ANALYSES AND VALUE-MEANING INTERPRETATION OF A MUSICAL WORK AS PEDAGOGICAL PROBLEM

Рассмотрена проблема анализа и интерпретации музыкального произведения с точки зрения теоретиков музыки и педагогов-музыкантов. Обоснована вариативность подходов к анализу, обусловленная категорией слушателей музыки, жанром произведения, неповторимостью, уровнем сложности и продолжительностью звучания, уникальностью мировоззрения композитора. Охарактеризованы отдельные виды анализа в зависимости от целевой направленности, указаны трудности и пути их преодоления. Анализ инструментальных произведений с позиций интонационной теории (интонационно-образный анализ) – своего рода социальное, историческое, художественное исследование, при котором необходима организация общения детей с автором и исполнителями сочинения в форме живого диалога, направленного на погружение в художественно-образный мир произведения, выявление смысла и эмоционально-ценностных отношений, воплощенных в образах-интонациях, формирование к нему собственного отношения (В. В. Медушевский). Представленные виды музыковедческого анализа применяются в практике музыкального образования школьников в зависимости от особенностей произведения и предпочтений педагога. Показан пример музыкально-педагогического анализа инструментальной пьесы студентами как один из возможных вариантов для использования в педагогической практике с учащимися общеобразовательной школы. The article observes the problem of analyses and interpretation of a piece of music from the point of view of music theorists and music teachers. The variability of approaches to the analysis is substantiated due to the category of the listeners, the genre of a piece of music, the uniqueness, the level of complexity and duration of the sound, the uniqueness of the composer’s worldview. Certain types of analysis, depending on the target orientation, are characterized, difficulties and ways of overcoming them are indicated. Analysis of an instrumental works from the point of view of intonation theory (intonation-figurative analysis) is a kind of social, historical, artistic research, in which it is necessary to organize communication between children and the author and performers of the composition in the form of a live dialogue aimed at immersion in the artistic-figurative world of the work, identifying meaning and emotional-value relations, embodied in images-intonations, the formation of one’s own attitude towards him (V. V. Medushevsky). The presented types of music studying analyses are used in the practice of music education of schoolchildren, depending on the characteristics of the work and the preferences of the teacher. An example of musical and pedagogical analysis of an instrumental piece by students is shown as one of the possible options for using in pedagogical practice with secondary school students.

Forms of Time in Nineteenth-Century Music: Geology, the Railway, and the Novel

European art music in the nineteenth century was characterized by both an expansion and a contraction of the timescale typical of earlier periods. On the one hand there was an outpouring of miniatures, primarily for piano; on the other there was a proliferation of instrumental works, especially symphonies, lasting anywhere from 40 minutes to over an hour. Although it is possible to refer these changes to developments in compositional technique, their wider significance derives from the era’s production of several new and epoch-making forms of time––that is, of ways to conceive, order, and experience time. Time literally changed during the nineteenth century, and music changed along with it. The long span of geological ‘deep time’, the compressed and precisely measured time of railway travel, and the temporal complexity of the multiply plotted novel all have musical parallels. Robert Schumann’s Symphony No. 4 in D minor Op. 120 (1841), César Franck’s Symphony in D minor (1888), and Frédéric Chopin’s Prelude No. 18 in F minor Op. 28 (1835–9) provide pertinent examples.

Features of Jalal Abbasov’s Work ‘Munajat – I’

The article analyzes the chamber-instrumental work of Jalal Abbasov, a brilliant representative of the modern Azerbaijani school of composition, in particular, ‘Munajat-I’. It also looks at the work of Jalal Abbasov against the background of the development of Azerbaijani music culture and explores the genre diversity of chamber-instrumental works. In addition, the study highlights the form and content, music, and harmonic language in the composer’s chamber-instrumental works, especially in the work ‘Munajat-I’. The article emphasizes the peculiar stylistic features of Jalal Abbasov’s chamber-instrumental work, its connection with musical folklore, and its tendency to modernity based on traditions. The purpose of the research is to analyze the work of Jalal Abbasov ‘Munajat’ and to study the individual stylistic features of the composer. The main features are the emergence of the characteristic features of the composer’s chamber-instrumental work and its special importance in the development of modern Azerbaijani musical culture. The basis of the research is the involvement of J. Abbasov, a worthy representative of the modern generation of Azerbaijani composers, in the detailed research work of the work ‘Munajat-I’, which has not been subjected to scientific and theoretical analysis. From this point of view, the research is based on the method of complex theoretical analysis. The research methodology is based on music-analytical, theoretical, and historical analysis. It was noted that the composer’s personal style has improved in the process of development, modern innovative ideas, modern technical methods have been used uniquely in the diversity of genres. At the same time, based on the scientific-theoretical principles and research of Azerbaijani musicologists, the article forms the methodological basis. The scientific novelty of the research is that the article, presented for the first time as special research work, is based on manuscripts dedicated to the chamber-instrumental work of the representative of the modern school of the composition of Azerbaijan J. Abbasov and the features of ‘Munajat-I’. For the first time in the presented article, the work "Munajat", which is important in the work of J. Abbasov, but has not been studied so far, has been scientifically analyzed. Conclusions. The comprehensive analysis of Jalal Abbasov’s chamber-instrumental work, especially ‘Munajat-I’ in the presented article, allows us to draw important conclusions about the features of the composer’s personal style. An important feature of the composer's chamber-instrumental works, distinguished by their original creative style, is the richness and deep content of the musical language. It was noted that J. Abbasov, who organically combined nationalism and modernity in his works, expressed his deep philosophical thoughts with high demand and seriousness. From this point of view, the elements of national music in the composer’s works with a bright content and individual style are expressed by the features of modern writing techniques. It was noted that the philosophical, rich imagery, deep meaning, and thoughtful thoughts characteristic of the composer’s work are reflected in his chamber-instrumental works, including ‘Munajat-I’. That is why the works of J. Abbasov have been successfully performed not only in his native Azerbaijan but also in many foreign countries and have successfully represented our modern school of composition. Jalal Abbasov is currently living in the period of the wisdom of his work, enriching Azerbaijani music by creating new modern works.

Franghiz Alizadeh’s Composition ‘Wahe’ (‘Oasis’) for String Quartet and Tape Recorder

The article examines the chamber-instrumental work of Franghiz Alizadeh, a prominent representative of the modern Azerbaijani school of composition, People’s Artist, awarded the honorary title of ‘Artist of Peace’ by UNESCO. The article also highlights the characteristics of the musical and harmonic language, original timbre combinations, unusual dynamics, methods of using modern musical techniques of chamber-instrumental works of Franghiz Alizadeh, which is an area of her creative work that combines East-West music synthesis. The article analyzes Franghiz Alizadeh’s composition ‘Oasis for tape recorder and string quartet and gives specific features of the work. The article emphasizes that Franghiz Alizadeh’s presentation of Oriental thought in a synthesis of modern methods in the composition ‘Oasis’ is a unique feature of the work. The purpose of the research is to analyze the composition of Franghiz Alizadeh’s ‘Oasis’ and to determine the individual stylistic features of the composer. The interpretation of important innovations in Franghiz Alizadeh’s chamber-instrumental work and the discovery of its connection with modern music culture is especially emphasized. The basis of the research is the involvement of Franghiz Alizadeh, a prominent representative of the modern Azerbaijani school of composition, in the research work of the composition ‘Oasis’, which has not been subjected to scientific and theoretical analysis. The research methodology is based on music-analytical, theoretical, and historical analysis. It was noted that Franghiz Alizadeh’s chamber-instrumental work was formed in the context of the development of modern music, and modern technical methods were manifested uniquely. At the same time, the methodological basis of the article is based on the scientific-theoretical principles and research of Azerbaijani and foreign musicologists. The scientific novelty of the research is that for the first time, the general features of Franghiz Alizadeh’s chamber-instrumental creative work were studied within the framework of Azerbaijani music science, and the composer’s composition ‘Oasis’ was analyzed in detail. At the same time, based on the analysis, the article presents a detailed scientific study of the composition ‘Oasis’, which is of great importance in the work of the composer. Conclusions. The comprehensive analysis of Franghiz Alizadeh’s chamber-instrumental work and especially the composition ‘Oasis’ in the presented article allows drawing important conclusions about the features of the composer’s creative style. Franghiz Alizadeh is a modern Azerbaijani composer distinguished by her original creative style, and it was noted that the deep content of her works, distinguished by her unusual style of performance, is important in our national music art. It was noted that the East-West synthesis is dynamically manifested in the composer’s work, and this feature is directly felt like her works. From this point of view, F. Alizadeh’s camera-instrumental work is distinguished by the difference of modern writing techniques with rich images, and she has achieved great success not only in her native Azerbaijan but also far beyond its borders. It should be noted that Franghiz Alizadeh’s works, which combine East-West synthesis, have been performed in many countries and met with success. From this point of view, the composition of ‘Oasis’ differs by its rhythmic structure, artistic content, and texture form. It is especially emphasized that the unusual performance of the composition ‘Oasis’ was used to reveal a certain image. It is noted that the composition has a different musical language, along with deep content and non-traditional features. The combination of serial technique and mugam elements gives the composition ‘Oasis’ originality. It is noteworthy that the tape was used as an integral part of the camera-instrumental work. It was noted that the composition "Oasis", as a work of synthesis of theatre and music, has a theatrical effect. Franghis Alizadeh is currently living the period of wisdom in her work and enriches the professional music of Azerbaijan with her unusual works of modern type, which combine East- West synthesis.

‘Ordre et beauté’

The British composer Jonathan Harvey is generally associated with Eastern sacred texts rather than the secular Western literary canon. However, evidence from works composed over several decades suggests that Charles Baudelaire was a significant if subterranean influence upon his music. This article considers these works in detail. ‘L’Horloge’ [‘The Clock’] (1963) is a remarkable interpretation of Baudelaire’s text which reveals in it parallels with Harvey’s own contemporary preoccupations with the nature of musical time. Correspondances (1975) is a sequence of settings from Les Fleurs du mal and interludes and ‘fragments’ for piano which may be arranged in numerous orders at the discretion of the performers. Finally, the instrumental works Hidden Voice (1996) and Hidden Voice II (1999) demonstrate that the poet’s ideas remained an inspiration to Harvey well into his compositional maturity. Particularly striking is the variety and originality of these musical responses. Baudelaire’s real significance for Harvey was perhaps as an exemplar of aesthetic ideals - of ‘order and beauty’ - rather than merely as a source of musically suggestive images and phrases.

The chamber kui is the genre of the kazakh academical music

Since the formation of the chamber and instrumental music in Kazakhstan, the traditional instrumental genrekui – has become the vector of creative search, the basis for the synthesis of national and western musical thinking. The purpose of this article is to reveal the features of the traditional genre within the framework of academic music and to present a new genre – chamber kui.The expression of kui in the works is functionally represented in a variety of ways. The embodiment of the semantics of kui in its figurative meaning is given in the title of the work. When using the folk instrumental genre in professional writing, the authors give a functional association to it presented in the work in the form of a fragment (melody or accompaniment). The next point in the gradation of kui features in the chamber and instrumental works of composers of Kazakhstan is the dominance of its features: motor skills, variant-variational development of form, texture, throughout the work or part of it.The formation of a new genre – chamber kui was the result of creative searches for the synthesis of Kazakh folk instrumental creativity-kui, the connection of the laws of its formation and shaping with the achievements of European creative experience. In form, these pieces are kui (alternation of three register zones characteristic of the traditional genre), in harmony, quart-quint consonances are used, recreating the overtone density of the dombra timbre in the sound of the European instrument.

What Can I Understand about Children with Special Needs from the Musical Offerings that Emerge in the Music Therapy Process?

<p>This arts-based research thesis sought to understand two children with special needs, through their musical offerings within the context of their music therapy sessions. The process of understanding the children came through firstly listening to and extracting meaningful musical data from recordings of their sessions. This data included both actual excerpts of the musical interplays between the child and music therapist (myself), and more broadly, underlying themes drawn from the recorded session material. The data was then creatively 'melded', resulting in two original instrumental works, herein referred to as 'songs'. Before, during and after writing the songs, rigorous analyses were undertaken utilising both a formal approach, via the use of a contextual question framework, and two creative approaches: free-form narration and data-led imagery. The contextual question framework, involving the repetitive use of two key questions - where? and why? - sought to understand the data's context, its purpose for inclusion, and its influence on the respective song. One of the creative approaches, that of free-form narration, sought to, rather than analysing the song through formal structures, instead 'tell the song's story', narratively conveying the experience of being with the child in his music. The other creative approach, that of data-led imagery, involved creating images during and after being 'immersed' in the musical data, employing instinctive or subconscious means to further develop the therapist's understanding of the child's musical offerings, and moreover, the child himself. Upon completion of the two songs, it was discovered that clinical themes present from the sessions strongly influenced the song creation process. Results also strongly supported the validity of arts-based research as a viable means of analysing music created with children with special needs.</p>

What Can I Understand about Children with Special Needs from the Musical Offerings that Emerge in the Music Therapy Process?

<p>This arts-based research thesis sought to understand two children with special needs, through their musical offerings within the context of their music therapy sessions. The process of understanding the children came through firstly listening to and extracting meaningful musical data from recordings of their sessions. This data included both actual excerpts of the musical interplays between the child and music therapist (myself), and more broadly, underlying themes drawn from the recorded session material. The data was then creatively 'melded', resulting in two original instrumental works, herein referred to as 'songs'. Before, during and after writing the songs, rigorous analyses were undertaken utilising both a formal approach, via the use of a contextual question framework, and two creative approaches: free-form narration and data-led imagery. The contextual question framework, involving the repetitive use of two key questions - where? and why? - sought to understand the data's context, its purpose for inclusion, and its influence on the respective song. One of the creative approaches, that of free-form narration, sought to, rather than analysing the song through formal structures, instead 'tell the song's story', narratively conveying the experience of being with the child in his music. The other creative approach, that of data-led imagery, involved creating images during and after being 'immersed' in the musical data, employing instinctive or subconscious means to further develop the therapist's understanding of the child's musical offerings, and moreover, the child himself. Upon completion of the two songs, it was discovered that clinical themes present from the sessions strongly influenced the song creation process. Results also strongly supported the validity of arts-based research as a viable means of analysing music created with children with special needs.</p>

PERFORMING SKILLS OF ACCORDIONIST IN THE CONTEXT OF PROFESSIONAL TRAINING OF A TEACHER-MUSICIAN

The article emphases the importance of training a teacher-musician, improving the quality of his education by achieving the necessary competencies, one of which is instrumental performance. The basic conditions that affect the development of performing skills of the future teacher are analyzed in the work, which are mastering strong knowledge from the cycle of cultural, musicological and psychological and pedagogical disciplines, closely related to the certain historical period, society, way of life, socio-historical conditions, creative environment, etc., which form the basis of the performing culture of the teacher and instrumentalist. The main factors of development and improvement of performing skills are highlighted, which include technologies of sheet music reading and study of accordion instrumental works. The concept of "intonation", which has been the subject of research by many scientists, musicologists, composers, performers, is described as one of the most effective ways for a composer to create a musical image through which the whole mechanism of reproducing the content and emotional depth of musical works. The article contains examples of "deciphering" intonation by expressive properties in the process of interpreting the work, when the performer becomes a co-author of the composer, penetrating the musical image through knowledge of styles, genres, expressive properties of the system and its tendencies, intervals, chords, harmonic sequences, expressive properties of intonation in the whole complex of performing.

CREATIONS WITH THE PARTICIPATION OF THE BASSOON SIGNED BY VLADIMIR ROTARU

Vladimir Rotaru is one of the famous composers from the Republic of Moldova, whose compositions include both orchestral and chamber-instrumental works. In this article, the author made a brief analysis of the repertoire for bassoon that includes both solo and chamber compositions, such as Suite for flute, oboe, clarinet, and bassoon; Monothematic metamorphoses; Sonata-dialogue for bassoon and piano; Caprice for bassoon and piano. The aim of the article concerned is reviewing the creations for bassoon signed by Vladimir Rotaru, being in a succinct language features and architectonic creations componentistic concerned.