scholarly journals ВОКАЛЬНО-ЕСТРАДНЕ ВИКОНАВСТВО УКРАЇНИ КІНЦЯ ХХ – ПОЧАТКУ ХХІ СТ.

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Mass Culture ◽  
Mass Communication ◽  
Vocal Music ◽  
Pop Music ◽  
Music Culture ◽  
Musical Culture ◽  
Vocal Art ◽  
Definition Of

Наведено огляд досліджень щодо теорії музичної естради як частини масової культури. Розглянуто умови формування та становлення української вокально-естрадної музичної культури в контексті основ масового вокального мистецтва. Виявлено підходи до визначення естрадного мистецтва як соціокультурного явища в історичному континуумі, зазначено стилі і напрями масової музичної культури, а також роль засобів масової комунікації для поширення вокально-естрадного мистецтва. З’ясовано, що естрадно-вокальна музика розвивається в усіх доступних традиційних та новітніх, синтезованих жанрах і претендує на своєрідне значення в формуванні психологічного портрету сучасної людини.Ключові слова: масове мистецтво, естрада, вокал, музична культура. An overview of research on the theory of the musical variety as a part of mass culture as a whole is given. The conditions of formation and formation of Ukrainian vocal and variety music culture in the context of the basics of mass vocal art are considered. Approaches to the definition of variety art as a sociocultural phenomenon in the historical continuum are described, the styles and directions of mass musical culture, as well as the role of mass communication for the distribution of vocal and variety art are described. It is revealed that pop-vocal music develops in all available traditional and modern, synthesized genres and claims a peculiar importance in forming a psychological portrait of a modern man.Key words: mass art, pop music, singing, musical culture.

scholarly journals Variety and vocal art in the context of development mass culture

2021 ◽  
Author(s):  
Ivan Bobul
Keyword(s):  
Mass Culture ◽  
Interdisciplinary Approach ◽  
Pop Art ◽  
Spiritual Needs ◽  
Pop Music ◽  
Cultural Significance ◽  
Popular Art ◽  
Cultural Life ◽  
Show Business ◽  
Vocal Art

The aim of the work is to study pop and vocal art in the context of the development of mass culture, which is genetically determined and mediated by a number of its characteristics and traits. The research methodology involves recourse to an interdisciplinary approach, as well as the use of comparative, historical and logical methods of analysis and culturological approach in the study of these issues. The scientific novelty lies in the expansion of information on the development of pop and vocal art in the context of mass culture and the mediation of its main characteristics by the formats of mass art. Conclusions. The study found that the modern system of pop art, combined with the show business, reflects the state, trends and prospects of pop music, which can be improved by understanding the socio-cultural significance of mass culture and popular art, as well as a developed sense of responsibility the creators of mass culture. The development of musical variety should be based on the generalization of previous creative experience and inherited compositional and performing traditions. The current realities of socio-cultural life determine the fact that the substantive and professional components of pop music should be based on both traditional artistic and aesthetic ideas and the search for new views on art, relevant to modern trends, tendencies and spiritual needs of society. The intensification of the musical-performing process leads to the discovery of new horizons of mastering the artistic and creative space, which, in turn, will help update the paradigm of pop art, focusing on modern pop music as an important phenomenon of socio-cultural life.

THE DRAMATURGİCAL ROLE OF CHORAL SCENES İN VASİF ADİGOZALOV’S OPERA “DEAD”

2021 ◽  
Vol 6 (12) ◽  
pp. 57-67
Author(s):  
Leyla ZALIYEVA
Keyword(s):  
Main Idea ◽  
Vocal Music ◽  
Musical Language ◽  
Music Culture ◽  
The Public ◽  
Women's Choir ◽  
The Family ◽  
History Of ◽  
History Of Literature

Vasif Adigozalov was one of the artists who attracted attention during the brilliant development of the Azerbaijani composition school in the 70 s of the XX century. Born in Karabakh, a fascinating sorner of Azerbaijan, in the family of the famous and talented singer Zulfu Adigozalov’s works reflected the priceless pages of the national music culture. The story-based opera “The Dead”, which entered the history of literature as a comedy, is also regarded as the first comedy opera in our music history. However, every Azerbaijani who knows the work realizes what a great tragedy is actually happening here. V.Adigozalov began writing this work after graduating from the conservatory. The play was performed at the Azerbaijan State Opera and Ballet Theater named after M.F.Akhundof, in 1963. In V.Adigozalov’s opera, the choir acts as one of the main characters in the dramatic development of the work. Each choral stage server as a driving force within, as well as conditioning the course of events. The choir also represents the image of the public and character that expresses the main idea of the work. In this respect, particular attention should be paid to women’s choir. Because women who are victims of this ignorance. Therefore, the screams, deep tragedies and dramas of the women’s choir are reflected. Another concrete example of the women’s theme is seen in the scenes with Nazli and her mother. In particular, choral scenes, which express Nazli’s belief in the return of his dead sister, eventually lost all hope, and the moaning of traumatized young girls, are the dramatic culmination of the tragedy in opera. When we look at the musical language of the choirs, national intonation and rhythmic features draw attention. The intonations of folk music, characteristic of the composer’s musical language, are clearly felt in all stages of the opera and in the choir. Considering the unique melodies of V.Adigozalov’s vocal music in the vocal and choral performance is important. This direction is also reflevted in other music and stage work, including the composer’s vocal music.

scholarly journals Phraseological picture of the world in the texts of modern mass media

XLinguae ◽  
2021 ◽  
Vol 14 (2) ◽  
pp. 120-128
Author(s):  
Sagira Odanova ◽  
Botagoz Nurzhanova ◽  
Bayan Akkozhina ◽  
Zharkynai Kokanova ◽  
Bakhytzhamal Sadyrbayeva
Keyword(s):  
Mass Media ◽  
Mass Communication ◽  
Native Speakers ◽  
Cognitive Research ◽  
Language Representation ◽  
National Representation ◽  
The World ◽  
Definition Of ◽  
Modern Mass

The article deals with the definition of the phraseological picture of the world, reviews the existing approaches to its study in modern linguistics, and analyzes the objects of existing research that affect the problems of national representation of fragments of the phraseological picture of the world in the minds of native speakers. Also, the article examines the language picture of the world as a subject of study in the theories of modern communication. The article gives an up-to-date description of the content of this concept and its classification on various grounds (based on the object, subject, principles, and methods of language representation). The role of the linguistic picture of the world in the framework of the theory of intercultural and mass communication in semiotic and cognitive research is analyzed. The article further deals with the development and research of the linguistic picture of the world by both foreign and domestic scientists in this field. It describes the influence of the language of mass media on the picture of the world, namely, the work of journalists, where they use phraseology not only as it exists in the language, but also in a modified form, updating the semantics, structure and expressive and stylistic properties of phraseological turns.

scholarly journals Mass Culture And Sociocultural Trends In The 21st Century: Interrelations And Realization (on the example of certain pop music samples)

2021 ◽  
pp. 21-35
Author(s):  
Nelli Samikova
Keyword(s):  
Mass Culture ◽  
Pop Culture ◽  
Pop Music ◽  
Culture Studies ◽  
Modern Culture ◽  
Social Trends ◽  
Science Philosophy ◽  
The One ◽  
Definition Of ◽  
Analytical Section

The transformation of the concepts ―mass culture‖, ―pop culture‖ and those artistic genres, which are their components, in the scientific discourse of the 19th-21stI centuries is traced. The ways and results of the interaction of modern culture and society, which is the end-user of the cultural product, are studied. Some examples of modern cinema and music industry are analyzed, and it is determined that these two components being the most used by the consumer spheres of art directly reflect the world social trends. After having considered the key social processes it is possible to conclude that they are brightly represented in the modern popular music and this fact allowed not only to specify and systematize the ways of interaction between the music art and its consumers, but also to trace the ways of how exactly a mass consumer shapes the functioning and development of a popular and mass product. The ideas of combating various discriminations (by gender, identification - as in the case of LGBTQ+ community, by physique, etc.) and the creation of unified polycultural space have been defined as the most common ideas, that are broadcasting by performers. Therefore, in the analysis of selected works of pop music, a polycultural approach was used, which allows to consider them in terms of the synthesis of cultures and the formation of a global product, i.e. the one that will be understood and accessible to everyone. The analytical section includes compositions written by performers over the past few years that makes this analysis relevant and demonstrates that isolated trends occur now and continue to transform and change. Such comprehensive approach to the study of the mass culture can be useful to clarify the definition of this concept, as the interpretation and evaluation of this phenomenon of scientists today differs, despite the significant number of the mass culture studies and its individual forms in various fields of science — philosophy, culturology, sociology, psychology 

scholarly journals Pop-song and academic chamber vocal music: points of crossing

2021 ◽  
pp. 273-278
Author(s):  
Viktoriia Kushch
Keyword(s):  
20Th Century ◽  
Vocal Music ◽  
Point Of View ◽  
Pop Music ◽  
Dual Use ◽  
Musical Culture ◽  
Cultural Space ◽  
Cultural Methods ◽  
The Relationship

The purpose of the article is to identify the points of crossing of pop songs and academic chamber vocal music in the Ukrainian cultural and artistic space of the second half of the 20th century. The methodology involves the use of analytical, systemic and historical, and cultural methods to identify the relationship between the pop song genre and academic chamber vocal music in the Ukrainian musical culture of the second half of the 20th century. The scientific novelty of the work lies in the characterization of I. Karabits’ pop songs from the point of view of combining the features of pop and academic chamber vocal music in them. Conclusions. Pop song and chamber vocal music, represented by the genre of solo singing, developed separately in the Ukrainian cultural space of the 1950s-1980s, but their paths often crossed. In the context of their interaction in pop-song creativity, the process of academization takes place, and in academic music – hitting. Based on the analysis of two popular pop songs by I.Karabits «My land is my love» and «A song for good», a specific feature of a number of vocal compositions of the composer was discovered and described, which are functionally ambivalent and correspond to the aesthetics of both academic and pop music, and therefore, they are indicated as works of dual-use – for both the academic and the pop scene. This duality is based on the musical component of a vocal work, which, with variability in the interpretation of the instrumental (and sometimes vocal) component, can enhance the features of both academic and pop music.

Introduction

2021 ◽  
pp. 1-14
Author(s):  
Kai Arne Hansen
Keyword(s):  
Popular Music ◽  
Pop Music ◽  
Music Culture ◽  
Gender Representations ◽  
Construction Of Identity ◽  
Social Discourses ◽  
Interpretive Approach ◽  
And Gender ◽  
Music And Gender ◽  
Definition Of

Demonstrating that gender representations in popular culture are intertwined with a broad range of cultural, historical, and social discourses that shape both their production and reception, the introduction outlines some of the key concerns related to the performance and policing of masculinity in pop music. It discusses the theoretical and methodological foundations that may underpin an interdisciplinary, intersectional, and interpretive approach to the study of popular music and gender, and places an emphasis on grappling with the multiple affordances elicited by pop artists’ construction of identity across several platforms. It advocates for an inclusive definition of pop music that encompasses the range of musical and cultural impulses that circulate in mainstream popular music culture. It also discusses the selection of material for a study of pop music and masculinity, and considers the benefits and limitations of an artist-centered interpretive approach.

scholarly journals The cultural potential of Modest Mentsinsky's work in the context of the development of the musical culture of the early twentieth century

2021 ◽  
pp. 62-68
Author(s):  
Lesia Turchak
Keyword(s):  
World Music ◽  
Music Culture ◽  
Musical Culture ◽  
Performance Style ◽  
Considerable Contribution ◽  
Creative Evolution ◽  
The World ◽  
Chamber Repertoire ◽  
The One

The purpose of the article is to establish the contribution of the opera singer and famous tenor Modest Omelianovych Mentsynskyi to Ukrainian and world music art. The methodology is based on using historical, biographical, and analytical methods, which allows distinguishing and reviewing the special features of the Ukrainian singer‘s ―internationally universal‖ performance style as well as tracking the stages of his creative evolution. The scientific novelty of the research is in the affirmation that the artist‘s work within the mentioned period, on the one hand, led to the ―Europeanization‖ of the Ukrainian music culture, which influenced the formation of the national vocal and opera school, and, on the other hand, his high vocal level and popularization of the Ukrainian music in the walls of numerous European theaters promoted the popularization of the Ukrainian music culture in the world. Conclusions. Relying on the achievements of the three most famous opera schools (Italian, German and French) and his own experience, the signer formed the ―internationally universal‖ performance style, which helped him make a considerable contribution to the development of opera art in at least three countries: Germany (as the most prominent singer of Wagner‘s plays with a vocal role of a ―heroic tenor‖), Sweden (as a performer and pedagogue who stood at the origins of the vocal school in this country) and Ukraine (as a talented interpreter of the Ukrainian chamber repertoire and popularizer of the national music heritage in the world).

scholarly journals The role of mashup music in creating Web 2.0’s democratic promise

2021 ◽  
pp. 135485652098375
Author(s):  
Ellis Jones
Keyword(s):  
Web 2.0 ◽  
Social Institutions ◽  
User Participation ◽  
The Internet ◽  
Music Culture ◽  
Musical Culture ◽  
Aesthetic Characteristics ◽  
Network Technologies ◽  
Standard Presentation

This article employs Stuart Hall’s concept of ‘articulation’ to show how, in the mid-2000s, a loose coalition of tech activists and commentators worked to position mashup music as ‘the sound of the Internet’. Key aesthetic characteristics of mashups were utilized to present Web 2.0 as a specific kind of democratic, participatory media environment – one that had the power to dethrone old social institutions, and to render various kinds of borders and boundaries redundant. This short-lived articulation between mashup and the Internet has had significant benefits for contemporary platforms that have made their fortune on user participation; it has been less beneficial for the longevity of mashup as a genre. Thus, this article inverts the standard presentation of mashup music and network technologies. Generally presented as a musical culture that needed the Internet, mashup can be more fruitfully understood as a music culture that the Internet needed. This reformulation provides cause to question our contemporary relationship to ‘digital optimism’ more generally.

scholarly journals Entrepreneurship and engagement as a form of production activity

2021 ◽  
pp. 279-286
Author(s):  
Igor Likhuta
Keyword(s):  
Twentieth Century ◽  
Mass Culture ◽  
Historical Approach ◽  
Early Twentieth Century ◽  
Production Activity ◽  
Late Nineteenth ◽  
Definition Of ◽  
Historical Methods

The purpose of the article is to consider and identify the features of enterprise and engagement as forms of production in the context of the formation of the profession of producer in the late nineteenth – early twentieth century. The methodology involves the use of cultural and historical methods to understanding the cultural and historical features of the profession of producer, understanding the essence of enterprise and engagement as forms of production. Scientific novelty. From the standpoint of cultural and historical approach, the author's definition of enterprise and commitment as concepts of humanitarian knowledge and business reality is presented, the essence and specificity of these phenomena are reflected as forms of production. Conclusions. It is argued that entrepreneurship and engagement in the context of the formation of mass culture are effective forms of the formation of production in the field of mass culture. It is shown that both entrepreneurs and artists – actors, directors, playwrights – played the role of producer in institutions of an enterprise type. The indicated trend continues to persist, nevertheless, the activities of the producer are constantly being transformed and improved.

scholarly journals Sarah Setting the Terms

2011 ◽  
Vol 17 (3) ◽  
Author(s):  
Robin Attas
Keyword(s):  
Popular Music ◽  
Pop Music ◽  
Directed Motion ◽  
Song Structure ◽  
The Many ◽  
Definition Of ◽  
Phrase Rhythm

Studies of phrase rhythm in popular music often leave the definition of “phrase” implicit, and those scholars who do define the term often emphasize the role of breath, ignoring the many other musical features that help create a phrase. By defining a pop music phrase as a musical unit with goal-directed motion towards a clear conclusion, clear analysis of phrase rhythm and song structure becomes possible. Analyses of three songs by contemporary singer-songwriter Sarah McLachlan demonstrate typical ways of creating phrases in popular music, and explore some common modifications to phrase rhythm and song structure that can be applied to the work of numerous other musicians.

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