MODERN SCIENTIFIC THOUGHT ABOUT THE DEVELOPMENT OF WIND MUSIC AND PERFORMANCE

The purpose of the article is to review modern scientific works of a monographic nature, created on the basis of dissertation research, which is one of the main directions of scientific thought on the development of native wind music and performance in the history of European musical culture. The research methodology is based on the dialectical interconnection of historical, sociological and analytical methods; it allows the analysis of scientific achievements in the study of the development of wind music. The scientific novelty of the article is to identify the main scientific approaches of domestic and foreign scientists to research on historical and sociological processes that affect the development of Russian brass music against the background of European musical art. Conclusions. The current state of scientific and theoretical thought on the development of wind music and performance on wind instruments is characterized by four main areas, which cover the subject: the history of wind instruments development; improvement of game techniques and performance; vocational training of spiritual wind musicians and prospects for the development of wind music and its role in the world of music. Modern scientific works of a monographic nature, created on the basis of dissertation researches – is one of the main directions of research of the history and theory of wind music.

Sumy region wind music festivals from the standpoint of cultural and artistic traditions of the region

The article considers such kind of musical activity as festivals of wind music. As a result of research, the emergence and development of some orchestral festivals held in Sumy region at different levels of performance have been traced. Their role in aesthetic and patriotic education is determined, as well as the need for such measures to promote orchestral wind music, preservation and further development of orchestral traditions, which are important both in military rituals and in public life of the region. It has been found that nowadays wind music festivals are a major factor in the development of this genre of performance. Despite the rather wide coverage of the festivals, the events in the genre of orchestral wind music taking place at different levels of performance in Sumy region, did not receive due attention. Coverage of this issue is necessary for proper understanding and analysis of the state of performance on wind instruments in the region. The material of the article will be useful for scholars who study the festival movement and develop issues of history and development of wind music in our country.

Transductive Wind Music: Sharing the Danish Landscape with Wind Turbines

In this article the authors present their sound art project Nephew vs. Overheard as an exploration of a messy, fragile and incoherent local approach to public ecological art, an approach that aims at creating links of affectivity with technological creatures, such as large wind turbines, with which we share our landscape. Supplementing, as well as challenging, the dominant global strategy of ecological art, the authors argue that it is essential to experiment with transductive chains of local environmental data, creating sensibilities that we can relate to in our everyday environments.

The Innovations of Václav František Červený (1819–1896) and the Austrian-Czech Tradition of Making Chromatic Brass Instruments

Václav František Červený became the founder of the Austro-Czech tradition of manufacturing chromatic brass instruments, which represented in their day an alternative to Adolph Sax’s system. Červený’s innovations were realised successively from the 1840s through the ’80s. Many of these instruments are still being made and used mainly in the successor states of Austro-Hungarian Empire, Germany, and eastern Europe. The study focuses on Červený’s main innovations. Thanks to the solving of the technical problems associated with instrument bodies with a conical bore, Červený succeeded at creating a complete family of wide-bored instruments ranging from the flugelhorn to the contrabass tuba. These instruments became the foundation of Austro-Czech wind music and of its style of instrumentation.

Singing tone: Disability and pianistic voices

Humans experience multiple forms of vocality not only through encounters with each other but also with other animals (e.g. the crying wolf), and in moving through natural environments (e.g. the howling wind). Music likewise affords varied opportunities to experience and express ourselves as vocalizing beings, giving rise to complex relationships between speaking, singing and playing musical instruments. This piece considers the built-in percussiveness of the piano against the aesthetic prestige of lyricism ‐ that is, 'songfulness' ‐ as it encodes ableist choreographies on the part of the pianist. Disabled performers whose embodied relationships to their instrument transgress the corporeal biases of piano performance and pedagogy thus defy the aesthetic limits of normative lyricism: by foregrounding interstitial gesture, and multi-sensory expression, they envoice a new aesthetic that I call 'disabled songfulness'. Their pianistic voices, I argue, reach beyond stage and studio, refusing containment within the sensory hierarchies out of which music is often made.