scholarly journals Symphonic Cantata «In the Temple of Golden Dreams» by Arthur Lourie for Mixed Chorus a cappella (1919): Innovation in the Field of Musical Language

2017 ◽  
Vol 3 (1) ◽  
pp. 5.1-5.15
Author(s):  
Marina Zaytseva ◽  
◽  
Aleksey Chekmenev ◽  
Keyword(s):  
A Cappella ◽  
Musical Language ◽  
Mixed Chorus ◽  
The Temple ◽  
Symphonic Cantata

Four Madrigals, for Mixed Chorus (SATB), a cappella

Notes ◽  
1948 ◽  
Vol 6 (1) ◽  
pp. 177
Author(s):  
Paul Hume ◽  
Ned Rorem
Keyword(s):  
A Cappella ◽  
Mixed Chorus

scholarly journals Musical symbols of good and evil in “Psalms of Repentance” by Alfred Schnittke

2021 ◽  
pp. 139-157
Author(s):  
Nadezhda Velerovna Shirieva
Keyword(s):  
Instrumental Music ◽  
General Concept ◽  
A Cappella ◽  
Musical Language ◽  
Analytical Perspective ◽  
Musical Symbolism ◽  
Alfred Schnittke ◽  
First Time ◽  
Good And Evil

This article is dedicated to determination of the system of musical-expressive means used by Alfred Schnittke to symbolically reflect the ethical opposition of good and evil in the “Psalms of Repentance”. The relevance of this research is substantiated from the perspective of heightened attention of the composers of the XX century to the musical symbolism that replaced programmability. The study is based on the method proposed by E. M. Akishina for determining the symbols of good and evil in different layers of timbre and texture arrangement of instrumental compositions of A. Schnittke. Application of this method to “Psalms of Repentance” for a cappella choir allows tracing the manifestation of these symbols on the timbre, phonism, melodic arrangement, musical language, and composition. The novelty of this article consists in the fact that unlike instrumental music of A. Schnittke, his compositions for a cappella choir are viewed from such analytical perspective for the first time. The following conclusions were made: the choral and instrumental compositions of A. Schnittke contain a ramified system of musical-expressive means, which clearly distinguishes the symbols of good and evil;  these symbols outline the logic of dramatic development of each part of the “Psalms of Repentance”; their interaction within the framework of general concept of the cycle contains the ultimate ideological message – human choice, which determines his path along the line of sin as eternal Evil or through repentance – on the way towards God as the highest Good.

"EPIGRAPH BY COUNT TOLSTOY TO HIS NOVEL "ANNA KARENINA" BY R. SHCHEDRIN: PARADIGM OF POLYPHONIC THINKING

2021 ◽  
Vol 1 (2) ◽  
pp. 61-67
Author(s):  
N. V. Koshkareva ◽  
Keyword(s):  
Main Idea ◽  
Compositional Style ◽  
Musical Composition ◽  
A Cappella ◽  
Musical Form ◽  
Musical Language ◽  
Musical Culture ◽  
Anna Karenina ◽  
Literary Source ◽  
Mixed Choir

Rodion Shchedrin's choral work represents the most interesting area of modern musical culture. The object of the analysis is the composition "Epigraph by Count Tolstoy to His Novel "Anna Karenina" for mixed choir a cappella as a demonstration of the key feature of Rodion Shchedrin's compositional style — polyphonic thinking. This aspect becomes an argument for the relevance of the topic. Through the synthesis of research methods, the parameters of musical composition are studied: literary source, musical form, texture, and melody. In addition, the author reveals the "Russian theme" in the choral work of R. Shchedrin, identifies the specifics of the composer's individual choral style, and defines the aspects of polyphonization of the means of musical language. The "Epigraph" explains the main idea of L. Tolstoy's novel and concentrates on the most important contextual continuum development of all the events that take place. A wide semantic field of textual basis becomes an impulse for polyphonization of all musical expressive means. Polyphony as an idiom of R. Shchedrin's composer's handwriting is born, among other things, in the fusion of artistic trends and styles. In conclusion, it is emphasized that the literary basis of the "Epigraph", woven from historical, theological, philosophical, artistic and poetic layers, required a synthesis of traditional and innovative musical expressive means — "a new polyphonic word" in the author's expression of the main paradigms of the Russian theme by R. Shchedrin.

Stylistic Features of Works for Choir A Cappella by Dmitry Smirnov on the Example of Choir Concerto “Insomnia”

2021 ◽  
pp. 38-57
Author(s):  
А.В. Макарова
Keyword(s):  
Stable System ◽  
A Cappella ◽  
Musical Language ◽  
Choral Works ◽  
Special Place ◽  
John Chrysostom ◽  
The World ◽  
The One

В  творчестве современного петербургского композитора Дмитрия Валентиновича Смирнова (р. 1952) хоровые сочинения занимают особое место. В жанровом отношении именно концерт для хора представляет собой своеобразное «зеркало» творческого поиска композитора. Начиная с ранних сочинений начала 1980-х годов («Приявший мир», «Рождение крыла», Концерт для хора на стихи Н. Некрасова) и вплоть до созданного в 2006 году цикла «Набоковские песнопения» многочастные композиции хоровых концертов играли ключевую роль в процессе становления и постепенного усложнения хорового письма автора. Хоровой концерт «Бессонница» (1986) открывает новый этап в творчестве композитора. В этот период происходит окончательное формирование устойчивой системы стилистических особенностей музыкального языка; композитор обращается к созданию сложных многочастных композиций для хора a cappella. К данному периоду можно отнести такие сочинения, как Концерт для хора на стихи И. Анненского «Кипарисовый ларец», Концерт для хора на стихи О. Мандельштама «Я рожден в девяносто четвертом, я рожден в девяносто втором…» и «Молитвословия» из Литургии Св. Иоанна Златоуста. Сочинения указанного периода отличает многоуровневая смысловая полифоничность, которая находит свое отражение в  усложнении драматургии цикла и значительном расширении комплекса музыкально-выразительных средств композиторского письма. Таким образом, происходит окончательное формирование основных стилистических особенностей хорового языка Дмитрия Смирнова. Choral works occupy a special place in the work of the contemporary Petersburg composer Dmitry V. Smirnov (born 1952). In terms of genre, it is the concert for choir that is a kind of “mirror” of the composer’s creative search. Beginning with the early  compositions of the early 1980s (“The One Who Accepted the World”, “Birth of Wing”, Concerto for Choir on poems by Nikolay Nekrasov) and up to the cycle “Nabokov’s chants”, multi-movement compositions of choral concerts played a key role in the formation and gradual complication of the author's choral writing. The choir concerto “Insomnia” (1986) opens a new stage in the composer’s work. This is a period of final formation of a stable system of stylistic features of the musical language; the composer turns to creation of complex multi-movement compositions for a cappella choir. This period includes such compositions as Concerto for Choir on the poems of Innokentiy Annensky “Cypress Casket”, a Concerto for Choir on the verses of Osip Mandelstam “I was born in the ninety-fourth, I was born in the ninety-second...” (1989) and “Prayers” from the Liturgy of St. John Chrysostom (1992). The works of this period are distinguished by multilevel semantic polyphony, which is reflected in complication of the cycle's drama and a significant expansion of the complex of musical and expressive means of composer writing. Thus, the final formation of the main stylistic features of the choral language of Dmitry Smirnov takes place.

Musicians Wrestle Everywhere, for Mixed Chorus (SSATB), a cappella or with Strings

Notes ◽  
1948 ◽  
Vol 6 (1) ◽  
pp. 177
Author(s):  
Paul Hume ◽  
Elliot Carter
Keyword(s):  
A Cappella ◽  
Mixed Chorus

Psalm 126, for Mixed Chorus (SATTB) a cappella

Notes ◽  
1979 ◽  
Vol 36 (1) ◽  
pp. 204
Author(s):  
Clifford Cranna ◽  
Martin Boykan ◽  
George Perle
Keyword(s):  
A Cappella ◽  
Mixed Chorus

scholarly journals Symphonic Volume in the Symphony-Requiem by Bohdana Frolyak “Pravednaya Dushe”

2021 ◽  
pp. 182-195
Author(s):  
Yuliia Volovchuk
Keyword(s):  
Main Idea ◽  
Musical Language ◽  
Analysis Method ◽  
Musical Thought ◽  
Mixed Chorus ◽  
Leading Role ◽  
Current Trends ◽  
National Characteristic ◽  
Different Levels ◽  
Semantic Layer

Relevance of the study. The article is relevant as it studies the works of Bogdana Frolyak, who is a popular contemporary Ukrainian composer. Her music attracts the attention of performers and researchers and reflects the current trends of contemporary art such as musical language, new forms of choral sound, synthesis of genres. The Requiem Symphony “Righteous Ssoul” (lyrics by T. Shevchenko) is an example of a complex multidimensional nature genre renewal. Therefore, lack of research devoted to this work outlines a scientific novelty of this article. The objective of the study is to identify the features of symphony in the symphonyrequiem “Righteous Soul” by B. Frolyak. The research methodology is based on the interpretation analysis method proposed by V. Moskalenko. The concept of A. Adamyan is used to study symphonic principles. Results. Analysing the requiem symphony “Righteous Soul”, it was determined that the leading role is devoted to chorus, which serves as a main mean of expression. The choir is regarded as a symbol of collegiality and stands in as an active participant in the formation of musical thought and sounds through almost the entire opus (except for two vocal episodes). T. Shevchenko’s poetic lines are entrusted to mixed chorus and embody a main idea of the work. Choral fragments serve various functions starting from the creation of a harmonic background to being a main storyteller. At the same time, B. Frolyak’s composition realizes symphonic principles, which display themselves at different levels of organization of musical material. Symphonic patterns are expressed in timbre-textured and thematic connections, cross-cutting development, national instrumentation color and intonation transformations of themes. The composer’s principle of artistic thinking reveals parallels with the symphonic concept developed by A. Adamyan. Conclusion. A special genre multidimensionality is expressed in the symphony-requiem “Pravednaya Dushe”. B. Frolyak enriches the semantic layer of the work due to the features of the requiem. Composer takes an advantage of the cathedral’s choral sonority rich possibilities and uses the symphonic intonation and dramatic basis. At the intonation level, she unites all these features with the help of solospiv (solosining) — a musical symbol of Ukrainian nation. Finally, unique synthesis of supersubstantial spiritual and philosophic ideas with universal (symphony, requiem) and national characteristic (solospiv) genres makes B. Frolyak’s work one of the most original in the series of Ukrainian choral symphonies.

God Is My Strong Salvation. Mixed Chorus, a cappella. (1969)

Notes ◽  
1975 ◽  
Vol 31 (3) ◽  
pp. 665
Author(s):  
William B. Wells ◽  
Halsey Stevens
Keyword(s):  
A Cappella ◽  
Mixed Chorus
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