Metaphysics of the History of Music in the Scientific Area: Challenges of the Time

The relevance of the article is determined by the desire to consider the understanding of the scientific discipline “The History of Music” in its metaphysical dimension. “Metaphysics of the History of Music” appears as a modern discipline that opens new layers of meaning. It deals with problems that combine the musical art with philosophy, anthropology, culturology, aesthetics, but its foundation is determined by the musicological view on the musical artifacts. Scientific novelty. For the first time, the principles of Aristotle's teaching appear as the methodological foundation of the new discipline “Metaphysics of the History of Music”. This allows us to consider the history of music as a special way of understanding existence. The intersections of synchronous and diachronic parameters of understanding musical texts open new horizons of awareness of his “I” to the man of the 21st century. The purpose of the article is to substantiate the essential characteristics of the metaphysics of the history of music as a new scientific discipline and to determine the peculiarities of the implementation of synchronous and diachronic dimensions of musical texts in a given problem field. The research methodology includes the use of metaphysical, historical, comparative methods. Main results and conclusions. The history of music gives man endless opportunities to ask himself about the essential principles of existence, so at the present stage he is looking for ways in a new direction, which could be called “Metaphysics of the History of Music”. “Metaphysics of the History of Music” establishes the connection of phenomena each time in a new way, which reveals incomprehensible (to the superficial view of) the laws of the musicaltemporal spiral. Then each fact doesn’t remain a part of the information “herbarium” but is clarified by a living perception of “here and now”. Due to this context, it is necessary to emphasize that the main factor in making such connection is the live reproduction of all possible combinations. The history of music must unfold in such way as to enable modern man not only to feel the true “taste” of musical events, but also to illuminate them by itself, that is, to create an act that M. Mamardashvili calls the “fullness of interaction”. Such direction of everyone's spiritual efforts corresponds to the acute challenges of the time. It defines a new position of a human being at the intersection of what is fixed in the narrative about what has “already happened” and what is unfolding through the meanings of the “here and now”. So, it’s established when nothing exists in the automatic mode of perception. In a model of linear coupling that is fundamentally not amenable to horizontal configuration, it is important to have a vertical dimension, which creates Homo Metafisicus as a person who asks essential questions.

Compositional Technique as a Tool of Political Statement in the Works of Louis Andriessen

Relevance of the study. The work of Louis Andriessen, a Dutch composer, is regarded as a significant contribution to the formation of music culture of the second half of the 20th century. Despite his influence, however, there are practically no research papers in domestic musicology that would analyze Andriessen’s work and personality or his professional musical and political activities. One of the main research topics related to Andriessen’s work is the influence of politics on music. The topic itself is quite particular and somewhat controversial because it always leaves a lot of questions that need further clarification, may require a different perspective and a new approach. One of such questions with a controversial view is a discussion of how compositional techniques can be influenced by and formed based upon the composer’s political views. Main objective of the study. Taking into consideration Louis Andriessen’s own experiences, analyze how his compositional techniques created political content of his works, and particularly the writing of the cantata “De Staat” (“The Republic”) by Plato. Methods. The following were used in the research analysis: biographical (in the analyses of the style and work of the composer); historical (in the analyses of the cultural and socio-political context); comparative (in the analyses of the political and aesthetic views and standpoints of artists); analytical (in the analyses of the musical works). Results/findings and conclusions. There were several reasons that led Louis Andriessen to appeal to minimalism. The main reason was the composer’s desire to respond to his fellow composers that themselves were searching for their own applicable techniques and style to disseminate political ideas. Minimalism was particularly attractive to the composer because it was relevant, easily accessible to the general public, and reflective. At the same time, it was politically appropriate and democratic. The musical and political activism of Andriessen was aimed at creating a new type of communication and relationships between a composer and a performer, a performer and audience, and ultimately at creating a new musical community. This new type of communication and community is reflected in the composer’s work “The Republic”. For performers in particular, “The Republic” became a practical exercise similar to the style of Lehrstück B. Brecht, which allowed performers to adapt to new musical interactions proposed by the composer. Andriessen was able to achieve this goal by using hocket techniques — i. e., by removing the role inequality among performers and emphasizing the expressive importance of each performer in a musical composition. However, Andriessen’s compositional techniques used in “The Republic” to reflect his political views did not support, but rather emphasized the composer’s contradictory political position and in particular his binary position to Plato’s views on the place of music in politics. Nevertheless, it was “The Republic” that started the creation of a unique performance and approach in musical composition called “Andriessen’s approach”, which would successfully combine minimalism with traditional European compositional techniques, modern and experimental techniques, and components of music at large. At the very end, the unique combination of the aforementioned compositional techniques is what identifies the specificity of the content of Andriessen’s music. Significance of these results consists in the point of view on the question of how a compositional technique forms political content in the music written by Louis Andriessen

Performance Composition of Johann Sebastian Bach’s Motets: Hypotheses and Discussions

Relevance and scientific novelty of the selected topic of the research. The issues of the performance of J. S. Bach's motets has not been considered in Ukrainian musicology before, and in creative practice it has been decided unequivocally: choirs sang motets a cappella. However, in the world practice of motets today there are three variants of performance: in addition to singing unaccompanied, motets are performed with basso continuo (organ), as well as with basso continuo accompanied by instruments that duplicate choral parts (colla parte). The revision of performance approaches in world concert practice took place in parallel and, apparently, due to scientific achievements in the history of music, source studies and related fields. Cognitive was the discussion of the performance of Bach's motets, which for a long time (since 1904) unfolded in the Germanspeaking musicological environment. A thorough analysis of the historical context, the text of the motets, the connection with the performing practice, and on the other hand — the limited opportunity to get acquainted with German-language materials determine the relevance of this article, which systematizes the arguments and counterarguments of this controversy. The aim of the article is to consider the arguments of German scientists (Konrad Ameln, Klaus Hofmann, Alfred Heuss and others) on the tradition of performances of motets by J. S. Bach, to draw the attention of the performing and scientific community to the possibility of the existence of different versions of the performing composition in these works; emphasize the need for a performing search in the field of baroque music, in particular, in those aspects, which in the classicalromantic tradition are considered unambiguously fixed in the musical text. The following methods were used in the study: historical (analysed the dynamics of changes in the performing tradition of Bach's motets), the method of generalization (based on the study of musicological literature generalized arguments in favour of three types of performing motets). Main results and conclusions. Based on the analysis of information from German-language musicological research, it is stated that in the time of Bach there were three types of performance for his motets: 1) a cappella, 2) with basso continuo, 3) with basso continuo and instruments colla parte. Arguments for each type are systematized depending on whether they come from the study of historical context (external) or based on the study of the original musical text of motets (internal). It is noted that the plurality of variants of the performance composition allowed in today's practice should be realized by the conductor, who should not unconditionally accept the performance version proposed in the motets edition as the only correct one. The choice of performance is made by the conductor depending on the specifics of the performance situation.

Unfinished Work as Aesthetic and Musical Phenomenon: about Interrelation of Genre, form and Technique of Composition

The relevance of the study is dictated by the interest of contemporary creators and researchers in various fields of science to the problem of unfinished works. The appearance of the latter is associated with the historical situation and philosophical and aesthetic ideas of the time, with the psychological characteristics of the Creator's personality and the peculiarities of his thinking, as well as with the originality of the individual design of the work. In musical art, a productive direction in substantiating the specifics of unfinished works is their consideration both through the “prism” of the philosophical and aesthetic ideas of the time, cultural and historical context surrounding the composer, and based on fundamental theoretical teachings. The aim of the research is to establish and substantiate the “zones” of action and mutual influence of categories that are important and system-forming for theoretical musicology — musical genre, musical form and composition technique within the boundaries of unfinished works. The scientific novelty of the research is reported by: 1) the definition of the artistic and aesthetic phenomenon of “incompleteness”, which is universal for works of art, formulated and proposed for the first time; 2) the classification of unfinished works presented in relation to musical art; 3) analytical observations of the process of interaction of genre, form and technique of composition in conditions of various degrees of manifestation of incompleteness of musical works. The research methodology is based on the works of various fields of scientific knowledge — philosophical and aesthetic research (U. Eco, J. Gartner, etc.), works on the history and theory of art (S. Stupin, E. Abramovskikh, etc.), research in the field of theoretical and historical musicology (Y. Kholopov, E. Ruchevskaya, M. Pereverzeva). The main research methods are the general scientific observation method and the comparative method, as well as various methods of analyzing a piece of music. The results of the study reflect the following conclusion. A progressive tendency is clearly visible from work to work, which in music belongs to the category of “unfinished”: from a ghostly “hint” expressed through the genre, through a meaningful idea “underlying” the form, to the assertion of the principles of an “open work” through total interdependence genre, form and technique of composition. The study is undoubtedly of practical value. It significantly supplements and expands knowledge about some new genres that are little studied in music (fragment, sketch, etc.) and their compositional originality.

Structural-Syntactic Organization of Thematic and Techniques of Composition: Aspects of Interaction

Relevance of the study. The study of thematic in modern musical composition as the most important element of form creation seems relevant and in demand for modern musicology. In the existing scientific works, only certain issues of its research are mentioned (V. and Yu. Kholopov, V. Valkova, N. Ryzhkova, T. Kyuregyan, V. Zaderatsky, G. Grigorieva, E. Ershova, S. Goncharenko etc.), however, there is no special work devoted to this problem. Among the important and topical issues, many remain debatable today. Some of them concern terminology, the use of the concept of “thematiс” in relation to a completely new musical language, others — the multidimensional nature of the study of musical thematiс in terms of semantics, syntax of form in terms of various composition techniques. The study of the thematic organization on the example of the works of modern Belarusian composers makes it possible to include the cultural and stylistic processes taking place in Belarusian music today in the context of the most important trends of Modern music. The scientific novelty of the study consists in: 1) a systematic approach to the concept of thematic as a category of writing in relation to modern musical composition; 2) consideration of the principles of interaction of macro- and micro-thematic; 3) analytical study of the works of the Belarusian composer E. Gutina in the chosen perspective of analysis. The purpose of the research is to consider certain aspects of the interaction of musical thematic and composition techniques in two main types of structural and syntactic organization: macrothematic and microthematic. The research methodology is based on the interaction of general scientific methods (system method, deduction method, etc.) with methods developed in theoretical musicology. We are talking, first of all, about the method of functional analysis in relation to musical thematic and musical syntax. Also significant for this study are the musical-theoretical works devoted to the problems of the author's style, form and techniques of composition in modern music, as well as the theoretical works of the composers themselves on the problems of compositional technique. The practical significance of the research can be reflected in the use of this research in university courses of musical and theoretical orientation related to the study of modern music. Conclusions and prospects for further research. The interaction of micro- and macrothematic manifests itself in different ways in various types of composition, an example of which is the compositions of the Belarusian composer E. Gutina “Wind Music” (sonorous composition) and “Majolica” (minimalist composition). At the same time, the interaction of two seemingly opposite large-scale structural and syntactic principles of the organization of thematic reveals their close relationship in the conditions of various composition techniques, both in the aspect of shaping and in the aspect of the specifics of musical perception. Further developments of the stated topic seem promising in the following areas: the study of the “composer's word”, the compilation of a glossary of terms and concepts, regarding the techniques of composition and thematic, a scientific and research look at the given problem in the mirror of the manifestation of various stylistic trends in modern music.

Semiological Interpretation of the Electroacoustic Music Phenomenon

As evolving technologies become more massive and more easily accessible to virtually every user, as the speed of the global Internet grows faster and more, the composer’s relationship with these capabilities takes on new meanings. It was not so much the issues of accessibility and quantity that became relevant, but rather the issues of quality, artistic value, and the uniqueness of creation. This article attempts to review the principles of composing electroacoustic music based on semiological theory. Music, as a message, passes through the various stages of creation, transforming the consciousness of both its sender and receiver. It is important to capture, highlight and define these processes. The identification of oneself as a creator and a clear, unambiguous perception of one’s work provides a clear ideological and esthetic basis for new means of composition. Electroacoustic music opens the way to hear any possible sounds, infinity of sounds — from realistic to surreal. The listener’s traditional connection to physical sound is often severed: electroacoustic sound forms and qualities usually do not reveal the original sound source and cause. Composers face the dilemma of how to ground a new esthetic field in the wide-open world of sounds, how to develop more clearly defined methods of sound creation, how to understand and explain electroacoustic music.

Compositional Technique as a Language Mechanism: from Rule to Sound

Relevance of the study. lies in study of the concept of “compositional technique”, identifying its specificity as a linguistic mechanism. The technique of composition is functioning between language and text and thereby finds its concretization at the level of the composer, his thinking and style. In the typological similarity of the elements of each technique and, at the same time, in constant renewal, the understanding of the composition technique as a tradition is manifested, which seems essential for understanding the development of music in the 20th — early 21st centuries. The analysis of technique reveals its participation in the process of transition of language into speech at the moment of creating a certain work, which is also extremely important in modern musical culture. Scientific novelty. For the first time in Ukrainian musicology composition techniques have been analyzed in the aspect of language and the functioning of technology as a linguistic mechanism has been investigated. The purpose of the study is to analyze the specifics of the composition technique as a linguistic mechanism, the peculiarities of its functioning in the creative process in the linguistic aspect, to consider typical techniques in well-known established techniques as the corresponding rules for the embodiment and development of the material. Methods. The research is based on systemic and functional methods. The results and conclusions. The study of the composition technique in the aspect of the musical language allows us to renew our understanding of its specifics. The moment of selection of parts and the rules for their further combination emphasize the “general” nature of the composition technique. Being between language and text, technology functions as a linguistic mechanism, out of all the variety of a huge number of elements of the language, choosing only “its own” number, limits and concretizes the possible combination of these elements. The systemic nature of the compositional technique determines the functionality of the parts of each technique. With all the difference in established techniques, it is the functionality of the elements that reveals the general nature and similarity of processes in each technique. Significance of these results consists in the statement of the fact that reception in technology due to repetition and recognizability becomes the rule, offering options for its embodiment. The typing of techniques is very important for the composition technique. Simultaneously, each new incarnation of this technique renews and develops it.

The Symbolism of the Caravaca Cross in the Work “Crux Christi Salva Nos” by Szymon Godziemba-Trytek

Relevance of the study. The author’s commentary of Szymon Godziemba-Trytek concerns the role of sacred symbol in his work “Crux Christi Salva Nos” for mixed choir, soloists, horns, double basses and percussion (2017). This study for the first time acquaints the Ukrainian audience with the creativity of a modern Polish composer, who fruitfully works in the field of symphonic, chamber, and especially vocal and choral music. Main Objective of the article is to show the author’s way of interpreting sacred symbols in the composition and drama of his work; to reveal the role of a symbol as a tool for integrating a composition into an intercultural context that arises on the basis of musical and extra-musical listening experience. Methodology/How the study was done. The empirical and analytical methods used in the research reflect the two sides of the author’s activity — he is a composer and a scientist. From the Christian symbol of Caravaca Cross that inspired him — to the compositional idea and its implementation in sounds: these are the stages of the creative process described in the article. Results/Findings and Conclusions. The composition of the work «Crux Christi Salva Nos» was determined by two aspects of the European Christian symbol Caravaca Cross — its graphics and the history of its existence in culture. The external feature of the Caravaca Cross is the mnemonic signs applied to its surface, they fix the sequence of prayer lines. The sequence of the placement of these signs forms the architectonics of Godziemba-Trytek’s musical work. The symmetry in the arrangement of the signs corresponds to the symmetry of the music composition. In the history of the existence of Caravaca Cross in European culture, the composer is most attracted by the emergence of various religious cults associated with it. They origins often are in folklore. Reflections on the process of acceptance of theological ideas among the people led the composer to some decisions in the field of drama, performing resources, stylistics. Specially, composer use the text of the Polish traditional Lent Song as the epilogue of his work. This epilogue becomes the quiet climax of the composition. The choir’s location and the way haw it is used in the work are also symbolic: within each subsequent movement, the choir is situated closer to the listener. Stylistic means reflect the idea of giving the dogmas of faith a human dimension.

Sonoric as a Compositional Technique the Attempt of Critical Analysis

Relevance of the study. Sonoric is a widespread definition in Post-Soviet countries musicology. However, it is the only one in the system of contemporary compositional techniques that does not have English analogue. This fact conditioned to a number of questions related to this technique: what English terminology should be used as an analogue of sonoric or sonoristic? Why is there no such compositional technique as sonoric in European (with the exception of Poland) and American musicology? Is sonoric a compositional technique? The actualization of these issues makes it possible to solve both terminological problems and partially approach to the creation of a complete theory of contemporary composition techniques. The purpose of the study is to attempt to identify the structural core of sonoric as a compositional technique, the parameter (or parameters) of tone or noise material, for which organization it is responsible. Methods. This article is based on the method of systemic analysis of phenomena, general methods of theoretical research (analysis of a term, its semantic boundaries, correlation with other concepts), as well as specific musicological methods of a musical text analyzing. The results and conclusions. The authors of the theory of the sonoric compositional technique (Yu. Kholopov and A. Maklygin) suggest its use both in a general (a certain quality of concords) and in a narrow sense (a compositional technique that operates with timbre mass). In the process of a critical analysis of the concept of sonoric, it was noted that there are no precise criteria for distinguishing between the sound phenomena described by sonoric. Its methodological underpinning is based more on the elements of psychoacoustics and the theory of perception (without the direct use of the methods of these sciences) than on the theory of music. This thesis is proved by comparing the concepts of sonorically colored harmony and sonoric harmony. Postulating a reliance on synesthesia, the sonoric proposes to use a set of subjective associations to describe a sound phenomenon, relying on imaginative rather than technological characteristics. The analysis of sonoric texture types showed that point, line, spot, stripe, etc. are not original ways of tone and noise sounds organization, but are based on various combinations of pointillistic, cluster, polyphonic, micropolyphonic tools. Based on this conclusion, the idea that sonoric formations are not technically unique is formed. Such sonoric texture types are created by using a certain set of methods typical for various compositional techniques.

The concept of “Linguistic structure” as the basis of the Methodic for analyzing Vocal Composition

Relevance of the study. In the art vocal music of the second half of the 20 th — early 21st centuries the approaches to the selection of verbal texts are changing, they become the fundamental principle of musical works. The variety of verbal lines gives rise to a variety of composer’s work with them. Composers offer different, including previously unused, ways of working with a verbal text. In this regard, it is necessary to find new methods for the analysis of modern compositions, because traditional methods are no longer suitable for such material. The purpose of the study. The using of the concept of linguistic structure for the analysis of modern vocal scores and its approbation on the example of “Choven” (“Boat”) for three voices a cappella by Alla Zagaykevych is proposed. Methods. The article is based on general scientific and especially scientific methods. Among general scientific methods descriptive, comparative, systemic ones are applied. Among special scientific methods structural and functional ones are used. The results and conclusions. The conception of “language structure” was developed in structural linguistics and is now common in linguistics. It is based on the consideration of verbal language as a holistic system, which is divided into four tiers: phonological, morphological, lexicalsemantic and syntactic. Each tier has a main element, which is the smallest component in its layer. The composer, choosing a specific verbal text, works with it, applying changes at different language levels, which leads to individualization in the interpretation and sound embodiment of the verbal source. Based on the concept of language structure, a method of analysis of a modern vocal work is proposed, which in the article finds approbation on the example by Alla Zagaykevycs work “Choven” [“Boat”] on the text by Mykola Vorobyov’s poetry. It is proved that the composer works only on three language levels: phonological, morphological and lexical-semantic. It was found that when the composer is working at the phonological level it is important to highlight a separate phoneme, presenting its sound color. At the morphological level, the key is the morpheme, which becomes the main expression of the image. If M. Vorobyov works only at the lexical-semantic level, then A. Zagaykevych develops two other levels (phonological and morphological), based on the fact that the lexeme is a combination of smaller quantities. To identify the core of the lexeme, the composer breaks it down into smaller details: from the most important lexeme “choven” the phoneme “ch” stands out, which becomes the core of the whole composition.