CONTENT-ESSENTIAL ASPECTS REMOTE SCIENTIFIC COMMUNICATION

Publication of the collection of materials of the IV All-Ukrainian scientific-practical distance conference (with international participation) "Contemporary musical art as a socio-cultural phenomenon", which took place on April 6-7, 2020 at the Dnipropetrovsk Academy of Music. M. Glinka, an extraordinary event in the scientific life of the school. First of all, holding a scientific meeting in a remote form was a consequence of the situation of strict quarantine caused by the COVID-19 coronavirus pandemic. Strict sanitary and epidemiological norms, lack of public transport, in a relatively short period of time changed the traditional, emotional and sensual "live" form of communication of scientists off-line, forcibly a new format of scientific discussion, namely - on-line.

The compositions of wind solo by E.V. Denisov in the context of the contemporary educational process

The purpose of this submitted scientific article is disclosing the musically pedagogical distinctiveness, the series of crucial and the most significant training educational criterions of compositions for wind instruments solo by E.V. Denisov. The row of methods for this scientifically investigative process is formed by applying the axiological, comparative as well as functional approaches concerning the studying research theme. The using of methods such as musically performing analysis and synthesis are specifically important in the development of delineated question. Researcher for structuring of scientifically investigative material as well as for analytical handing information and making general conclusions utilizes structurally functional method. Scientific newness of the represented article is stipulated by revealing the most characteristic, value-productive, musically pedagogical criterions of masterpieces for wind professional instruments solo by E.V. Denisov, which were written by celebrated composer as for wood and for brass academic wind instruments. Conclusions. There are the next essential indications, maximally significant training-educational criterions of musically instructional particularity concerning the compositions for wind academic instruments solo by E.V. Denisova. These are the formation of holistic, complete instructive process, the modernization of traditional artistically expressive means in relation to wind professional instrumentations, the utilization contemporary nontraditional musically performing language (performing manners, effects and composer technics). We also emphasize the accentuation of understanding the specialized process by student for the communicative essence of musical art (outside, inside dialogism). We also underline the activation of artistically imaginative thinking of student as into the vector of discovering the characterization one or another wind composition solo and into the direction for comprehension of an imagination, artistic content touching to E.V. Denisovʼs works for stage-single performing.

Features of the individual interpretation of the cello sonata genre in the creation by Gyorgy Ligeti

The purpose of this scientific article is characterization of the individual approach concerning the outstanding Austrian composer of Hungarian origin Gyorgy Ligeti to the genre of sonata for cello solo, which was successfully made by this composer. To achieve this goal, the role of this genre in the composer’s work is determined, the stylistic features of the only cello sonata in the composer’s work are discovered, and the composition of the work is analyzed. The methodology research as is in applying a holistic musicology analysis that allows deeply penetrate into the essence of the intonational drama of the work, to reveal the individual features of the author’s interpretation by the composer of the sonata genre for solo cello. The scientific novelty. The sonata of Gyorgy Ligeti, namely, the consideration of the features of the individual interpretation of the instrumental sonata genre, has not yet become the object of domestic musicological research, so addressing this topic is relevant and has a novelty factor. Conclusion. Throughout the long career of Gyorgi Ligeti, his composer style experienced a significant evolution from experiments in the field of electronic music and micropolyphony to a gradual return to classical romantic traditions. It was facilitated by the composer’s focus on the constant search for a new musical language and ways to express it. In the Sonata for cello solo, D. Ligeti pays great attention to the timbre features and technical characteristics of the instrument, seeks to diversify its sound by introducing modern techniques and means of sound extraction. A detailed examination of the artistic and technical techniques used by the composer along with analysis of performing difficulties will facilitate the work of artists on this work and its popularization in contemporary concert and performing practice.

The specific of translation of vocal creations of Baroque for bandura player-singer

The purpose of the article is an exposure of specific translation and interpretation of vocal creations of Baroque epoch for bandura, pointing of basic principles of transformation of original text in the context of synthesis of vocal and instrumental party. The research methodology consists in the application of the comparative method in music, a structural-historical method that allows outlining the stages of formation and functioning of specific features of the Baroque era in the present. A special place takes methods of system analysis and synthesis for the study of the means of transformation in vocal-instrumental works of past centuries in the process of transformation and translation, as well as the method of generalization for the formation of conclusions. This methodological approach helps to reveal the basic principles of translation of vocal and instrumental works of past centuries, in particular the Baroque era for voice accompanied with the bandura. The scientific novelty lies in the definition of the basic means (canons) of textural-timbre transformation, transformation of vocal-instrumental works of the Baroque period, on the example of the ancient aria «Solo per voi tra mille» from the cantata «Pastorella vaga bella» by G.F. Handel, which plays an important role in expanding the bandura vocalist's repertoire and enriches the potential of the Ukrainian national instrument. Conclusions. Thus, based on the above musical-theoretical analysis of the ancient aria «Solo per voi tra mille» from the cantata «Pastorella vaga bella» by G.F. Handel, we conclude that the translation of Baroque works for bandura and their inclusion in the pedagogical and concert repertoire bandura singer proves that the interpretation of works of past centuries on the bandura significantly expands the repertoire of the bandura singer and enriches the potential of the Ukrainian national instrument, revealing its timbre and technical capabilities, which deserves the attention of experts and requires further analysis and study.

The improvements balalayka repertoire in the XX century

The purpose of this article is to reveal the features of concert and instrumental music for balalaika in the 20th century by the example of the Concert for balalaika with orchestra by P. Gaydamaki. The methods of this scientific item are based on the research ways of historical and performing analysis. There is using of empirical methods, a namely observation and generalization. The scientific novelty for this investigation is determined by the appeal to the compositions of the academic instrumental repertoire of the balalaika of the 20th century, as the least studied cultural and historical period in the field of academic balalaika performing. Conclusions. The formation and development of the balalaika as an academic tool, began its journey from the 20th century and continues today. A historically significant role in this belongs to the outstanding composer, teacher, performer, conductor, arranger Vasily Vasilievich Andreev and his followers. Today, balalaika as an instrument is actively developing in Ukraine. The repertoire is replenished with new works, new methodological collections are issued, the instrument continues to sound both solo and as an integral part of folk ensembles of small and large forms, orchestras. Since 1965, the genre of solo balalaika concert in Ukraine begins its history. One of its first authors can be considered Peter Danilovich Gaydamakа. The concert of P. Gaydamakа, which became the material of our research, is an example of the use of new achievements in performing, technical techniques, finding balance, dynamic and timbral correspondence for parts of balalaika and orchestra. The Concerto for balalaika and orchestra by P. Gaydamakа is having a big form as a base. Difficulties in realizing the large form for the balalaika, problems in building the dramaturgy of the material, the difficulty of balancing the dynamic and expressive capabilities of the instrument, prompt composers to further discoveries that contribute to the expansion of the repertoire for balalaika as an academic instrument in Ukraine.

THE DRAMATURGY OF THE SONATA CYCLE BY L. VAN BEETHOVEN (on the example Sonata № 3 С-dur оp. 2)

The purpose of the article is to analyze and develop stylistic features of L. Beethoven's sonata cycle for a more accurate reproduction of the play's dramaturgy. The following research methods are used in the work the next. There are historical and cultural approach (research and analysis of works dedicated to L. Beethoven's creative heritage); method of comparative style analysis and general system-structural approach (comparing the problem of the era and its development); the traditional method of source studies as a historical discipline (the work is based on existing sources). Scientific novelty is to identify the peculiarities of creativity and specific performance of works by L. van Beethoven, from the point of view of the contemporary performer, characterizing the attitude of the composer to accurate performance, classification of means of expression and their use precisely when performing works on the piano. Conclusions. From the very beginning of the work on the sonatas, the pianist should pay attention to the stylistic features of the performance of Beethoven's sonatas. Taking a leading role in the study of the author's text, stylistics gives the work a unique sound, and the skill and the right approach maximize the performer of the playwright's reproduction of the play. Getting acquainted with Beethoven's sonatas requires a meticulous attitude to the applicative, dash dynamic notes and pedalisations written by the composer himself. The unity and interaction of the means of musical expression, such as: dynamics, fingering, pedaling and strokes, plays a special role in the performance of L. Beethoven's sonata cycle and brings the pianist closer to the most accurate transmission of the composer's creative intent. Condemning the carelessness of the execution of the author's instructions, Beethoven requires not only accurate, but above all expressive of their execution. Thus, the composer draws the artist's attention to their content.

Flute archetypes of sounds in Chinese Tang era poetry

Tang epoch trains (618–907) – an important source of judgments about expressive possibilities and sound archetypes of the Chinese flute, preserved in the music of the Celestial Empire composers of the XX – XXI centuries. The purpose of this investigation is to establish sound archetypes of the flute in the Chinese poetry of the Tang epoch. The methods of investigation are historical, semantic, genre and comparative approaches. The scientific novelty of the study is to introduce the concept of «flute poetry» of the Tang era into the musicology context, to establish its characteristic properties (spiritualization of the desolate time space with a magic melody, the reflection of the state of the soul of a lonely hero, the presence of the image of the listener-poet, connection with the elements of the wind, the nocturonal semantics of the natural landscape, signs of the palace style, the embodiment in the sounds of the flute - the mediator between the earthly and celestial worlds – philosophical ideas), the formation of the thesaurus of flute affects (moaning, sadness, sadness, state of waiting, experiencing loneliness). The samples of «flute poetry» by Li Bo, Du Fu, Wang Wei, Zhao Gu are considered. The image of the jade flute from Li Bo's poem symbolizes the priceless in human life. In Li Bo's poem about the Qiang Maiden, the flute music takes on the meaning of a leitmotif that accompanies the drama of love and separation. In Du Fu's work, the limits of earthly time and space contrast with the boundless celestial chronotope associated with the flute's sound image. In Wang Wei's poetry, the flute's crying accompanies the suffering of an abandoned woman and finds a response in the soul of a lonely traveler. Zhao Gu's poem includes the names of mythical flute artists Huan Tzu and Ma Rong, contributing to the sacralization of time and space in the work. Conclusions. In «flute poetry» of the Tang era, there are typical features of a common creative method inherent to the masters of the word «golden age»: the sound image of the flute is inscribed in a common artistic continuum based on the reflection of the poet's surrounding nature in a lyrical-philosophical landscape.

GENRE CHARACTERISTICS OF ROMANTIC FANTASY FOR THE GUITAR ON A BORROWED THEME BY F. TARREGA

The purpose of this article is to identify the individual-style features and genre characteristics of romantic fantasy for the academic professional guitar. The methods of the research are based by investigator on the application of a comprehensive approach, namely: evolutionary and historical methods – in the disclosure of the processes of formation and subsequent evolution of the genre under study; analytical – in the study of different genre literature, concerning the chosen problem and others. The scientific novelty lies in the fact that fantasies for F. Tarrega’s guitar is analyzed by researcher for the first time. On their example, the individual-style features of the fantasy genre are revealed by scholar. Conclusions. In the course of the work, the genre characteristics of F. Tarrega’s romantic fantasy were analyzed, and it was discovered that virtuosity comes to the forefront as a mandatory quality of fantasy, which was associated with the emergence of virtuosos of composers and performers Napoleon Costa and Francisco Tarrega. Thanks to them, the guitar falls a focus of attention of famous virtuosos who study its chamber and orchestral capabilities. Fantasies for the guitar are improved in form and thematism, using as exclusively original thematism, and borrowed. In the era of romanticism, fantasies on a borrowed topic get the most development, a prerequisite for which was the growth of a virtuoso style of performance, which undoubtedly led to revolutionary achievements in the field of expressive means. One of the main features of guitar fantasies on a borrowed topic was the superiority not of composing, but of performing means of expression: agogics, dynamics, intonation and others. Fantasies for the guitar are extremely virtuosic and require considerable performing skills. However, virtuoso techniques are only of a subordinate nature, and borrowed themes become only an impulse for creating a new artistic integrity. From the point of view of the actual musical structure, such works are characterized by a combination of the form of fantasy with the variational principle of material development.

Milestones in the biography and the problem of periodization for Reza Valiʼs creativeness

The purpose of this scientific article is to study the facts of the biography of the world-famous, celebrated contemporary (the turn of the XX – XXI centuries) Iranian-American composer Reza Vali. The aim for this represented investigative item is learning of the periodization concerning the Reza Valiʼs creativeness, his artistically musical compositions, setting the boundaries and names of periods of his creativity. In addition, the goal concerning submitted scientific article is considering the aspect of the influence of Western European and Iranian traditional music on the academic professional masterpieces were written by composer Reza Vali, revealing the composer's attitude to the ancient modal system Dástgâh / Mághâm. Methods. There are historical, genre-style, systemic as well as structural-analytical methods in the represented scientific article. The scientific novelty of the research lies in the fact that the article for the first time in world musicology presents biographical material about Reza Vali, also developed the periodization of his work, the boundaries and names of the periods of the composer's creative heritage have been established. Conclusions. Based on the study, the following conclusions were made: the periods of creativity of Reza Vali and their boundaries were established, a two-stage periodization of the composer's work was proposed and developed; the date of the beginning of the first and second periods in creativity has been clarified; the names of two periods of Reza Vali's creativity are proposed and substantiated; the stylistic features typical for the first and second periods of Reza Valiʼs creativity are revealed, a namely, the first Pittsburgh period of the composer's creativeness (from the 1978 to the 2000) and the second Pittsburgh period of the musician's creativity (from 2000 to the present).

Orchestral writing into the I. Stravinsky’s opera «Mavra» in the aspect of general and singular

The purpose of this article is to study I. Stravinsky’s opera «Mavra» in the aspect of embodiment of «universals» (by S. Savenko) of the composer’s orchestral logic and usage of specific devices of orchestration, spawned by original artistic idea and genre traits of the opera. The article applies such methods of this scientific research as genre, historical and system-functional. The scientific novelty of the investigative article is caused by the fact, that it is foremost research in domestic musicology of specifics of «Mavra’s» orchestral writing on intersection of general and singular. Conclusions. The analysis of orchestral writing in «Mavra» allowed us to draw the following conclusions a namely specifics of orchestral writing are caused by peculiarities of selected model’s genre as well as by orientation towards the theatre of representation; orchestral writing reveals multi-figure and combinative principles, which, if one is to use the terms of S. Savenko, might be described as «universals» of orchestral writing; specifics of orchestral writing is defined by the interaction of the two projection of I. Stravinsky’s orchestral logic: general and singular (special); composer tends to use multi-figure and combinative methods in a concealed way, with some transfigurations (rhythmic-intonation configuration of figures is being reduced as they become akin to formulae), that reflects universal artistic inclination towards game and variative thinking on multiple levels of artistically-aesthetic integrity; timbre and texture structure of the opera is marked by lack of full string group in the orchestra, relatively rare changes of timbres and timbre combinations compared to early ballets, smaller quantity of timbre combinations on the vertical axis, more pronounced continuity of time; omission of complicated combinative and multi-figure composition principles, that causes the orchestral space to be dimensional.