Методы создания электронных композиций в Китае на примере «Нуориланг» Чжана Сяофу

This article describes the design of a framework for sound synthesis in LC, a new computer music language we prototyped, together with concrete code examples. Unlike existing unit-generator languages, LC provides objects as well as library functions and methods that can directly represent microsounds and related manipulations that are involved in microsound synthesis. Furthermore, LC is equipped with traditional unit generators, and these two different abstractions can collaborate seamlessly. Although the framework for microsound synthesis itself is not particularly bound to the entire language design of LC, such seamless unification between the traditional concept of unit generators and LC’s microsound synthesis framework contribute to making LC’s programming model for microsound synthesis simpler and terser in comparison with existing unit-generator languages. These features of LC’s entire sound-synthesis framework can help computer musicians to creatively explore the domain of microsound synthesis and would also be beneficial for further research in computer music language as a design exemplar.

This article describes how Brazilian composer José Siqueira (1907-1985) used musical elements from the folkloric tradition known as Maracatu in the composition of the songs titled Loanda and Maracatu. A secondary goal is to suggest interpretative performance approaches that take into consideration the musical, textual, and sociocultural aspects of these songs. The methodology for the analyses was based on the categories and terms for examining the musical frameworks of art songs outlined by Carol Kimball in her two books about art song, as well as Siqueira’s own-devised Trimodal System. In Loanda and Maracatu, the composer uses several rhythmic cells that are characteristic of the Maracatu folkloric tradition, as well as a clear twentieth-century musical language, confirming Siqueira’s two aesthetic orientations: Folkloric Nationalism (when the composer uses the pure elements of folklore) and Essential Nationalism (when the composer draws inspiration from folklore to create his own musical language).

<p style="margin-left:0cm; margin-right:0cm; text-align:justify"><em>This article is devoted to the early works of Uzbek composer Rumil Vildanov. It briefly examines his early surviving works, analyzing their figurative world, musical style, musical form, tonal plan, and the musical language with which the composer cre

The genre-style priorities of vocal and instrumental creativity of the famous Ukrainian composer, long-time artistic director and chief conductor of the Khmelnytskiy Academic ensemble of song and dance “Cossacks of Podillya” Mykola Balema are elucidated. Attention is drawn to his numerous national-patriotic, spiritual-liturgical, folkloristic, lyrical-customs artifacts, operas “Eternal Stage” (Karmalyuk) and “Prophet” (T. Shevchenko), etc. The composer’s music is characterized by a wide range of musical creativity due to the appeal to almost all musical forms: opera, symphony, cantata, ode, liturgy, suite, ballad, sonatas, romances, musicals, pop songs (folk, rock, jazz, pop), music for the theater, adaptation of Ukrainian folk songs. In total, the composer created more 700 musical works of different genres: 11 vocal and choreographic compositions, suite, 13 vocal and symphonic compositions, 200 adaptations of historical, Cossack, family-related, holiday-calendar folk songs of Podillya and Ukraine, 26 works for the academic choir on poems of Ukrainian poets and 31 children’s songs. On the basis of his own vocal-choral music, the composer created a number of various theatrical concert programs for choir, orchestra and ballet of the ensemble “Cossacks of Podillya”. He wrote the series “Marches of Ukrainian Victory” for military brass bands. In his musical language, modern musical instruments with a national tradition, historical and cultural origins are organically combined with a projection of the aesthetics of Ukrainian national-cultural revival.

The premise of musicality of Beckett?s short dramas contains more questions than answers. Is the musicality of text present only in the work of Samuel Beckett? Do only the (musical) stage remarks in Beckett?s dramas suggest the idea of musicality? Can the absurdity of his output be expressed with music and through music? Some short musical compositions, especially by Alexandre Scriabine, can be in some way compared with Beckett?s "dramaticules", but only in form not in the meaning and musical language. The question of hidden influences remains to be developed.

For Alfred Schnittke (1934–1998), a representative of the Soviet musical avant-garde, the story of Faust was a life-defining text. A particularly important role in his biography was played by the novel Doctor Faustus by Thomas Mann, which became a kind of encyclopedia of the composer’s life and works. Mann’s novel reflects his philosophy of music, which was greatly influenced by Theodor Adorno’s reflections on modern music. Schnittke considered Mann’s main char­acter Leverkuhn to be his musical alter ego and throughout his life followed the musical pursuits of this fictional composer. This article describes in parallel the musical evolution of Leverkuhn and Schnittke. The Soviet composer has re­alized in his life Leverkuhn’s musical pursuits: the important elements in the de­velopment of Schnittke’s music, such as serialism, monogram and polystylism, were a reflection of Leverkuhn’s musical experiments in the novel. The author of this article, analyzing the peculiarity of genre and musical, as well as meta-musical structure of Schnittke’s Faust Cantata, explains the composer’s polystylism as a polyphony and also investigates his philosophy of music. For Schnittke, mu­sic was not so much an imitation of natural sounds, an expression of human feel­ings and emotions, or a representation of absolute harmony, as a kind of semiotic system within which there happens a free dialogue between musical forms, meta-musical reflections on musical languages, intellectual plays with abundant musical material. The pinnacle of Schnittke’s musical evolution Faust Cantata was a realization of his philosophy of music as a polyphony not only in art, but also in life.

Statement of the problem. The relevance of the proposed research is due to the growing interest in Chinese music in the world, its goal is to help the future listener and performer of this music in mastering the piano works of the outstanding Chinese composer Chen Peixun. The article is devoted to the connections between Chen Peixun’s piano work and the national traditions of musical and theatrical art of the cultural center of the Chinese province of Guangdong – the Canton city. Their features are reflected in a number of the master’s piano pieces: “Selling Groceries”, “Passionate Spring Desire” (op. 5), “A Thunderclap During a Drought” (op. 6), Variations “Flight of Two Butterflies” (op. 7), “Autumn Moon over a Calm Lake” (op. 17), “Flowing Water” (op. 19). Objectives, methods, and novelty of the research. The purpose of the article is to identify the connections of Chen Peixun’s piano works with national traditions of musical and theatrical art and to determine the features of their performance embodiment. The following methods and approaches are used: systemic – ensures the interaction of functional and structural characteristics of phenomena in the studied area; historical-typological – allows to trace historical connections and continuity in the field of theatrical and piano art; philosophical-aesthetic – helps to comprehend the worldview of the composer; structural-functional – is needed to carry out a compositional and dramaturgical analysis of selected works, to comprehend their musical form and figurative and semantic plan; interpretative –to reproduce the sound ideal in the process of performing the composer’s text. The issue of the connection between the Chen Peixun’s piano work and national musical and dramatic art has not been considered in scientific works. Research results and conclusion. The stylistics of Cantonese folk music is characterized by sophistication, detailing of the figurative structure, attention to psychological subtext, and a variety of timbre characteristics. These features are reflected in the composer’s piano music, primarily in melodic turns and modal features. The musical language is based on cantilena and sound imaging. The principles of the composer’s work with national material, which has received bright features in the piano texture and timbre characteristics of his works, are revealed. A set of performance tasks aimed at overcoming pianistic problems of both in miniatures and in extended concert works is considered. In Chen Peixun’s piano works, the embodiment of the stylistic elements of the Cantonese opera yueju is especially clearly felt: typical melodies, various pentatonic modes with the addition of additional degrees, ornaments of maotou at the beginning of phrases, imitation of the timbres of the Cantonese instrumental ensemble, etc. The main tasks that arises before the performer of the composer’s piano works are the need of high professionalism and adequate reproduction of the composer’s concept. Chen Peixun’s piano works are a unique phenomenon of Chinese musical culture, a bright page of the world piano art of the 20th century. Their genre and style novelty contributes to the propaganda and introduction of the composer’s works in the concert practice.

Music of the 21st century is a testimony to radical changes in the development of musical art. Rejecting the traditional norms of the classical era, composers of the new century seek new means of expression, experimenting with musical form, harmony, rhythm, timbre, and other elements of musical language. Contemporary piano music is characterized by a wide variety of styles, genres, and forms, reflecting the multifaceted creative explorations of musicians in the new era. In addition to the technical challenges that place high demands on performers, it also opens new possibilities for artistic expression. Analyzing musical works of the 21st century in terms of their figurative content and stylistic nature becomes an essential component of musicological research. Contemporary composers actively use the latest technologies and combine classical and innovative methods of composition, opening new horizons for musical interpretations. At the same time, 21st-century piano music is marked by a variety of interpretative approaches, as each work requires individual interpretation and a particular understanding of compositional techniques. Due to the integration of new musical languages and technologies, as well as the development of compositional strategies that break with past traditions, modern piano works acquire a special complexity and universality. An important aspect is that today music is more significantly revealed in the context of globalization, where the interaction of different cultures and styles fosters the emergence of new musical trends. In this context, the study of the stylistic and genre features of works created in the 21st century is especially important, as it helps not only to understand changes in musical thinking but also to formulate new approaches to performance techniques and pedagogical practices. The creativity of composers of the new century allows us to view music as a constantly evolving process, integrating new technologies and interpretative strategies. However, it is also important to note that all these innovations continue to serve as the foundation for cultural identity and the preservation of traditional musical heritage.

意識流與極簡主義：《達洛維夫人》、《時時刻刻》與菲利普．格拉斯音樂之研究

This paper integrates the learning characteristics of students in music classrooms, focusing on auditory and visual modalities to design a student-centered multimodal music teaching approach. The LMS filter is used to process the noise of traditional music, the constant Q transformation is used to specify the pitch, and the traditional music elements are presented visually. Next, we evaluate the combination of modes in the multimodal music teaching classroom and develop a multimodal music teaching program that incorporates traditional music elements. The evaluation of the multimodal music teaching design is based on the degree of integration of conventional music elements and the effectiveness of multimodal teaching. Briefly analyze the integration of conventional music elements in music teaching at the present stage, unite the advantages of the multimodal teaching mode, and put forward the teaching suggestions on the three levels of teaching principles, teaching methods, and teaching resources. In general, students’ acceptance of the integration of traditional music elements is good, and the percentage of auditory and visual modes used in multimodal music teaching is the highest, followed by action and visual modes.

The research aims to shed light on the metamorphoses of the musical language of the famous Russian composer A. T. Gretchaninov, active in the late XIX century – the first half of the XX century, which occurred in the 1910s. The paper pays special attention to the identification of the stylistic singularity of “Pastels” Op. 61 (1912-1913), a cycle of piano pieces. The scientific originality of the research is connected with the fact that A. T. Gretchaninov’s creative work has not been previously considered in the context of the changes that took place in the composer’s musical style in the 1910s. As a result, it has been revealed that the novelty of Gretchaninov’s musical language in the period under consideration was due to both changes in Russian art in general (in particular, the influence of impressionism on the composer’s work turned out to be significant) and crises in Alexander Tikhonovich’s personal and creative life. In particular, this trend can be traced in the history of creation of the cycle “Pastels”: during a difficult, critical period, Gretchaninov turned to composing music for children, in which he would find solace, but the piano pieces in the cycle turned out to be generally sad in an unchildlike way and psychologically saturated with deeply “adult” feelings and experiences.

Subject actuality. The article highlights the evolution of the compositional style of the Hungarian composer, taking into account the performance component of Bartok as a pianist. Based on existing musicological sources (works by A. Alekseev, B. Sabolcha, S. Sigitov, J. Uyfalushi, I. Martynov, I. Nestev, A. Malinkovskaya) the historical periodization of the general interest in Bartok’s work is indicated. Despite the study of many aspects of his creative activity, the performance of B. Bartok still remains without special analysis. Therefore, the process of studying the work of B. Bartok today can not be considered completed. The issues of interaction between the compositional and performance style of B. Bartok, modern interpretations of his works remain opened. The Ukrainian listener is familiar with a limited range of B. Bartok’s works, so the emphasis on the artist’s performance serves as an additional stimulus for the actualization of his art in our time. The main presentation of the material. The evolution of B. Bartok’s piano style was identified as a problem by L. Gakkel through the constituent parameters of the piano style: 1) the “realistic-non-pedal” sound image of the piano; 2) coloristic shock-noise method of sound construction; 3) textured accentuated tone as a tonal-harmonic ground. Indeed, many works of the composer testify to this interpretation of the piano: “Two elegies op. 8 / b, Burlesque three pieces op. 8c, Suite op. 14, Etudes op. 18, Sonata; three concertos for piano and orchestra. However, there are a number of works written quite traditionally, in the classical key. In these works B. Bartok uses the coloristic possibilities of the piano quite avariciously (wide range of registers, pedal effects), a striking example is the “Romanian folk dances” op. 8-a). Milestones of the piano evolution of the artist’s style are marked: Rhapsody, cycles “Romanian folk dances”. Etudes op. 18 – a sample of expressionist aesthetics, extremely complex in pianistic terms. They use extreme technical difficulties that require maximum arm stretching and great physical strength.Most of Bartok’s piano works were written in the first two creation periods – early and experimental. The composer’s attention was focused on three genre areas: folklore, pedagogics, innovation. The communicative semantics of these spheres, of course, influenced the composer’s decisions in the formative field, texture, piano technique, the level of virtuosity. The regularities are traced: B. Bartok’s “commitment” to primary (song and dance) and romantic genres (elegy, rhapsody, rich people), program cyclicity; constant interest in creating a repertoire for children, which solves two tasks at once: the promotion of folk music and the children involvement into a new musical language. Note as a contradiction the fact that the analysis of the works of B. Bartok, created in the first and second period, does not fully confirm the version of L. Gakkel, about a radicalistic change in the sound image of the piano. Probably, in B. Bartok’s work the new did not exclude the old one. The basic quality of B. Bartok’s piano style is its national characteristic, which is shrouded in the resources of the latest technique of musical composition. Conclusions. B. Bartok-pianist by genotype belongs to the Liszt’s branch of European pianism. The Liszt’s tradition is a combination of classical-romantic performing principles, which is especially evident in the works of disciples and followers of F. Busoni, K. Martinsen, K. Arrau, and G. Gould. In general, the evolution of B. Bartok’s piano style can be seen as a movement from the romantic – through folklore – to the neoclassical tradition, which is manifested in the change of musical-linguistic resources (rhythm, harmony, features of musical form, texture, melody). As a result, also the sound image of the piano was being changed. Auditory analysis of B. Bartok’s performing style allowed us to conclude that, unlike many pianists of the romantic tradition, B. Bartok uses pedal effects very avariciously, preferring clear and precise pronunciation (utterance) of all elements of the texture. We state the «imposition» of the classical tradition, which originates from harpsichordists, and new trends associated with the percussive understanding of the piano. From the point of view of the temporal organization of the musical form, his works are distinguished by metrical variability and polyrhythm; rhythmic discrepancy of textured layers; extensive use of repetition techniques and ostinato techniques. The foundations of Bartok’s mode-harmonic mentality (reliance on ancient modes of folk music; mode variability in the conditions of chromatic tonality) determine the difficulties of mastering the «intonation dictionary» of his piano works, and in general the technical equipment of the texture. Thus, Bela Bartok’s piano writing style is an expression of the artist’s innovative thinking, in which the performing component of his own abilities played a key role.

The relevance of the study is dictated by the demand for the music of the brightest composer of the period of the classical style — L. Beethoven — in modern performing art and modern musicology, focused on a diverse range of problems: reconstruction of the concept and process of creating works, compositional features and dramaturgy of opuses from different periods of the composer's work, historically accurate performance of it works, psychology of a creative personality, etc. A problem that has lasting significance also falls into the same series — the problem of the composer's individual style, conditioned, on the one hand, by the linguistic laws of the “current” style of the era, and on the other, by the formation of the principles of new musical thinking in its depths. The appeal to the music of L. Beethoven by the author of this study became symptomatic, including in view of the next anniversary of the composer — namely, the 250th anniversary of his birth. The purpose of the research is to identify and substantiate, in the process of analyzing music, one of Beethoven's early works — his Piano Concerto No. 2 (B-dur) — recognizable stylistic “signs” of the composer's individual creative handwriting, thereby arguing and establishing its relationship with the works of the period creative maturity. The scientific novelty of the research is reported by: 1) attraction of the latest musicological research on the issues of classical style in music and creativity of L. Beethoven as a methodological basis for the work; 2) argumentation based on a detailed analysis of the music of L. Beethoven's piano concerto No. 2 of the peculiarities of his musical language, composition and drama; 3) establishing and substantiating the relationship between the work of the early period of the composer's work with his mature musical and dramatic concepts. The research methodology is based on a flexible interaction between the methods of historical (comparative historical method) and theoretical musicology (holistic analysis, analysis of various aspects of the musical language, functional analysis of musical form). The productivity of their combination, as well as their intersection in the category of “style”, determined the scientific significance of the results obtained and indicated one of the possible methodological directions for further study of the composer's creative heritage. The study is undoubtedly of practical value both for teachers of musical theoretical disciplines and for performers. It is another important component of the musical Beethoveniana

The authors explore the creation of artificial universes that are expressible through music and internally comprehensible as complex systems. The semiotic approach this paper presents could also allow the development of new tools of investigation into the complexity of artificial-life systems. Through codification systems using musical language, it is possible to understand the patterns that the global dynamics of cellular automata produce and to use the results in the musical domain. In the authors' approach, music can be considered the semantics of complexity. The authors identify analogies between elements of cellular automata and elements of musical form, creating a narrative musical framework that has allowed them to develop a productive, computational and semantic methodology. Music fosters an increased capability for analyzing and reconstructing complexity, providing unexpected insight into its organization.

Although Thomas Dyke Tellefsen’s mazurkas have been considered mere imitations of Chopin’s musical idiom, his mazurkas are closely related to Norwegian folk elements. Tellefsen adopted Norwegian folkloric elements from his own country and infused Norwegian spirit into his works to create his own musical language. To trace the Norwegian folk influence, this study examines folk dance (the springar), folk instruments (the hardanger fiddle and the langeleik), and folk melodic and rhythmic motifs. As the result, this research demonstrates that Tellefsen’s mazurkas were influenced by a phrase structure of Norwegian springar dance music and the exact sound effect of folk instruments (the hardanger fiddle and the langeleik) as well as Norwegian folk rhythmic and melodic formulas which are frequently used in Norwegian folk tunes. Furthermore, the comparison between Tellefsen and Chopin’s mazurkas demonstrates that although their mazurkas seem to have a similar musical style, Tellefsen’s mazurkas include his own traditional Norwegian folk aesthetic, which present original contributions to the genre.