Motet “Jesu, Meine Freude” by Johann Sebastian Bach: Comparative Analysis of Editions of Musical Text

Relevance and scientific novelty of the selected subject for the research. In the Ukrainian musicology, the motets written by Johann Bach were mainly studied from the compositional means standpoint, considering the system of polyphony, the role of chorale and fugue in dramaturgy as well as the composition of works. Scientists have not previously researched the motets performance specificity. Meanwhile, motets, particularly the one reviewed in the article “Jesu, meine Freude”, are among the most frequently performed works of the choral repertoire. For the first time in the Ukrainian musicology, three edited versions of the motet “Jesu, meine Freude” are analyzed from the standpoint of historically oriented performance. Based on the study of editors’ comments and source literature (mostly German), the question of compliance of the musical text with the task of performing reconstruction of the baroque vocal and choral style was studied. The aim of the article lies in the need to find out specificity of the editors’ interpretation of motet “Jesu, meine Freude” written by Johann Bach and suitability extent of different edited versions for the historical reconstruction of the vocal-choral style of the German Baroque. During the development of particular article, such methods were utilized: historical — the history of edited versions of “Jesu, meine Freude” motet was traced, comparative — the comparative analysis of three edited versions of motet “Jesu, meine Freude” written by Johann Bach (Franz Wulner, Konrad Ameln and Mykhailo Berdennykov) was completed. Main results and conclusions. According to the completed comparative analysis, the first two of the three considered edited versions are textual, while the third one is adopted for performing. Textual versions are characterized by the preservation of the composer’s text in the smallest details, including comments to clearly identify the extent of changes made by the editor in the text. The peculiarities of the version adopted for performing contain the large amount of remarks added by the editor, covering dynamic shades, strokes, tempo notation, etc. It is noted that the choice of version type is determined by performance goals: to perform the works of Johann Bach in an authentic manner, the conductor should focus on facsimile versions, and if they are absent (as in the case of the “Jesu, meine Freude” motet), the one should use textual type of edited versions. The version developed for performing cannot correspond to the authentic performing, as the first does not reflect specific tendencies of the time when it was created. It is specified that the conductor should be familiar with the peculiarities of fixing the means of performance in the musical text of the Baroque era.

Stylistic aspects reflected in the musical choral volume Cântece pentru copii/Songs for children, signed by Dan Voiculescu

In Dan Voiculescu's choral compositions, music and poetry are particularly intertwined, the syncretism of the arts being a fundamental feature in the composer's approach to this type of repertoire. The more detailed analysis, with examples of excerpts from works from the volume Songs for Children, are convincing proof of the compositional mastery that is necessary for the succesful creation of a deep connection between musical construction and text. Even the choice of certain elements related to the mode of musical composition (subordinated to the melodic, harmonic, polyphonic, rhythmic, metrical, dynamic, formal structure, etc.) demonstrates the intrinsic nature of the connection between music and the message of poetic lyrics. At the same time, the capitalization of the Romanian folklore resources, the incorporation in certain works of some underlying influence from baroque music and the preoccupation of introducing innovations related to the singing technique of the choral repertoire on equal voices represent some of the multiple stylistic features reflected in this volume.

SPECIFICITY OF PROFESSIONAL TRAINING OF FUTURE MUSIK TEACHERS TO LEAD ARTISTIC AND CREATIVE GROUPS

The article discovers the issues which are a part of a complex set of training future music teachers to manage artistic and creative ensembles, in particular, vocal and choral ones. It is emphasized that the dominant place in the process of training future music teachers to guidance these groups is occupied by aspects of conducting and choral training, the study of which is impossible without understanding the unique phenomena of native choral performance and features of working with vocal and choral collectives. To solve these problems there are the disciplines of conducting and choral cycle, the main task of which is to educate students in professional skills and skills of singing in the choir, as well as managing the choir based on mastering the methods of working with the choir, didactic principles and knowledge of psychophysiological process which a person has during singing. It is noted that the reserve for improving the quality of professional training of future music teachers to manage vocal and choral ensembles is the intersubject relationship of special disciplines with socio-pedagogical and music-theoretical ones. Modern performance and analytical requirements for professional training of future music teachers to guidance vocal and choral groups are analyzed, in particular, the ability to achieve the required level of knowledge and skills on condition that students master each subject of conducting and choral cycle with awareness of their interaction, high level of singing and conducting competence of students and their deep knowledge of vocal and choral repertoire, the art of mastering of not only performing vocal and choral skills, but also organizational skills by the future manager of the ensemble, the unity of erudition in the field of vocal and choral art, methodical training, pedagogical activities based on interrelation of knowledge and practice of working with an artistic and creative collective. The specifics of the professional training of future music teachers to lead vocal and choral groups is his singing and conducting competence, deep knowledge of vocal and choral repertoire, the art of mastering the leader of the vocal and choral group not only organizational skills but also performing vocal skills. For effective professional training, students need to constantly and purposefully develop their musicological and performing qualities in conjunction with conducting and choral and methodological training.

Antecedents, and Development of the Sacred Choral Concerto in Russia

"Upon dealing with Russian religious choral music of the 18th century, one may clearly recognize the outlines of a unique genre, the duhovny kontsert, or in other words, the genre of the religious choral concerto. The subject is suppletory, since very few people in Hungary have dealt with pre-19th century Russian music, let alone with choral repertoire. In the present study, we may follow up the legalization and development of polyphony in church music – which was strictly monophonic up until the 1500s – and the different types of multivocal hymns. We will also get to know the Russian composers of the 17th and 18th centuries, who contributed to the genre with their own works. We will receive a detailed description about concertante techniques used in European vocal music, and about their appearance in the 18th century Russia, which was unique to a cappella choral concerto. We will also get to know more about the structure and characteristics of the duhovny kontsert, while taking a glance at the historical background. In the final part of the study, we will see how the genre influenced subsequent eras, and how the stylistic marks and techniques appear in the choral oeuvre of Rachmaninoff. Keywords: Russia, 18th century, church music, choral concerto, Bortniansky, Berezovsky"

Conception and Origination of folk tune in Long March Cantata(长征组歌)

Thoughtful introduction of Chinese choral repertoire, the Long March cantata is contemporarily highly recognized music heritage of large-scale choral work of 10 movements last century in China. The cantata is composed to commemorate 30th anniversary of Long March. The journey of the Long March covered 11 provinces over 4,000 miles and crossed 24 rivers and 18 mountain ranges for over 370 days. The libretto is a set of narrative poetry by General Hua Xiao in Sept, 1964. "Long March Cantata" is conceptually composed based on "Where to go and where to say, when you hear the melody, the audiences will realize that it’s Guizhou, Yunnan, North Shaanxi ... Wherever the music is performed, it should restore the imaging of local feeling". This article mainly discusses its absorption of Chinese folk music based on Chinese pentatonic scales in music composition. Among them, movement one "Farewell (Leave the Base Area)" uses Jiangxi folk tunes, and the movement three "The Zunyi Conference, the Brilliance" use Guizhou tunes according to composers. For examples, in the movement four " Raid of Four times Cross Red Water ", Yunnan tunes are used, and in the movement seven "Arrive Wuqi Town", the northern Shaanxi tunes are used. In movement eight “Cheers" and movement nine "Annunciation", the tune of Changsha in Hunan and Northeast Jiangxi were selected to salute the southeast soldiers respectively. With the instrumental accompaniment of the full western orchestra, bel canto and national folk style signing (non-classical voicing) are well balanced. In order to match folk tune and regional congruency, Chinese traditional musical instruments, erhu (二胡), pipa (三弦), zhudi (bamboo flute, 笛子), suona (Chinese trumpet唢呐), kuaiban (bamboo castanets, 快板) as well as other Chinese percussion etc. were used with the western symphony orchestra according to historical context.

Emerging Considerations

The chapter discusses emerging considerations of adolescent voice change beyond classification systems and provides new food for thought about working with the adolescent changing voice. A section of the chapter specifically addresses female singers, for while it is common to have more females than males in choral programs, enrollment numbers do not ensure that choral programs are meeting females’ musical, developmental, and personal needs. In addition, discussion of the documentary Riot Acts provides insight into voice change from the perspective of professional musicians who identify as transgender. The chapter ends with ideas for working with changing voices, especially with regard to approaching choral repertoire.

The artistic choral music for children of Myron Datsko

The article highlights aspects of children's choral work by M. Danish. Choral education is at the forefront of promoting children's creative initiative; strengthening of personality values; the formation of musical culture. M. Datsk's choir is a kind of mirror that reflects the general processes and patterns of development of modern Ukrainian choral art for children. Choral works of the composer are firmly entrenched in contemporary performing practice and concert life in Lviv. They form the basis of today's children's choral repertoire. However, with obvious demand for performing practice, they have not yet become the subject of special musicological research. This fact determines the relevance of the appeal to this topic and the need for scientific understanding of this layer of modern choral music for children. The signs of the artistic world of the composer's choral music images are established. Studying the choral work for the children of M.Datsk made it possible to outline the peculiar directions of it, including: secular and spiritual works on poems of Ukrainian poets and clergy; works on canonical texts; choirs inspired by Ukrainian song. The choral work is regarded as a complete multilevel system, where the linguistic component is realized through the expressive-visual possibilities of the choral sound; the plot techniques generate artistic meaning, and the compositional ones generate the layout of the material. Understanding this issue brings you closer to understanding the connection: the energy of the artist is the energy of the text he creates. And the brighter the artistic world of the works, the more natural and the emotional states expressed in them, the more adequate the perception of the performers and listeners. It is noted that choral works for children are illustrative not only as an example of M. Danish's individual style, but also as a testimony to the creative achievements of the Ukrainian composing school in the 21st century. Thus, the artistic world of M.Datsk's choral music was considered as the basis for the national revival inherent in the Ukrainian culture of the turn of the millennium.

Patriquin, Donald (1938--)

Donald Patriquin is a composer known chiefly for contributing to choral repertoire in Canada. Born in Sherbrooke, Quebec, he studied composition as a teenager with Jean Papineau-Couture, and later in Montreal with Istvan Anhalt, as well as in Toronto with John Weinzweig. Patriquin’s prolific catalogue of work includes expanded tonal settings of texts by Shakespeare (A Lover and His Lass, 1968), Henry David Thoreau (Reflections on Walden Pond for choir, violin, cello, and piano, 2000), and William Blake (Songs of Innocence for choirs, harp, and flute, 1984). His main compositional activities have focused on arranging folk songs from around the world, especially various regions of Canada. Representative of these are Six Songs of Early Canada (1980) and Six Noëls Anciens (1982), which are frequently performed. Patriquin’s many compositions for children’s choirs make use of non-lexical sounds in imitating the soundscape, drawing on the timbral, percussive, and expressive possibilities of voices. Of his non-vocal works, Hangman’s Reel for fiddle and string orchestra (1978), commissioned by the Grand Ballets Canadiens, remains one of the most significant, assembling jigs, reels, airs, and other vernacular dances into a thirty-minute suite. Issues of cultural awareness, humanitarianism, and global peace provide thematic foundations for Patriquin’s music around 1985.

Adult Community Choruses

When considering teaching and conducting diverse populations in community choirs, one must begin with discussions of the phenomenon itself: a description of the term, a brief history of adult singing ensembles in the United States, and an exploration into the many types of community choirs and issues such as age, gender, exclusivity, purpose, and goals. Examined research on these issues is organized into large topics such as adult learning theories (music literacy and learning styles) and adult physiological concerns (untrained adult singers’ vocal mechanisms and aging voice issues). Personal identity growth or creation as individual musicians must be taken into account, as well as social implications of ensemble identity (among group members and by external community members). Finally motivation for joining and remaining in community choirs will be part of this chapter. That necessary phenomenon is examined through lenses such as choral repertoire preference, social needs, and personal goals fulfillment.