INTERPRETATION OF CHORAL WORK AS A CREATIVE COMPONENT IN THE SYSTEM OF FACTORS OF PERFORMANCE SKILLS OF THE FUTURE TEACHER - MUSICIAN

The article considers the issues of training a future music teacher, substantiates the importance of musical performance in his professional development. The views of scientists on the interpretation of the concepts of "performance", "performing skills" are analyzed. The components that determine the performance skills are highlighted. The meaning of the concepts "creation" and "creativity" is specified, their differences are defined. The phenomenon of interpretation as a type of creative activity is analyzed. Different approaches of music teachers and scholars to the interpretation of the term "interpretive skills", which are manifested in analytical work with musical text, technical and performing skills, artistic taste, the performer's own attitude to the figurative content of a musical work and reflect the level of his creative abilities. The key provisions of the theory and practice of interpretive activity of the future music teacher are indicated. The stages of creation of interpretation of a choral work are singled out and the range of tasks of each stage is defined. Analysis of a musical work is considered as one of the components of interpretation. The focus is on the formation of interpretation skills during individual lessons in the class of choral conducting. Methods and forms of work are proposed to activate the creative thinking of students to expand the musical horizons. It was found that the state of creative search deepens the performer's knowledge of the musical image, forms the skills and abilities of full-fledged work on interpretation. Emphasis is placed on the peculiarities of reading the musical text, on the development of skills and abilities in the independent analysis of a musical work. The role of personal qualities of the student and own experience in creative process is defined. The peculiarities of the formation of interpretive abilities are characterized, in particular, the sketch study of works as one of the forms of analytical-synthetic activity of the student is singled out. It was found that musical interpretation is a key aspect of the performing activity of a future musician teacher.

The Cultural Question in the Third World Development and Underdevelopment

An average third world country strives after development. Yet, culture, being the total way of life of the people, has exerted great impact both in the development and underdevelopment of the third world countries. Culture forms the ideas, customs, and social behavior of a particular people or society. However, where the culture adopted from antiquity opposes the present changing world realities, it becomes a problem of contemporary concerns. Using a descriptive and analytical method, and cultural determinism theory, this chapter examines the role of culture in the development of underdevelopment of the third world countries (a sketch study of Africa). It argues that the cultures that lead to the development of the third world countries will gradually lead to conflict prevention and peacebuilding. Culture and development are essential notations to be reconsidered and re-enforced in the third world. Hence, to attain relevance, both must be complemented. The chapter therefore helps to harness and foster the complementation between culture and development in the third world countries.

‘One DB to rule them all’—the RING: a Regulatory INteraction Graph combining TFs, genes/proteins, SNPs, diseases and drugs

In the last decade, genomics data have been largely adopted to sketch, study and better understand the complex mechanisms that underlie biological processes. The amount of publicly available data sources has grown accordingly, and several types of regulatory interactions have been collected and documented in literature. Unfortunately, often these efforts do not follow any data naming/interoperability/formatting standards, resulting in high-quality but often uninteroperable heterogeneous data repositories. To efficiently take advantage of the large amount of available data and integrate these heterogeneous sources of information, we built the RING (Regulatory Interaction Graph), an integrative standardized multilevel database of biological interactions able to provide a comprehensive and unmatched high-level perspective on several phenomena that take place in the regulatory cascade and that researchers can use to easily build regulatory networks around entities of interest.

Berg, Alban

Composer Alban Berg (1885–1935) is best-known for his two operas, Wozzeck (premiered 1925) and Lulu (left unfinished but performed in incomplete form until the full premiere in 1979, as completed by Friedrich Cerha) and his Violin Concerto (premiered 1936). Berg’s oeuvre consists of his opi 1–7 and then, without opus numbers, pre-Opus 1 songs, incomplete pieces, and arrangements, added by archival and sketch study.

Introduction

Ligeti’s belief that “technique and imagination influence one another in a constant interchange” guided his development through the 1950s and 60s. The introduction explains the book’s methodology, which uses sketch study to look at this creative interchange, placing analytical observations alongside Ligeti’s written statements in their historical context. Rather than aiming for “definitive” analyses, this book aims for parallel discoveries in the composer’s prose, sketches, and finished scores, which augment one another and lead to an enriched appreciation of these already multifaceted works. The introduction also previews many of the historical developments discussed in the following chapters, including the influences of modernist and postmodernist trends in composition on the developments in rhythm, pitch, and timbre that became characteristic of Ligeti during these years.

Metamorphosis in Music

In the 1950s and 1960s György Ligeti went through a remarkable transition from writing music in the style of Bartók to working at the cutting edge of the avant-garde. Through careful study of the sketches and drafts, as well as analysis of the finished scores, Metamorphosis in Music takes a detailed look at this compositional evolution. The book begins with Ligeti’s synthesis of folk music and modernism in Musica ricercata and continues through the turn of the 1970s, examining nearly every major work as well as numerous unpublished studies. It shows Ligeti’s early discovery of twelve-tone technique, the influence of electronic music on his orchestral writing, and his involvement with the absurdist Fluxus group, and it argues that the repertoire of techniques he developed in this experimental period was incrementally codified into the composer’s personal style in the mid- and late 1960s. The conclusion looks at Ligeti’s approach to form and expression at the turn of the 1970s, when one phase of his metamorphosis had run its course, and the new challenge of composing an opera loomed on the horizon. Throughout the book, sketch study works alongside comments from interviews—counterbalancing the composer’s crafted public narrative, revealing hidden influences, lingering attachments, and insights into the creative process, and ultimately helping complete the picture of how he found his voice in a generation straddling the divide between the modern and postmodern eras.

The Structure and Genesis of Copland'sQuiet City

Aaron Copland'sQuiet City(1940), a one-movement work for trumpet, cor anglais, and strings, derives from incidental music the composer wrote for an unsuccessful and now forgotten Irwin Shaw play. This essay explores in detail the pitch structure of the concert work, suggesting dramatic parallels between the music and Shaw's play.The opening of the piece hinges on an anhemitonic pentatonic collection, which becomes the source of significant pitch centres for the whole composition, in that the most prominent pitch classes of each section, when taken together, replicate the collection governing the music's first and last bars. Both this principle and the exceptions to it suggest a correspondence to the internal struggles of Shaw's protagonist, Gabriel Mellon.In addition,Quiet Cityoffers a distinctive opportunity to observe the composer's assembly of a unified tonal structure. Sketch study makes it possible to observe the composer altering his original material in ways that reinforce tonal connections across the span of the piece.