National Music Promotion and Inheritance Strategies Based on the Perspective of Intangible Cultural Heritage

Folk music is a heavy cultural carrier. Today, when culture is flourishing, it still has a unique charm and appeal. The intangible heritage of national music requires modern Chinese to continue to carry forward and inherit it, so that the spirit and characteristic culture contained in it can be smoothly transformed into the fruits of education. For this reason, it will be a feasible idea to promote and inherit national music from the perspective of intangible cultural heritage with academies education as the central medium. The article combines the understanding of intangible cultural heritage and the thinking on the promotion and inheritance of ethnic music from the perspective of intangible heritage, and further explores the significance and strategy of the promotion and inheritance of ethnic music centered on vocal music teaching in colleges and universities, hoping to provide valuable reference for relevant research.

Features of the Ukrainian performing school of opera in the context of the evolution of European traditions

The purpose of the study is to consider, analyze the features and main aspects related to the development of the Ukrainian performing school of opera in the context of the evolution of European traditions. Methodology. Leading research methods are historical-genetic, comparative, methods of genre and stylistic analysis, and the method of performance analysis. Scientific novelty. The article examines the main aspects, characteristics, and methodological principles of Ukrainian and European musicology, which opened new opportunities for a more complete, unbiased study of the path that had to overcome the national music culture, opera. Conclusions. As conclusions of the research results, we can say that a detailed study and study of the history, present, and trends of national music culture contributes to the development of modern performance. Absolutization of the research approach can lead to significant losses in the scientific interpretation and interpretation of artistic trends and even certain distortions in the creation of a holistic view of musical processes. Keywords: performing school, opera art, musical art, musical culture, Ukrainian music.

The Hegemony of Western Pop Music in Indonesia 2010-2020 Period

One of the strong and real cultural dominations in Indonesia is the dominance of Western pop music. In this case, there is a voluntary acceptance by the Indonesian people of Western pop music which leads to the concept of Gramsci's hegemony. The continuity of the hegemony of western pop music in the country has been going on for a very long time, for that of course there is a need for deeper advocacy of the hegemony of western pop music so that the Indonesian people are aware of the ‘colonialism’ of western pop music in the country. This critical paradigm research is supported by a qualitative approach based on the theory of hegemony and supported by the concept of cultural imperialism. The findings of this study are the hegemony of western pop music that is widespread and civil society, namely, the Indonesian people tend to accept it with joy so that it seems that it even perpetuates the hegemony itself. Meanwhile, in the aspect of political society (government), various efforts have been made in advancing the national music industry; but are still considered less than optimal.

Documentary testimonies about the national music in European culture Historiographical journey (XVI—XVII centuries

The study brings to the forefront some reference information on the connections of national oral music with the European space. The sources of documentation, to which we turn, allow a first finding, according to which our music enters the attention of the West in the XVI century. Firstly, we refer to the first records of folklore, which appeared in publications in Poland, Germany and France, and which are found in tabulations, anthologies and (or) collections of music. Once they have come out of print and have been put into circulation, they reach the creative laboratory of European artistic personalities, who have gone on to capitalize on our ethnic music in various forms and genres. We catalog some creations through concrete examples, having as a source of suggestion the local melody. Along the way, the actual musical documents from the period under investigation are supplemented with data and information from adjacent fields. The paper takes into account the contribution of foreign authors in a limited period of time (XVI–XVII centuries), who through their contribution have facilitated the promotion of the originality of our musical culture, increasing its visibility and value on the European continent.

Application of Collaborative Filtering and Data Mining Technology in Personalized National Music Recommendation and Teaching

Personalized music recommendations can accurately push the music of interest from a massive song library based on user information when the user’s listening needs are blurred. To this end, this paper proposes a method of national music recommendation based on ontology modeling and context awareness to explore the use of music resources to portray user preferences better. First, the expectation-maximization algorithm is used to cluster users and ethnic music scores, and similar users and music are divided into clusters. The similarity of objects in the same cluster is higher, and the similarity of objects in different clusters is lower. Second, we designed a multilayer collaborative filtering ethnic music recommendation model based on ontology modeling and tensor decomposition. This model uses ontology to construct a user knowledge model and integrates similarity measures in multiple situations. The actual case test and user feedback analysis show that the designed personalized national music model has good application and promotion effects.

Ukrainian carillon arrangements as an instance of the cultural transmission and adaptation

The development of carillon art in Ukraine is studied. The distribution of carillons in Ukraine is considered. The issue of creating a national carillon repertoire is investigated. The interactions between the Western European instrument and the Ukrainian national music are analysed. Possibilities in reflecting the peculiarities of Ukrainian folk song by means of carillon texture are shown. Analogies are made between the texture of the carillon and the ways of playing typical instruments of Ukrainian folklore. Methods of combining Ukrainian and Western musical vocabulary, laid down by M. V. Lysenko, are used: a list of Ukrainian folk genres that can be compared with European genres included in the European musical lexicon is given. The structure of the Ukrainian national repertoire for the carillon is outlined and a plan of the corresponding manual is given. The significance of the development of Ukrainian carillon art for the world musical practice is analysed.

N.Karimov's viola transcriptions in the pedagogical repertoire (on the example of the transcription of «Kuy» by M.Sagatov)

In the Kazakh educational process today, in addition to the generally recognized arrangements and treatments of world music classics and original works for viola, national music adapted for viola is actively involved. There are several collections of works for viola edited, arranged and processed by such authors as A.Nurbayeva, E.Liberchuk, Ya.Fudimana, N.Sagimbayeva, D.Makhmud. The musical literature presented in these collections is widely used at different levels of education – by students of music schools, colleges and even universities of the republic, which is mainly due to the limited repertoire. The article deals with the transcription of N.Karimov's «Kuy» for violin and chamber orchestra by M. Sagatov as one of the first experiments in interpreting the sound of dombra kuy in viola music.