DOI: 10.25136/2409-8744.2019.1.28205

Abstract: This article suggest to examine the oratorio “Judas Maccabaeus” by G. F. Handel from the perspective of the tradition and realization of attributes of the genre in Western European art. The object of this research is the oratory works of G. F. Handel, while the subject is the determination of the system of music elements that comprise a musical act in the genre under consideration on the example of the oratorio “Judas Maccabaeus”. The goal of this study lies in the analysis of realization of the expressive and visual approaches of composer’s writing, traits of the characters, demonstration of the peculiarities of musical dramaturgy of the oratorio. Handel’s oratorios is the phenomenon that genetically relates to the various phenomena of art and philosophy; therefore, the author applies the comprehensive method of research, combining the historical and theoretical approaches towards the studying of the semantics of plot, space-time processes. Genre priorities, interaction of the collective and individual beginnings. The scientific novelty lies in the analysis of compositional-dramaturgical peculiarities of the oratory “Judas Maccabaeus”, musical and expressive means, as well as description of manifestation of the nation’s identity. The presented materials can be valuable for further examination of the Baroque music and performance technique.

DOI: 10.7256/2454-0625.2017.8.23756

Abstract: This article identifies characteristic features of choral music in relation to poetry. The purpose of this article is to review the specifics of the synthetic vocal-poetic form, identifying the constants of the relationship of the word with the musical material, in the analysis of the semantic presence of the text in a musical context and their influence on the content of the musical opus.The subject of research is the specific construction and organization of choral music. The study is based on the method of comparative analysis of musical and poetic rhythm. The author analyzes general mechanisms of synthesis of music and poetry in the choral works. Based on the poem by Mikhail Lermontov "In the Northern Wilderness", the author analyzes peculiarities of the rhythmic techniques of the embodiment of the poetic text, the figurative significance of the formulas emerging in the context of expressive means in the choirs by S. I. Taneev, S. V. Rachmaninoff, and N. A. Rimsky-Korsakov. The research methodology involves structural and rhythmic analysis of the musical text in which the poetic text is analyzed from the point of view of differentiating the meaning and role of music. The author analyzes the concept of "means of expression" and "music form" and proves the thesis that the dialectical relationship of word and music at the compositional level defines a holistic artistic image of choral music. The findings of the research can be used as practical recommendations on the content of the work in part poetic and musical analysis of choral works.

DOI: 10.7256/2454-0625.2017.8.23758

Abstract: This article is devoted to the teaching of intonation in conjunction with the development of the musical ear of the performer. The complex special abilities of the musician there are the most important value such as an ear for music, rhythm sense, motor-motor ability, musical, or intellectual operations. The author of the article discusses the specifics of intonational performance in establishing the dialectical relations of processes of perception and musical actions. The work is based on the intonation doctrine offered by B. V. Asafiev – justification of the essence of music as "art intonated sense." One of the central principles of developmental education is the intellectualization of knowledge. To understand music analytically and to comprehend means to grasp the expressive nature and the logic of relationships in the complex of expressive means. Tasks are defined methodologically by the desire to relate the methods of development of musical hearing and performance techniques, to identify ways of implementation in the learning process of these methods and techniques, the solution of which can ensure the formation of personal qualities of the performer. The author analyzes the concept of "intonation," "intoning", and "musical ear", and argues that the relationship between the processes of perception, thinking and action music defines the culture of musician's intoning. The findings of the research may serve as practical recommendations regarding teaching music which should be oriented, on the one hand, at developing performing and technical skills of playing the instrument, on the other – contribute to the artistic, aesthetic, creative development, culture, and intonation of the performer.