"…два серця, два голуби співзвучно затріпочуть…"

Author(s): Dolgih Yaroslav / Language(s): Ukrainian / Issue: 28/2015

Творче та сімейне подружжя Колодубів – одне ціле в контексті музичної України. Вже 60 років митцями рушать спільні стилістичні орієнтири, творчі принципи та ідеї, спрямовані на розвиток вітчизняної культури. Вони впливають одне на одного, а професійні покликання та іпостасі, заслуги і титули ділять на двох: композиторська, педагогічна, культурно-громадська діяльність; звання народних артистів України, лауреатів премій ім. М. В. Лисенка, ім. В. С. Косенка, ім. Мар’яна та Іванни Коць, членів-кореспондентів Національної академії мистецтв України…

"Знамето ни е трицветно..."

Author(s): Asen Atanasov / Language(s): / Issue: 1/2001

Notification / "Our flag is tricolor ..."

"Культуротворческий синтез" в реалиях музыкального искусства рубежа ХІХ–ХХ веков (на примере хоровых произведений С. Танеева)

Author(s): Nataliia Shvets / Language(s): Russian / Issue: 2/2015

The problem of integration, synthesis of multistyle sources, variety of ways of style trends reciprocity in choir cycle "Twelve choires a cappella for mixed chorus" or. 27, words written by Y. Polonsky, from the point of view of preservation and rethinking of traditions and style synthesis is investigated in the article. The trend of style synthesis, assimilation of models of previous epochs brightly shown in S. Tanieyev’s creative activity, whose potential was shaped and carried out during the period from the late XIX – early XX centuries, explicitly stands out as one of the leading trends in pluralism of styles defined by the turn of centuries, in complicated mixture of various style orientations (search of the new, separation from traditional systems, and, at the same time, strive for balance, compensation, preservation of progressive development of art). The aim of the article is to find out variety of ways style trends reciprocity, style synthesis effectiveness in the author's compositions as the expression of important style processes of the given period. Being a representative of musical romantism in historical sense, S. Tanieyev, at the same time, appealed to models deeply intellectual in music art: Renaissance, barocco, classicism. The search of something new together with assimilation and rethinking of traditions appeared in several aspects of S. Tanieyev's activity. The key point of S. Tanieyev's spiritual world and supreme tradition turned out to be philosophy. There is a resonation with Bach concepts of creative activity, with the problematics of classicism as well as with ethic essence of the Russian religious philosophy of the Silver Age in his reference to massive philosophic and ethic problems, in understanding the need in constant pursuit of ethical perfection, of the themes of complexity and counterpoint of the world, which means the unity of polar and, at the same time, cooperating beginnings of "life – death". Connection with barocco tradition possesses a special place in S. Tanieyev's heritage of chorus compositions. Russian chorus music owes to the author's creation of mastery and extraordinary compositions in different genres – opera chorus, cantatas, certain chorus a cappella, massive chorus. A very important place in composer's activity, in his theoretical concept, is devoted to polyphony – a significant achievement of the Renaissance and barocco. The author’s relying on rhetoric resonates with both barocco traditions and symbolist poetics of the late XIX – early XX centuries. Using music and rhetoric shapes, generalization, conventionalism, whose "eternal meaning" gives them the meaning of an emblem, symbol of certain notions, the compose tried to "decode", "interpret" the deep sense of poetic content, fill a note text with spiritual programme. Textual and compositional structure of Tanieyev's choires are rather difficult, and can be revealed only to those listeners, who are aware of barocco music lexis. The motive of chross – a symbol of chross agony – is emphasized among the most significant ones. It is this very shape which ties chorus cycle on Y. Polonsky's words. Austerity, ascetism, concentration of the motive resonates with the content of the text in those its parts where this music symbol is introduced. Rhetoric sign is included into extremely important, philosophically significant in dramatic sense moment of the cycle. A drawing of a circle (circulatio – turning around) became one of the most intensive and meaningful signs in S. Tanieyev's choires. It is associated with the idea of eternity, incredible beauty and verity in barocco music. In intonation dramatism of choires there can be found other music and rhetoric shapes as well, which are important for the dramatism of the whole. Thus, rhetoric shape anabasis, which denotes the symbol of resurrection in barocco music, appeares mostly in choires apealling to reveal lyrical beginning. Catabasis (a symbol of dying, a sign of sorrow, "putting into coffin" on barocco music) can be seen in the cycle of choires where there is a tense and dramatic beginning. Such rhetoric shapes as passus duriusculus, saltus duriusculus are applied to express mourning, suffering. Due to their fixed and stable semantics these music shapes were turned into "signs", emblems of certain feelings and concepts. Detailed study of means of music expression revealed polyphonism of S. Tanieyev's thinking. His massive chorus cycle became the ideal of reciprocity of different style trends in art, showing the ties between epochs, defining integrity of composer's style.

"Музикалната естрада продължава да живее в културната памет на българите"

Интервю с Розмари Стателова за новата й книга 'Естрада и социализъм: проблясъци'

Author(s): Zhana Popova / Language(s): Bulgarian / Issue: 5/2019

Interview with Rosemary Statelova about her new book „Estrada and Socialism: Glimpses“

"МУЗИЧНЕ ПОВІДОМЛЕННЯ" ПІАНІСТА ЯК РЕЗУЛЬТАТ ЄДНОСТІ ВНУТРІШНЬОГО І ЗОВНІШНЬОГО У ПРОЦЕСІ ФОРТЕПІАННОЇ ГРИ

Author(s): Kateryna Yerhiieva / Language(s): Ukrainian / Issue: 3/2017

The purpose of the work is to consider the problem of the "musical message" of the pianist in the process of public performance and to work out the problem of holisticity of piano playing in the internal and external aspects of concert performance of musical composition. The methodology of the research has an interdisciplinary character and consists in the application of the holistic approach and philosophical principles, such as the irrational theoretical model of S. Kierkegaard (the existential theory of singularity), the phenomenology and hermeneutics of P. Ricoeur as well as the aesthetic-semiotic, historical-musical, genre-stylistic, and textual research methods. As a basis of the theoretical searching of musical "message" problem in the context of the theory of artistic communication (playing a musical instrument "alive") there was selected a binary system with binary oppositions: author – performer, addressee – the addressee, internal – external, implicitness – explicitness, introversion – extroversion, internalization – externalization, language – speech, text – interpretation. Scientific novelty of the work consists in studying a new for musical science category, a category of "musical message". It is proposed to determine the musical message of the pianist as a complete in meaning, intoned for a listener piece of musical composition, which is an informative synthesis of the performer’s understanding of the text structure, the interpretation as the experience of the performer’s relationship to the idea of the work and the individual style of the playing. Conclusions. The result of pianist’s concert playing is musical message that embodies personal understanding of the interpretation of composer’s text. It must have such features as subjectivity, polysemy, topicality, persuasiveness, modernity, clarity, transitivity, completeness and integrity. In this case, the full-fledged artistic communication takes place and the message of the pianist becomes a peculiar epiphany for the recipient public.

"НАТАЛКА-ПОЛТАВКА" М. ЛИСЕНКА ТА "НАЗАР СТОДОЛЯ" К. ДАНЬКЕВИЧА В КОНТЕКСТІ ВОКАЛЬНИХ ТРАДИЦІЙ ОДЕСИ

Author(s): Antonina Kulieva / Language(s): Ukrainian / Issue: 1/2018

Purpose of the article is a separation in named opera N. Lysenko and K. Dankevich, which in one or another measure gravitate to balladry, a sign of аcаdеmic operatic style, removing on dramaturgy duality in joining to аctuality in modern production devil epic theatre. Methodology. The methodological base is connected with an intonation approach of the school B. Asafiev in aspect style comparison, hermeneutic analysis of vоcаl composition for the sake of the modern vision of ideas in performances-interpreting the works of national classicists. Scientific novelty of the study consists in the independence of the creative approach which stands on boundary public ballad operas and academic sphere. They frankly to diffuse in the performance of "post-pо stvаnguard" being of music contemporaneity, bring forth exceptional requirements to entailment of the national classical heritage. Conclusions. The production of the operas by Lysenko and K.Dankevich in discovery vоcаl-operatic fullness of the music expression confirms the national idea in greatness of the intellectual entailments to operatic tradition, which has declared the wealth of artistic importance of the music and possibility of the join them with way favorite, including epic theatre for the sake of quasi-mystery joining to national tradition to general line of the artistic development XXI century.

"Ненормативне тіло" в романі Енн Райс "Плач до небес": музикознавчий дискурс

Author(s): Yuri CHEKAN / Language(s): Ukrainian / Issue: 27/2015

Art of Castrato singers – people who have deliberately modified bodies – until recently was a tabooed topic in local musicology. At the same time, the understanding of the development of European baroque and classical opera without their contributions is not only incomplete, but largely deformed because from 1590 to 1798 in the cradle of opera – Italy (in the Papa State) – women were officially banned from performing on stage. Consequently, all the female parts were performed by castrati. This article in terms of an intermedia approach examines the realities of European opera culture that became the feature material of the novel by Anne Rice "Cry to Heaven" (1982), as well as their interpretation by the contemporary American writer. Contemporary American novelist Anne Rice is known to the public primarily through his texts about vampires and witches – eleven novels form a series of "Vampire Chronicles" (1976- 2014), three novels – the series "Meyfeyrski Witch" (1990-1994), two novels – series "New Vampire Chronicles" (1998-1999). Her debut work "Interview with the Vampire" (1976) became the basis of the same movie Irish director Neil Jordan with Brad Pitt and Tom Cruise starring (1994), bringing the author the deserved popularity and reputation as one of the leaders of modern gothic novel.

"Нова віденська школа" – колиска музичного авангарду

Author(s): V'yacheslav Svystun / Language(s): Ukrainian / Issue: 3/2012

The article investigates the activities of the New Viennese School. Here you can find analysis of the achievements of its members: A. Schoenberg, A. Webern, A. Berg. Attention is paid to the historical, aesthetic, cultural, philosophical discourse, in which it was formed, its impact on the musical avant-garde.

"Пение на фортепиано" как образ инструментa

Author(s): Fan Lu / Language(s): Russian / Issue: 2/2017

Purpose of the research. The article deals with the tradition of "singing on the piano" and reveals its essence as one of the most important images of the instrument in the history of its evolution. Methodology. The research methodology is based on the methods of elementary theoretical and structural-genetic analysis and synthesis, historical, comparative and systemic methods of epistemology. Scientific novelty. Scientific novelty of this study lies in considering the centuries-old tradition of "singing on the piano" as a special image of the instrument, as well as in studying the factors of appearance, development and constant relevance of this image of the piano. Conclusions. The representation of the piano as a melodious instrument confirms the categorial potential of the concept of "image of the instrument". In the realization of "singing on the piano" the main thing is the implicit extrapolation of the concept of voice, this the most expressive tool in the musical and sound arsenal of man, on the opposite to voice in their physical properties possibilities of the piano. The illusion of "singing on the piano" creation of which requires the efforts of composer, performer and listener is one of the most interesting, meaningful and productive "images of instrument" in the history of musical art.

"Петрушка" Фокіна-Стравінського-Бенуа – три рівні прояву художніх новацій першого десятиліття ХХ століття

Author(s): Lesya Kosakovska / Language(s): Ukrainian / Issue: 2/2013

The article examines Russian choreography of early twentieth century. Defined regularities and results of creativity search of essence of artistic features and significant tools of classical dance in the context of the cultural environment of that period on the example of ballet "Petrushka" by Fokine – Stravinsky – Benois. M. Fokine justly believed that ballet "Petrushka" can be described as a dramatic piece of music of Stravinsky, which occupies an exceptional position among new music. Music for "Petrushka" was the first herald of a "new life". And Stravinsky didn’t stop create, because he started think differently. He gave up on admiring people’s poetic fantasy, romance, poetic contemplation and imitation. Life, struggle, love, movement, games and dances become active force. Intensity and softness of expression perform forward to change mental architectonics. The revolution in Stravinsky’s thinking manifested primarily in the fact that he didn’t feet the form as completely self-sufficient scheme which pressure on the mind. On the contrary, music thought creates form. In "Petrushka" Stravinsky gave out his strong creative outlook and cut forever his ability to return to make music for recipes to taste. The figure of scores was changed to unrecognized. Lines revived and flourished. Instead of cold vertical columns, which distributed pattern of figuration – free rhythmic play of various motives and complex of sounds. "Petrushka" can be also named, as one of the best creations of the artist Alexander Benois. About "Petrushka" is possible to speak as about Fokine’s setting, which is one of the most complete embodiments of his reforms in ballet. Choreographer argued that "Petrushka" – is one of his most successful achievements. One of the main idea of M. Fokine was not to make combinations of provided and constant dance movements, but create a new form in each case which would fit the plot. That explains the search of unique choreography for the image displayed in plastic score of "Petrushka". Rejecting the conventional gesture, Fokine combined plastic wealth of the world in dance, enlivening ballet performance by means of painting, folklore, using musical score to create vivid imagery characteristics of different types of dance, including classical. Similar achievements are marked by theatrical painting of artists, who have worked with M. Fokine, in particular, A. Benois. Earlier were made multiply attempts to create new choreography and put on performance new stage outfits. Despite the fact that these productions had talented finds, Fokine and Benois cooperation urged in its originality and showed organic unity of all components of ballet. Creating best traditions of Russian ballet, M. Fokine opened a new are in choreography theatre. Focusing on the creative search of his time, studying literature, art, music and theater, Fokine abandoned from classical dance as a single and universal way of solving in ballets. He started to use different, new for each theme, forms of expression, which corresponded to the place of action, national characteristics, genre and character of conception, and in particular, used elements of national dances. In this approach, classical dance found a new coloration depending on which era, country style, to reality or fiction was turned choreographer. Emotionality and distinctiveness of stage action is the prerequisite, which made ballet "Petrushka" accessible to the general audience. In turn, this allowed the authors to expand the ideological and thematic horizons of ballet, democratize the characters, respond to the themes of nowadays. As it is known, Stravinsky – Fokine ballets weren’t put on pre-Revolutionary Russian stage. But they were saved through the efforts of enthusiasts in the Grand Opera House and, thus, we can see the true staging made by Fokine in today’s recording. Ballet "Petrushka" is great example which made general conclusions about the organic unity of choreography Michael Fokine, music of Igor Stravinsky and theatrical painting of Alexander Benois as components of innovative ballet.

"РОК-ОПЕРА": ДО ПИТАННЯ СТАНОВЛЕННЯ ТА РОЗВИТКУ ЖАНРУ

Author(s): Natalia Donchenko,Iryna Zaitseva,Marina Tatarenko / Language(s): Ukrainian / Issue: 4/2017

The purpose of the work is to study the genesis of the rock opera as a genre, historical aspect of this spectacular-entertaining form, definition of genre features of rock opera, and stylistic and artistic peculiarities of certain iconic rock performances and their impact on the audience, in particular, the contemporary Ukrainian rock opera "White Crow". The methodology consists in the application of analytical, functional, comparative, art criticism, and systematic methods of research of rock opera as one of the spectacular-entertaining forms, its origins and meanings in the modern theatrical space. The scientific novelty of the research lies in the fact that it asserts that the dominanting idea of the post-modernist contemporaneity is "showcentrism", the emphasis of the interest on the musical and theatrical genres, because the structure of the audience's artistic needs has shifted towards spectacular arts, in particular such genre as rock opera. Conclusions. Rock opera is a synthetic art, born thanks to a mix of theater and pop music based on a song. Rock is not just a musical movement, it is a youth culture, a means of communication among young people, the obligatory participation of technology in the process of creation and implementation of the work forms a "new self-value type of aesthetic experience". Use of electronic instruments of rock music transforms rock opera into one of the most spectacular and most widespread popular stage genres, especially among young people; despite the genre proximity of the rock opera and the musical, there is a significant difference between them revealed in the peculiarities of the stylistic attributes of these genres; the further evolution of rock opera was taking place, on the one hand, through theatrical pop performances created by the rock collectives themselves, and on the other hand, through the creation of performances for musical theaters.

"Рух до правитоків" у російському мистецтві початку ХХ століття

Author(s): Valentina Redya / Language(s): Ukrainian / Issue: 2/2011

The article is devoted to the "Scythian issue" in the context of Silver age culture as the new image-thematic sphere in Russian art, which romantically poeticized historic events through the prism of archaic. Appeals of local artists of the beginning of the 20th century (poets, painters, composers) are tracked back to ancient sources, which presented the opportunity to comprehend spiritual values and renewal of artistic system.

"Стилевой синтез": к определению понятия

Author(s): Nataliia Shvets / Language(s): Russian / Issue: 2/2017

Purpose. The trend of "stylistic synthesis", searching for "coherence" of different stylistic systems are noticed more and more in art studies of recent years. The purpose of this article is to unfold the integrative trends in the style aspect, where the author enters into a dialogue with musical heritage of previous eras. Methodology. The research is conducted through the using of musicology method, based on the theoretical developments of musicologists in the field of artistic outlook, traditions and style. Scientific novelty. The idea of synthesis as a special type of artistic creativity is realized in many aspects in conditions of artistic culture of the beginning of the XXI century. It is the desire to research the achievements of different cultures and epochs, and awareness of the value of centuries-old achievements of national cultures. It is the synthesis of certain types of artistic creativity to the idea of a general synthesis of arts. In the turn of the century the synthesis was fruitful within separate sovereign types of art, creativity of artists, which relied on a wide range of stylistic ideas, inherent in that, completely independent sphere of art, whose representatives they were. For the first time the author proposes her own definition of stylistic synthesis. Conclusions. The article highlights the key features of the process of interaction of style trends among its definitions. The starting positions are historical and cultural process, the plurality of stylistic models, their dissimilarity, and diversity. The process of interaction, "diffusion", penetration and free placement of elements of one model between the elements of another are going next. Finally, synthesis is artistic integrity, as a result of interpenetration and combination of multiple stylistic ideas, refracted through the prism of the "socio-cultural vector", individual and national styles.

"Успіх його йшов сrescendo…" (київський період у творчій кар’єрі Федора Стравінського)

Author(s): Oksana Spivachenko / Language(s): Ukrainian / Issue: 27/2015

Based on archive documents and periodicals of the 1870s, the authors recreate the "Kiev period" of creative work of the renowned singer and father of the composer Igor Stravinsky, whose fate was closely connected to Ukraine. Fyodor Stravinsky’s сreative work at the Kiev City Theater is given central attention: his repertoire, the process of learning roles, tours, and feedback from the media and public. The musician’s professional evolution is analyzed at the first stage of his formation as an opera performer. Referring to the relations of the famous opera singer Fyodor Stravinsky Ignatievitch of Ukraine, can not avoid not actually investigated Kyiv during his life and work. In Kiev he started his opera career and formed here the priorities in creativeness, gaining his performing and actor experience. At the time of arrival FG to Kyiv Russian Stravinsky opera house functioned here only a few seasons (since 1867). By this time on the stage of the City Theatre various performances were staged. The reason of the number of opera performances increasing was the emergence of Italian troupe (1863). In Kyiv stage opera sounded L. Cherubini, Beethoven, F. Bualdye, E. Mehyulya, John. Rossini, D. Aubert repertoire was focused mainly on Italian and French opera school. The emergence of Russian opera has significantly expanded this range. Expanding horizons repertory demanded from entrepreneurs renewal of the performing troupe, inviting singers who could cope with the vocal parts in the works of various styles and national traditions. It is in such circumstances came to Kiev theater Fyodor Stravinsky young. His first exit at the opera took place during the years of study at the conservatory in February 1873 F. Stravinsky for the first time participated in the production of "The Barber of Seville" J. Rossini.

"Чужий" текст як ім’я у творчості Онуте Нарбутайте

Author(s): Oksana Garmel / Language(s): Ukrainian / Issue: 1/2014

Presented ideas are based on the integration of neo-mythological and xenological tendencies in modern culture. The "else’s" text as a name in modern music is interpreted in mythological (neo-mythological) context. This article are focused on the play "Winterserenade" (1997) for flute, violin and viola by modern Lithuanian composer Onute Narbutaite. The opus was considered in the context of neo-mythological tendency as an axample of music work, which was based on use of "else’s" text (by F. Schubert) as a mythologized name. Was performed analisys of specific composition’s features and dramatic art of play. One of the major gnosiological categories today is a dialogue, which immanently includes an intention to the "else’s mind" and "else’s word" in the process of cognition. On the other hand, the most important aspect of cultural mentality of the twentieth and twenty-first centuries are neo-mythological thinking intentions (by definition V. Rudnev [10, 184]). As a consequence, modern researchers consider mythologeme as version of "else’s" text (as version of citation). In this article proposed opinion in the opposite direction – to interpret "else’s" text as mythologeme. A proper name is mythological in its essence. It has sense (internal form, etymology), but has no value because it does not refer to a class of objects. So the logic of name is the logic of mythological thinking, since the name "<…> is building around the world with mythopoetical laws dominated the association and the identity of all with all" [9, 206]. V. Medushevsky known modern researcher says that "<…> the name contains a vast semantic field that <…> invisibly control the direction of thought" [6, 18]. Thus, through citation artistic thinking can go to neo-mythological intentions, memory of culture, spiritual and aesthetic basics. In a musical composition can be built line associations and identities: citation – name of the composer – a symbol; sound quality and structure of citation – a symbol (a sign) of the composer in the history of music. The instrumental chamber play "Winterserenade" by modern Lithuanian composer Onute Narbutaite is an example of a composition in which the author applied to the song by F. Schubert, identified the musical citations and allusions to his name and created a musical portrait of the composer of the 19th century through the techniques of composition late 20th century. O. Narbutaitė composed "Winterserenade" when her personal style has been formed. The major part of the composer’s works has been instrumental chamber music with a clear trace of the autor’s individuality. In her creation, the composer manages to perfectly combine constructive thinking with a suggestive, emotional manner of speaking. The majority of the works by O. Narbutaite can be characterized by the words of the Latvian composer Imants Zemzaris: "Finished work with the charm of a sketch" [14]. The Polish musicologist Danuta Mirka has aptly noted that the composer's music is "radiating with subtle lyricism and testifying to an extraordinary sensitivity of the author, as well as to the discipline directing the repetitive-permutational flow of masterful sound constructions" [14]. The composer gets in contact with a cultural context of various epochs in her own way. "Winterserenade" is a tiny Hommage a Schubert. The piece is woven from the motives of "Gute Nacht", the first song in the cycle "Winterreise". However, as noted by the composer, "the rhythmic sing from other works by the same composer can be easily recognized, including, I hope, Schubert’s anxiety freezing on a winter road" [15]. Scheme of musical structure of "Winterserenade" is А В А´ В´ А´´. Sections А, А´, А´´ used fragments of the song's melody of "Gute Nacht"; in sections В, В´ used rhythmic pulsation of ballad "Erlkönig" by F. Schubert. In "Winterserenade" O. Narbutaite balances between own and other language. In the presentation of the musical material in the sections А, А´, А´´ the composer uses the technique of aleatorics. Score consists of intonations of Schubert’s songs, but they are difficult to detect, as they sound in reverse motion. O. Narbutaitė further changes intonation and they become as they were created by F. Schubert. First used motifs from the cadence of the song, then used motifs from the first part of the couplet, at culmination the first sentence of the song sounds. Thus "Winterserenade" consistently implementing the principle of reverse movement. This compositional logic demonstrates the process memories of familiar music and symbolizes immersion in depth of history. "Winterserenade" O. Narbutaite is a neo-mythological journey into the romantic aesthetics through "else's" text as a name.

"Я перш за все думав про українську культуру…": Володимир Олександрович Щепотьєв

Author(s): Lyudmila Babenko / Language(s): Ukrainian / Issue: 2/2015

The article reveals the lifespan and professional activity of a well-known poltavian, professor VolodymyrShchepotiev. He is highly acknowledged in history as a talented pedagogue, who experienced the growth from a teacher of the Ukrainian literature to the professor, rector of Poltava institution of Folk Education. Being a person with encyclopedic knowledge, as well as being keen on the history of the Ukrainian language and folklore V. O. Shchepotiev applied the folklore patterns and samples in his work. V. O. Shchepotiev was a talented scholar, researcher, and organizer of scientific lifestyle of the region. He wasthe first who initiated establishing of Poltava scientific society, was on good terms with Ukrainian Academy of Science in Kiev, as well as with scientific establishments in Kharkiv. He was the one who organized and subsequently maintained the regional archive while systematizing documents and ordering personal archives. Professor initiated the onset of local history investigations. He personally headed the department of folklore and language in regional museum and at that time he developed the structures of expositions, and systematized the museum collections. He would numerously visited the villages of Poltava to discover historical and cultural as well as ethnographical items and to convert them into museum display objects. V. O. Shchepotiev played an extremely significant role in establishing and developing the theatre and music arts in Poltava region. He was in charge of one of the part of Poltava drama theatre and was one of the talented stage director. He gave his educational lectures to people before the concert programs of the choir "Boyan" which were devoted to folklore and local history. The contemporaries would estimate V. O. Shchepotiev’s music talent, who wrote music compositions, played different music instruments. He, ultimately, was the first who started the scientific investigation of M.V. Lysenko’s biography and creative heritage. The translations of poetry and prose from French, Polish, in particular the poetry by Beranger, libretto for several operas composed an integral part of his literary heritage. His creative and scientific activity was broken down with political repression of the power of the Soviet Union. He was arrested and convicted to administrative exile according to a trial case of SVU and afterwards he was shot away in 1937.

(Anti-)normwise piano interpretation

Author(s): Ioan Florin Diaconu / Language(s): English / Issue: 2/2013

The matter of timbre in piano interpretation is pretty catchy when it comes to teaching and learning this instrument. In connection with the affirmative or negative answer to the question whether the interpreter might be able to change the timbre of the instrument while the work is in progress, interpretation conceptions and methodological points of view found their, often opposite, identities – which were in turn defended by their respective adherents in sometimes fiery arguments. The beginning of the 20th century, with its obvious advance in technical matters, made it possible for us to more fully investigate the matter, with benefit from physics (acoustics) and mathematics, for example, and their impact is still on the rise. Surprising though it may be, the strictly scientific explorations (of a phenomenon that could well be of an essentially physical nature) have just failed to provide the ultimate insight, which is why pro and against arguments come up in each and every particular case. Under the circumstances, we purport to make a survey of the subject matter, to sum up the state of things, to examine the alternative opinions (with arguments borrowed from the psychology of music) and to finally come up with an answer that, even if not intended to be definitive, could give a wellbalanced, far-reaching judgement.

(Re)definisanje tradicije na primeru world music fenomena

Author(s): Marija Ajduk / Language(s): Serbian / Issue: 1/2014

The paper problematizes the understanding of the concept of tradition in the context of the world music phenomenon. Marketed as a hybrid music genre, from the perspective of anthropological theory, the world music genre is a complex cultural phenomenon, the result of mixing global and local influences which are reflected not only in the creation of a specific sound, but through different perceptions of music itself (the audience, musicians, producers, creators of cultural policies etc.) By analyzing the Serbian world music scene as exemplified by the work of the World Music association of Serbia, as well as the Serbia World Music Festival in Takovo, I will attempt to determine the way in which the concept of world music is perceived in local narratives, whether it is experienced as a form of musical tradition and if so, what is signified and represented as tradition in this context.

,,Gulbių ežeras" Lietuvoje: klasikinio baleto dramaturginės ir struktūrinės interpretacijos

Author(s): Helmutas Šabasevicius / Language(s): Lithuanian / Issue: 4(29)/2002

Ballet is probably the only form in the whole system of theatrical genres that yields itself to reproduction. On the basis of the musical score and the plastic form - the choreography - of the ballet performance, it is possible to stage pretty exact productions of the same ballet performance for several times and in several places despite the fact that its author is gone. Therefore, from all the theatrical forms, the description 'classical' - model - suits best to ballet. On the basis of comparative and culturological methods, the article discusses and evaluates the tradition of staging Piotr Tchaikovsky's "Swan Lake" - the most popular classical ballet - on the Lithuanian stage: the versions of Pavel Petrov (1928), Nikolay Zverev (1931), Fiodor Lopukhov (1948), Elegijus Bukaitis (1974 and 1992), and Vytautas Brazdylis and Piotr Gusev (1982).

“BAŅUTA”, THE FIRST OPERA IN LATVIAN AND ITS LIBRETTO AS A HISTORICAL NARRATIVE IN THE CONTEXT OF STAGING HISTORY

Author(s): Janis Kudinš / Language(s): English / Issue: 1/2019

In theatre (including musical theatre genres), the text of the performance is an artefact which can express and echo a historical theme. Additionally, over the course of time, this artistic narrative can experience various changes due to the influence of external factors. This narrative can also consciously or unconsciously influence society’s view over a longer period.