Reform by Franco of Cologne as the basis of rhythmic notation

The article describes the stages of development of rhythmic notation, characterizes the essence of the reform of Franco of Cologne. Its significance for the formation of the Ars Nova notation has been revealed. The research methodology is based on a combination of general-historical and theoretical methods. The Franco’s notation reform can be summed up by next basic points. Firstly, in the framework of the already existing and rather long tradition of mensural music, which began condition ally from Johannes de Garlandia (in theory, in practice – even before), the Franco’s treatise had a unifying and systematic meaning. Also, the author brilliantly summarized the groundwork of an entire epoch in the history of western rhythmic notation. If we consider the pre-Franco’s notation to be potentially mensural, then Franco puts it in a classical form that will be relevant for the next two centuries. Secondly, Franco in his reform fixes the transition from a modal notation (which is still not quite stable in terms of unambiguous reading) to the actual mensural (quite stable in this attitude). And finally, in a broader sense, the Franco’s mensural system can be considered a completely emancipated system of musical rhythm. It is not related to the rhythm of the poem, either with the rhythm of prose, or with a priori rhythmic formulas that largely comprise the content of modal rhythm. From this point of view, the mensural system represents a further step in separating music from the word, from the verse, from the grammar. The collapse and interpenetration of modes led to the idea of a triple metric unit, abstraction from modes, to the idea of perfection. The connection with modes remained, since the perfection was a triple one, but it was already a theoretical abstraction, practically equivalent to the modern concept of a bar. Further steps in this direction were made by Vitry and Muris.

Choral with Variations by Vincent Dandy - The Problem of Building a ХХ Century Viola`s Repertoire

The article explores the Choral with Variations by Vincent d`Endy, a little-known work for the viola by the founder of the French School of Ancient Music neoclassical tendencies, that consisted in a revival and adaptation of wide palette of old polyphony genres that brightly showed up in work of this composer, the viola "Choral with Variations" op. 55. On verge of ХІХ-ХХ a century is observed the personal interest of composers by the genres of chaconne, passacalia, choral,by the baroque types of variations of soprano and basso - ostinato, fugues and others like that. As a follower of Cesar Frank and the founder of Schola Cantorum, Vincent d'Endy actively revives ancient genres, especially in instrumental music, completing his viola repertoire. Summarizing the observations regarding the form, the intonation-semantic content of the music, the timbre properties of the viola, aimed to embodiment of the tragical idea of this work, it should be noted that the composer builds a synthetic dramaturgical-compositional model that detects an alloy of different sources. With the prevalence of the choir basis (choir semantics appeals to choral singing in the spirit of majestic psalms, glorious hymns) there are signs of minor lullabies, monologues, elegies, nocturnes, etc., united under the denominator of baroque-type variations of passacalia. The individualized form of the work combines within the framework of a detailed one-piece composition the principles of strict and free variation, the sign of double variations, solved by late-romantic "characteristic" signs, and even the sonata structure with delineated zones exposition, development, and recapitulation. Difficult, semantically saturated canvas gravitates to the choral organ's timbral of C. Frank and the ancient masters; the psychologically-strained Tristan beginning, incarnate facilities of difficult harmonic vertical line finds out influence R. Wagner, symbolic-landscape soundtracks bring V.d`Endy closer to K. Debussy, which not sounds eclectic . The integrity and dramatic perfection of the composition, the depth of philosophical ideas embodied through the prism of the Chorale genre with variations, make it possible to define this work as one of the vivid examples of alt's polyphonic repertoire.

Orchestra in concerts of Johann Joachim Quantz in the light of the doctrines of instrumental performance of the Baroque period

The article examines the groundbreaking work of the German flutist, oboist, educator, composer and conductor Johann Joachim Quantz (in particular, The Experience of Instructions for Playing the Transverse Flute, Berlin, 1752), which provides a theoretical understanding of important aspects of the instrumental culture of the Baroque era. J.J. Quantz's arguments about the orchestra, formulated in the treatise, not only allow to form ideas about the types of performing groups of the Baroque period, but also reflect the aesthetics of ideas about the optimum of orchestral writing, acoustic, timbre and dramaturgical patterns of orchestral groups and textured layers. Even taking into account the personal creative priorities of the composer-performer, on the examples of concerts for solo woodwinds (two flutes and flute and oboe) from his own creative work you can get an idea of the use of small orchestral composition in the contemporary compositional and performing tradition. musician baroque instruments. It is obvious that the orchestra is interpreted as a means of accompaniment to soloists, taking on leading functions only in short episodes of introductions to individual thematic constructions, orchestral connections in caesuras of solo parts or final cadence constructions of individual parts. The main functions of the orchestra's voices are clearly divided, depending on the drama of the deployment and the ratio of the soloists' parts, accompanying them or duplicating them in the function of ripieno. The accompaniment can be interpreted as basso continuo, as a complementary chord complex of middle voices or as an interval duplication of close instruments in terms of tenure and timbre.

Model of the vocal coach professional training in the context of the following studies of the pianist-concertmaster

Relevance of the study. The article analyzes the state of contemporary art culture with an emphasis on the modernization of special vocational education and the determination of the priority of a competent approach to the training of a competitive specialist. The concept of «vocal coach» is introduced. The conditions focused on updating the motivated direction of obtaining this profile in the context of continuity of the pianist-concertmaster’ training are revealed and substantiated. The content and methods of purposeful acquisition of immanent knowledge and skills of «vocal coach» are considered, which ensures the use of all resource possibilities of the learning process. The purpose of the article is to outline the algorithm of mastering the relevant knowledge and skills that are the basic concept of obtaining the specialty «vocal coach». Methodology. The methodology of system analysis was applied, which combined the following methods: analytical (thorough research of the process of preparing the musician of this profile in the scientific articles of world music literature on this specialty); comparative (for consideration of theoretical questions in order to determine the essence and structure of the specialty «vocal coach»); hermeneutical (in the interpretation of the concepts of the specialty «vocal coach» and a number of formulations that make it possible to differentiate the analysis of phenomena associated with this performative variety) and observational (observation and self-observation method) (own pedagogical analysis and experiment : analysis of the educational process in the classes of chamber classics (zespόł kameralny) of the music educational institutions of Poland (Wroclaw, Katowice, Częstochowa), the music department «Misgav High School» (Israel), the introduction of the masters of the Lviv Mykola Lysenko National Music Academy in the concertmaster class of the vocal coach course with the study of foreign languages (4 modules), the basics of vocal at the department of solo and chamber singing (due to pedagogical practice as a vocalist-beginner). Conclusions. The necessity of revising the directions of training for a pianist-concertmaster in Ukrainian high school musical institutions in the context of professional continuity of this musician has been stated. On the basis of the argumentation of the need to prepare vocal coach, an algorithm for acquiring the relevant knowledge and skills that are fundamental to this profile is determined. The concept of training vocal coach as a special course or a training course is offered. The introduction of the course is dictated by the urgent need to prepare a competitive specialist.

Тhе incarnation of nostalgia in the piano cycle «Love» by V. Barvinsky

The features of nostalgia in the piano loop «Love» by V. Barvinsky are considered. Attention is drawn to the peculiarities of the composer's style in different periods of creativity. In particular, the influence of modernism on the work of V. Barvinsky stands out. So modernist features have appeared in many of the works of the composer: Prelude h-moll, Part II from the cycle «Love», «Prelude» from «Suits to Ukrainian folk themes», «The Frog Waltz», «Preludes of the e-moll», «Fis-dur, Cis-dur», «Trio a-moll», solos «In the forest», romances «Oi luli, luli», «In the evening in the house», Sonnet «Blessing be», «Pastoral prelude to fis-moll», «Youth Quartet», «F-moll Piano Concert», romance «Moon-Prince», «In the Forest», «Oh Fields, Fields», etc. Also available for V. Barvinsky's creative method is the use of dialogue and polylogue, a kind of semantic game that manifested itself in allusions to M. Lysenko, R. Wagner, J. Puccini, K. Debussy, M. Ravel, and others like that. In addition, it refers to nostalgia as one of the characteristic features of modernism, which was particularly manifested in the art of the late XIX - early XX centuries. In music, nostalgia can be called appeals to past styles and epochs, including baroque and classicism. Thus, neo-baroque and neoclassical features are observed by composers I. Stravinsky, P. Hindemit, M. Ravel, J. Roger-Dyukas, G. Fore, D. Miyou, A. Onneger, in Ukrainian music - M. Lysenko, K. Stetsenko. Also, the article focuses on the special discovery of nostalgia in the era of the turn of the XIX-XX centuries. It turns out that for this period nostalgia was a characteristic feature that manifested itself as one of the factors of rethinking being. In particular, nostalgia was expressed in the piano cycle «Love» by V. Barvinsky as anxious for his homeland, the bride, grief for lost during the First World War, and so on.

Reading the topic of Turandot by the Chinese composer Wei Minglun in the Sichuan National Opera

The study of the first reading by the means of the national musical language and opera and theatrical tradition of China of the Oriental theme Turandot at the opera Wei Minglinu «The Chinese Princess» was conducted with the aim of outlining the specifics of the new figurative role of the heroine, its mental-psychological peculiarities; considering the metamorphosis of the Oriental tradition through the «congenital» of the exotic to the national-authentic. Scientific approaches are taken from the contextual field of comparative and imagoology, the methodology of which touches upon the field of studying the problems of mutual cultural representations of peoples, the assimilation of cultural heritage and images of a certain ethnic group in the consciousness and art of other nations, in correspondence with the actual problems of Orientalism in music. Reading the image of Turandot by a Chinese composer creates an opportunity for a new interpretative turn in the voluminous space of the existence of this text, the emergence of new measurements of the indicators of content and its characteristics. Image Turandot as an original model with the corresponding geocultural imago in the fabulous poetics of the perceptual field «East as Exotics and Danger», passing complex path of modification during the 300- year existence in the adaptation of different cultures, is embodied in means of national semantics of bright ethnographic-anthropological type. The author constructs an ethno-form from an Oriental-exotic heroine, demonstrating his national identity, revealing the typical ethnological features of the whole people. This allows us to interpret this opera as a national first reading, in which the generally accepted European model of Oriental travel fantasy semantics turns into a reasoned, realistic, based on traditional philosophical foundations, Chinese lyrical drama, in which exotic elements of European culture appear. The fact of this transcultural diffusion involves scientific research in the field of dialogue of cultures, encouraging new discoveries when meeting with the Other, re-evaluating, updating, rebuilding the position of "My" and "Other" in relation to to generally human and universal.

First Chinese concerto for violin and orchestra Ma Siсong as an example of synthesis of the European and national style paradigm

Turning of Ma Siсong to the concerto genre was not determined exclusively by the historical cultural circumstances, because in the first half of the 20th century the Chinese violin music only started to master the European genres. Thus, the violin and orchestra concerto written in 1943-1944 became the first Chinese work in this genre.Ma Siсong created an exceptionally interesting and remarkable canvas that combined seamlessly the Chinese national thematic nature and principles of the European violin concerto, classical genre paradigmatics aligned with the new mental conditions of creation. Using the wealth of the style parameters and the genre varieties of the wide temporal perspective, the composer represents an authentic vision of the solo violin concerto proper as an expression of the distinctive Chinese culture which has been shown essentially on the intonational-melodic, tonal-harmonic levels, manifested in the sphere of the form creation. The concerto concept solved in the neoromantic key gravitates toward the type of the lyrical-patriotic poem about the beauty of the homeland. Thus, the most innovative for the concerto genre became the means of the form creation that originate from the nature of the Chinese music (alternation of the concentrated brief tunes that to some extent play the role of the leitmotifs with more spatial melodic sections), that render the dramaturgic model a suite-poem type; using compositional and performing principles of the Chinese folk orchestras and solo performance on the bowed string instruments (enhance improvisational opening, specific performing techniques – typical flageolets, sliding play with one finger, traditional bourdon two-part texture, typical for the folk violin erhu, etc.). Especially innovatory is the harmonic language of the concerto (whose characteristic feature is the refined play between anhemitonics, pentatonics and chromatics) that gives not only a specific flair, but produces also an essential effect on the general tonal plan of the whole demonstrating the new modal-tonal relationships. Ma Siсong, preserving in the ternary construction of the concerto for violin and orchestra the features and certain typological European principles of this genre fills it up not only with the new content, but tries to give a new meaning to the basic form creating principles from the standpoint of the Chinese music mentality.

Musical Shevchenko Series of Vladyslav Zaremba

The article deals with a generalized musicological analysis of the songs from two vocal collection series, titled «Kobzar Tarasa Shevchenka» (Taras Shevchenko’s Kobzar) by the 19th century Ukrainian composer of Polish origin Vladyslav Zaremba in order to attract attention to the composer’s creative heritage, reveal the most typical features of his musical language and determine their stylistics in the context of the 19th century musical culture. Also the article attempts to specify the significance of the vocal works collection in the context of developing the Ukrainian romance and the 19th century Ukrainian T. Shevchenko series.The article focuses on the content of vocal compositions associated with typical folk characters, as well as the composer’s vision of his characters’ complex and rich inner world. The article considers the works devoted to the themes of orphanhood, loneliness, alien land, love, typical romantic motives of the Cossack will, sentiments of grief and melancholy, which form the figurative and poetic content of Shevchenko’s poems.The analysis is focused not only on V. Zaremba’s lyrical songs, but also his vocal works, which raise the complex social issues of difficult maidenhood, orphanhood, the search for better life, the main characters’ romantic attempts to realize their dreams and the sad realities. The main attention is focused on the role of the piano, which is interpreted by the composer as an active participant in the dramatic action. However, the piano version of V. Zaremba’s vocal works highlights an extremely important and vivid element of the national sound sphere, namely the imitation of playing the bandura, which performs the semantic role of the national Ukrainian symbol and is perceived as an important component of the national culture. Thus, the conducted analysis allows visualizing the figurative and emotional world of T. Shevchenko’s poetry and deducing the values of the bandura as a semiotic sign in the 19th century Ukrainian musical culture, which will become especially noticeable in M. Lysenko’s works. An important issue in analyzing the composer’s style is the focus on the synthesis of European school achievements with the individual elements of the national school as a certain stage in the development of Ukrainian professional music, which replaces amateurism and dilettantism.

Associative thinking as a leading method for determining intervals by ear

The methodology of interval hearing development, proposed by the teacher of The Konstantinovka School of Arts V. M. Sytnikova, and ways of its modern improvement is considered in the article. The methodology is based on the principles of associative thinking, which is based on the ability to find similar elements in different objects and to build relationships between them. It activates the creative abilities of children, stimulates their imagination and acts as a generator of creative activity. A talented musician, choral conductor and solfeggio teacher, V. M. Sytnikova began her research in 1993 with an experiment whereby students at the age of 5-6 who had different musical abilities were recruited to the preparatory group without prior selection. Since children cannot yet operate with abstract concepts at that age, V. M. Sytnikova encouraged them to create musical images and worked on their further fixation in memory. Thus, an associative interval table that summarized students' feelings and images emerged. Being one of the first to study this method, the author of the article, is convinced of its effectiveness. She has continued developing her teacher’s ideas. Objectives – to characterize the method of development of interval hearing based on associative thinking, proposed by V. M. Sytnikova, and to demonstrate ways of its improvement, found by the author of this article in the process of her own pedagogical activity. Methods. The methodology of the study is based on theoretical developments and practical work of domestic solfegists, aimed at the development of interval hearing. The most important component is the method of auditory determination of intervals based on associative thinking, developed by V. M. Sytnikova. Results. The expediency of using halftone as a building cell of intervals is substantiated: firstly, because of the students' better perception of the uniformity of measure units, and secondly, because halftone is the main component of many sound structures in the music of the twentieth century, in particular, symmetrical modes. The associative table of intervals formed during the pedagogical activity of V. M. Sytnikova is considered, the use of the initial intonations of known songs is noted. The necessity of reorientation in the formation of the "interval is the initial intonation of the song" association from Russian songs and Soviet cartoons to Ukrainian songs and methods of sound inheritance are pointed out. The ways of gradual departure from the "stencils" in the process of further work on the auditory determination of intervals are described – through listening and analysis of numerous samples of music, comparison of different intonational "versions" of intervals, selection of short intonations to each of them. It is emphasized that reliance on associative thinking, in addition to the practical purpose of determining hearing intervals, should promote the perception of music in unity with other arts. Synthetic communication can involve any pair of human senses, but most often there are connections between sight, touch and hearing. The principle of combination of visual and auditory impressions is used by G. Doman in the study of English. The musical analogue of the cards he created can be used at the lessons with young students studying the intervals. The use of cards introduces an element of game into the lesson, which is an effective didactic tool at work with children. The importance of integration of English to solfeggio learning process is emphasized. Today, English is the language of international communication, and its study should prepare modern students for adulthood, giving them new opportunities. The use of English elements in the course of solfeggio in first grade concerned mainly terminology – the names of sounds and octaves, in the second grade English can be associated with the study of intervals. However, singing Ukrainian songs in English, the direct link between the word and the corresponding musical intonation disappears, so the emphasis should be on soundtracking. The differences between sound inheritance in English and Ukrainian are indicated, due to local traditions and the choice of imitation of one or another facet of sound. It is suggested to add to the English version of the associative interval table, in addition to the verbal text, also images that will help children to orient themselves and memorize words unfamiliar to them more quickly, bypassing the translation stage. The conclusion was made about the effectiveness of V. M. Sytnikova's methodology, which was tested by several generations of her students, including the author of the article. This technique allows you not only to recognize confidently the musical intervals in their melodic and harmonious types, but also to further navigate the extrasensory structures of contemporary music. Conclusions. Relying on associative thinking indicating intervals while hearing, except tactical goals – to teach students to differentiate these the most important "building bricks" of music due to phonic coloration, has strategic ones, connected with the wish to show the connection between music as an art and world that can be seen in the art works through the sound combining. Achievement of the tactical goal becomes an important stage in the development of musical hearing as a necessary foundation of any musical activity. As for strategic goals, understanding of art and universe unity, sense of sound, lines and color connections instilled during childhood will become deeper and get new dimensions during all the life, that will unchangeably bring lot of joy and excitement. The perspectives of the farthest giveaways are connected with harnessing the potential of associative thinking according to studying other elements of music language – accords as well as searching new, more concrete and modern parallels between sound verbal and graphic folders of associative tables which are created for using at the "Solfeggio & English" integrated course.

The national nature of Vitaism and Vasily Barvinsky

The article raises the problem of one of the dimensions of national modernism in the first half of the twentieth century – Vitaism, which is manifested not only in literature, but also other forms of art, in particular, music. The synthetic nature of Vitaism, the platform of which was outlined by M. Khvylovy, answered the aesthetic requests of the development of the new Ukrainian culture at that time and proved to be in agreement with many of its representatives. Acting in correspondence with the artists of the Dnieper Ukraine, professing the ideas of the uniqueness and unity of Ukrainianness, V. Barvinsky showed vivid and vibrant vitaistic tendencies in his work The nation-building idea gathers and absorbs all the life processes of the artist, revealing deep mental roots as the basis of vitaism - the heart animation of life. The fusion of ethnogenetic origin (through intense folklorizm) with a historical tradition (broad national and European temporal perspective) occurs at the composer under the denominator of cordocentric lyrical, however, active romanticism. Numerous vectors of neo- (baroque, classicism, romanticism) as one of the centrifugal axes of V. Barvinsky's style, opens a new round of vision and renewal of tradition. Along with the bright, solid pages of the composer's music, there is also a tangible tragedy. Responsible "heart-universe" does not avoid darkness, because light and darkness are in the only indivisible heart of a person, who is responsible for the dark first, too, grasping the antithetical and contradictory life. The main method of the artist is the desire for synaesthetic fusion in the sound matter of play, plasticity, color, symbol and movement (light rhythm). Conceptual modeling based on such a synthesis gives unique Ukrainian pictures of our own poetic image of the world. The rationalism of Vitaism was manifested in the high education and professionalism of the artist, who called for responsibility for the need to build a serious national cultural school, which served as a voluminous critical journalistic and scientific-pedagogical activity. Barvinsky, as one of the central figures of Galician musical culture of the first half of the twentieth century, reveals an original and unique synthesis of the tendencies of numerous artistic and aesthetic directions of the day. However, the optic ideological axis and active romanticism that shape the composer's stylistic dominance, vital conceptualism in the artistic modeling of the artist's world, make V. Barvinsky one of the brightest representatives of Vitaism.