDING EXAMPLES IN THE MUSICAL CULTURE OF THE LAST THIRD OF THE XXTH CENTURY

2020 ◽  
Vol 1 (3) ◽  
pp. 168-172
Author(s):  
Xia Tsihan ◽  
Keyword(s):  
Musical Theater ◽  
Life Forms ◽  
Musical Culture ◽  
Xxth Century ◽  
Organic Part ◽  
Poetic Text ◽  
History Of ◽  
The Media ◽  
Modern Mass ◽  
Rock Opera

The article reveals the features of rock opera as a genre of mass musical culture in the last third of the XXth century. On the example of two outstanding genre samples — "Jesus Christ Superstar" by E. Lloyd-Webber and T. Rice and "The Star and Death of Joaquin Murieta" by A. Rybnikov and M. Zakharov — the specifics of the plot interpretation, dramaturge organization, musical and expressive means and life forms of the work are considered. At the same time the author presents the background content of the two rock operas, the characteristics of their creators and the history of the first performance. The conclusion is drawn about their significance in modern mass musical culture. The media side of a rock opera is also emphasized, which tunes it to comparison with the art of cinema, establishing a connection between rock opera and musical, as one of the most popular and communicative genres of modern musical theater. The conclusions highlight the liveliness and innovation of the two works, which are an organic part of rock aesthetics. Both works introduce into the musical and poetic text "lexemes" the spoken language of youth as markers of the genre and attributes of belonging to rock culture. Until now, they are undisputed masterpieces of world popular music and stage culture.

scholarly journals Lessons on Communism: Party Schools in Italy in the 20th Century

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Anna Tonelli
Keyword(s):  
Communist Party ◽  
Teaching Methods ◽  
School System ◽  
Initial Period ◽  
Historical Materialism ◽  
Residential School ◽  
Working Classes ◽  
History Of ◽  
Main Model ◽  
Over Time

Abstract The Italian Communist Party created the most effective political school—and the only one in Italy—aimed at creating cadre leaders. The first schools were in Rome and Milan, and over the following decades the school system spread throughout the country, eventually counting about a hundred schools active throughout Italy until 1989. The school in Rome, which was the only one to remain open for a further four years, was the main model for the others. Called the Frattocchie School, it was a residential school in the hills of Rome and was in operation from 1944 to 1993. The students attended classes from six months to a year; they studied historical materialism and the history of Bolshevism but also experienced collective life, group identity, and the theoretical and practical values of communism. The Frattocchie model began with an initial period in which training consisted of the organization and acculturation of the working classes, starting with workers and peasants, according to a schema influenced by the Soviet schools but where the socializing bent of the Italian institutes mitigated the sectarianism and dogmatism of Moscow. The aim of the training was to build the careers of future politicians capable of embodying the ideals of a party that demanded control, preparation, and discipline. For this reason, the Italian Communist Party schools represented an original example in teaching methods and curricula, handing down the memory of communism over time. The diaries, questionnaires, and testimonies of the students who attended the Frattocchie School in its 50 years of activity are important sources and a precious heritage to understand how the Communist “faith” became a vehicle of recognition and belonging. Even today the name Frattocchie is associated with a model of party school to be imitated in order to teach methods and principles to those who want to pursue a political career.

scholarly journals MULTI-VECTOR APPROACH IN CULTURAL AND ARTISTIC ACTIVITY OF THE UKRAINIAN DIASPORA REPRESENTATIVES

2020 ◽  
pp. 224-255
Author(s):  
Liudmyla Obukh
Keyword(s):  
Research Methodology ◽  
Public Life ◽  
Cultural Environment ◽  
Musical Culture ◽  
The West ◽  
Xxth Century ◽  
North American Continent ◽  
Artistic Activity ◽  
The North ◽  
The World

The purpose of the section is to clarify the phenomenon of cultural and artistic activity of the Ukrainian Western diaspora representatives of the XXth century, among which a worthy place is occupied by the figure of Vasyl Prokopovych Zavitnevych (1899–1983). The research methodology consists in applying the culturological approach when considering the multi-vector cultural and artistic activity of artists of the North American continent, its combination with the moral-ethical and aesthetic approach to determine the spiritual dimensions of individual representatives. On the multi-vectority of cultural and artistic universalism of the Ukrainian Western diaspora artists – A. Hornyatkevych, R. Hurko, V. Yemets, H. Kytasty, O. Koshyts, P. Matsenko, V. Mishalow, A. Rudnytsky, R. Savytsky and I. Sonevytsky – evidenced by the directions presented by them: music-performing, compositional, musicological, educational-pedagogical, as well as active cultural and public life, which not only enriched Ukrainian culture, but also allowed it to take a worthy place in the world socio-cultural environment. Vasyl Zavitnevych affirms an honorable place among the popularizers of Ukrainian musical culture of the XXth century in the West. The artist’s cultural and artistic activity was to popularize Ukrainian culture in general and Ukrainian choral work in particular, which prompted him to engage in conducting, regent, educational, pedagogical, publishing, church and public practices. The passion of V. Zavitnevych’s talent emphasizes the phenomenon of the Ukrainian diaspora in the

KAZAKHSTAN`S MODERN MASS CULTURE IN THE CONTEXT OF MUSICAL REVIVAL TRENDS

2020 ◽  
Vol 1 (3) ◽  
pp. 189-197
Author(s):  
S. S. Murzaliyeva ◽  
Keyword(s):  
Mass Culture ◽  
Folk Music ◽  
Musical Instruments ◽  
Young Generation ◽  
Compositional Techniques ◽  
Musical Culture ◽  
Xxth Century ◽  
Modern Mass ◽  
Second Wave ◽  
Diverse Audience

In the last third of the XXth century, traditional Kazakh musical instruments acquired a new sound. Folk music of Kazakhstan has been enriched by a wide variety of musical styles based on traditional folk music. The young generation is of great interest to performers with new technical capabilities. Traditional instruments are experiencing a second wave of reconstruction, electric musical instruments (electric dombyra, electric sherter, electric kobyz, etc.) appear, thereby a new performing tradition is born in the mass musical culture of Kazakhstan. Musicians-performers use new compositional techniques, introduce electronic patterns, etc., maintaining connection with national traditions of Kazakh folklore. Kazakh festivals provide an unprecedented opportunities to demonstrate their musical products to musicians and promoters, which is especially important for attracting a diverse audience to the revived repertoire.

scholarly journals Comparative study of the performances of greek adolescents in dictée

2012 ◽  
pp. 103-122
Author(s):  
Paraskevi Micha
Keyword(s):  
Comparative Study ◽  
Teaching Methods ◽  
Musical Culture ◽  
Western European ◽  
Statistical Sample

Music dictation (dictée) constitutes one of the most difficult challenges in the teaching of music and a source of disappointment for the students. Their errors, during this lesson, may be fundamental to our research. The goal of this paper is to observe, describe and analyse the errors made during the recording of melodies of western European and tropical Greek demotic music (traditional cosmopolitan melodies). These errors indicate proof and a means of analysis of the mental procedures which are inextricably connected to the teaching of music. By analysing these errors we will attempt to discover the causes which provoke difficulties and are inextricably connected to notes, intervals, scales, drops and rhythmic values. The statistical sample of the students (36 students) is a representative of the two different teaching methods (traditional and Kodaly) in an environment of a specific musical culture (Greek).

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