The Evaluation of Music Department Students of Institut Seni Indonesia Yogyakarta in Modes Identification

Modes in Modality concept is a musical thinking that was used before 1600s. After 1600s (Baroque Era), the concept of modes changed into a contrast concept called Tonality (major-minor) and still exist today, in our era. Musical knowledge will evolve along with technological advances, but in fact there are so many composers today using the concept of modes to give another nuance and interpretation in their musical works. As academic musicians, surely the students of Music Department of ISI Yogyakarta got the concept of modes in several subject such as music theory, music structure and style, music analysis, and etc. However, the tonality concept that always used by common academic musicians today makes the concept of Modality become so hard to identify if they are heard a musical work that contains modes. This research will show us how many students of Music Department of ISI Yogyakarta who can’t identify a musical work that contains modes.

MODERN CONCEPTUALIZATION OF THE WAYS OF DEVELOPMENT OF MUSICAL THINKING OF THE STUDENT-MUSICIAN

The author of this investigation discusses the importance of musical-Choral Art in the formation of the student-musician. The main focus is on the analysis of the concept of «musical thinking». One of the definitions of this concept is given from the point of view of the internalization of music, as the mechanism of functioning of musical thinking. In this context this phenomenon is analyzed and characterized from various points of view. The author concludes that internalization is an indicator of the development of musical thinking of the student’s personality, and its development, as an integral phenomenon, opens up unlimited opportunities for the formation of creative abilities and the formation of the student’s spiritual culture.

Features of Cadences in Vocal and Choral Music of the Seventeenth Century (on the Example of Giovanni Palestrina’s Motets)

The relevance of the study. The traditional idea of a cadence as a primarily harmonic phenomenon does not completely correspond to some musical styles, including Renaissance and early Baroque. Revealing the polyphonic essence of cadences in vocal works of the Renaissance, which is the aim of the article, allows deeper understanding peculiarities of musical thinking of that period. Scientific novelty. The historical approach to the analysis of cadences is quite common in foreign musicological works; this approach is still new for Ukrainian musicology. The research material is also new: the cycle of motets by G. Palestrina on the text of “Song of Songs” was unfairly ignored by Ukrainian and foreign scholars. Thus, the study is relevant both in relation to the method and in relation to the musical material involved in its approbation. The purpose of the article is to show the specifics of cadences in the style of a strict counterpoint using the motets from the cycle “Canticum Canticorum” by G. Palestrina, to reveal the role of cadences in the modal and compositional processes of a Renaissance work. Research methods. The study systematizes the data obtained as a result of the analysis of the cadences of G. Palestrina’s motets, thus, the main research method is inductive. The main results and conclusions of the study. Cadences in vocal polyphony of the Renaissance have a polymelodic nature, which is realized by combining typical melodic turns (clausulae) in different voices. The clausulae order in the voices and their completeness degree are effective criteria for the classification of cadences (e. g. the classification by E. Rotem). Cadences in which the main clausulae are presented in full (i. e. contain ultima and penultima) are strong. Cadences in which one or more clausulae are incomplete are weak. The role of strong and weak cadences in the composition is different: strong cadences are placed at the nodal points of the piece, they have a dividing function; weak cadences are placed in the middle of the text line and they have a connecting function. Strong cadences are the norm, while weak ones violate the norm, revealing the author’s ingenuity. There are a few ways to weaken the cadence: replacing the ultima with a pause or a different sound, distributing the clausula between several voices, extending the melodic line of one of the cadence voices, etc. Weak cadences significantly outnumber strong cadences. In the Dorian motets from the cycle “Song of Songs” by G. Palestrina weak cadences play an important role in the formation of the mode within the sound scale, as well as in revealing the meaning of the verbal text.

The chamber kui is the genre of the kazakh academical music

Since the formation of the chamber and instrumental music in Kazakhstan, the traditional instrumental genrekui – has become the vector of creative search, the basis for the synthesis of national and western musical thinking. The purpose of this article is to reveal the features of the traditional genre within the framework of academic music and to present a new genre – chamber kui.The expression of kui in the works is functionally represented in a variety of ways. The embodiment of the semantics of kui in its figurative meaning is given in the title of the work. When using the folk instrumental genre in professional writing, the authors give a functional association to it presented in the work in the form of a fragment (melody or accompaniment). The next point in the gradation of kui features in the chamber and instrumental works of composers of Kazakhstan is the dominance of its features: motor skills, variant-variational development of form, texture, throughout the work or part of it.The formation of a new genre – chamber kui was the result of creative searches for the synthesis of Kazakh folk instrumental creativity-kui, the connection of the laws of its formation and shaping with the achievements of European creative experience. In form, these pieces are kui (alternation of three register zones characteristic of the traditional genre), in harmony, quart-quint consonances are used, recreating the overtone density of the dombra timbre in the sound of the European instrument.

«Воспитательно-образовательные возможности авторской песни на примере песни В.Моисеевой "О Войне" и песни "Гурзуф" из цикла песен В. Моисеевой «Крымские Арабески»»

Today there is an acute problem of educating the creative potential of the younger generations, their artistic taste, preferences. Among the goals and objectives of education - the formation of artistic thinking (and as a variety - musical thinking) is very relevant. Therefore, the article considers some problems of the development of creative activity as the basis of artistic and musical thinking. Based on the study of the methodology of working on songs, it is necessary to determine the effectiveness of the influence of the author's song for voice and piano accompaniment on the formation of holistic ideas about the surrounding nature, the social environment of the cities of Crimea, the place of a person in it, self-esteem, the harmonious manifestation of patriotic feelings. Creation and testing of a song cycle as an accompanying material in solving the tasks of the regional component in education.

Issues of musical semantics of F. Chopin in the context of the era of romanticism

The study of works of the Romanticism period and the formation of appropriate ideas about the romantic musical style is an effective way to activate the creative thinking of young professional musicians, stimulates their artistic initiative, and makes up for the shortcomings of the technological approach. Thus, the performer gets the opportunity to realize the correct reading of the musical text, resourcefully participates in the creation of his own parts and makes stylistically competent interpretations. The creation of F. Chopin had an undoubted influence on the creation of the figurative and meaningful image of the era in which the composer lived. Using some aspects of the method of semantic analysis, the authors of the article tried to consider some features of Chopin’s musical thinking and discover the relationship between the complex of expressive means used by the composer and the meanings expressed by them, thus trying to achieve a more in-depth understanding of the style of Romanticism.

“Unexpectedly British”: accentuation of THE nationally English in Edward Elgar’s “Fa lstaff”

Statement of the problem. The relevance of the article lies in revealing the peculiarities of the composer’s way of appeal to the national cultural heritage. The aim of the study is to determine the principles of embodiment of “the nationally English” in the symphonic etude “Falstaff” by Edward Elgar. The main method of the research is drawing parallels, on the one hand, and between the embodiment of the English national character through the image of Falstaff in musical and dramatic works, on the other. Research results. A conclusion is made that the main factor creating strong ties between the “symphonic etude” and the national tradition is spectacular national characterisation. Moreover, for the sake of applying the “English” the composer consciously and significantly changes his musical language. The author turns to very detailed programme (unlike general type of programness in most of his works), and that allows him to scrupulously depict the plot of Shakespeare’s chronicle on which he focuses on. Elgar also portrays overtly humoristic situations, for the first time in his symphonic works, because it would be impossible to disregard this side of Falstaff’s character, as it is the contrast of comical in the beginning and solemn in the denouement that create the tragic effect. The structural side of the composition is also unprecedented as it is formally has one movement, but the composer himself divides it in four parts (ignoring the arrangement of events in “Henry IV” in two parts) while all the parts are connected in various ways. As a result of this, “Falstaff” becomes the longest single-movement symphonic composition of Elgar. The composer favours linear type of musical thinking, integrating it with sudden “flashes” of thematically significant elements in different strata of the texture, and this all combined provides completely lush, unpredictable sonority of the orchestra. On the top of this, the author extensively uses themes with obvious genre genesis, especially in order to depict Shallow’s Gardens, although it is possible to find more traditional for Elgar passages with generalised type of intonation. Such characteristic for Elgar principles, as multi-thematism and elusion of the tonal centralisation (while using quite traditional chords in every given moment) find their new meaning regarding illustrative role of the music. A conclusion is made that the “Britishness” of the symphonic etude lies not in the use of folk intonations or allusions to the past of professional music, but in meticulous attention to W. Shakespeare’s text: both on levels of portraying or interaction between the “characters” and form-creating according to the scenes. Despite the fact that E. Elgar’s musical language seems to be quite distant from Falstaff’s comical essence, the composer was able to find means adequate to the character’s image, such as “wandering” tonal structure; superficial, but rather important analogy between quite large scale of a single-movement work and Falstaff’s body image; narrative orchestration.

Heroic pastoral and its national-style reception IN THE CANTATA “YELLOW RIVER” BY XIAN XINGHAI

The statement of the problem. The cantata “Yellow River” (黄河) is one of the most expressive works in Chinese musical art. The article offers interpretation of the cantata in the light of national Chinese pastoral symbolism. Created in 1939 by Xian Xinghai (冼星) and based on the text of a poem by Guang Weizhan (光未然), the cantata is still of great interest to the researchers. The poetic text of the cantata tells about hard struggle of the Chinese people against the Japanese invaders during the Second Sino-Japanese War. The Ukrainian listeners are faced with misunderstanding of the musical language and cultural norms of Chinese mentality. The artistic concept of pastoral genre as a harmonious communication between man and nature makes it possible to interpret the ethno-national language of this work in the system of European values. Rather, we can talk about a historical and cultural parallel corresponding to the “dialogue of cultures” as a leading trend in contemporary art and not about stylization. Heroism of European Baroque and Classicism was closely associated with the image of a person fighting for the social ideals (and even dying for them), while the pastoral emphasized images of nature, which served as excellent “scenery” for human actions. The relevance of the article increases interest in the problem of human communication in the globalized oecumene, in particular, in the composer’s interpretation of the cantata genre semantics in relation to a concept of “heroic man” and idea of pantheism as a philosophy of a pastoral man. The purpose of the article is to identify the established dominants of the Chinese national language in the cantata “Yellow River” by Xian Xinghai in the context of pastoral genre symbolism. Number of scientific publications investigate this piece, yet none of them addresses the issue of cantata genre semantics as a national reception of heroic pastoral. Thus, Shang Bei’s dissertation revealed the principle of constructing the Yellow River piano concerto, borrowed from the thematism of the cantata (the second section of the dissertation is devoted to the cantata itself, and the third – to the concerto). Xiangtang Hong’s (2009) dissertation explores the history of the cantata, its verbal text, Western European influences. Analysis of recent research and publications. Cantata as a genre and form of European music embodies a certain ideal of cultural identity through musical and poetic means. “The Yellow River” is no exception. The composition consists of 8 parts. There are parts where there is a tutti chorus (I, IV, VII, VIII), its female composition (IV), male duet (V), solo tenor (I), solo baritone (II), solo soprano (II), solo soprano (VI), solo pipa and the reader’s part (all parts except V), uniting all movements. The cantata uses a paired orchestral composition, but with three trumpets and solo parts for Chinese folk instruments – pipa, two sanshinas – large (bass) and small (soprano). There is a large percussion section (including seven Chinese folk instruments), harp and classical string section. The article emphasizes the role of the reader, who personifies Poet and becomes one of the most expressive timbre-dynamic lines of the music piece. The reader’s part not only reveals the patriotic idea of the work, but also contributes to the development of its form as a unifying element. This technique found in drama productions and modern cinematography made musical genre closer to the performance. Each movement is a “live scene” depicting extremely tragic times for China, when people proved the invincibility of their spirit. The poetic text makes it possible to distinguish two dramatic dimensions in the cantata: the one in which the Poet (the image of the Author) speaks of what has already happened and the second one glorifies the current events “here and now”. Each movement of the cantata portraits the changing image of the Yellow River, the waters of which can be calm, stormy, dark and transparent. The work is filled with national stylistics embedded in melodic-rhythmic and modal structures. Each movement of the cantata has several themes united by the idea of glorifying the native land and its people in different dimensions: lyrical contemplation (pastoral), stories about tragic times (narration) and singing about people (ode). Conclusions. One of the innovative principles of musical thinking is the shift from heterophony inherent in the Chinese folk song tradition to homophonicharmonic and polyphony. This proves the influence of Western European musical thinking. For example, the attraction to chromaticism, completely alien to Chinese music, at some stages of the dramatic development of the cantata becomes one of the stylistic features of its harmonious language. This is how the first part of “The Song of Boatmen on the Yellow River” begins – with a massive, brilliant chromatic descent. Thus, first of all, the hidden or the absent becomes paramount. The article notes the technique of timbre mixes of folk and symphonic instruments, which signals a professional work oncthematicism based on genrestylistic synthesis. The genre features of pastoral are revealed in the composer’s tendency towards sound-imaging symbolism associated with images of nature, which are equivalent to heroic images. In general, the interpretation of cantata as a heroic pastoral coincides with the early (baroque) stage of the genre in Europe (oratorio by G. F. Handel), which formed a complex of invariant elements in musical language, emphasizing genre semantics (the image of the “shepherd”). The work exposes the national features of the Chinese pastoral – a collective hero (people), heroic pathos, pantheism as a philosophy of love for nature, a lyrical and contemplative worldview.

Role of piano training in a future military conductor’s professional development

The purpose of the article is to reveal some aspects of the importance of the role of piano training in a future military conductor’s professional development while studying piano works. The research methodology consists of a comparative approach, as well as, empirical and general scientific (analysis, synthesis) methods. Scientific novelty. For the first time, this paper shows the organic relationship between piano training and a future military conductor’s professional development. The poly-functional capabilities of the piano instrument and their influence on the formation of the musical-performing experience of the future conductor are revealed. Conclusions. In the context of a military conductor’s professional development, the author considers the essence and significance of a military conductor’s piano training as an integral part of improving various aspects of performing skills. The specificity and expediency of the didactic repertoire is substantiated, taking into account the functional capabilities of the piano instrument for the development of a future conductor’s musical performance experience, the formation and use of sound extraction techniques, the mastery of the expressive capabilities of the instrument using the entire set of methods and means necessary for the implementation of figurative and artistic intentions and the musical thinking upbringing.

A New Music Teaching Mode Based on Computer Automatic Matching Technology

The rapidly developing computer technology has been extensively applied in music teaching. The computer automatic matching technology supports the automatic generation of randomized teaching contents, providing a good tool to develop the musical thinking of students. This paper tentatively introduces this technology to music teaching, and derives a new music teaching mode. The results show that, computer technology can effectively assist in music teaching; the inclusion of computer technology in music teaching arouses students’ interest in music activities; the application of computer automatic matching technology has improved students’ professional skills, live music performance, as well as music ability. The research results greatly promote the reform of music teaching modes and methods.