CEEOL - Browse Subjects Result

We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.

TÜRKİYE’DE MÜZİK TERAPİ KONUSUNDA OLUŞTURULMUŞ BİLİMSEL YAYINLARIN İNCELENMESİ

Author(s): Ümit Kubilay Can,Begüm Yilmaz / Language(s): Turkish Issue: 27/2019

Primitive societies, who believe that music has an impact on living beings, have used music as a means of healing music in their own lives in order to remove the diseases they regard as bad. This power of music was later attracted by philosophers and scientists. Today, music therapy is attracted by many institutions and researchers especially in international academic settings. Although it seems as if the history of Turkish culture based on Ottoman-era practice of music therapy can be said that Turkey has shown interest in a new area of several major institutions and researchers in academic settings. What is the subject of the current status of Turkey in the field of music therapy has been identified as a problem of this research. Research in this direction is also in Turkey to investigate the scientific publication that was created in music therapy. In this study, scanning model was used to determine the current situation. The data of the research was obtained by scanning the databases. scientific publications related to music therapy is scanned in Turkey. In the data collection, publications including theses, articles, published papers, books and scientific meetings were discussed. As a result of the study, 121 publications were determined numerically. When the distribution of these studies according to the type of publication is examined, it is determined that they are (37), theses (34), articles (32), books (12), and scientific meetings (6). The first study, published in Turkey in recent years, which started in 1998, it was observed that increasing these studies. When we look at the contents of the studies in music therapy field, it can be said that the historical process of music therapy in different cultures is revealed, the methods and principles of music therapy field and the effects of music therapy are measured as the subject area of applied studies.

More...

KONSER SALONLARINDAN RADYO STÜDYOSUNA (1927): CUMHURİYET DÖNEMİNİN İLK TÜRK MÛSİKİSİ RADYO SANATÇILARI VE İLK RADYO KONSERLERİ

Author(s): Ünsal Deniz / Language(s): Turkish Issue: 27/2019

In the early years of the Republican era (the 1920s), concerts and music programs were often organized in concert halls, night-clubs, schools, restaurants, coffeehouses, squares and parks, as well as in mansions and houses. The audience of these music activities, that were mainly held in Istanbul, was limited only to the current audience. However, the debut of regular broadcasts at Istanbul Radio on May 6, 1927 facilitated the access of this limited audience to all kinds of music programs such as Alaturka, Alafranga, folk music and jazz throughout the country. While the radio broadcasts provided many listeners with the opportunity to listen to the vocal and instrumental performances of famous music performers, who had been never or hardly heard about, on the radio on the one hand, they also provided the opportunity for them to familiarize with the forms of Western music they had not been able to listen to before. In addition, radio broadcasts were the most ideal means for the cultural policies of the Republican era to reach their goal of accustoming the ears of the people to Western music. This study focuses on the artists who took part in the Turkish music programs, the content of Turkish music programs in Radio concerts and the composers whose works were performed in the early period of Istanbul Radio, which was established in 1927. Within the scope of this study, the broadcast programs of the early period (1927) of Istanbul Radio were identified, analyzed and described through such documents as books, magazines, newspapers, photographs and comics obtained through an archive research. In this respect, our research has a descriptive feature, as well. In addition, certain texts written in Ottoman Turkish were transcribed into the Latin alphabet, which is considered a contribution to the literature on the history of Turkish music. Some of the findings of this study are: that in the early period of Istanbul Radio, which is 1927, approximately 80% of its programs consisted of music broadcasts, and Turkish music accounted for the highest rate in these broadcasts with 37.61%; that although Turkish Music programs were mostly performed by Studio Music Groups, duets, triplets or more performers or artists also came together to form different Turkish music performance teams; that Turkish music programs were often made in the form of “fasıl" (Classical Turkish Music performance); that the classical style of the period reflected the market-style performance rather than the classical style; and that Western instruments such as cello, piano and harmonium were also used in Turkish music performances.

More...

Міжнародний фестиваль «Київ Музик Фест» як сучасний формат презентації національних музичних культур: польські імпрези

Author(s): Olena Mykolayivna Berehova / Language(s): Ukrainian Issue: 3/2018

Purpose of the article is to study the international music festival "Kyiv Music Fest" on the basis of analysis of festival programs, press materials and scientific sources in the aspect of the diversity of forms and ways of presenting the Polish musical culture in order to find out the current state and prospects of Ukrainian-Polish cooperation in the field of musical art. The methodology of the research is to apply a historical, analytical, statistical, systematic, comparative and generalization methodology of the international music festival "Kyiv Music Fest" as a unique, first in the history of the development of the Ukrainian academic musical art festival site for presentation as a contemporary Ukrainian composer's work, using a multidisciplinary approach and musical performances, as well as national musical cultures of Europe and the world. Scientific Novelty. The novelty of the study is to analyze the international music festival "Kyiv Music Fest" as a dynamic processual artistic phenomenon in the aspect of Ukrainian-Polish cultural relations, as well as to highlight the creative achievements of Polish composers and performers through the diversity of personalities, artistic forms, creative methods, musical genres presented at the festival. Conclusions. During the almost 30-year history of the Kyiv Music Fest, Poland's presence in it took place in various forms and evolved from the performance of individual works of Polish composers in general chamber, choral and symphonic concerts or performances by individual Polish performers to author concerts, master workshops, lecture-concerts and significant thematic concert programs from works by Polish composers performed by leading musical groups. The deployment of Polish institutions supporting cultural projects in Ukraine is evidence of positive trends in Poland's state cultural policy aimed at the active promotion of a national cultural product abroad. The initiative for the performance of works by Polish composers at the festival most often belonged to Ukrainian performers and collectives, which underlines the numerous and diverse connections of musicians of Ukraine and Poland. The examples of the brightest and most representatives of the 1990-2000s show the most current state of Polish musical culture as examples and show broad prospects for Ukrainian-Polish cultural cooperation.

More...

Концертні осередки при дворах прусських королев у першій половині XVIII століття

Author(s): Natalia Dmytrivna Beljavina / Language(s): Ukrainian Issue: 3/2018

Purpose of the article. Research is devoted the 450 anniversary from the date of basis Staatskapelle Berlin - the Berlin state chapel. The XVIIIth century when in power there were educated monarchs, fans of art and musicians- dilettantes of Fridrih I and Fridrih II was the especial period of blossoming Königlich Preußische Hofkapelle. Scientific Novelty. The unique role of the Prussian queens formed and musically developed women of time of Sophie Charlotte and Sophie Dorothee which formed. Musical tastes at court in the atmosphere of elegant palaces and park ensembles, in an environment of the best musicians of the time, is, underlined. Scientific novelty of work consists in the generalization of the data about historical persons, the role in the development of the European musical culture. In the Ukrainian researches the,e history of the Berlin state chapel is considered for the first time. Conclusions. Ruling dynasties defined musical traditions of a Prussian court yard, influenced development of style and genres modern it of the European and German music.

More...

Епічна традиція в координатах оперного жанру: на прикладі постановка опери О.Бородіна «Князь Ігор» Д.М.Гнатюка

Author(s): Viktor Oleksiyovych Bondarchuk / Language(s): Ukrainian Issue: 3/2018

The purpose of the article. The use of the work is outlined by the problem of highlighting essential aspects of the creative biography of D.Gnatyuk, fixed in the coordinate of the communicative cultural-artistic system of the Ukrainian space of the twentieth century. Applying to the master's directorial practice, we have the opportunity to generalize and rationally-objective analysis of artistic tendencies that were formed in the context of a complex sociopolitical and interethnic continuum. Methodology. The methodology involves the inclusion of the problem of analysis in the space of historical, art critic and culturological discourse with the obligatory consolidation of the issue in an interdisciplinary context. Such conceptual approaches will become a condition for coverage of little-known pages of D.M. Gnatyuk's creative biography, followed by an analysis of the artistic environment as the conditions for the artist to come to the Olympus of national and world recognition. The scientific novelty of the study consists in studying the creative figure of the twentieth century - D. M. Gnatyuk in a new format, which involves the consolidation of the individual in the coordinates of the subject of culture, whose reflection crystallizes in creative searches, tests, and achievements. Conclusions. Investigating the director's steps in the projection of the interpretive decision of the opera by O. Borodin "Prince Igor," we have the opportunity to feel the dynamics of the formation of the individual, in which the director's period is represented by a generalizing and accumulated internal demand model. The mentioned factor is a new stage in the creative biography of the artist, which stimulates a permanent rethinking of his inner essence, taking into account the cultural and artistic and sociopolitical context.

More...

Українська тематика в театральному репертуарі Правобережної України першої половини ХІХ століття

Author(s): Olga Yuriyivna Volosatykh / Language(s): Ukrainian Issue: 3/2018

The purpose of the article is to detail the repertoire trends of the theatrical life of the Right-Bank Ukraine in the aspect of intercultural dialogue and the clarification of national specificity. The methodology of the Ukrainian theatrical culture of the mentioned period research is the application of the historical-chronological method with the use of a sophisticated interdisciplinary approach, as well as elements of the techniques of the related humanities. It is also appropriate to apply a comparative method, methods of complex analysis and scientific reconstruction, etc. The scientific novelty consists in the systematization of information about the repertoire presented on the stages of Right-Bank Ukraine in the first half of the nineteenth century. His genre composition, living conditions, performing tradition of this period theatrical practice is one of the most important directions of research in the contemporary historiography of Ukrainian musical culture. Particular attention is paid to the place and role of Ukrainian subjects in the prevailing conditions of the Polish and administrative introduction of Russian theatrical traditions. In the context of repertoire trends, information about littleknown works. Conclusions. The complexity of the study of the dramatic repertoire of the first half of the XIX century is due to the inaccessibility of texts of a large part of his samples, as well as the practice of creating numerous stage versions of the work – performances adaptations, which often differed significantly from the original. However, even according to available sources, we can conclude that the works of Ukrainian subjects are viral. Subsequent sources of scholarly research in this promising direction will provide much more material in the study of repertoire features that largely determined the faces of Ukrainian theatrical culture of the first half of the nineteenth century and also influenced its further development.

More...

Pre-Scenic Musical and Dance Genres and Forms of the Middle Ages

Author(s): Tetiana Oleksandrivna Kaznacheieva / Language(s): English Issue: 3/2018

The purpose of the work. The article considers the main pre-scenic musical and dance genres and forms of the Middle Ages, which formed the basis for the emergence of classical examples of musical, dance and opera-theatrical art in the further historical development. For the purposeful disclosure of the most important trends characteristic of this period, the problem of the interaction of music and dance in the context of the most complicated panorama of secular professional and synthetic, transitional (preceding scenic) dance and musical forms were analyzed. The methodology of the research consists of a set of historical, systemic and integrated methods. The scientific novelty of the work consists in the expansion of comprehension of the peculiarities of the formation of various genres of music and dance arts, as well as to substantiation of the continuity of the traditions of the historical inheritance of medieval pre-scenic forms leading to the origins of the formation and development of music and opera-theatrical arts. Conclusions. The history of the development of musical and dance genres demonstrates undeniable connections between the first dance experiments of prehistoric times and pre-scenic forms of the Middle Ages, leading then, through many centuries, up to the emergence of the fundamental genres of musical-theatrical art at the end of the Renaissance.

More...

«Тангейзер» Р. Вагнера у річищі еволюційних шляхів німецького музичного театру: міфопоетичні та жанрово-стильові аспекти

Author(s): Anzhelika Anatoliyivna Tatarnikova / Language(s): Ukrainian Issue: 3/2018

Purpose of the article is to reveal the poetic-intonational uniqueness of R. Wagner's opera «Tannhаuser» in the mainstream of the evolutionary, mythopoetic and genre-style specificity of the German musical theater of the 19th century. The methodology of the work is based on the intonational concept of music in the perspective of intonationalstylistic, etymological analysis, succession from B. Asafiev and his followers, and also on interdisciplinary and historicalculturological approaches. The latter allow us to identify the spiritual and semantic and style peculiarities of the musical theater of R. Wagner and distinguish it from the pan-European cultural area of the mid-19th century. The scientific novelty of the work is to broaden the understanding of the poetics of the musical theater of R. Wagner, in particular, the opera «Tannhаuser», which serves as one of the exemplary samples of the German opera of the period, and at the same time demonstrates a deep connection with the genre-style and mythological poetry of the culture of «the great German century» (Hugo von Hofmannsthal). Conclusions. The intonational-dramatic, spiritual and semantic characteristics of Wagner's «Tannhаuser» demonstrate the stylistic duality that is indicative of the German musical theater of the mid-19th century, based on the intersection of the romantic and Biedermeier traditions. The romantic quality of the «Tannhаuser» is also evident in the obvious parallels between the image of the protagonist (Minnesinger) and the contemporary (for the era of R. Wagner) artist, concerned with the search for the ideal; and in the accentuation of the idea of duality, revealed at the level of opposition between the real and the surreal. With the musical characteristic of the latter (the grotto of Venus), an innovative musical language is associated, based on a wide range of musical expressive means (chromatic, tonal instability, timbre richness, etc.). At the same time, the poetics of Wagner's «Tannhаuser» demonstrate the connection with the spiritual-style qualities of the German Biedermeier, revealed in the associations of the plot of the opera with the parable of the «prodigal son»; in a certain idealization of the characteristics of the real world, based on the typology of pastoral and traditions of church singing; in the spiritual concept of the image of Elizabeth, ascending to the sacred-mystery sources and their genre-typological characteristics.

More...

Improved Folk Instruments as a Factor of Holistic System of Academic Musical and Instrumental Culture of Our Time

Author(s): Alla Dmitrivna Chernoivanenko / Language(s): English Issue: 3/2018

The purpose of the work is to determine the logic of the musical-historical process of academization of the improved bayan/accordion, domra, balalaika, and bandura of the second half of the 20th - the beginning of the 21st centuries. The methodology of the study involves the use of aesthetic-cultural, comparative, theoretical and historical methods, as well as the analytical approach, which form a unified methodological basis. Along with the complex method, a socalled system approach is needed, which allows the object to be comprehensively studied at the most diverse, but interrelated levels. The scientific novelty of the work appears in the expansion of ideas about the genesis and functioning of academic musical and instrumental art as a holistic artistic, culturological and musical phenomenon, taking into account the key role of performing forms of being in the present and the need to update the instrumental-sound phono-sphere of modernity, which is immanently consistent with socio-historical , performing and timbre-textual properties of the advanced folk instruments of our country. Conclusions. The logic of the musical-historical process of academization of bayan/accordion, domra, balalaika and bandura reveals the socio-historical, artistic-aesthetic, instrumental-performing and culturological prerequisites of the phenomenon, among which the author specifically highlights the demand for "fresh" instruments by the very composer's creativity in change of its paradigms in favor of the emancipation of sound; immanent readiness of the "musicians playing folk instruments" to improvise-experimental acts of "sound search"; perspective for the academic phono-sphere of the "ultimate" chamber nature of plucking instruments.

More...

Ліризм української ментальної установки та її музичне виявлення

Author(s): Lilia Mykhaylivna Shevchenko / Language(s): Ukrainian Issue: 3/2018

Purpose of the article emerges the demonstration of specifics of the lyricism as the mental-social quality of Ukrainian culture and particularities her entailments in the music sphere. The methodological base of the study is interdisciplinary reflective-style and the culturology-hermeneutic way to semantic interpretation corresponding to buildings scientific and music-creative thinking in continuation position of T.Adorno, A.Losev, studies of A.Sokol, E.Markova, O.Muravskaya, and others. Scientific novelty got the result - theoretically independent realization to concentrations of the national-mental discovery of Ukrainian culture in creative "nоn-conformism" to avoid of аrtistic-style "mergings" of national artistic contribution with genre-style paradigm generally- European style apportionment. Conclusions. "Ukrainian lyricism" mark as the way of the thinking, in which rationalist subject delimitation of importances is in principal corrected over-sapidity "steaming" emotional thickenings-rarefactions that will add the person of the sort artificial cultural rhythm self-expression of carriers Ukrainian national character. Stands out the psychic paradigm of oscillation in the spiritual act of concentration and emotional sadness, which recognize in the lachrymal-moving mysticism of the Ukrainian Orthodoxy, passing mаximalism of "worldwide saving of" Russian Orient, hoping on spontaneity brotherhood that defines the animated over-individual character of the soul in Ukrainian lyricism. It is emphasized social phenomenon "confusion of scene and lives," which in life discovery marks аrtistical tone of public and larval decisions, confirming in mеlоdy-song manifestation morally-organizing abutment to nations outside of state-building effort. The last, being brought forth on the first plan of national self-determination at the end XX centuries, have realized, possible, discharge of the professional music from song-vоcаl manifestation in favor of chamber-instrumental "modesty" demand artistic begin in the aggregate national existence.

More...

Формування сучасної вокальної культури України

Author(s): Limin Wei / Language(s): Ukrainian Issue: 4/2018

The purpose of the article is to show the formation process and the sociocultural significance of the modern vocal culture within which the vocal art develops. The methodology is based on the concepts and theoretical conclusions in the field of aesthetics, philosophy of art, musical pedagogy, cultural studies and art history. The scientific novelty of the article is a look at academic and non-academic singing not only as types of vocal art, differing in the level and quality of performance, but also as different cultural traditions, which are largely due to the specific perception of different target audiences. Conclusions. Gradually, with the development of social relations, national vocal cultures are merging into a single pan-European (and due to modern globalization processes into a global) vocal culture. Vocal culture, which has developed and stood out as a kind of phenomenon, has taken its place in the general culture, and today plays a significant social role in society. So, there is an association of composers, performers, connoisseurs of music and vocal performance in a special musical community which, on the one hand, is determined by features of national originality, and on the other - corresponds to European and world trends in the development of art. An important role in the formation of the space of vocal culture of the XX - XXI centuries is played by the public - the recipient of musical art. Like the division of the whole culture into mass and elite, vocal is also divided into popular, understandable for wide circles of society (often called pop, commercial, mass) and elite (in turn, usually associated with academic music). So, they differ, in a certain way oppose, oppose, not only academic and pop manners of vocal performance, but also academic and pop vocal cultures, which, of course, affects the attitude to traditions, to the technique of vocation, to culture in general, talent and creativity.

More...

Musical Component in the “Rites of Passage” of Hutsul Family Cycle: On Means and Forms of “Being Moduses” Implementation in the Traditional Culture

Author(s): Olha Igorivna Kolomyyets / Language(s): English Issue: 4/2018

The purpose of the article deals with the music component of two significant “rites of passage” in Hutsul tradition – funeral and wedding rituals. It also studies the music performers’ role in these two ritual drama as well as genre system of their musical repertoire. Research methodology is based on the systematic comparison of two musical and ethnographic phenomena. It also involves generalizing approach in discovering available published and archive materials as well as transcriptional and analytical methods in describing the data recorded during the author’s personal fieldwork. The scientific novelty lies in revealing the system of music functioning in the Hutsul “rites of passage” of family cycle, namely its role, time and purpose of performing, as well as musical genres and forms performed. The novelty is also demonstrated in dealing with the “funeral rite issues”, which have not received significant attention in many areas of research including musical culture. The main conclusions of study are as follows: music plays a very important role in both wedding and funeral rites; in both rites the performers are regular participants and play the role of “spokespersons” and “means of mediation” during the main participants’ passage from one state of being to the other. Musical repertoire of two ritual drama consists of both vocal and instrumental music, which makes them similar, but at the same time they are different due to the heterogeneity of genre cycles and emphasis on some particular genre or genres.

More...

Специфіка діяльності академічних хорових колективів в умовах функціонування мультимедійних каналів комунікації

Author(s): Tetiana Sergeevna Korobka / Language(s): Ukrainian Issue: 4/2018

The purpose of the article is to determine the peculiarities of choral performance in the conditions of functioning of multimedia communication channels. The methodology of the study is to use theoretical-analytical and comparative methods. These methods allow us to analyze the level of theoretical understanding of the existing problem in modern musicology; compare the specifics of playing, transmitting and receiving musical information when using different types of communication channels; identify options for adapting academic choral performance in modern sociocultural conditions. The scientific novelty of the research consists in studying the peculiarities of modern choral performance through the prism of the dynamics of the development of communication channels. Based on the classification of types of communication channels, the main forms of choral activity are highlighted, in demand in the modern socio-cultural environment. Conclusions. Analyzed scientific sources related to musical communication in choral performance. The differences in the organization, transmission and receipt of musical information are determined depending on the type of use of the communication channel. Based on the analysis of communication channels, the forms of choral activity are differentiated. The positive and negative impact of technical means of communication on the transfer of musical information from the choir to the listener has been determined. The ways of optimization of academic choral art in modern multimedia space are outlined.

More...

Паратекстуальне програмування ансамблевих п'єс українських композиторів: змістовий та мовно-виражальний аспекти синестетичних асоціацій

Author(s): Anastasia Igorivna Kravchenko / Language(s): Ukrainian Issue: 4/2018

The purpose of the article is to study the Ukrainian chamber creativity of the late 20th – early 21st centuries from the point of view of analyzing the methods of paratextual programming of ensemble pieces for various types of thematic and meaningful representativeness and related processes of music inheritance of some artistic and expressive functions «transposed» from unrelated arts. Methodology. Used a set of methodological approaches of textological, semantic, synesthetic, cultural analysis. Scientific novelty. The study of paratextual programming of the compositions of the chamber art of Ukraine of the late XX – early XXI centuries allowed, on the one hand, to emphasize thematic areas of representation in music of artistic images (plots, themes, motifs) from works of other arts. On the other hand, it made it possible to detect the presence of interaction between different types of art not only at the semantic but also at the semiotic-expressive levels, which is implemented through the introduction of specific techniques of the semiotic «translation» of semantic and structural «cliches» of rhetorical, graphic, plastic, theatrical expression. Conclusions. Systematization of methods of paratextual programming of chamber art works in Ukraine in the late ХХ and early ХХІ centuries allows us to single out several groups of their thematic representativeness on the principle of interaction in musical-literary, -visual, - theatrical and -movie correlations. The intersemiotic semantic connection of the musical text with its paratextual component (reflected in names, auto-commentaries, remarks, epigraphs, dedications) is often emphasized in a semiotic and expressive manner. The study of this process reveals that at an semiotic level of comparison and identification of stylistic techniques (which initially have a non-musical species origin and a method of artistic and material embodiment) is carried out by means of technical and compositional operation with rich sound-visual resources of music. The potential of their disclosure (using intonation, microtonic, timbre, phonical, textural, polyphonic means, including «voiced silence») is aimed at obtaining a synesthetic perceptual effect that creates the illusion of semiotic conformity and a kind of «transfer» to the audible space of ensemble compositions of extra-musical artistic and expressive techniques and functions.

More...

Одеська фортепіанна школа в українському мистецтві ХХ – ХХІ століть

Author(s): Lilia Mykhaylivna Shevchenko / Language(s): Ukrainian Issue: 4/2018

The Purpose of the research is аccеntuation of particularities relationship and differences to piano style in Odessa in music of the Ukraine, with provision for significant discriminating devil of the cultural typology of the city on his dug in cultural disposition of the country. The methodological basis of the research is the intonational musicological approach of the school of B. Asafiev [2] in Ukraine [1, 4], the content of which is determined by the linguistic interpretation of musical meanings, including the analytical-structural and stylistic-comparative methods with pronounced hermeneutical-interpretative weights constituted the subject of special development in the concept of B. Yavorsky [4]. Scientific novelty of the study is defined by handhold to original theoretical idea of specifics of the cultural South in apportioment of ukrainian art, as well as that that for the first time in specified forshortening are analysed making the row authors in Odessa, including V.Maliszewski, K.Korchmarev, K.Dankevich etc. Conclusions. The Wealth of the aristocratic culture of the Odessa and recognition her аrtistic salon have formed ground an piano modernist style, which has conditioned the confession, overtaking european and world success, such artist as A.Skryabin, composer and pianist, as well as composer K.Szymanowski. And this line in piano modernist style objective ate Chopin-Mozart headwaters, forming style-conceptionto alternative of academic art to legal successor piano Beethoven style. Both lines of piano selfconfirmation of Odessa are obliged confidence to "winds of the change", which came to light in observance of the academic alignment on Beethoven and in manifestations of the fascination аntiаcаdеmic art legal successor salon style of Skryabin. Corresponding to pedagogical and performance election composition named majestic representatives in innovatory thinkings in XIX and XX century, Beethoven and Skryabin, have dictated the pages an analysis making the named authors, presence composition which in piano repertoire has formed the sign an accesories to high tradition art South Palmire.

More...

Композиторсько-редакційна діяльність Павла Маценка: збереження традицій національного хорового мистецтва в українській західній діаспорі

Author(s): Lidia Valerievna Kurbanova / Language(s): Ukrainian Issue: 4/2018

The purpose of the article. Research of composer-editorial heritage of a musicologist and composer of western Ukrainian diaspora Pavlo Matsenko (1897-1991), which is a valid component in the structure of his activity aimed at the preservation of national musical art. The methodology of research consists in the use of sources, theory and music for study and analysis of archive records, musical and theoretical analysis of choral heritage of the composer. Scientific novelty of research consists of musical and theoretical analysis and introduction to scientific community little known in Ukraine composer-editorial heritage of Pavlo Matsenko, substantiation of its role in the preservation of national choral art. Conclusions. Studying and comprehension of the composer-editorial heritage of Pavlo Matsenko, which matches his versatile activity as a pedagogue, a conductor, a musicologist and a cultural and community activist, is an essential and actual task for development of national musical choral culture. His belonging to the Kyiv choral school, reveals in an arrangement of church hymns and using of folk songs in his composer`s activity. Pavlo Matsenko`s work as an editor of music publications significantly extended the way of introduction of Ukrainian sacred music into the practice of diaspora`s church chorus.

More...

НАПРЯМКИ ТА СПЕЦИФІКА ПРОФЕСІЙНОЇ МУЗИЧНОЇ КУЛЬТУРИ БУКОВИНИ ДРУГОЇ ПОЛОВИНИ ХХ СТОЛІТТЯ

Author(s): Iryna Yaroshenko / Language(s): Ukrainian Issue: 34/2018

The purpose of the article is to characterize and consider the directions and specifics of the professional musical culture that took place in Bukovina in the second half of the twentieth century. The methodology of the research is to apply materials that characterize the dynamics of the development of trends that contributed to the development of musical culture and the creative work of those artists who determined their activities. The scientific novelty of the work is that for the first time the characteristic features of the Bukovyna artists movement of the second half of the twentieth century in various components of it were studied: composer's work, public, conductor-choral performance, that is, those achievements that contributed to the revival and development of professional-performing and cultural-educational traditions of Bukovina.

More...

РИСИ ХОРОВОЇ ТВОРЧОСТІ УКРАЇНСЬКИХ КОМПОЗИТОРІВ - ПІСНЯРІВ 50-70-Х РОКІВ XX СТОЛІТТЯ

Author(s): Natalia Pertsovа,Veronika Yurievna Dorofieieva / Language(s): Ukrainian Issue: 33/2018

The purpose of the article is to highlight the peculiarities of the choral works of Ukrainian composers and songwriters of the 50's and 70's of the XX century - I. Shamo, G. Mayboroda, P. Mayboroda, and O. Bilash. The methodology is to use the analytical, comparative and historical method. The scientific novelty consists in distinguishing the characteristic features that are related to the creative techniques of composers and singers in the field of choral heritage. Conclusions. In the artistic works of I. Shamo, G. Maiboroda, P. Maiboroda, O. Bilash the leading place is given to the song genre. It is a connection with folklore, which manifests itself in the interest of the type of choral processing, the borrowing of individual intonational-rhythmic elements, and harmonious features in-copyright works.

More...

НАЦІОНАЛЬНІ ОСОБЛИВОСТІ БОЛГАРСЬКОЇ МОВИ І ТРАДИЦІЇ НАЦІОНАЛЬНОГО ВОКАЛУ

Author(s): Liliia Vasylivna Nieicheva / Language(s): Ukrainian Issue: 35/2019

The purpose of the article is to study the specifics of the Bulgarian language’s phonetics and its effect on the formation of Bulgarian singing. The methodology of this work is provided by intonation concept of music represented by I. Liashevsky[7], BorisAsafyev’s follower in Ukraine [10]. And also, by theoretical findings of the scholars D. Gachev[5; 6], M. Remnyovа [11] and T. Popovа[10] who studied the formation and development of the Bulgarian language’s phonetics and natural factors that affected its specifics. Scientific novelty: for the first time, a generalization was made regarding timbral advantages of Bulgarian religious and opera music in connection with phonetics of the Bulgarian language.

More...

ОСМОГЛАСНИК КАЛЛІСТРАТА 1769 РОКУ: АВТОРИЗАЦІЯ ГРЕКОМОВНИХ ПРИЧАСНИКІВ І ХЕРУВИМСЬКИХ ПІСЕНЬ

Author(s): Yevgeniya Ignatenko / Language(s): Ukrainian Issue: 35/2019

Purpose of the article. The Greek Oktoechos, created by the Kiev monk Kallistrat in Moldavia, is a unique musical manuscript, in which the Greek, Moldavian and Ukrainian-Belarusian traditions of church chanting combines. The objective of our study is to authorize the Greek-language Communion Chants and Cherubim Songs from Kallistrat’s manuscript; to collect the information about composers whose works Kiev monk written down; to present the Oktoechos in the context of the Byzantine musicology’s current problems; to outline the significance of Kallistrat’s manuscript. Methodology. The comparative method of research of the Greek-Byzantine musical manuscripts and Kallistrat’s Oktoechos is applied. Scientific novelty. For the first time in the musicology, the Greek-language Communion Chants and Cherubim Songs from Kallistrat’s Oktoechos were authorized. It turned out that the Kiev monk written down the works of the prominent Byzantine musicians of the second half of the 17th century – Protopsaltis Panagiotis Chrysafis the New and the priest Balasis, as well as famous composers of the last quarter of the 17th – the first quarter of the 18th century Joachim Salabasis and Antonios Hiereus.

More...