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The presented research is devoted to highlighting the stylistic features of the processing genre in the piano work of Zhang Zhao. Zhang Zhao’s work is aimed at preserving the traditional musical art of China and popularizing it in the world music arena. From this point of view, the genre of processing in the work of Zhang Zhao occupies a special place. The composer chose folk songs of various ethnic groups inhabiting the territory of the PRC as material for processing. However, the methods of processing these songs, regardless of their national identity, are very close. The analysis of piano pieces in the genre of processing demonstrated the composer’s penchant for certain kinds of means.The purpose of the research is to determine the palette of means used by the composer Zhang Zhao in his piano pieces, written in the genre of processing.The research methodology is a comprehensive approach, in line with which the methods of culturological, historical, comparative and music-theoretical analysis such as holistic, stylistic and genre are used. In addition, the method of active illustration (E. Vyazkova’s term) aimed at confirming the considered provisions through the involvement of significant visual material in the form of musical examples, poetic texts and illustrations is used. The works of a general nature which cover the issues of style theory including national one were the theoretical and methodological basis of the concept.The scientific novelty of the research lies in the fact that for the first time the characteristic of stylistic features of piano pieces in the processing genre by the composer Zhang Zhao were revealed.Conclusions. Zhang Zhao’s analysis of piano pieces showed that most of these pieces have a structure based on a two-time theme and a small concluding section. The author most often chooses texture and register changes as the main means of development, that is, those means that contribute to the preservation of the original thematic material unchanged. The ostinato of the accompaniment part plays an important role in many of Zhang Zhao’s piano arrangements. At the same time, the predominance of certain developmental methods in the plays analyzed does not exclude the presence of other transformation means. The choice is determined by the desire, firstly, to preserve in the processing as close as possible to the original sound of the thematic material, and secondly, to reveal the full range of expressive potential of the theme in each piece.

The orchestration of Karabyts’ Third Concerto for Orchestra “Holosinnia” (“Lamentations”) has been studied. The relevance of the study. Despite a number of research works on Karabits’ Third Concerto its orchestration remains little studied yet. Therefore, the main objective of the paper is to examine orchestration of the Third Concerto for orchestra and to research the interaction between ‘traditional’ and ‘innovative’ traits in Concerto’s orchestration. The methods of the research. The score analysis lies in the core of the paper but historical, comparative, and semiotic methods of analysis have been applied as well. Attention is focused on the combination of traditional and innovative origins which paved the way for the composer to rethink the methods of presentation in the orchestra. Thus, these transformations reflect the original (author’s) approach to the genre. It was emphasized that Karabyts interprets the synthetical character inherent to the concerto for orchestra genre particularly wide. It is emphasized that this approach allows the composer to identify a palette of genres of instrumental music: for one performer, different combinations of chamber ensembles, concerto grosso and solo instrumental concerto. In particular, the opposition between two groups was strengthened not only due to unequal quantity of performers in each of them (concerto grosso), but also by relying on the different nature of the material or the use of bells or tube, quite rare in this role, to solo (solo concerto). The combination of traditional and innovative is reflected in the composition of the orchestra (paired with a large percussion group) and the approach to percussion instruments (endowing them with melodic, semantic, formative and other functions). It is emphasized that Karabyts repeatedly applies “percussion-like" interpretation in relation to other instruments. Such an approach results in a qualitative transformation of the instruments: the inherent warmth of a string timbre decreases; the singularity of each wind color neutral-lizes. Complications of semantics at each rhythmic, intonation, and timbre ostinato formulas are revealed. The introduction of a particular (author’s) approach to the baroque tradition of combining the functions of a soloist and a capellmeister, the manifestation of which is the solo of bells perso-nally made by Karabyts, has been noticed. The conclusions state that the Concerto’s orchestration plays important role in dialectically combination of “objective” and traditional (the passage of time, the history of the people, destiny) with “subjective” and individual (the author’s attitude to events and their rethinking). Such an approach is typical for the twentieth-century musical art. The significance of the research is that it reveals the importance of orchestration as a means of expression and thus brings better understanding of the functional potential of orchestration within the frame of the twentieth-century art tendencies.

'Mouth’s Cradle', from Björk’s 2004 album Medúlla, combines a vocal line of considerable flexibility with a carefully outlined yet rather unusual structure. This article discusses the inspiration behind the song and analyze its structure. A particular focus is the interaction of structure and improvisation, the tension that exists between the inherent flexibility of Björkʼs melodic impulse and a formal scheme that is worked out in full only during the later stages of the creative process. In addition to the analysis of the song as it appears on Medúlla, the article also compares two later live performances that differ considerably in the treatment of a key moment in the song. By way of contrast, the article also discusses the ostinato-based 'Oceania', from the same album, which demonstrates a very different approach to the limits of structure and improvisation.

The article is devoted to the oriental compositions of the American composer Charles Griffes (1884–1920), created in the 1910s. These include the symphonic poem “The Pleasure-Dome of Kubla Khan” (1912–1917), the vocal cycle “Five Poems of Ancient China and Japan” for voice and piano (1916–1917), and the Japanese pantomime “Sho-Jo” (1917). Significant creative contacts (Eva Gauthier, A. Coomaraswamy, E. Bloch, A. Bolm, M. Ito), extensive reading, fascination with folklore, poetry, painting, and philosophy of Asian countries led to the formation of his own method of working with oriental materials. The composer saw prospects for the interaction of Western and Eastern music in his address to the archaic, to the stylization of ancient folklore. An example is the music for the pantomime “Sho-Jo” and the cycle “Five Poems of Ancient China and Japan.” Natural modes (pentatonic modes), organ points, ascetic quarto-quinto-second verticals, spatial sound, and rhythmic ostinato allow us to draw parallels with new folkloristics, in particular, with the works of I. F. Stravinsky. In the symphonic poem “The Pleasure-Dome of Kubla Khan,” the European influences at the forefront are associated with the study of the “Russian” East (first of all the writings of N. Rimsky-Korsakov) and the French oriental pieces by C. Debussy and M. Ravel. Colorful in mood and harmony, a multi-layered texture, and spicy timbers testify to the features of impressionism. The technique of orchestral writing enables us to find similarities with Ravel’s “Sheherazade” Overture. Also, the works of Griffes brightly revealed features of the Art Nouveau style: the image of dance, the increased interest in the element of water, ornamental melodies-arabesques, and the independence of timber layers.

In the introductory part, we get a perception of the importance of musical scores in horror films. In the main part, we can see the genesis of the collaborations, but also the circumstances in which the music was created. Williams' score for Jaws abounds in powerful melody that is achieved with a two-tone ostinato. Herrmann created a simple yet piercing violin sound for Psycho that takes everyone's breath away. The third film shows European composer’s ability to adapt to challenging situations, who created a series of exceptional themes for Coppola's adaptation of Bram Stoker's Dracula. U uvodnom dijelu dobivamo percepciju o važnosti glazbenih partitura u horor filmovima. U glavnom dijelu možemo vidjeti genezu nastajanja suradnja, ali i okolnosti u kojima je glazba nastajala. Williamsova partitura za Ralje obiluje moćnom melodijom koja je postignuta dvotonskim ostinatom. Herrmann je za Psycho stvorio jednostavan, ali prodoran zvuk violina koji svima zaustavlja dah. U trećem filmu se uočava kameleonska sposobnost europskog skladatelja koji je stvorio niz izuzetnih tema za Coppolinu adaptaciju Stokerove Dracule.

For four hundred years, the zikir ritual has been performed weekly in Kadirîhâne in Istanbul. Sufi rituals are believed to have been compiled by the founder (pîr) of the order. The ritual conductor (şeyh, postnişin) symbolizes the founder. The ritual form consists of chanting (dhikr) several divine names (esmâ). While participants perform the divine names with drone-like melodic repetitions or guttural rhythmic ostinatos, musicians perform songs, recitations, and improvisations. Through rhythmic enunciation, body sway, and breath control, these chants are embodied as ostinatos while music varies the mood. The ostinato polyphony between the derviş and zakir, as well as the succession of the divine names symbolizes unity (tevhid) in different ways. The manners and the formality of the ritual (ethics) and their musical expressions (aesthetics) implies harmony that leads to communal and/or individual unity. This article examines the form and content of the ritual, and shows their relation to Sufi concepts.

The novelty of the article lies in expanding knowledge about the contemporary outstanding musicians using the example of the performance analysis of the piano cycles of the Estonian composer Rene Eespere in the context of their sound embodiment. The purpose of the article is to identify the specificity of the sound embodiment of R. Eespere’s piano cycles: “4 ostinato” and “24 preludes” (first book). The research methodology is based on an integrated approach that combines the principle of musical-theoretical and performance analysis, which are necessary for solving the tasks set in the article. Results and conclusions. The article examines the creativity of the Estonian composer Rene Eespere on the example of his piano cycles “4 ostinato” and “24 preludes” (first book). The paper detects the key tasks that arise before the performer and contribute to the sound embodiment of the proposed compositions. The basis for this research was the personal performance experience of the article’s author; work in the class of Professor S. Yushkevich; audio and video recordings of piano cycles, as well as direct communication with R. Eespere in the format of electronic correspondence. The article reveals the main features of his composer style, which synthesizes the traditions of Western European and national culture. In addition, the work shows R. Eespere’s gravitation towards minimalism in music. Ostinato is a characteristic manifestation of the composer’s creative thinking in these piano cycles. This compositional technique determines the different emotional orientation of each piece. The article also examines the variants of texture formulas in the proposed piano opuses, which require mobility from the performer in changing pianistic techniques. Analytical study of these works made it possible to identify the following performance tasks: the stability of intricate rhythmic complexes, subtle dynamic nuances, timbre variety, moderate pedalling, as well as the use of expressive key touch. In general, the sound embodiment of the piano cycles of the Estonian composer R. Eespere brings out new facets in understanding of musical context and contributes to the formation of a performance experience so valuable for the development of modern piano art., Актуальность статьи заключается в расширении знаний о выдающихся музыкантах современности на примере исполнительского анализа фортепианных циклов эстонского композитора Рене Эеспере в контексте их звукового воплощения. Цель статьи — рассмотреть специфику звукового воплощения фортепианных циклов Р. Эеспере: «4 остинато» и «24 прелюдий» (первая тетрадь). Методология базируется на совокупности научных подходов, необходимых для раскрытия проблематики данной статьи. За основу взят комплексный подход, сочетающий принцип музыкально-теоретического и исполнительского анализа. Основные результаты и выводы. Рассмотрено творчество эстонского композитора Рене Эеспере, его фортепианные циклы «4 остинато» и «24 прелюдии» (первая тетрадь). Выявлены ключевые задачи исполнителя относительно звукового воплощения указанных сочинений. Материал для исследования: личный исполнительский опыт автора статьи, работа по специальности в классе профессора С. Ю. Юшкевича, аудио- и видеозаписи фортепианных циклов, а также непосредственное общение с Р. Эеспере в формате электронной переписки. Раскрыты основные черты его композиторского стиля, синтезирующего традиции западноевропейской и национальной культур. Выявлено тяготение Р. Эеспере к минимализму в музыке. Характерным проявлением творческого мышления композитора в избранных фортепианных циклах является остинатность, посредством которой определяется эмоциональная направленность каждой пьесы. В фортепианных опусах Р. Эеспере рассмотрены варианты фактурных формул, требующих от исполнителя мобильности в применении пианистических приёмов. Аналитическое исследование избранных произведений позволило определить следующие исполнительские задачи: стабильность сложных ритмокомплексов, тонкая динамическая нюансировка, тембровое разнообразие, умеренная педализация, использование выразительного туше. В целом, звуковое воплощение фортепианных циклов Р. Эеспере раскрывает новые грани в понимании музыкального контекста и способствует формированию исполнительского опыта, столь важного для развития современного фортепианного искусства., Визначені найважливіші виконавські завдання, що виникають у процесі інтерпретації фортепіанних циклів естонського композитора Рене Ееспере. Використано особистий досвід автора дослідження, набутий у роботі над творами естонського митця в класі зі спеціальності заслуженого артиста України, професора С. Ю. Юшкевича, під час концертно-виконавської практики, особистого листування з композитором, а також аудіо- та відеозаписи виконань Тармо Ееспере. За матеріал обрано цикли «4 остинато» і «24 прелюдії», загальну ідею яких можна визначити як рефлексію автора на закони Всесвіту за допомогою символіки чисел: 4 — форми буття, 24 — уся сукупність його елементів. Окреслено піаністичні проблеми творів, їх зв’язок із національними та загальноєвропейськими традиціями фортепіанного мистецтва. Розглянуто аспекти, що сприяють розумінню і втіленню змісту фортепіанних опусів: історія створення, принципи композиторського мислення, специфіка музичної мови. Доведено, що за допомогою остинатності (цикл «4 остинато») — нескінченне повторення однієї й тієї ж ритмічної фігури — автор виражає певний емоційний стан: споглядальність (№ 1), збудження (№ 2), рухливість (№ 3), статичність (№ 4). Загальну ідею циклу можна порівняти з філософською формою пізнання світу. За основу кожної мініатюри автор обрав унікальну фактурну формулу. Остинатність досить легко ідентифікується слухом завдяки багаторазовому відтворенню, але кожне повторення відкриває новий змістовний контекст, що втілюється завдяки тембру, динаміці, артикуляції, звуковисотній організації. Цикл «24 прелюдії» став своєрідним творчим «портфоліо», у якому ретельно дібрані й упорядковані певні зразки композиторського письма Р. Ееспере. Цей опус є вичерпною творчою лабораторією, у якій поєднані ознаки токатного трактування інструмента з кантиленним, трапляються різноманітні фактурні формули, що вимагають від виконавця мобільності у зміні піаністичних прийомів.

The presented research is devoted to the study of the rhythmic organization’s peculiarities in the songs of E. Sabitoglu. Emin Sabitoglu is an outstanding Azerbaijani composer, whose work leaves many generations of domestic listeners not indifferent. The work of Emin Sabitoglu, being famous and popular, often attracts the attention of Azerbaijani musicologists. At the same time, the stylistic features of the composer’s songs have never before become the object of special scientific research. The purpose of the researchis to study one of the important elements of the musical language in the songs of the Azerbaijani composer E. Sabitoglu, namely rhythm, to determine the features of their rhythmic organization. The research methodologyis determined by the purpose of the research, for the achievement of which, the author uses a comprehensive analysis. At the same time, theoretical analytical analysis has acquired a leading role in the research process. The scientific novelty of the researchis that for the first time in musicology determining the features of rhythmic organization in the songs of theAzerbaijani composer Emin Sabitoglu is being solved. Conclusions. A detailed analysis of the rhythmic basis of E. Sabitoglu’s songs demonstrated the presence of certain stylistic features in this area. Firstly, it is arhythmic ostinato, used in a variety of practically all-vocal miniatures of the composer. Secondly, the rhythmic variation, widespread in the songs of thecomposer, has many ways of implementation in the development of each specific song. Note that the presence of the principle of rhythmic variation in the songs of the composer is associated with the traditions of national vocal folklore since the variation is one of the leading principles of development in Azerbaijani folk songs. Thirdly, the method of sound visualization takes an essential place in E. Sabitoglu’s songs, the realization of which is directly conditioned by the use of expressive possibilities of rhythm. The use of expressive possibilities of rhythm in this area contributes to the creation of a vivid and almost visibly felt artistic image.

The presented research is devoted to the study of the rhythmic organization’s peculiarities in the songs of E. Sabitoglu. Emin Sabitoglu is an outstanding Azerbaijani composer, whose work leaves many generations of domestic listeners not indifferent. The work of Emin Sabitoglu, being famous and popular, often attracts the attention of Azerbaijani musicologists. At the same time, the stylistic features of the composer’s songs have never before become the object of special scientific research. The purpose of the research is to study one of the important elements of the musical language in the songs of the Azerbaijani composer E. Sabitoglu, namely rhythm, to determine the features of their rhythmic organization. The research methodology is determined by the purpose of the research, for the achievement of which, the author uses a comprehensive analysis. At the same time, theoretical analytical analysis has acquired a leading role in the research process. The scientific novelty of the research is that for the first time in musicology determining the features of rhythmic organization in the songs of the Azerbaijani composer Emin Sabitoglu is being solved. Conclusions. A detailed analysis of the rhythmic basis of E. Sabitoglu’s songs demonstrated the presence of certain stylistic features in this area. Firstly, it is a rhythmic ostinato, used in a variety of practically all-vocal miniatures of the composer. Secondly, the rhythmic variation, widespread in the songs of the composer, has many ways of implementation in the development of each specific song. Note that the presence of the principle of rhythmic variation in the songs of the composer is associated with the traditions of national vocal folklore since the variation is one of the leading principles of development in Azerbaijani folk songs. Thirdly, the method of sound visualization takes an essential place in E. Sabitoglu’s songs, the realization of which is directly conditioned by the use of expressive possibilities of rhythm. The use of expressive possibilities of rhythm in this area contributes to the creation of a vivid and almost visibly felt artistic image., Представленное исследование посвящено изучению особенностей ритмической организации в песнях Эмина Сабитоглу – выдающегося азербайджанского композитора, творчество которого оставляет неравнодушными многие поколения отечественных слушателей и будучи известным, популярным, часто привлекает внимание азербайджанских музыковедов. Вместе с тем никогда прежде стилистические черты песен композитора не становились объектом специального научного исследования. Цель исследования – изучение одного из важных элементов музыкального языка в песнях азербайджанского композитора Э. Сабитоглу, а именно ритма; определение особенностей ритмической организации. Методология исследования определяется целью исследования, для достижения которой использован комплексный анализ. При этом ведущее значение в процессе исследования приобрели теоретический и аналитический методы. Научная новизна исследования заключается в том, что впервые в музыковедении решается проблема определения особенностей ритмической организации в песнях азербайджанского композитора Эмина Сабитоглу. Выводы. Подробный анализ ритмической основы песен композитора Э. Сабитоглу продемонстрировал наличие определенных стилистических особенностей. Во-первых, это ритмическое остинато, в разнообразии примененное практически во всех вокальных миниатюрах композитора. Во-вторых, ритмическая вариантность, широко распространенная в песнях композитора и имеющая множество способов реализации в развитии каждой конкретной песни. Отметим, что наличие принципа ритмической вариантности в песнях композитора связано с традициями национального вокального фольклора, так как вариантность – это один из ведущих принципов развития в азербайджанских народных песнях. В-третьих, существенное место в песнях Э. Сабитоглу занимает прием звукоизобразительности, реализация которого напрямую обусловлена использованием выразительных возможностей ритма, что, в свою очередь, способствует созданию яркого и почти зримо ощущаемого художественного образа., Представлене дослідження присвячене вивченню особливостей ритмічної організації в піснях Еміна Сабітоглу – видатного азербайджанського композитора, творчість якого залишає небайдужими багато поколінь вітчизняних слухачів і бувши відомою, популярною, часто привертає увагу азербайджанських музикознавців. Водночас ніколи раніше стилістичні риси пісень композитора не були об’єктом спеціального наукового дослідження. Мета дослідження – вивчення одного з важливих елементів музичної мови в піснях азербайджанського композитора Е. Сабітоглу, а саме ритму; визначення особливостей ритмічної організації. Методологія дослідження визначається метою дослідження, для досягнення якої використано комплексний аналіз. Водночас провідне значення в процесі дослідження набули теоретичний та аналітичний методи. Наукова новизна дослідження полягає в тому, що вперше в музикознавстві вирішується проблема визначення особливостей ритмічної організації в піснях азербайджанського композитора Еміна Сабітоглу. Висновки. Докладний аналіз ритмічної основи пісень композитора Е. Сабітоглу продемонстрував наявність певних стилістичних особливостей. По-перше, це ритмічне остинато, в розмаїтті застосоване практично в усіх вокальних мініатюрах композитора. По-друге, ритмічна варіантність, що широко поширена в піснях композитора і має безліч способів реалізації в розвитку кожної конкретної пісні. Відзначимо, що наявність принципу ритмічної варіантності в піснях композитора пов’язана з традиціями національного вокального фольклору, оскільки варіантність – це один з провідних принципів розвитку в азербайджанських народних піснях. По-третє, істотне місце в піснях Е. Сабітоглу займає засіб звукозображальності, реалізація якого безпосередньо обумовлена використанням виразних можливостей ритму, що своєю чергою сприяє створенню яскравого і майже відчутного художнього образу.

The presented research is devoted to the study of the rhythmic organization’s peculiarities in the songs of E. Sabitoglu. Emin Sabitoglu is an outstanding Azerbaijani composer, whose work leaves many generations of domestic listeners not indifferent. The work of Emin Sabitoglu, being famous and popular, often attracts the attention of Azerbaijani musicologists. At the same time, the stylistic features of the composer’s songs have never before become the object of special scientific research. The purpose of the research is to study one of the important elements of the musical language in the songs of the Azerbaijani composer E. Sabitoglu, namely rhythm, to determine the features of their rhythmic organization. The research methodology is determined by the purpose of the research, for the achievement of which, the author uses a comprehensive analysis. At the same time, theoretical analytical analysis has acquired a leading role in the research process. The scientific novelty of the research is that for the first time in musicology determining the features of rhythmic organization in the songs of the Azerbaijani composer Emin Sabitoglu is being solved. Conclusions. A detailed analysis of the rhythmic basis of E. Sabitoglu’s songs demonstrated the presence of certain stylistic features in this area. Firstly, it is a rhythmic ostinato, used in a variety of practically all-vocal miniatures of the composer. Secondly, the rhythmic variation, widespread in the songs of the composer, has many ways of implementation in the development of each specific song. Note that the presence of the principle of rhythmic variation in the songs of the composer is associated with the traditions of national vocal folklore since the variation is one of the leading principles of development in Azerbaijani folk songs. Thirdly, the method of sound visualization takes an essential place in E. Sabitoglu’s songs, the realization of which is directly conditioned by the use of expressive possibilities of rhythm. The use of expressive possibilities of rhythm in this area contributes to the creation of a vivid and almost visibly felt artistic image.

The article examines the work of a prominent Belgian violinist and composer, E. Ysaÿe, as a representative of Belgian national culture in several different aspects: the incorporation of folklore in his music, his expertise of the Belgian violin school, his life as a follower of C. Franсk, and his role in the wide field of Belgium's artistic and cultural traditions. Folklore is manifested through modal combinations, biphonic and polyphonic layers, the use of parallelisms, in which the author unites anhemitonic and chromatic scales, tone-splitting, etc. E. Ysaye, demonstrates ethnic intensity in ―Village Dance‖, ―Aurora‖ from Sonata No. 5, the Finale from Sonata No. 1 , Mazurkas, Sonatas for 2 solo violins, the symphonic work "Nostalgia", and the opera "Pierre Rudocop". Сomposer is inspired by folk techniques, methods of sound production, types of bowings, rubato, and the use of primitive forms of polyphony- bourdon and ostinato, which are presented in a striking variety by Ysaÿe. Тhe enthusiasm for playing violin folk music, obviously contributed to the creation of a new modern school of violin technique in the twentieth century. In the traditions of Belgian professional music, nationalism manifested itself in the revival of choral music, re-examining the polyphonic techniques of ancient masters (under the influence of C. Franck), in particular, the Franco-Flemish school and Belgian organ school use canonic-imitation, allusions of linear thinking, and medieval mensural notation (2nd movement of Sonata No. 2). The artist also contributed to the growth of Belgian music in the Wallonie culture, of which the famous representative, C. Franck, was born, and his devoted student, E. Ysaÿe, became the author of the only opera in the Wallonie language, "Pierre-Rudokop". Interesting and fruitful are E. Ysaÿe’s connections with the Belgian symbolists M. Metterlink and E. Verharn, evident through the lyrics of the poetic cycle in the ―London‖ trio. In the realm of violin performance - as the direct follower and disciple of the prominent violinist H.Vieuxtemps. Recently discovered violin concertos of the composer, the first of which is dedicated to H.Vieuxtemps, as well as other original works, and grandiose performances, attest to Eugene Ysaÿe’s striking representation of the Belgian national culture.

In his religious works, Francisco Guerrero several times uses a type of contrapuntal composition rather unusual in his period: writing on cantus firmus ostinato. For German musicologists, it represents one of the last forms of the medieval isorythmic motet. The architectural study, especially elaborate, is regulated by a real musical arithmetic scheme issued from ars música mathematica. Therefore, Guerrero dignifies his predecessors tradition illustrated by the Josquin des Prés's Miserere for 5 voices. He also succeeds his master Cristobal de Morales, appearing to make use of some of the former's models. Nevertheless he knows how to compose in an up-to-date manner and give oratorial meaning and efficiency to the ostinato, as the greatest rhetoricians. This peculiarity of this musical personality harmoniously combines with its innovating side -that of villancicos and polychorals motets- in order to give evidence of his universal genius. Dans son œuvre religieuse, Francisco Guerrero exploite à plusieurs reprises un type de composition contrapuntique relativement peu répandu à son époque: l'écriture sur cantus firmus ostinato. Pour les musicologues germaniques, ceci représente une des formes ultimes du motet isorythmique médiéval. Le travail architectural, particulièrement soigné, y est ordonné par une véritable arithmétique musicale, issue de l'ars música mathematica. Guerrero honore ainsi la tradition de ses prédécesseurs, illustrée par le Miserere à 5 voix de Josquin des Prés. Il suit également son maître Cristobal de Morales en lui empruntant, semble-t-il, quelques modèles. Mais son écriture sait se mettre au goût du jour, et confère à l'ostinato un sens et une efficacité oratoires dignes d'un grand rhétoricien. Cet aspect de sa personnalité musicale s'unit harmonieusement à son côté novateur -celui des villancicos et des motets polychorauxpour témoigner de son génie universel.

The article explores the Choral with Variations by Vincent d`Endy, a little-known work for the viola by the founder of the French School of Ancient Music neoclassical tendencies, that consisted in a revival and adaptation of wide palette of old polyphony genres that brightly showed up in work of this composer, the viola "Choral with Variations" op. 55. On verge of ХІХ-ХХ a century is observed the personal interest of composers by the genres of chaconne, passacalia, choral,by the baroque types of variations of soprano and basso - ostinato, fugues and others like that. As a follower of Cesar Frank and the founder of Schola Cantorum, Vincent d'Endy actively revives ancient genres, especially in instrumental music, completing his viola repertoire. Summarizing the observations regarding the form, the intonation-semantic content of the music, the timbre properties of the viola, aimed to embodiment of the tragical idea of this work, it should be noted that the composer builds a synthetic dramaturgical-compositional model that detects an alloy of different sources. With the prevalence of the choir basis (choir semantics appeals to choral singing in the spirit of majestic psalms, glorious hymns) there are signs of minor lullabies, monologues, elegies, nocturnes, etc., united under the denominator of baroque-type variations of passacalia. The individualized form of the work combines within the framework of a detailed one-piece composition the principles of strict and free variation, the sign of double variations, solved by late-romantic "characteristic" signs, and even the sonata structure with delineated zones exposition, development, and recapitulation. Difficult, semantically saturated canvas gravitates to the choral organ's timbral of C. Frank and the ancient masters; the psychologically-strained Tristan beginning, incarnate facilities of difficult harmonic vertical line finds out influence R. Wagner, symbolic-landscape soundtracks bring V.d`Endy closer to K. Debussy, which not sounds eclectic . The integrity and dramatic perfection of the composition, the depth of philosophical ideas embodied through the prism of the Chorale genre with variations, make it possible to define this work as one of the vivid examples of alt's polyphonic repertoire.

15. ve 16. yüzyıllarda uzun mesafeli deniz yolculukları sayesinde bilinmeyen diyarlar keşfedildikçe, Avrupa’da egzotik doğuya duyulan merak artmış, insanlar hayal gücünün de etkisiyle, daha renkli ve çekici dünyalara ilgi duymaya başlamışlardır. 19. yüzyılda da sanayileşme sürecinde oluşan zorlu koşullardan yorulan halkın psikolojik bir kaçış ihtiyacıyla bilinmeyen dünyalara duyduğu bu ilginin, egzotizm kavramının Romantik dönemdeki önemli itici güçlerinden biri olduğu düşünülebilir. Önceki dönem eserlerinde sadece yerel bir renk olarak görülen egzotizm, Romantik dönemde kavramlaşmıştır. Bu makalede, Wagner (1813-1883), Verdi (1813-1901), Bizet (1838-1875) ve Rimsky-Korsakov (1844-1908)’un operaları ve senfonik şiir örnekleri üzerinden egzotizmin Romantik dönemdeki etkisinin açıklanması amaçlanmıştır. Bizet’nin Carmen operasında nota örnekleri üzerinde, egzotik olarak nitelendirilen inatçı bas ve kromatik geçişlerdeki yoğunluk gibi öğeler incelenmiş; yine Bizet’nin Les Pêcheurs de Perles (1863), Wagner’in Parsifal (1812), Verdi’nin Aida (1871) ve Rimsky-Korsakov’un Scheherazade (1888) adlı eserlerinde ise egzotizmin seçilen konular, karakterler, mekânlar aracılığıyla nasıl yansıtıldığı araştırma yöntemi ile yorumlanmıştır. Wagner’de, seçilen egzotizm öğesinin olumsuz olarak yansıtıldığı, Verdi’de karakter, operanın geçtiği coğrafya ve mekânlar üzerinden belirgin bir egzotizm algısı yaratıldığı, Bizet’nin müziğindeki öğeler, mekân, karakter ve kostüm seçimleriyle, Rimsky-Korsakov’un karakter, coğrafya, mekân ve hikâye seçimiyle egzotizmi eserine yansıttığı tespit edilmiştir., As unknown lands were discovered in the 15th and 16th centuries because long-distance sea voyages became possible, Europe became increasingly interested in the exotic East. People in the West were attracted through the power of their imaginations to more colorful and attractive Eastern worlds. Perhaps, such curiosity about unknown worlds stemmed from a need for psychological escape in people tired of living in the difficult conditions caused by the industrialization processes of the 19th century. This impetus became a significant driving force for the envisioning of exoticism during the Romantic period. Exoticism was viewed merely as local color in musical works of the previous period, but it was conceptualized in the Romantic period. This paper attempts to elucidate the effects of exoticism in the Romantic period through the operas and symphonic poems of Wagner (1813–1883), Verdi (1813–1901), Bizet (1838–1875), and Rimsky-Korsakov (1844–1908). It examines elements described as exotic in the note samples in Bizet’s Carmen, including the ostinato bass and the intensity of the chromatic transitions. It was further discovered that Bizet’s Les Pêcheurs de Perles (1863), Wagner’s Parsifal(1812), Verdi’s Aida (1871), and Rimsky-Korsakov’s Scheherazade (1888) reflect exoticism through selected subjects, characters, and places. It was determined that the exotic element is negatively reflected in Wagner; Verdi creates a distinctive perception of exoticism through characters, geography, and settings; Bizet’s music conveys the exotic through the choice of places, characters, and costumes; and Rimsky-Korsakov reflects exoticism to his work through character, geography, setting, and story.

В статье рассматривается трансформация жанра романтической баллады в творчестве современного краснодарского композитора К. Пашкова. Во главу угла ставится когнитивный подход к жанру, который позволяет приблизиться к его архетипу, а затем проследить возможные пути деканонизации сложившейся жанровой формы. Опираясь на методы историко-культурологического, музыковедческого, а также сравнительного анализа делается вывод о трансляции жанровой модели романтической баллады за пределами XIX столетия. Введение в научный обиход цикла Пять пьес для струнного оркестра направлено на популяризацию творчества молодого талантливого композитора Кубани.The sociocultural existence of the genre outside its era is a problem that will never lose its relevance. In fact, the secondary use of the genre in various cultural texts is nothing more than an indicator of the viability of the morphological system of art. In the article, considering the transformation of the romantic ballad in modern culture, the author reveals the genre canon of the ballad, hidden in the depths of the authors layer of the work and turned into an image of the genre. To reconstruct the genre archetype of the ballad, its reference points are distinguished, which perform representative functions in the artistic culture. These include: the general intonation of the genrefear and sufferingarising from the invasion of the world of the dead into the world of the living plot motifs of love-in-death and fate the presence of two worldshere and beyond, which suggests a tragic outcome the character frame, consisting of a foreign alien, his beloved and a narrator compositional and dramatic balance of power corresponding to six plot functions (violation of the ritual taboo invasion of a foreign alien meeting of two worlds interaction of the worlds return of the alien wedding-funeral). The author chose the cycle Five Pieces for a String Orchestra, the work of the modern Krasnodar composer Konstantin Pashkov, as a vivid example illustrating the prolonging tendencies of the romantic ballad. Each piece of the cycle has a programmatic or genre title: No. 1 Volands Ball, No. 2 Ostinato, No. 3 Elegy, No. 4 Trioline, No. 5 Flying past Ireland. The self-explanatory names of plays 1 and 5 of the cycle send the listener to steady images, symbols of a romantic culture, in which the ball at the Satans was associated with the mythology of the Sabbath. As for the other three plays (Ostinato, Elegy and Trioline), their arrangement corresponds to three functions: invasion of a foreign alien (Ostinato), meeting of two worlds (Elegy) and return of the alien (Trioline). In the context of the whole cycle, the final piece, Flying past Ireland, is perceived as the final chord of evil spirits flying away. Thus, there is every reason to assert that the contours of the ballad genre in the Five Pieces for a String Orchestra by Pashkov are recognised at the level of a number of reference genre points. Firstly, in the depths of the subtext layer, the plot of the taboo ballad is hidden. Secondly, typical ballad motifs show through it. Thirdly, at the intonational-musical level, the main ballad characters are read. Finally, the compositional and dramatic organisation of the cycle has signs of a narrative ballad form: a prologue, a series of events enclosed in a triptych, and an epilogue. All of the above indicates that the genre of the romantic ballad is played out again in the works of modern composers. It was possible to identify the configuration of the genre signs of the ballad in the context of modern culture in the paradigm of cognitive poetics by restoring the archetypal ballad plot.

It is by now something of a commonplace for readers of Blanchot to claim that the limpid quality of his prose and the wealth of allusion woven through even his more opaque writings often have the p...

Three new works were commissioned for the pilot performance of Online Orchestra: In Sea-Cold Lyonesse by John Pickard, Spiritus Telecommunitas by Federico Reuben and Re-Tracing by Jim Aitchison. This article brings together post-project interviews with composers and detailed analyses of the final compositions in order to document how composers approached the challenge of writing music for a latency-rich environment. Solutions include the use of distributed textures, polyrhythm and ostinati, blurred transitions, slow rates of harmonic change, layered textures and semi-improvised rhythmic notation. This leads to consideration of the medium of Online Orchestra – a telematic performance environment for distributed young and amateur musicians to make music together – and the conclusion that latency-rich environments hold significant potential for composers.