Exploring Berta Alves de Sousa's vocal chamber works

At the present stage of the modernization of the education system in Ukraine, the problem of the creative person formation and his or her ability to artistic and creative activity is one of the main issues in the modern artistic pedagogics of the present. The relevant task is to provide conditions for the artistic and creative development of the every child personality of the junior school age, which contributes to their harmonious and comprehensive development at the artistic educational institutions. These tasks require updating of artistic concepts and paradigms in the field of artistic and creative education of primary school students. The aggravation of the contradiction between the need of specialized artistic educational institutions in optimizing the creative development of this age children and the insufficient level of methodological providing of the educational process determine the relevance of this analysis. As it is in the process of artistic and creative activity of the junior school age children, an interest in different types of art develops, and in future love and an inexhaustible desire to engage in certain of them appear, therefore, the success and effectiveness of such development in art schools totally depends on the professionalism and competence of a teacher. Only the teacher in the process of studying is able to create such conditions that will facilitate the acquisition of grades 1–4 pupils of the basic skills of artistic and creative activity and children will be able to remember and recognize works of different kinds of art, to be excited about them, to admire about the content of works, the beauty of their forms and images. The purpose of this study is to substantiate the basic conditions for teachers of artistic educational institutions regarding the effectiveness of artistic and creative development in the process of studying through the integration of arts. The methodological basis of the article was the generaladectic principles (connection with the surrounding reality, systematic and sequential learning, and an individual approach to the children development of elementary school age), as well as the principles of artistic and creative development of grades 1–4 pupils in art schools, with the specifics of artistic activity various types: encouraging children to discover creative potential in the process of studying various arts; application in the process of integration of art as a means of artistic and creative development of children of junior school age; enriching the aesthetic experience of students, as well as the direction of artistic and creative development in understanding the artistic image by mastering the means of artistic expressiveness of various types of art. Many pedagogical studies have proved that it is the elementary school period that is favorable for the development of the child’s creative personality in the process of artistic and creative activity, and this very age contributes to its comprehensive cognitive development. Since pupils of junior school age have high cognitive activity and psychological readiness for artistic and creative activity, they are quite easy to learn and can absorb a large amount of information on different types of art. Application of integration in the process of studies in art schools with children of junior school age, above all, will allow to achieve integrity in the pedagogical process, to fully involve students in the world of art, through participation in various forms of artistic and creative activity, as well as to implement new methods and receptions of artistic and creative learning, due to the possibility of applying an individual approach to each child. Indeed, hence to the integration of the arts there is: first, the approach of children to artistic knowledge not only through reason, but also through feelings and emotions; second, the disclosure of the inner world of children of junior school age and their maximum rapprochement with the teacher. Conclusions The use of artistic integration in classes at artistic educational institutions contributes to a deeper assimilation of pupils of the junior school age of artistic culture and artistic heritage, the development of cognitive interest, and through the development of creative abilities and acquired knowledge, skills and abilities, helps to reveal their artistic and creative potential in the process of participation in various types of artistic and creative activity.

During the social turmoil in China during the 1930s, Mr. Huang Zi wielded the sword of music to pierce the heart of the enemy, showcasing his profound patriotism. His representative work, Homesickness, expresses his longing for home and reflects the deep affection and anticipation of countless overseas Chinese for their homeland. With its well-structured composition, elegant style, and meticulous craftsmanship, the song has left an indelible mark on the history of Chinese music. With “Homesickness” as an example, this paper delves into the musical characteristics and vocal techniques of Huang Zi’s art songs, aiming to gain a more comprehensive understanding of the artistic value of this work.

Margaret Bonds was a voluble correspondent, an active public speaker, and the composer of more than four hundred compositions in a wide array of styles and ideas—yet there has never been a systematic examination of her works. This chapter is divided into two main sections. The first of these (“The Verbal Legacies”) discusses her work as correspondent and public speaker to show how—even though the doors to the chambers of power and influence that stood open to Bernstein, Copland, Rorem, and others remained largely closed to her—she addressed herself in writing and speech to a sizable network of individuals, organizations, associations, ensembles, and other groups in order to solicit others’ sympathy and support for the Bonds mission, letter by letter, speech by speech, over the course of decades. The second main section discusses her published and unpublished musical compositions to shed new light on her unstoppable musical imagination. This section considers her vocal music (popular songs, solo spirituals, art songs, other vocal chamber music, choral spirituals, and other choral music), instrumental music (works for piano solo, instrumental chamber music, and orchestral music), and stage music. Concluding observations are offered in a brief afterword.

“The Art of Phrasing” is a chapter from Arban’s Complete Celebrated Method for the Cornet (published in 1864) that contains a selection of 150 melodies from Classical and early Romantic works. This section of Arban’s method was necessary for a new generation of cornet and trumpet players to learn melodic phrasing and style. A larger part of the trumpet solo repertoire was written for the clarino register or composed in fanfares due to the limitation of the valveless trumpet. The newly chromatic cornet grew to be a prominent solo instrument in symphonies and wind bands by the mid 19th century, and Arban's “Art of Phrasing” instructed players in musical style. Due to today’s vast number of musical genres, it is unlikely that present day students will be exposed to the melodies of “The Art of Phrasing.” With advancements in music streaming technology and with increased accessibility to countless recordings via the internet, trumpet players are able to access recordings of the melodies. However, there are errors and omissions in the chapter that prevents students from finding recordings with ease. This dissertation presents a new compilation of melodies organized by musical period from medieval to modern day, complete with proper title, composer name, chronological information, genre, and location within the selected work. In order to help students distinguish between musical styles, a brief description of characteristics from each musical period is provided, including information on the function of music in society, performance practice, and compositional trends in rhythm, melody, harmony, and expression.

In the layered structure of the peoples of Dagestan identities play a special role Ethnomusical tradition. If instrumental music can be noted ethnoculture environmental, safety in a multi-ethnic region, the art song is in the dynamics and was less stable in the transformation taking place in the field of music. In the space of the sacred-religious music genre took the crystallization of new phenomena Mawlid, the songs in the ritual of dhikr, nasheed. A proportion of the closed ethnic culture, providing her safety, due to the priority role of tradition in the culture of indigenous peoples of Dagestan.

music genre of art songs has gone through a century since it was introduced to China in the early 20th century. After more than a hundred years of development, Chinese art songs have gradually formed their own style and characteristics, and a large number of excellent works have been born. Among them, The Great River Goes East can be regarded as a model of Chinese art songs. This article starts with the study of the singing version of The Great River Goes East, analyzes the work from different angles, and looks forward to further understanding of this outstanding vocal work.

Gagok (Korean art song) became one of Korea's most popular music genres from the 1920s. In the 1980s, however, the genre was criticized as a mere imitation of foreign and outdated music. This criticism motivated many composers to create a more indigenous vocal music, but they simultaneously depreciated the efforts of past composers for their superficial reception of Western formats during the Japanese colonial period. Many Korean musicians in the 1930s studied abroad, mainly in Japan and the United States, where they were exposed to and absorbed traits from German Lied, Italian art song, American hymns and Japanese popular song, all of which appealed to educated Koreans at the time. Such elements were transformed in accordance with Korean aesthetic preferences. This chapter provides an overview of specific aspects of gagok composition in the 1930s and 1940s – the use of traditional Korean musical elements, the fixed poetic form sijo and Korean sentiment and lyricism – and stresses composers' search for Korean national identity and modernity under the historical and social circumstances of Japanese occupation.

This research explores chamber music repertoire, largely unknown to Western audiences, by Georgi Mushel, who is regarded as the founder of a 20th-century tradition of Uzbek art music. Mushel’s musical style was formed under multiple influences stemming from Western (Soviet) and Uzbek folk traditions. While Soviet scholars (Pekker, Vyzgo, Golovyants and Plungyan) claimed that Uzbek folk music had the strongest influence on Mushel’s style, their studies were limited to accounts of the contextual origins of his music, and analysis of scores; they gave very little consideration to performance aspects.Taking Mushel’s Sonatine for Flute and Piano (1948) and Sonata for Cello and Piano (1951) as case studies, this exegesis discusses the challenges of performance and interpretation in maintaining the folk-inspired style of the music while playing Western classical instruments. An investigation of specific performance practices observed in traditional Uzbek music reveals some performative elements and nuances that are not represented in the score, but which performers must absorb to create fully informed interpretations of the music. This investigation focusses on the performance challenges related to the interpretation of ornaments and the use of rubato in Uzbek music.To guide this research three main questions are addressed: 1) What contextual knowledge—especially knowledge concerning Mushel and his musical style, Uzbek culture, Uzbek folk music, and Soviet influences—is required to create a platform for interpreting the repertoire selected in this study and other Uzbek Soviet music more generally? 2) What performative elements or nuances from Uzbek folk music do performers need that are not represented in the score? 3) How do they acquire these performative elements or nuances?This artistic research uses practice-based methods to investigate these questions. The author’s own experience and knowledge of Uzbek music is a key part of the practice-led process employed to develop recommendations for performance and interpretation of the chosen repertoire. The outcomes of this research have been expressed in two ways: as a written exegesis and as a recorded live performance.A specific outcome of this project is that performers will be able to use the information to gain a better understanding of Mushel’s works and of Uzbek art music generally. More broadly, this exegesis seeks to expand our understanding of the problems posed for musicians learning an unfamiliar repertoire in the context of culturally remote music (Uzbek chamber music) and to shed some light on available solutions. This study was informed by the historical context of the music, especially with the performance conventions of traditional Uzbek music. Expanding on what is broadly defined as historically informed performance and the performance practices of 17th- and 18th- century European art music, this study explores Soviet art music in the mid-20th century, in particular, Central Asian (Uzbek) traditions.

The following interview with Austrian composer Werner Schultze presents the composer’s biography and artistic evolution. The composer describes his musical style, his interest in other disciplines, and his efforts to conjoin different branches of knowledge together with music and to give each one of them a musical interpretation. Thereby, his efforts result in such striking phenomena as “Philosophy in Music, “Theology in Music,” “Mathematics in Music,” each of these categories becomes realized by original highly-imaginative musical compositions, such as “Lull” (devoted to the medieval mystic Ramon Lull), “Schopfunggesange” (“Songs to the Creation of the World”), “Franziscus” (honoring St. Francis of Assissi), “Anchibasie” (devoted to the Greek philosopher Heraclitus), “Sokrates” (written about the life and death of Socrates, according to Plato’s texts) and many others.

This paper examines the evolution of the signature traits of Borys Liatoshynsky’s instrumental chamber music during the 1910s and 1920s in the context of the overall evolution of the composer’s expressive means. Also presented is the complex analysis of Liatoshynsky’s creative personality in his early (the 1910s) and modernist (1920s) periods in order to outline the impact of the cultural and historical environment the artist lived in during the late 1910s, as well as the influence of the troubled sociocultural situation of the time on his imagery. It was found that in the 1910s Liatoshynsky turned to modifying expressive means of late Romanticism; however, during the 1920s the palette of his instrumental chamber music shifted to symphonic experiments. For Liatoshynsky, instrumental chamber music becomes a testing ground for his creed as a symphonic composer with the respective imagery and existential drama behind his design

The history of music, and especially that of jazz and the popular music styles it spawned, was from the start a story of blends and creations out of these blends. Music thus constantly provides a demonstration that the ideologies positing non-Europeans as inferior and segregation policies never had any foundation. From the mid-19th century, Afro-American music styles, first as a borrowing form of Blackface Minstrel songs, then under the name of jazz, took part in these creative mixes. Jazz helped to conceive and symbolically express an identitarian complex at the same time asserting that blacks are human beings like any other and that they have a specific contribution to make to human culture. South African endeavors to appropriate jazz and its local stylistic evolutions thus became closely tied into the political events that marked South African in the 20th century and the successive ideological reformulations of the fight against racism.

Understanding Japanese culture presupposes an in-depth knowledge of its history. A closed country that lacked international contact until the mid-19th century, Japan imposed a form of cultural development that is often difficult to transmit in a Western context. Following the Tokugawa Shogunate (1603–1867), the subsequent Meiji Restoration (1867–1912) began an important period, with the reawakening of international relations and, therefore, encounters with other cultures. However, it should not be forgotten that from 500 AD Asuka Period (538–710) an interesting syncretism between Shinto and Buddhism, originating from India, characterized the development of cultural heritage and its policies, which were updated as early as 1871 by the young emperor Meiji. This chapter, thanks to the support of public and private institutions, of the citizens, and of professors of different universities in Japan, describes the experiences of urban heritage realized in the cities of Kyoto and Osaka. Kyoto is today a cultural city, but was previously the ancient capital of Japan from 794 (Heian period) until 1867 when, at the beginning of the Meiji period (1868–1912), Tokyo (literally "Eastern Capital") was made the new capital (Fiévé, 2008). Osaka was Japan's industrial capital but, in recent years, with the process of deindustrialization, the municipality has worked to realize cultural regeneration and to give the city a new image. This contribution will introduce different approaches to a participative project for the conservation of cultural heritage. From the late 19th century in Japan cultural policy has been very close to citizens and educates communities to respect their heritage. Thus, the main aim is to present the cultural approaches towards the accessibility and securitization of cultural heritage in Japan through practices realized in Kyoto and Osaka, two international cities that, in recent years and with the co-operation of their citizens, have demonstrated great capacities in projects that valorize their cultural inheritance.

Often the ‘forgotten’ form in media and cultural studies, contemporary music radio remains a significant presence in the daily pleasures of Australians. This paper briefly explores the current regulatory, technological and cultural challenges confronting the local music radio industry. The music format is taken as the key source of engagement between station, advertiser and audience, at the intersection of relationships with the music industry. As the music radio industry is forced to question its traditional modes of delivery and reception, it is argued that a re-examination of the role of contemporary music formats within wider local music infrastructure is needed, particularly in the development and presentation of new artists and music genres, and radio's role in the maintenance of ‘heritage’/canonical artists and genres.

The Baltic Paradigm.Following Letonica No. 51 (see Eglja-Kristsone, Oga 2023), this issue of Letonica delves into various aspects of cultural, literary, and artistic developments during the period of Stagnation.This issue continues to navigate the intriguing terrain of Baltic literary and cultural expressions during the Brezhnev Era, a period marked by a unique mix of political rigidity and cultural dynamism.It explores themes ranging from gender roles and socialist ideals to cultural policies, education, and memory discourse, thus unraveling the complex layers of Baltic societies in this era of transformation.Each article provides a distinct perspective, enhancing our understanding of the historical, cultural, and expressive intricacies of this period in the Baltic states.

Learn how to define Mariachi or ranchera singing, originally an oral folk tradition from the early 1800s, ranging from the western states of Mexico up through the Southwest United States as far as San Francisco, California. Mariachi singing has always been colorful, collaborative, and artistic, combining voice, instrumentalists, and dance. They unite together celebrating lifestyle events in communities. Chapter 1 defines the identifying features of the mariachi vocal style, and the variety of terms used to describe Mexican song as relates to this style. The vocal aspects of ranchera music take on their own history in Chapter 2, leading ranchera music towards stardom in charro movies after 1937. Today’s growth of mariachi programs in the United States is well established, but vocal awareness, and vocal standards of excellence have yet to be established and integrated. The tradition leans on vocal repertoire. Despite these conditions, today, ranchera music, continues to grow as an important international symbol of Mexico and is honored as such by UNESCO.