Genre Parameters of the Musical Style

Культурологічні аспекти музичного українознавства: монографія, 2024

Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ»

Background. Synthetic cinema nature assumes the borrowing of genre features from different arts. Based on this, there are certain difficulties in determining the boundaries of a genre. The expressive means of the cinematographic language has a similar composite structure. As a result of this, interpretations can be made with the help of scientific developments in other arts, in particular music. The essay is one of the leading genres of cinema art. No wonder, that it was continuously interesting for researchers in television and documentary films. Combining the signs of different styles and methods of reflection, the essay adopts the features of the arts which are combined in the cinema. The connection between the musical and cinema expressiveness have not been studied enough. This paper deals with the researching of the expressive elements of audiovisual essay and musical language. The novelty of the article is in generalization of expressive means, which are used in screen essays, and theirs connection with the musical features. Objectives. The aim of this article is to explain how the formation process of audiovisual essay took place during its historical evolution and how the screen essay was separating from literary one, acquiring its own features. The influence of musical elements on the organization of visual cinematic expression, its meaning and semantics, the screen poetic language are revealed in this study. Methods. This study uses historical and comparative analysis research methodology. For the purpose of research effectiveness, the integrated approach was used. Results. The study revealed the special connection between the audiovisual essay features and musical expressiveness, which can be explained by temporal nature and associative-imaginary features and by the use of poetic language. The essay is a leading genre of documentary cinema and the phenomenon of artistic journalism. The main essay method of reflecting the reality is the description of a true story through the original author’s view. The results of this study indicate that audiovisual essay has its own different expressive features. Despite the fact that the roots of this genre are in the literature, a screen essay differs by a multi-vector artistic interpretation. That’s why the principle of description and figurative subjective reflection extends to all expressive elements. At the same time, the sound-visual expressive complex of screen content tends to a deeper, peculiar to music, emotional influence, as opposed to abstract-logical verbal expression. In other words, the author’s position is manifested in the selection of sound and visual means of expression, reflection angles. The essay’s author as well as a composer searches his own intonation in the interpretation of the subject, which is reflected in the tonality of the image, the color and the color range. Consequently, the intonation in the essay becomes a direct reflection of the author’s feelings and his relation to the subject of cinema-narrative. Similar to the Жанрові особливості кінонарису у контексті музичної виразності 230 theme of a musical work a certain author’s idea acts as the organizer of the composition and source of development. The style of utterance and the manner the author describes the story (ironic, excited or distanced, etc.) will be common in music and on the screen. Attention to detail in the essay’s story is associated with musical nuances. The rhythm of the essay which is formed by the expansion of the author’s thought and the argument in favor of the main idea become an indicator of the artistic position and the author’s individuality. The principle of alternating contrast and repetition in conjunction with a temp and a rhythm form a sound and visual intonation that embodies the artistic image. Conclusions. The results of the study suggest a special closeness of the screen and musical poetry, which is related to the temporal nature of both arts, attention to the emotional-figurative interpretation of reality, the presence of common elements of artistic expression, such as rhythm, style, intonation, angle, and others. It is worth considering that this connection manifests itself in the artistic and poetic genres of audiovisual works, where the documentary-journalistic essay occupies a leading place. The relationship between the elements of screen expressiveness and musical poetics is explored through categories of intonation, rhythm, style and viewing angle. Synesthetic specificity of screen creativity in its focus on multimedia perception of audiovisual work, where music and its expressiveness are projected to other artistic components, is studied on the example of the essay genre. The formation of a fundamentally new quality in the process of merging individual elements of the screen language into an integral artistic expressive complex is substantiated in the study.

Яр Славутич – відомий україномовний поет у Канаді третьої хвилі еміграції. Його творчість розвивалась в основному в руслі класичних традицій та під впливом молодої української літератури початку ХХ ст. Уже перше наближення до лірики Яра Славутича свідчить про наявність у ній великого різноманіття проблем, тем, мотивів, форм викладу, художніх прийомів, жанрових модифікацій тощо. Незважаючи на досить велику увагу літературознавців до його творчості, багато аспектів залишаються малодослідженими. Серед таких аспектів є і жанрова природа лірики Яра Славутича. Жанром-об’єктом їх дослідження є в основному лише сонети поета. Проте у його поетичній творчості досить багато різноманітних канонічних жанрів, серед яких виділяється пісня. Натепер цілісного аналізу своєрідності пісень Яра Славутича в літературознавстві немає, що зумовлює актуальність звернення до обраної теми. Метою цієї статті є аналіз жанрової своєрідності пісні у творчості поета. Тематично статтю можна вважати продовженням цикл...

2022

With the adoption of the conception of key competencies and its integration into the training process in the form of a competency-based approach to the training, the new curricula have undergone some changes. In them the priority should be given to concepts, which lay the foundations of the given field of study, and which correspond to the widest possible range of knowledge acquired in other teaching disciplines. Against this background, the questions remain open as to the reasons why exactly the concept of “style“, which fully meets the criteria set and is contained in normative documents regulating the teaching content in music, is excluded from the curriculum in music and whether on the whole it is possible to teach the training information in the upper course of study without introducing stylistic issues. The report presents the idea of ​​teaching the training content through a theme-centric, style-oriented approach that synthesizes training information about the style based on the Ockham’s principle. The sequence of teaching the stylistic issues in the context of the educational content, covering the history of musical art, is presented in tabular form, giving examples of which concepts can be successfully connected with the knowledge of style. The categorial nature of the style provides an incredible number of opportunities for implementation of interdisciplinary links within the framework of music training, planning and implementation of binary or integrated lessons, which could contribute to re-create the idea of ​​ a competency-based approach to training. Some examples of such lessons are suggested.

В статье проанализированы и описаны сущностные характеристики этапов исторического развития музыкальной культуры, а также особенность положения молодежной категории населения в современном социокультурном пространстве. В процессе теоретического обоснования периодизации исторического развития функционирования музыки, был актуализирован и обоснован принципиально новый этап в становлении музыкальной культуры – постиндустриальный (информационный). Ключевые слова: музыкальная культура, субкультура, молодежь, постиндустриальное общество, информационное общество, экранная культура, массовая культура, клип-культура.

Ценова-Нушева, М. (2018): Тенденции при рецепцията на жанра мюзикъл в България през шейсетте години на XX век. - В: Българско музикознание, № 4, с. 34-42, 111. [София: Институт за изследване на изкуствата, БАН.], 2018

The Musical has been developing and spreading throughout Bulgaria for more than half a century (from 1963 until now). This period is significantly shorter in comparison with the development and dissemination of opera, operetta, and ballet in Bulgaria. The reception of the musical in Bulgaria from 1963 to 2013 has been discussed by the author of the present text in the conference ‘Bulgarian Musicology – Retrospectives and Perspectives.’ Considering the provided amount of publications, however, the present text is focused only on the trends in the reception of the musical in Bulgaria in the 1960s. If another suitable opportunity for publication occurs, the reception trends of the musical in Bulgaria from the beginning of the 1970s to 2013 (and even until 2018) will be presented in additional publications. The text of the present article is based on the historical, comparative, and typological research methods. Keywords: reception, trends, musical, Bulgaria, 1960s

Humanities science current issues, 2023

The article is devoted to highlighting the nationally characteristic features of Ukrainian piano art as key factors in the formation of style adequacy of the musical and performance interpretation of the Ukrainian composer’s work. An algorithm for the stylistic analysis of the author’s instructions for the performance of a piano work by a Ukrainian author is proposed as a conceptual basis for the creative method of a modern pianist-interpreter. Based on a comparative analysis of the author’s remarks in the Prelude in Fis-dur op. 8 of V. Barvinsky and its sound recording performed by M. Krushelnytska, characteristic features of the Ukrainian national identity of pianistic speech in the process of forming style adequacy of piano-performance interpretation are determined. It is substantiated that the determining factor in the formation of the style adequacy of the piano-performance interpretation of the work of the Ukrainian author is the consonance of the national-mental foundations of the individual styles of the composer and the performer and the ideological commonality of their worldview positions, expressed in the awareness of their national identity and embodied in the expressive and speech parameters of the musical work. It is proved that the basis of an adequate pianistic actualization of the nationally characteristic features of the composer’s musical speech lies in the systematic study of the author’s remarks before the performance of the piece. This opens the way to revealing the subtle psychological features of the ideal image of the author at different levels of the musical text – stylistic, genre, intonation-sound, plot-sense, phonics, textural, form-creating, as well as at the level of the personalized presentation of musical images. It is summarized that the style approach to the maximum expressiveness of the expressive-speech profile of a piano piece is a sign of conceptual modeling by the performer of a potentially adequate interpretation, where the aesthetic positions of the composer, performer and listener are harmoniously balanced in the field of attraction of the Ukrainian national identity of musical semantics. Key words: style adequacy, national identity, interpretation, author’s remarks, Vasyl Barvinsky, Maria Krushelnytska.

2022

This piece of research examines Guido Adler's ideas of "musical chiaroscuro" and "acoustic perspective" set forth in his work "Style in Music" regarding performance as an aspect of his concept of style. The exposition presents the author's views and comments on certain aspects of the ideas formulated while also tracing their reception in modern understanding of musical space. A conception is put forward for the application of "musical chiaroscuro" and "acoustic perspective" in the context of current developments in performance theory and performance practice.

2016

The article analyzes the characteristics of styles World music. Group "DakhaBrakha" that works in this direction shows the connection of various ethnic musical traditions, including not only the Ukrainian folklore, but also Russian, African and Indian. Special style is to appeal to archaic layers of folk melodies, lyrics, frets and toolkit. A striking visual image of the group, which also infused various Ukrainian folk traditions, is filled with theatrical and spectacular entertainment. World music is one of the leading areas of modern art that is associated with the emergence of a kind of counter-culture in relation to mass music. Appeal to ancient folklore layers of different ethnic groups intertwined with the latest discoveries in the field of musical acoustics, technological advances in sound processing and actual practices, such scratching, sampling and etc. The group "DakhaBrakha" is one the most prominent representatives of Ukrainian т music space, working...