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ARTS (see also THEORY)
   Irina Ivanova
Russian musical vanguard returns to the concert halls
    Given article dedicated to Russian music of beginning of ÕÕ century, that is not well known yet. 10-15 years ago many interesting names were returned to musical culture. Nikolay Roslavets is one of them, his creative work was "discovered" in West at the end of 60-s, and then it became known in our country owing to such persons as Edison Denisov, Marina Lobanova, Mark Belodubrovsky and others. Organization ASM 2 (which was founded according to the first ASM that was created in 20-years) has tasks to popularize new music as well as music of second ASM. N.Roslavets was an active participant of that organization. The main slogan of these two ASM is "To non-standard compositor's thinking, creative search and experiment" .
Popularization of the Roslavet's creative activity was expanded owing to the efforts of musician from Briansk - Mark Belodubrovsky, who has organized a lot of various musical events, among which are the following: Conference (1990) "Roslavets and his time", "Festival of arts dedicated to Nikolay Roslavets and Naum Gabo" (1994).
Book "Russian vanguard and Briansk Region" has generalized all that experience and conclusion was made, that Briansk gave a lot of persons to the culture of that period. Ideas of those persons are called now as Russian vanguard of the beginning of the century.
Composer Anton Rovner and pianist Irina Severina organized very interesting musical party in May 2001. Series of different and original compositions of the following representatives of Russian musical vanguard were performed: Nikolay Roslavets, Arseniy Avraamov, Ivan Vyshnegradskiy, Artur Lurie, Julian Skriabin and Alexander Mosolov.
Compositions performed during that Party are just a part of various creative ideas and trends that were in Russian culture in the beginning of XX century. Therefore attempts to study and to perform unknown Russian music will be continued in future.

   Maciej Zóltowski
POLISH NEW MUSIC
   The young Polish composer's report at 2nd Fortunatov Forum in Odessa, May 2001.  more

   Maciej Zóltowski
MUSIC AT THE END OF THE MILLENIUM
   The young Polish composer's report at 2nd Fortunatov Forum in Odessa, May 2001.  more

   Detlef Gojowy
To Invention of the Wheel
   A short essay written by a known German researcher of New Music, especially of Russian music of the first decades of the 20th century, about the problem of the relation of philosophy, play, and economic practice in the invention of new things.  more

   Andrij Sodomora
Ellinic Logos in Ukrainian Echoes
   An essay on linguistic and cultural adoptions and reflections from Greek language, literature and culture to Ukrainian ones written by the eminent Ukrainian writer and translator.

   Nina Dovhalenko
Ukrainian musical avant-garde in the context of stylistic serching of the 20th century
   The article focuses on the problem of concretizing the notion of the avant-garde in the context of the contemporary Ukrainian music. The avant-garde is principally linked with main 20-century styles - the modern and the post-modern. Two Ukrainian avant-garde periods - 20es and 60es - are evaluated from the point of view of their role in music history as the periods of equal importance of immanent and social laws of art development.

   Oleksandr Kozarenko
Ethnic Ukrainian Musical Language in the Discourse of the Post-Modernism
   A chapter from the book dedicated to the development of the ethnic-featured Ukrainian musical language written by a well-known composer, pianist and musicologist of younger generation Oleksandr Kozarenko.

   Rimma Rosenberg
To the problem of theatrical features in the music by Odessa composers
   The author discusses the works for various genres of music theatre as well as diverse concert-like genres with theatrical features by Odessa composers of the 20th century.

   Bohdan Siuta
Ukrainian Music by the younger composers' generation
   A brief analysis of the Ukrainian composers' generation of 80es and 90es.

   Oleksandr Rovenko
Elements of Music as Objects of Programming
   The author, PHD and Professor at Odessa Conservatoire, suggests a new approach To the problem of electronic programming musical thinking.

   Dieter Mack
Vom Umgang mit dem Fremden oder: Kann man Musik einer anderen Kultur uberhaupt unterrichten?
   Trotz immer enger werdender internationaler Kontakte und Beziehungen spielt die Beschaftigung mit au?ereuropaischen Kulturen, beziehungsweise deren Kunstformen, in unserer Erziehung kaum eine Rolle. In diesem Beitrag wird versucht, einige Vorurteile abzubauen, die Kritiker immer wieder gegen eine Beschaftigung mit au?ereuropaischer Musik anfuhren. Gleichzeitig werden an einem Beispiel einige Alternativen aufgezeigt.  more

THEORY
   Ljubov Kyjanovs'ka
Stylistic Evolution of Galician Musical Culture of the 19th-20th centuries
   This chapter from the monograph by a known Ukrainian musicologist is aimed at presenting at assessing the main trends and figures of this region during a very turbulent epoch. The author analyses first of all the most important works by M.Skoryk as well as V.Kamins'kyj, O.Kozarenko and other Galician Ukrainian (and partly Polish-Ukrainian) composers.

   Anjelika Fanina
About phenomena of theatricality in chamber instrumental creative work by Karmella Tsepkolenko
   Work consists of Introduction, I chapter dedicated to the phenomena of theatricality in music, II chapter is about demonstration of theatricality in chamber symphony by Karmella Tsepkolenko "Parallels", Conclusion, Examples of scores, Bibliography
   Given work is dedicated to the analysis of symphony "Parallels" in the aspect of theatricality. Problem of theatricality on the example of chamber symphony "Parallels" by Karmella Tsepkolenko gives possibility to disclosure author's manner to write as well as many tendencies, which meet the requirements of trends in contemporary music. Composer through her artistic credo touches upon the important topic of the last decades, and projects it on the relations of musicians in orchestra. We mean problem of Leadership ("leaderism", as K. Tsepkolenko calls it itself), and more widely - creator and society, person and "mass".
   Through the whole composition K.Tsepkolenko keeps unity in manifestation of inner and external theatricality. Picking up some of instruments, group of soloists, solo improvization, which is accompanied by entrances of musicians, are comprehensed as remarks of actors, participating in action. Non-stop movement, change of musicians-actors does not look as a challenge or an additional component of performance. It becomes original visual interpretation of playing sound ideas.
   speak about problem of genre appropriateness "Parallels", it should be considered that in instructions to scores by K.Tsepkolenko it is mentioned - chamber symphony for string orchestra and piano. It becomes clear, that the question is about one of the most widely-distributed kinds of symphony in XX century.

   Oleksandr Rovenko
S.².Taneev - the Counterpoint Researcher
   A short, but substantial monograph of a leading Professor at Odessa State Conservatoire considers novelties of the main theoretic work by Sergej Taneev, the famous Russian composer and music theorist, pupil of P.Tchaikovsky, their reception by musicians and musicologists belonging to Taneev's and following generations, and proposes a new interpretation of some theses of Taneev's conception.

   Liudmyla Ginzburg
Directive approaches of perfomers' schools and education of the pianistic skill
   The article of an eminent Ukrainian piano professor, a pupil of H.Neuhaus'piano is concerned with problems of contemporary stylistic and artistic education of pianists, the principles of H.Neuhaus' Piano School and their impact on his pupils' pedagogical and interpretative skill. The importance of the artistic milieu for the beginning phase of forming the artistic personality of a musician-performer is underlined.

   Alfred Melichar
Kleine Einführung in die Möglichkeiten, die das heutige Konzertakkordeon dem Komponisten bietet
   Das Akkordeon ist heute ein künstlerisch anerkanntes Instrument; es wird an den meisten höheren Ausbildungsinstituten, im In- und Ausland unterrichtet und eine Vielzahl von Komponisten des 20. Jahrhunderts haben dafür komponiert. Dennoch existiert heute eine breite Pallette von gebräuchlichen Akkordeontypen und man kann leider noch nicht von einem einheitlichen Akkordeon sprechen. ...   more

   Anton Rovner
The Musical Legacy of Sergei Protopopoff (Sergej Protopopov), a Continuation of the Tradition of Scriabin and Boleslav Yavorsky (Javorsky), in the Context of His Epoch
   Sergei Protopopoff, whose musical legacy is still not very well known either to the music specialist or to the average audience member, has presented himself as a rare if not a unique phenomenon of a composer, who in his musical output has strictly followed a theoretical system, devised by a theoretician, namely his teacher, Boleslav Yavorsky. A rather orthodox adherence to Yavorsky's theory is organically combined with a personal...  more

   Oleksandr Perepelytsya
Artistic Playing Methods of Developing Esthetic Consciousness
   The author pays attention to the fact that children start mastering languages - verbal (of words), visual (of colours), musical (of sounds) not so much by imitating the adults' languages as by constructing their own languages, whose semantics is subordinated to communicating their wishes, expressing their emotions and determining their relation to the world and themselves. This process is play-like. It is impossible to hope for normal artistic development of the child, which have not passed this period.

   Mikael Kokzhaev
Unordinary in Ordinary. Features of Conception of New Technologies in paradoxes of 20th-century music
   The known Armenian composer introduces into some notions of his original concept of music, including:
   - musical space;
   - music as 2 kinds of movement - from past to future and from future to past; melodic line as height and harmony as depth;
   - unity and variability in music (the unity is based on the Pythagorean principle of proportion of the fundamental tone to partial tones);
   - the hearable and unhearable in music, etc.

   David Kaminsky
Protohistory of Sonata
   The article of the late David Kaminsky, musicologist, Professor at Odessa Conservatoire, suggests a relatively new approach to the sonata form as a general characteristic of the musical thinking.

   Kotliarevska O.I.
Interpretation and forms of its being
   A theoretical work about actual problems of music theory.

   Iouri Semenov
Instrumentation (Orchestration) as a Branch of Music Art: Problems of Definition
   A theoretical study suggesting a new approach to the art of instrumentation (orchestration).

   Oleksandr Sokol
Music, Musical Culture: Definitions
   A theoretical study by Oleksandr Sokol, Prof., PhD, Academician, Rector of Odessa Conservatoire.

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