Suchergebnisse

The purpose of this paper is to examine the trends and forms of modern national choral performance.
The methodology is based on the use of systematic, terminological, ethnographic and interpretive methods of analysis.
The results. Choral performance is a component of choral culture, a communicative system formed in the process of building a performing interpretation and its realization. The need to comprehend the directions of modern choral performance with the identification of forms of its existence in society is an urgent task of the national choral science. As a result of the analysis of the performing versions of choral and orchestral choral works, the following directions of modern performing choral practice have been identified. The academic direction is represented, in particular: E. Stankovych's "Ukraine. Music of War" performed by the National Academic Chapel "Dumka" (artistic director E. Savchuk) and the National Academic Symphony Orchestra (conductor V. Sirenko) — in the form of a concert at the closing of the XXXIV International Festival "Kyiv Music Fest-2023"; performance interpretation of "Misatango" ("Misa a Buenos Aires") by M. Palmeri by the choir and symphony orchestra of M. D. Leontovych Vinnytsia Professional College of Arts, the ensemble of modern dance "Grotesque" in the form of visualization within the framework of the anniversary concert; "Psalms of War" by E. Stankovych in the performance version of the choir and symphony orchestra of the Lviv National Opera House, conducted by I. Cherednichenko, directed by V. Vovkun, choirmaster — V. Yatsenko, media artist — O. Kindrativ — a theatrical musical performance; "My childhood was killed in the war" (modern songs arranged by R. Tolmachov and poems by L. Kostenko) was presented by the girls' choir "Vohonik" (O. Solovei) and the Choir of Boys and Young Men "Dzvinochok" (R. Tolmachov) in the form of a performance. The performance version of E. Petrychenko's choral symphony-performance "Illuminated by the Black Sun" (Choir of the National Opera of Ukraine, chief choirmaster B. Plish) is a synthesis of performance and theatrical choral action. The folk direction is represented by the show-project "We Are Ukrainians" (Hryhorii Verovka National Honored Choir: artistic director I. Kuryliv, production director H. Nenov).
At the present stage, the pop-jazz direction is characterized by the creation of concerts and projects in which the pop-jazz style of sound production is chosen in accordance with the style of the works performed.
The virtual form of presentation of choral works is represented by both choral groups of artistic institutions and all-Ukrainian projects.
Conclusions. As a result of a brief analysis of the current state of national choral performance:

the following directions in terms of the manner of sound formation were identified: academic, folk, pop-jazz and their synthesis;
the typology of forms of presentation of choral works has been created:

– concert. According to the theme, they are divided into the following types: concert as such, authorial, anniversary, reporting, memorial, gala concert;
– performance, theatrical performance, show project, visualization, which are types of theatricalization as a method of interpreting a choral work;
– virtual project (video presentation of a choral work, video clip, video concert, etc.).

The relevance of the research. The musical work of the well-known Ukrainian composer, a bright representative of the Kharkiv school of composers — Yurii Alzhniev — is widely known and respected in the modern musical culture of Ukraine. The artist is the author of a large number of large-scale and small-scale works for symphony and chamber orchestras, orchestra and ensemble of folk instruments, a significant number of choral, vocal, vocal-symphonic works, theatre music, separate compositions for various instruments and instrumental ensembles, etc. Today, the most significant samples of Yurii Alzhniev's works are deservedly within the scope of scientific and research attention of domestic musicologists. After all, these works are now increasingly being performed by leading Ukrainian groups and soloists, on concert stages in various regions of Ukraine and abroad. At the same time, many bright musical compositions of the artist, which were created by him in recent years and represent a high artistic value, remain out of research attention. One of such opuses in Yurii Alzhniev's creative portfolio is the choral concert "The sound of the Master's soul..." for a mixed unaccompanied choir, in which national features of Ukrainian traditional choral singing and original author's decisions regarding the organization of the compositional structure and stylistic filling of the work are skilfully and highly artistically interwoven.
The purpose of this article is to identify the compositional and genre-stylistic features of Yuri Alzhnev's choral concert "The sound of the Master's soul..." for a mixed a capella choir, through a musico-logical analysis of this work.
At the heart of the methodology of the work are the methods and techniques of musicological analysis used in theoretical musicology. In particular, this is a method of complex analysis, which is used in the implementation of a holistic analysis of a selected piece of music, as well as separate theoretical methods: genre and style analysis, analysis of musical form, intonation analysis, analysis of elements of musical language. In addition, systematic and system-forming methods, the method of comparative analysis, methods of systematization, synthesis, and generalization are involved in the work methodology.
The results obtained in the course of achieving the goals in this article are focused on revealing the compositional and genre-stylistic features of the choral concert "The sound of the Master's soul..." for a mixed a capella choir, through the musicological analysis of this work.
The novelty of the work lies in the fact that the choral work of the famous Ukrainian composer Yuriy Alzhnev in recent years has found its musicological interpretation for the first time in the form of his choral concert "The soul calls for an owner..." The genre-stylistic and compositional specifics of this work are defined, the authorial approaches to the realization of this composition in the outlined aspects are summarized.
The practical significance of the performed musicological analysis of the selected work lies in the possibility of using it in the study of the musical work of modern Ukrainian composers, disciplines related to musical composition and choral art, as well as a musicological supplement to the use of this music in concert performance practice.
Conclusions. Turning to the creation of his choral concert "The soul calls for an owner..." Yurii Alzhniev chose this genre typical for choral music, relying mostly on a complex of traditional means and canons. At the same time, he created a rather interesting and individualized musical drama in this work, in which he skilfully used and expanded the possibilities of a simple verse form, integrating features of the three-part and rondo forms into it. In terms of style, the composer, once again, significantly enriches the relatively traditional musical presentation of the concert, "decorating" it with intonation freshness, interesting textural and compositional solutions, "spiciness" of harmonic language, etc. At the same time, the intonation basis of the work radiates its deep national character and belonging to the Ukrainian choral tradition. This is the essence of the authorial musical and linguistic specificity and the originality of Yurii Alzhniev's choral style, which was deeply and vividly manifested in the choral concert "The soul calls for an owner...".

The article presents a research work in a context of highlighting the peculiarities of development of Ukrainian choral art. The research describes the main theoretical and methodological approaches to defining the essence of choral art and postmodernism as a basis for the formation of a new worldview, a new thinking, which is a sign of a challenge of modernity. The basic context of formation of choral art is researched. The results of the research form the main historical trends in a development of choral art in the context of a basis of a human worldview and factors shaping an idea of worldview as a cultural manifestation of an era.
In the research the tendencies are identified in postmodern influence on the development of a culture, in particular choral art. Postmodernism is defined by a worldview that has become a challenge to the social development in the post-industrial era. In postmodern period appear art movements of surrealism, abstractionism, impressionism, symbolism and other cultural and art movements, which are reflected in an unrealistic way, indicating new trends in a new society.
We used analytical and research methods, a characteristic of music and game activities. Methods of a synthesis, an analysis and interpretation of choral art in a context of development of the Ukrainian culture were used for the research. The results of the research confirmed that in the conditions of postmodernism new tendencies of choral art are formed, which presents mental features in a context of information, a post-industrial society.

AbstractThis article aims to evaluate the cultural policy of Mozambique's Liberation Front (FRELIMO), focusing on music and dance during the liberation war and transitional period (1964–1975), and during the first 5 years after independence from Portugal (1975–1980). For the first period, we will focus on a repertoire entitled 'revolutionary anthems' and for the second, we will analyse Mozambique's sonorous representations in three national and international events: FESTAC77 (1977), the First National Festival of Popular Dance (1978) and the First National Festival of Song and Traditional Music (1980). Building on fieldwork data gathered through several interviews with politicians, radio broadcasters, producers, musicians and archival work, we aim to explain the significance of musical performance for the 'sonorous construction' of the 'new Mozambican man' project, as envisioned by FRELIMO.

The relevance of the article. "Psalms of David" in the poetic adaptation of Taras Shevchenko have long been a part of the choral culture of Ukraine. More than 20 composers have created musical versions of these texts, using separate verses or the entire work.
The latest version of the Psalter is the choral cycle of the Ukrainian conductor, singer, composer and teacher Ruben Tolmachov.
The first nights of the work took place under his leadership in May 2023 and had great success and public resonance. That is why the introduction of this work to scientific discourse is relevant.
The purpose of the article is to reveal the specificity of musical shaping in R. Tolmachov's "Psalms of David" choral cycle in its relationship with textual semantics.
The methodology. With the help of textual analysis, the semantic types of psalms (didactic, pleading, laudatory, accusatory) and the peculiarities of their musical structure were determined. By the means of structural, musicological and intonation analysis, the implementation regularities of the semantics of the psalms into specific musical forms have been established.
The results. The musical structure of all psalms was analyzed, the patterns of musical shaping were revealed, and the specifics of the relationship between the musical form and the content of the poetic text were described.
The scientific novelty. For the first time, the analysis of the structure of Ruben Tolmachov's choral cycle based on Taras Shevchenko's poem was introduced into scientific discourse.
The practical significance. The results of the research have practical value for performers of works by R. Tolmachov, as well as composers and researchers of choral music.
Conclusions. In R. Tolmachov's "Psalms of David" cycle the principle of strophic composition of parts prevails.
In general, four main types of musical shaping can be highlighted, which are partially correlated with the thematic focus of the psalms.
Didactic (enlightening) psalms, which depict the pious life of the community, have more "stable" forms (two-part, three-part).
Psalm 12 and Psalm 149 have signs of a thorough development based on monothematism.
The accusatory psalms, dedicated to the future Judgment Day (52, 93, 81), are made up using strophic forms with elements of reprise. At the same time, the 81st psalm is characterized by a less active dramatic development and contains a solo episode of a cathartic nature, which is designed to emphasize one of the central ideas of the cycle about the mortality of a person, regardless of his/her status, about higher moral and spiritual values.
It is also worth noting that the architectonics of R. Tolmachov's psalms is mostly characterized by the final position of the climaxes.

The term "nationalization" is a frequent word in today's society. This article takes the historical process of the nationalization of Chinese folk music as a starting point, explores its development, and considers the ideas for the future development of Chinese choral singing.

"People of African descent have been active in Western art music since its inception. Black performers were valued members of court orchestras starting in the early 1500s, and since the 18th century have been acclaimed as both performers and composers in locales ranging from Europe and the United States to sub-Saharan Africa, the Caribbean and Latin America. However, this rich legacy remains little known. John Gray's monumental new work seeks to correct that oversight. A long-awaited sequel to his acclaimed Blacks in Classical Music it draws on more than three decades of research to survey the vast amount of print, digital and archival material that has emerged since the late 1980s. Fully annotated and cross-referenced it offers a comprehensive overview of all scholarly writings on the subject as well as a more selective representation of reportage from the mainstream and Black press.This new edition is organized in three easy to navigate sections--General Works; Regional Studies; and Biographical and Critical Studies--allowing users to quickly access the information they need. It covers all forms of chamber and symphonic music as well as every variety of sacred and secular vocal music from art songs and concert spirituals to choral music and opera. The book's large Regional Studies section chronicles developments in more than 30 American states and almost 60 foreign countries, while its even larger biographical section documents the lives and work of some 2000 artists, ensembles, and organizations. More than 600 of these are composers, along with an equally impressive number of singers, instrumentalists, librettists, music educators, and others. The work concludes with a detailed subject index that offers a key to all of the book's sections and another way to quickly pinpoint citations by musical idiom, instrument, topic, place, personal name, and composition."--Publisher's website

An interwoven reading of the issues surrounding a performance – rehearsed and recorded remotely and hosted virtually – of Sxip Shirey and Coco Karol's The Gauntlet: Far Away, Together, for 15 voices and electronics (given at New York University Abu Dhabi in March 2021, in which I was choral director), and Jacques Derrida's Specters of Marx (1993/2006). I examine the impact that COVID-19 had on realising this performance – which had originally been intended for a 'live' and fully immersive and interactive presentation – and consider how earlier models of hauntological praxis in works by Karlheinz Stockhausen have parallels with performing during the pandemic. I explore the ways in which working in isolation, with little sense of time or location, foster a sense of 'aporia' or perplexity, overturning the binary opposition of time and space, and how the use of the SPAT immersive audio mixing tool to electronically process single voices into multiple, spatially realised echoes (ghosts) of themselves, truly gives us 'ghosts' in the machine.

Choir is sometimes called the prototype of an ideal society. Choral singing has been known since ancient times. In religious and secular traditions, it has always played the role of uniting people. Russian choral tradition originates in Byzantine spiritual music. But very quickly Russia began to form its own choral culture, which was supported by all segments of society. Singing in the choir not only made it possible for a person to feel his/her unity with surrounding people and nature, but it also gave the new strength. That's why it was so often during the years of military trials that outstanding music works for the choir were born. They encouraged the fighters who were going to fight. The period of the Patriotic War of 1812 is associated with the creation of many well-known choral collectives. In 1941, at the Belorussian station Krasnoznamennaya Red Army Song and Dance ensemble of the USSR had first performed the "Svyashchennaya voyna" ("Sacred War") - a song that became the anthem for the defense of the Motherland. But the choir also called for peace, choral singing became part of a prayer for peace. Choral singing commemorates the victims of terrorist attacks on September 11, 2001. Now choral singing is one of the directions for international cooperation. Since 2000, World Choral Games are held every two years. Songs of the Baltic countries are included in the UNESCO World Heritage List. Choral singing helps a person to feel involved in the state interests. Their understanding is expressed in choral singing of national anthems, which has become a good tradition in modern Russia.

In the article is drawn to attention to the fact, that the choir "Halychyna" started its activities at that time, when the Soviet communist system began to decline. Therefore Igor Levenets as a national conscious and public-spirited citizen decided to create a collective, which would be able to promote genuine Ukrainian national choral music and works by foreign composers-classics. In 1990 in the city of Ternopil began to operate a collective of the new direction, with new conceptual approaches to promote choral singing. This collective has set a goal – to promote Ukrainian national choral music, recover of the choral traditions that were prevalent in Halychyna before 1939 year.Been shown that Choir "Halychyna" was born in times of political events that preceded the birth of independence of Ukraine. This period was the basis for policy rethinking repertoire and new approaches to the celebration of national holidays. Wide Audience of Ternopil region first had the opportunity to listen to spiritual songs of Ukrainian composers (M. Verbitskyi, D. Sichinskyi, O. Koshits, M. Lysenko, A. Hnatyshyn, etc.). Noted that none artistic evening devoted to anniversary of the Great Kobzar not do without the participation of the choir "Halychyna". In its repertoire included works by Ukrainian composers to Shevchenko words "Testament" of D. Gladkyi arranged for choir L. Revutskyi), "Cherry Orchard Circle house" of B. Vakhnyanyn, "Do we still get together again" of S. Lyudkevych "Count in captivity" of D. Sichinskyi et al.In the past, the choir "Halychyna", besides the concert activity, has always been an active participant in international, Ukrainian and regional competitions and festivals of choral music, which took place in Kyiv, Odesa, Ternopil, Lutsk, Poltava.Significant event in the creative work of the team was the participation in the III regional competition of them. S. Krushelnytska in 1991 in the city of Ternopil.The third competition took place during March-April 1991, where the best choir and solo performers were ...

Despite the coincidence of the so-called "British Renaissance" of classical music and the First World War, two events central to British cultural development at the turn of the century, little research exists regarding their interrelation. Using primary and secondary documents found in Laramie and London, this project seeks partly to fill that gap, examining two choral works which served as their respective composer's reactions to WWI. Gustav Holst's "Ode to Death" and Ralph Vaughan Williams' "Dona Nobis Pacem" were both analyzed for motivic, formal, and orchestrational means used in settings of war-related texts. Additionally, biographical information and correspondences were used to provide context for the works and to elucidate opinions and emotions the composers had toward the war and its affiliated issues, including violence, politics, and the spirituality of mortality. These feelings were complex and occasionally contradictory. A variety of musical means were found to be used to communicate these nuanced opinions; the composers' perspectives defy such restrictive designations as "pacifist" or "hawkish," and these pieces reflect this.