scholarly journals Modern Stylization of Ukrainian Song Folklore

2021 ◽  
Vol 4 (2) ◽  
pp. 201-208
Author(s):  
Anna Tkach
Keyword(s):  
Genetic Relationship ◽  
Comparative Method ◽  
Synthesis Method ◽  
Folk Art ◽  
Literary Text ◽  
Folk Songs ◽  
Folk Song ◽  
Musical Culture ◽  
Original Musical ◽  
The Difference

The purpose of the research is to study contemporary musical culture and reveal the specifics of Ukrainian song folklore stylization in academic and non-academic practice. The research methodology is aimed at using a comparative method, with the help of which the difference between the processing of a folk song and the stylization of folklore is highlighted. The method of analysis is implemented to highlight the essential features of stylized folklore. Using the synthesis method, the results of research from academic and non-academic musical creativity have been extrapolated, in which the introduction of the stylization of folklore has been discovered. The scientific novelty of the research is examining the symbiosis of composer and folk art, as a result of which stylized song folklore appears in the modern musical culture of Ukraine. Conclusions. In the modern musical culture of Ukraine, the principle of stylization of song folklore is widely used. The introductions of adaptations of folk sources, along with stylization, are two options for the interaction of composer and folk art. The stylization is characterized by a deep interpenetration of elements of the author’s and folklore principles, which is accompanied by the formation of an original musical text that has a genetic relationship with folk Melos. The author’s text, which traces the presence of folk songs stylization, often includes typical intonational complexes with small ambitus, repetition of rhythmic formulas, and the prevalence of the variant-variative principle of the musical fabric development. The literary text of works related to the stylization of folklore is characterized by the use of folk texts or dialectics, lexemes that liken a vocal work with folklore. The effectiveness of folk stylization in musical culture is enhanced by the use of an authentic folk singing manner. The stylization of folklore is inherent both in the works of the leading classics of the Ukrainian composing school and in groups working in different directions of non-academic music of our time.

ЖАНРОВО-СТИЛЬОВІ ОСОБЛИВОСТІ КАМЕРНО-ВОКАЛЬНОЇ ТВОРЧОСТІ І. МАРТОНА

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Twentieth Century ◽  
Folk Songs ◽  
Folk Song ◽  
Musical Culture ◽  
Harmonic Language

Досліджено камерно-вокальну творчість українського композитора І. Мартона, з ім’ям якого пов’язана професіоналізація музичної культури Закарпаття другої пол. ХХ ст. На основі аналітичної характеристики обробок народних пісень та збірки солоспівів зроблено висновок, що вони виявляють ознаки пізньоромантичної та неокласичної стилістики, які розкриваються у ладо-гармонічній мові (опора на тритонові інтонації, зменшені септакорди, енгармонічні модуляції), образному змісті (переважання у циклі лірико-драматичних, елегійних, ліричних мініатюр), формі (куплетно-варіаційна; невелика за масштабами, струнка). В обробках народних пісень автор орієнтується на фольклорні зразки. Незначні зміни у ладо-тональному й фактурному аспектах надають їм самобутніх рис.Ключові слова: камерно-вокальна творчість, І. Мартон, музична культура Закарпаття, українська музика. The article explores the chamber and vocal work of the famous Ukrainian composer I. Marton, whose name is associated with the professionalization of the musical culture of Transcarpathia in the second half of the twentieth century. On the basis of the analytical characteristics of folk song processing and the collection of solo songs, it is concluded that they show signs of late-romantic and neoclassical stylistics, which are revealed in the harmonic language (reliance on tritonic intonation, reduced septaccords, harmonic modulations, preference) elegiac, lyrical miniatures), form (couplet-variational; small in scale, slender). In the treatment of folk songs, the author focuses on specific folklore samples. Minor changes in the tone-and-textural aspects give them distinctive features.Key words: chamber and vocal creativity, I. Marton, musical culture of Transcarpathia, Ukrainian music.

scholarly journals Folk music in the repertoire of the amateur student choir

2012 ◽  
pp. 35
Author(s):  
Olga Kosiborod
Keyword(s):  
Folk Music ◽  
Folk Songs ◽  
Folk Song ◽  
Practical Work ◽  
Critical Component ◽  
Musical Culture ◽  
Methodological Basis ◽  
Cultural Functions

This paper examines the problem of student band repertoire policy and the use of folk songs the concert - performing practice is. The goal is to consider some theoretical aspects related to the folklore and folklorisation of choral academic singing and practice of implementing it in the field of amateur choral performances. The oretical studies of domestic scientists and practical work of the author were used as a methodological basis for the article. Folk song was, is and will be a critical component of the musical culture and it is, naturally, presented in the repertoire of the student collective works of this genre and is the most important component for the implementation of all socio - cultural functions inherent in the amateur team.

scholarly journals Intertextuality as Factor of Artistic Energy of Literary Work (Vasyl Holoborodko’s Poem “A Curved Dance”)

2019 ◽  
pp. 12-24
Author(s):  
Hryhoriy Klochek
Keyword(s):  
Dominant Role ◽  
Literary Work ◽  
Literary Text ◽  
Folk Song ◽  
Systematic Theory ◽  
Theoretical Part ◽  
The Difference ◽  
Methodological Principles ◽  
The Hill

The theoretical part of the paper outlines methodological principles applied within the analysis of intertextuality as a factor of artistic energy in Vasyl Holoborodko’s poem “A Curved Dance”. For this purpose, the necessary comments on intertextuality as a source of artistic energy have been made. The author of the paper shows the difference between systematic and structuralistic understanding of a literary work, and considers the actual problems of the systematic theory which defines ‘technique’ as a main unit of the expressive system (poetics). In this case the identification of the techniques is supported by the analysis of their expressive functions. The receptive poetics as a methodological doctrine is based on this perspective, the essence of which is modeling the influence of the expressive techniques of a literary work on the recipient in terms of the psychology of artistic perception. The poem “A Curved Dance” have been analyzed as a complete, systematically organized text that begins to function in the process of the perception, generating a quite complete artistic world in the recipient’s mind. The artistic character of the poem is determined by many factors, but the most important of them is the main meaning, generated by the literary text, which may be defined as a dream about the perfect, full-fledged existence of the Ukrainian nation. The whole expressive system of the literary work contributes to creating it, while the dominant role is played by intertextual ‘implants’ in the author’s text, brought from some notable works, namely the image of the curved dance (intermedial moment), reminiscences from the folk song “Oy tam na hori zhentsi zhnut” (“Oh there on the hill harvestmen reap the harvest”) and “Slovo o polku Ihorevim” (“The Tale of Ihor’s Campaign”). They express the meaningful senses that substantially enrich the author’s text from the perspective of the psychology of artistic perception, giving it a hidden meaning, and therefore energy.

Latvju dainu atbalsis Veltas Sniķeres lirikā

2020 ◽  
pp. 124-134
Author(s):  
Sintija Kampāne-Štelmahere
Keyword(s):  
Indian Philosophy ◽  
First Language ◽  
Folk Songs ◽  
Folk Song ◽  
Ethical Values ◽  
Exile Literature ◽  
Gold Silver ◽  
Research Objects ◽  
Literary Methods ◽  
Prehistoric Time

The research “Echoes of Latvian Dainas in the Lyrics of Velta Sniķere” examines motifs and fragments of Latvian folk songs in the poetry by Sniķere. Several poems that directly reveal the montage of folk songs are selected as research objects. Linguistic, semantic, hermeneutical and historical as well as literary methods were used in poetry analysis. The research emphasizes the importance of Latvian folklore in the process of Latvian exile literature, the genesis of modern lyrics, and the philosophical conception of the poet. Latvian folk songs in the lyrics of Sniķere are mainly perceived as a source of ancient knowledge and as a path to the Indo-European first language, prehistoric time, which is understood only in a poetic state. Often, the montage of Latvian folk songs or their fragments in the lyrics of Sniķere is revealed as a reflexive reverence that creates a semantic fracture and opposition between profane and sacred view. The insertion of a song in the poem alters the rhythmic and phonetic sound: a free and sometimes dissonant article is replaced by a harmonic trochee, while an internationalism saturated language is replaced by a simple, phonetically effective language composed of alliterations and assonances. The montage of folk songs in a poem is justified by the necessity to restore the Latvian identity in exile, to restore the memory of ancient, mythical knowledge, to represent the understanding of beauty and other moral-ethical values and to show the thought activity. Common mythical images in the lyrics of Sniķere are snake, wind, gold, silver, stone etc. The Latvian folk song symbolism and lifestyle of the poet are organically synthesized with the insights of Indian philosophy.

EVGENY GOLUBEV AND NATIONAL MUSICAL CULTURES

2021 ◽  
Vol 1 (4) ◽  
pp. 187-194
Author(s):  
A. K. Sanko ◽  
Keyword(s):  
Folk Art ◽  
Musical Culture ◽  
National Cultures ◽  
Musical Cultures ◽  
Russian Composers ◽  
First Time

The article is devoted to the pedagogical activity of Evgeny Kirillovich Golubev (1910– 1988) — composer, professor of the Moscow State Conservatory, whose 110th birthday was celebrated in 2020. The relevance of the study lies in the fact that for the first time Golubev's contribution to the education of not only Russian composers, but also representatives of different national cultures — Hrant Grigoryan, Kapan Musin, Todor Popov, Andrey Eshpai and others is considered. The questions of the master's compositional pedagogy, which were little studied until now, are touched. The object of the research is Golubev's diary "Alogisms", as well as the memories of his students. The author highlights activities of Golubev's students who connected their creativity with other national cultures. Among them were Valentin Konchakov (1933–1993) who worked in Karelia and contributed greatly to the development of folk art in this republic, and the composer Aida Isakova (1940–2012) who participated in the formation of Kazakh musical culture in Alma-Ata and wrote essays on national themes.

Concerto for Orchestra “The Yellow Stars” by Isaac Schwartz: In the Mirror of Ashkenazi’s Musical Culture

2021 ◽  
pp. 19-37
Author(s):  
И.Ф. Двужильная
Keyword(s):  
Jewish Identity ◽  
Folk Song ◽  
Huge Number ◽  
Musical Culture ◽  
Entire Life ◽  
The Holocaust

В статье предпринят анализ последнего произведения выдающегося петербургского композитора Исаака Шварца (1923–2009) — мемориального опуса памяти жертв Холокоста. Аргументированно доказывается, что ашкеназская культура, в том числе и музыкальная, была органичной частью всей жизни композитора. Об этом свидетельствуют сформировавшийся в детские годы этнослух И. Шварца, огромное количество песен на идиш, которые он мог играть наизусть часами и, безусловно, тематизм инструментального концерта «Желтые звезды», в котором наряду с цитатным материалом выявляются и многочисленные авторские темы, отмеченные знаком еврейской идентичности. В них прослеживаются традиции синагогальной молитвы, клезмерского музицирования, идишской народной песни. Вместе с тем в работе с тематическим материалом, с формой, с оркестровкой обнаруживается прочная связь И. Шварца с ленинградской-петербургской композиторской школой. The article analyzes the last work of the well-known Petersburg composer Isaac Schwartz (1923–2009) which is a memorial opus in memory of the victims of the Holocaust. It is argued that the Ashkenazi musical culture was a natural part of the composer’s entire life. This is evidenced by the ethnic rumor of Schwartz formed in his childhood, a huge number of songs in Yiddish that he could play by heart for hours and, of course, the themes of the instrumental concerto “The Yellow Stars”, which demonstrates, along with quotation material, numerous author’s themes, marked by Jewish identity. They trace the traditions of synagogue prayer, klezmer music, Yiddish folk song. At the same time, the work with thematic material, with form, and with orchestration, reveals Schwartz’s tight relationship with the Leningrad-Petersburg school of composition.

scholarly journals Lusatian Folklore in the Slavic Research of the Italian Wolfango (Wolf) Giusti

2020 ◽  
Vol 69 ◽  
pp. 36-44
Author(s):  
Yarema Kravets’ ◽  
Keyword(s):  
Key Words ◽  
Folk Songs ◽  
Folk Song ◽  
Way Of Life ◽  
Research Papers ◽  
Short Essay ◽  
Mood Classification ◽  
The Way ◽  
Literary Legacy

Purpose: The article is devoted to the Sorbian studies work of the Italian Slavic scholar of Lusatian origin Wolfango Giusti (1901-1980) “The Folk Lusatian Serbian Song” (1926), totally unknown in Ukrainian Slavic scholars’ circles. The author of a large number of Sorbian studies publications printed in the 1920s and 1930s in the pages of Italian Slavic editions, he became a true popularizer of Lusatian culture, and his works found a special reverberation in the research papers of authoritative Sorbian scholars. W. Giusti’s name as researcher and translator has recently been more frequently mentioned in Slavistic publications, his interest in Ukrainian poetry, esp. in the 1920s, is written about. The interest in W. Giusti’s literary legacy is linked, in particular, to his being interested in T. Shevchenko’s and M. Shashkevych’s lyrics. In the research under analysis, the Italian scholar stressed that “the soul of the Lusatian people has found its best and fullest expression in their folk song”. Also mentioned by W. Giusti were Ukrainian folk songs, rich in their multi-genre samples. Results: The paper presents a classification of the most characteristic folk songs, the classification coming to be basis-providing for the Italian scholar: W. Giusti relied on authoritative research papers, including those by the scholars K. Fiedler and B. Krawc. The Italian Slavicist acquaints us with songs of love between brother and sister, love songs about the way of life of the whole people, songs resonating with the motif of fidelity. Neither has the literary scholar bypassed the issue of the neighbouring peoples’ influence experienced by Lusatian culture, particularly that of a Germanic culture, providing some examples of a “spiritual analogy” with German folk songs. W. Giusti completed his short essay by promising to offer the reader, before long, “other genres of the extremely rich Lusatian folklore”. The promise came to be fulfilled as early as the next year, in the work published under the title “Folk Lusatian Serbian Songs”. Key words: Lusatian folklore, Wolfango Giusti, folk song, motif of fidelity/infidelity, dramatic mood, classification of songs, aspects of “Wendish” folklore, Germanic influence.

scholarly journals Artelas a Form of Manifistation of Nationality in Musical Culture

2021 ◽  
pp. 29-32
Author(s):  
Galina G. Poddubnaya
Keyword(s):  
Present Article ◽  
Folk Art ◽  
Musical Culture ◽  
The People

The musical culture of the people, being inside the integral space of folk art, quite fully reflects the peculiarities of the mentality of the people and manifests its self-identification. The present article analyses artels as a form of being of a nationality in musical culture, which involves the mutual enrichment of collective and individual principles of musical folk art.

scholarly journals THE CIVIL LAW NATURE OF ELECTRONIC MONEY

2020 ◽  
Vol 6 (1) ◽  
pp. 100
Author(s):  
Liudmyla Panova ◽  
Vitalii Makhinchuk
Keyword(s):  
Practical Implication ◽  
Comparative Method ◽  
Civil Law ◽  
Synthesis Method ◽  
Electronic Money ◽  
Holistic View ◽  
Analysis And Synthesis ◽  
Logical Method ◽  
Definition Of ◽  
The Right

The purpose of the article is to examine the civil law nature of electronic money. The subject of the research is the features of the civil law nature of electronic money. Methodology. Research methods are chosen based on the object, subject and purpose of the study. The study used general scientific and special methods of legal science. Thus, the analysis and synthesis method as well as the logical method were used to formulate a holistic view on electronic money, their features and legal nature. The logical-semantic method was used to establish the meaning of the concepts “electronic money”, “non-cash money”, “payment instrument”, “electronic payment instrument”. The comparative method was used when analyzing scientific categories, definitions and approaches. The legal modeling method was applied to formulate the author’s definition of the term “electronic money”. Results. The article generalizes scientific views on the civil law nature of electronic money. A distinction has been made between electronic money and currency unit, non-cash money and the right to claim. As the result it has been established that electronic money is the monetary obligation. Practical implication. The study should assist in developing the unified approach to the issue of the civil law nature of electronic money. Value/originality. As the result of the study the author’s definition of the concept “electronic money” with regard to its civil law nature has been proposed.

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