Verbal-textual polyphonic technique in the Ukrainian choral music (on the example of music on Taras Shevchenko’s poetry)

Relevance of the study. In the 20th–21st centuries, searches in the field of sonoristics led to an unconventional interpretation of the sound of musical instruments and the human voice. As a result, contemporary composers are actively experimenting with vocal performance techniques. The timbresonorous quality of speech contributes to the emergence of new polyphonic techniques. The use of verbal-textual polyphonic techniques in the music of modern Ukrainian composers is becoming more and more widespread. This explains the relevance of this study. The scientific basis of the article is the insufficiently studied concept of verbal-textual polyphony by I. B. Pyaskovsky. Main objective of the study. The objective of this study is to examine the existing manifestations of verbal-textual polyphonic technique in Ukrainian choral music a cappella on the example of works based on the texts of the poetic cycle “Psalms of David” by T. Shevchenko. The scientific novelty lies in the fact that the work is the first to consider verbal-textual polyphonic techniques in the works of Ukrainian composers on the texts of “Psalms of David” by T. Shevchenko. Methodology. The following methods of research are used: versioning (analysis of the versification features of the original poetic source), semantic (interpretation of the semantic content of the musical expressiveness means, their correlation with the text), typological (based on classification of the varieties of the studied technique). Results and conclusions. The main feature of verbal textual polyphony is the phonic interpretation of speech. This type of polyphonic technique is manifested in the work with text phonemes and syntagmas, which, as a rule, have intonation-rhythmic design. The prerequisites for this type of polyphony in musical works based on the texts of T. Shevchenko are the musicality of his poetry, as well as a specific rhythmic organization — the so-called 14-syllabic kolomijka verse. All examples of this writing technique can be divided into two groups, depending on the compositional work at the phonemic or syntagmatic levels. Phonemic compositional work is carried out by segmentation, vocal accentuation and temporal extension of the sound of the syllable. Work at the syntagmatic level is embodied using the following techniques: simultaneous multi-rhythmic presentation of the same text, text imitation, ostinato, polyphonic techniques of vocal intonation on a verbal and extra-musical basis. The analysis carried out indicates that the polyphonic technique in the studied works of Ukrainian composers is formed taking into account the versification features of the Shevchenko's poetry. The results of these observations can be used in the study of the manifestations of verbal textual polyphony in vocal-choral works on a different text basis

The Journey of Turk Sindbad: Question of Determination the Source of Lithuanian Tatar Texts Written in Slavic Using Arabic Characters

This article talks about the problem of determining the source of Lithuanian Tatar manuscripts written in Slavic using Arabic characters. Among the sources used by manuscript writers, there should be a clear distinction between Muslim and non-Muslim sources. Surah (chapter) of the Quran, separate Aja (verse), Hadiths, texts about the life of the prophets from different books and prayers were one of the main sources of Arabic insertions. Tora, The Bible, and the Psalms of David are the most popular non-Muslim sources.The goal of our research is to determine the source of The Journey of Turk Sindbad text from the Poltorzicki manuscript (1830). In this article is presented a thorough description of the text. The researcher tells general assumptions regarding the used source, describes the phonetic, lexical, grammatical, graphic, and orthographic peculiarities of the text.

The Dissemination and Reception of Isaac Watts’s Hymns and Psalms in the British North American Colonies to 1748

The hymns and psalms of the Congregational minister Isaac Watts circulated in the North American colonies prior to the revivals of the 1730s and’40s. Watts's transatlantic links are clearly evident in his regular correspondence with ministers and academics including Cotton Mather and Benjamin Colman. He gave forty-nine of his own books to Yale and many of these survive. Watts exchanged many letters with Benjamin Colman, pastor in Boston and an overseer of Harvard. Watts has often been regarded as having been first published in America in 1729 when Benjamin Franklin reprinted his Psalms of David. This paper examines two earlier publications of Watts's work, both printed in 1720 in Boston, and Cotton Mather’s reception of Watts’ early work. In so doing, it seeks to understand better Watts's influence in the American colonies before the arrival of George Whitefield and the Great Awakening of mid-century.