Typologies of Music Signification: Retrospective and Perspective

International conference

TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE

MUZIKOS SIGNIFIKACIJŲ TIPOLOGIJOS: RETROSPEKTYVA IR PERSPEKTYVA

BOOK OF ABSTRACTS

Tarptautinė konferencija

TEZIŲ KNYGELĖ

Edited by / parengė Lina Navickaitė-Martinelli 

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Lithuanian Academy of Music and Theatre / Lietuvos muzikos ir teatro akademija Lithuanian Composers’ Union / Lietuvos kompozitorių sąjunga

International conference

TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE

MUZIKOS SIGNIFIKACIJŲ TIPOLOGIJOS: RETROSPEKTYVA IR PERSPEKTYVA

Tarptautinė konferencija

BOOK OF ABSTRACTS TEZIŲ KNYGELĖ Edited by / parengė Lina Navickaitė-Martinelli

Vilnius, October 21–23, 2021 / 2021 m. spalio 21–23 d.

TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE International conference MUZIKOS SIGNIFIKACIJŲ TIPOLOGIJOS: RETROSPEKTYVA IR PERSPEKTYVA Tarptautinė konferencija

PROGRAMMING COMMITTEE / PROGRAMŲ KOMITETAS Paulo C. Chagas (University of California, Riverside) Gražina Daunoravičienė (Lithuanian Academy of Music and Theatre) Joan Grimalt (Escola Superior de Musica de Catalunya ESMUC) Margarita Katunian (Moscow Tchaikovsky State Conservatory) Helmut Loos (Leipzig University) Lina Navickaitė-Martinelli (LMTA) Rima Povilionienė (LMTA) Daiva Vyčinienė (LMTA) ORGANIZING COMMITTEE / ORGANIZACINIS KOMITETAS Gražina Daunoravičienė (chair) Ingrida Jasonienė Mantautas Krukauskas Agnė Mažulienė Mykolas Natalevičius Lina Navickaitė-Martinelli (vice-chair) Rima Rimšaitė Judita Žukienė ORGANIZERS / ORGANIZATORIAI Lithuanian Academy of Music and Theatre Musicologists’ Section of Lithuanian Composers’ Union

CONFERENCE SUPPORT / RĖMĖJAS

ISBN 978-609-8071-60-3 © Lithuanian Academy of Music and Theatre, 2021 © Lithuanian Composers’ Union, 2021

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TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE The Lithuanian Academy of Music and Theatre and the Musicologists’ Section of the Lithuanian Composers’ Union are happy to welcome you to the international conference “Typologies of Music Signification: Retrospective and Perspective” that will take place at the Lithuanian Academy of Music and Theatre in Vilnius on October 21–23, 2021.

Musical signification, as any other issue related to the meaning in music, has constantly been an object of interest for musicologists, composers, semioticians, and philosophers, often in an attempt to classify and categorize it. Looking back at the history of such classifications and foreseeing the need to rethink them, the theme of this conference is dedicated to the theoretical and practical discourses dealing with the interrelations between musical signification and a variety of typologies.

It may be considered that musicological writing has emerged from attempts to categorize abstract phenomena and further efforts to systematize them. Aristoxenus distinguished three basic gènē in his Elementa harmonica.

Boethius, in De musica, differentiated the types of musica instrumentalis. The likes of Johannes de Groche, Johann Mattheson, and Johann Nikolaus Forkel not only named new types of music but also identified fundamental categories of music, such as genre and style. The path to discovering many musical phenomena has been based on the process of categorizing and systematizing the outcomes of music signification.

Typologies of signification have been acknowledged as research methods and as part of the theoretical epistemology of music since the dawn of theoretical musicology and, as such, they have retained a significant place in research conducted by the musicologists, ethnomusicologists, popular music scholars, and musical semioticians of the late twentieth to early twentyfirst centuries – from Philip Tagg, Simon Frith, Franco Fabbri, or Fabian Holt to Heinrich Besseler, Carl Dahlhaus, Helga de la Motte-Haber, Mieczyslaw Tomaszewski, and others. Typologization of significations, as a method for gaining knowledge, is of interest to the current research as well.

This conference seeks to reinvigorate the approach to the concepts, terms, and categories employed in the process of music signification as well as attempts to conceptualize the practices of classification of musical phe-

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nomena. At this conference, scholars will tackle these tasks from a variety of perspectives: they will discuss them as problems of research philosophy, raise the question of criteria, present individual approaches, analyze historical or current cases, and present the perspectives of systematization.

We welcome you to this interdisciplinary and hybrid event and wish you fruitful musicological discussions both on-site at the Lithuanian Academy of Music and Theatre and online.

Conference organizers

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MUZIKOS SIGNIFIKACIJŲ TIPOLOGIJOS: RETROSPEKTYVA IR PERSPEKTYVA Lietuvos muzikos ir teatro akademija ir Lietuvos kompozitorių sąjungos Muzikologų sekcija sveikina tarptautinės konferencijos „Muzikos signifikacijų tipologijos: retrospektyva ir perspektyva“, kuri vyks 2021 m. spalio 21–23 d.

Lietuvos muzikos ir teatro akademijoje, dalyvius ir klausytojus.

Muzikos signifikacija, arba muzikos reikšmių problematika, procesai ir rezultatai – nuolatinis muzikologų, kompozitorių, semiotikų bei filosofų domėjimosi ir tuo pačiu – bandymų įsprausti ją į klasifikuotas kategorijas objektas.

Atsigręžiant į tokių klasifikacijų istoriją ir numatant poreikį jas persvarstyti, konferencijos tematika skiriama muzikos signifikacijos ir tipologijų sąveikos teorinio ir praktinio diskursų svarstymui.

Galima teigti, jog rašytiniai muzikologijos tekstai kilo iš abstrahuojamų reiškinių signifikacijos ir tolesnės jų sisteminimo praktikos. Aristoxenus Elementa harmonica išskyrė tris bazinius gènē. Boethius De musica diferencijavo musica instrumentalis rūšis. Johanneso de Groche’o, Johanno Matthesono, Johanno Nikolaus Forkelio muzikos sistematikos ne tik įvardijo naujas muzikos rūšis, bet ir iškėlė fundamentalias muzikos kategorijas (žanras, stilius ir pan.). Daugelio muzikos fenomenų pažinimo kelias rėmėsi signifikacijos rezultatų kategorizavimo bei sisteminimo procesu.

Kaip tyrimo metodai ir muzikos teorinės epistemologijos dalis, signifikacijų tipologijos buvo pripažintos nuo pat teorinės muzikologijos pradžios ir neatsitiktinai išsaugojo reikšmingą vietą XX a. pabaigos – XXI a. pradžios muzikologų, etnomuzikologų, populiariosios muzikos tyrėjų ar muzikos semiotikų – nuo Philipo Taggo, Simono Fritho, Franco Fabbri ar Fabiano Holto iki Heinricho Besselerio, Carlo Dahlhauso, Helga’os de la Motte-Haber, Mieczyslawo Tomaszewskio ir kitų – tyrimuose. Signifikacijų tipologizavimas kaip pažinimo metodas nėra devalvuotas ir šiuolaikiniame moksle, tačiau kyla poreikis renovuoti požiūrį į muzikos fenomenų kategorizavimo bei sisteminimo procesus. Šia konferencija siekiame atnaujinti požiūrį į muzikos signifikacijos procese taikomas sąvokas, terminus ar kategorijas, taip pat – konceptualizuoti muzikos fenomenų klasifikavimo praktikas. Konferencijos dalyviai gvildens įvairių muzikos reikšmių ir reiškinių sisteminimo aspektus: aptars juos kaip

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mokslo filosofijos problemą, kels kriterijų klausimus, pateiks individualius požiūrius, analizuos istorinių ar šiuolaikybės praktikų atvejus bei siūlys sisteminimo perspektyvos prielaidas.

Tikimės, kad šis tarpdalykinis ir hibridinis renginys tiek pačioje Lietuvos muzikos ir teatro akademijoje, tiek ir transliuojamas internetu taps vaisingų muzikologinių diskusijų terpe.

Konferencijos organizatoriai

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PRACTICAL INFORMATION The conference will take place at the Central Building of the Lithuanian Academy of Music and Theatre, which is situated in the center of Vilnius, at Gediminas Av. 42.

The specific location of the conference sessions is Julius Juzeliūnas Spatial Sound Sphere (3rd floor)

The conference shall be streamed live at: https://bit.ly/3mixlX2 The QR code:

WiFi CONNECTION Network: LMTA_Guest Password: muzikateatras

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COVID REGULATIONS Most updated requirements when travelling to Lithuania can be found here: https://nvsc.lrv.lt/en/information-on-covid-19/for-arrivals-from-abroad According to Lithuanian Government’s regulations, all participants or customers must present a COVID certificate in all public areas where infection safety must be proved (including conferences, museums, restaurants, performances). This can be either vaccination certificate, proof of recovery from COVID-19 over the past 6 months, or negative PCR test taken up to 72 h before. A mask must be worn in all indoor areas.

ARRIVAL Vilnius Airport is 7 kilometres away from the centre.

Taxi service We recommend to download the apps eTransport or eTaxi, through which you can easily order a taxi and check the maps of Vilnius. Please note that most taxis accept only payments in cash. Bolt and Uber operate in Lithuania as well. NB! In Lithuania, taxis are significantly cheaper when ordered by phone or app, rather than stopped on the street.

Buses Bus No. 3G is the express bus for those who go to the Academy and hotels nearby.

Check the timetable at http://stops.lt/vilnius/#expressbus/3g/a-b/map/en. The closest stop to the Academy’s central building is called “Juozo Tumo-Vaižganto”. The tickets cannot be obtained from the driver due to pandemic restrictions. Please use the kiosks at the airport.

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CONTENTS

Typologies of Music Signification: Retrospective and Perspective Practical information Conference schedule

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Keynotes

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GRAŽINA DAUNORAVIČIENĖ

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The Music Genotype as an Open, Self-Organizing System and its Seismic State in Music Evolution KĘSTAS KIRTIKLIS

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Searching for the Soul of Academic Disciplines: A Few Adventures in the Typology of the Humanities and Social Sciences WOLFGANG MARX

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Musical Genres in the Age of Liminality Abstracts

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RACHEL BECKER

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Re-Approaching a Taxonomy of the Opera Fantasia: A Clarified Genre, a Clarified Context JONAS ČIURLIONIS

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Boethius: The Mathematical Structure of Music Principles VINCENZO DE MARTINO

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A Case-Study of Creative Categories: The “Primitivistic” Style in Piano Music OLENA DYACHKOVA

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The Pastorale in Ukrainian Professional Music of the Turn of the Twentieth and Twenty-first Centuries: Genre, Mode, and Concept CHARRIS EFTHIMIOU

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A Computer-Assisted Analysis of Recordings of Musical Works Expressing Thunderstorms with the Target of Systematizing the Usage of this Weather Phenomenon Since the Eighteenth Century JOHN FALLAS

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“Talking about Our Decisions”: Classifying Sprees and Grey Areas in the Consideration of Musical Genre

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MAŁGORZATA GRAJTER

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Music and Mimesis: Revisiting Typologies of Musical Signs Based on Imitation ANNA GRANAT-JANKI

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Musical Signification in Agata Zubel’s Opera-Form Bildbeschreibung JOAN GRIMALT

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Mapping Musical Signification BAIBA JAUNSLAVIETE

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Music Reviews as Signs of the Sociocultural Context: Comparative Case Studies of the Latvian, German, and Russian Music Criticism in Riga During the Late Nineteenth and Early Twentieth Centuries EVANGELIA KOPSALIDOU

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Aristoxenus gènē and tonoi on Ancient Greek Lyres ALLA KOROBOVA

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Signification and Systematization in the Theory of Musical Genres MARCOS KRIEGER

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Character Pieces, Program, and Ekphrasis: Imposed Semiotics or Overt Mitgesehen?

AGNĖ MAŽULIENĖ

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The Concept of Musical Precomposition: Contradictions, Practice, Typology SIGITAS MICKIS

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Categories of Music Theory in Terms of Linguistic Communication LINA NAVICKAITĖ-MARTINELLI

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Classifying Performers’ Gestures: Corporeal Expression and Its Functions ANNA NOWAK

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Methodological Approaches to Intertextuality in the Works of Contemporary Composers JURGIS PALIAUKA

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Patterns in Organization of Musical Material in the String Quartets of Onutė Narbutaitė CRISTINA G. ROJO

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The “Retrospect” in Johannes Brahms’s Work – or How a Piano Speaks Without Words GABRIELIUS SIMAS SAPIEGA

The Problem of Time and Space Terms in Gérard Grisey’s Discourses

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ANASTASIIA SHARINA

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The Systematization of Piano Pieces Which Employ “Extended Techniques” (Based on Examples of Solo Works by Ukrainian Composers of the Second Half of the Twentieth to Early Twenty-first Century) OLGA SOLOMONOVA

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Associative Musical Text: Definition, Typology, Research Methodology KALLIOPI STIGA

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The Past and the Future of Greek Popular Song: From the Rebetikon to the Greek Trap?!

IRYNA TUKOVA

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A Problem of Typologization of Textures in Contemporary Art Music: The Post-Soviet Case JURGITA VALČIKAITĖ-ŠIDLAUSKIENĖ

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The Composing Process: Theories of Analytical Strategies and Combinational Perspectives in Classification TIJANA VUKOSAVLJEVIĆ

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Storytelling in Instrumental Music – Claude Debussy’s Ballade ADELINA YEFIMENKO

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Eine Begriffssuche zur Typologie der Opernprojekte in der Gegenwart VERONIKA ZINCHENKO

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Typology of Modern Ballet VILTĖ ŽAKEVIČIŪTĖ

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Signification of Musical Variables as a Pattern of “State of Being Aesthetics”: The Problem of Musical Texture

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CONFERENCE SCHEDULE

Online presentations All times are shown in Vilnius time (GMT+3)

Thursday, October 21 9.30 AM

CONFERENCE OPENING

Session 1. Chair: CHARRIS EFTHIMIOU 9.45–10.45 KĘSTAS KIRTIKLIS . Searching for the Soul of Academic Disciplines: A Few Adventures in the Typology of the Humanities and Social Sciences 10.45–11.15 EVANGELIA KOPSALIDOU . Aristoxenus gènē and tonoi on Ancient Greek Lyres 11.15–11.45 SIGITAS MICKIS . Categories of Music Theory in Terms of Linguistic Communication

Coffee break 12.00–12.30 CHRISTINA G. ROJO. The “Retrospect” in Johannes Brahms’s

work – or How a Piano Speaks Without Words

12.30–13.00 MAŁGORZATA GRAJTER. Music and Mimesis: Revisiting

Typologies of Musical Signs Based on Imitation LUNCH (13.00–14.30)

Session 2. Chair: VINCENZO DE MARTINO 14.30–15.00 LINA NAVICKAITĖ-MARTINELLI. Classifying Performers’ Gestures: Corporeal Expression and Its Functions 15.00–15.30 ANASTASIIA SHARINA. The Systematization of Piano Pieces Which Employ “Extended Techniques” (Based on Examples of Solo Works by Ukrainian Composers of the Second Half of the Twentieth to Early Twenty-first Century) 15.30–16.00 CHARRIS EFTHIMIOU. A Computer-assisted Analysis of Recordings of Musical Works Expressing Thunderstorms with the Target of Systematizing the Usage of this Weather Phenomenon since the Eighteenth Century

Coffee break

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TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE

Session 3. Chair: BEATA BAUBLINSKIENĖ 16.15–16.45 TIJANA VUKOSAVLJEVIĆ. Storytelling in Instrumental Music – Claude Debussy’s Ballade 16.45–17.15 MARCOS KRIEGER. Character Pieces, Program, and Ekphrasis: Imposed Semiotics or Overt Mitgesehen?

17.15–17.45 ADELINA YEFIMENKO. Eine Begriffssuche zur Typologie der Opernprojekte in der Gegenwart 17.45–18.15 ANNA GRANAT-JANKI. Musical Signification in Agata Zubel’s Opera-Form Bildbeschreibung

Friday, October 22 Session 4. Chair: RIMA POVILIONIENĖ 9:45–10.45 WOLFGANG MARX. Musical Genres in the Age of Liminality 10.45–11.15 OLGA SOLOMONOVA. Associative Musical Text: Definition, Typology, Research Methodology 11.15–11.45 JONAS ČIURLIONIS. Boethius: The Mathematical Structure of Music Principles

Coffee break 12.00–12.30 IRYNA TUKOVA. A Problem of Typologization of Textures in

Contemporary Art Music: The Post-Soviet Case

12.30–13.00 ANNA NOWAK. Methodological Approaches to Intertextuality in

the Works of Contemporary Composers LUNCH (13.00–14.30)

Session 5. Chair: BOŽENA ČIURLIONIENĖ 14.30–15.00 JURGIS PALIAUKA. Patterns in Organization of Musical Material in the String Quartets of Onutė Narbutaitė 15.00–15.30 AGNĖ MAŽULIENĖ. The Concept of Musical Precomposition: Contradictions, Practice, Typology 15.30–16.00 JURGITA VALČIKAITĖ-ŠIDLAUSKIENĖ. The Composing Process: Theories of Analytical Strategies and Combinational Perspectives in Classification

Coffee break

CONFERENCE SCHEDULE

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Session 6. Chair: AUDRA VERSEKĖNAITĖ-EFTHIMIOU 16.15–16.45 BAIBA JAUNSLAVIETE. Music Reviews as Signs of the Sociocultural Context: Comparative Case Studies of the Latvian, German, and Russian Music Criticism in Riga During the Late Nineteenth and Early Twentieth Centuries 16.45–17.15 VILTĖ ŽAKEVIČIŪTĖ. Signification of Musical Variables as a Pattern of “State of Being Aesthetics”: The Problem of Musical Texture 17.15–17.45 GABRIELIUS SIMAS SAPIEGA. The Problem of Time and Space Terms in Gérard Grisey’s Discourses 17.45–18.15 RACHEL BECKER. Re-Approaching a Taxonomy of the Opera Fantasia: a Clarified Genre, a Clarified Context

Saturday, October 23 Session 7. Chair: WOLFGANG MARX 9.45–10.45 GRAŽINA DAUNORAVIČIENĖ. The Music Genotype as an Open, Self-Organizing System and its Seismic State in Music Evolution 10.45–11.15 JOAN GRIMALT. Mapping Musical Signification 11.15–11.45 ALLA KOROBOVA. Signification and Systematization in the Theory of Musical Genres

Coffee break 12.00–12.30 OLENA DYACHKOVA. The Pastorale in Ukrainian Professional

Music of the Turn of the Twentieth and Twenty-first Centuries: Genre, Mode, and Concept 12.30–13.00 VERONIKA ZINCHENKO. Typology of Modern Ballet LUNCH (13.00–14.30) Session 8. Chair: LINA NAVICKAITĖ-MARTINELLI 14.30–15.00 KALLIOPI STIGA. The Past and the Future of Greek Popular Song: From the Rebetikon to the Greek Trap?!

15.00–15.30 VINCENZO DE MARTINO. A Case-Study of Creative Categories: the “Primitivistic” Style in Piano Music 15.30–16.00 JOHN FALLAS. “Talking About our Decisions”: Classifying Sprees and Grey Areas in the Consideration of Musical Genre Closing of the conference

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TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE

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KEYNOTES

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THE MUSIC GENOTYPE AS AN OPEN, SELF-ORGANIZING SYSTEM AND ITS SEISMIC STATE IN MUSIC EVOLUTION GRAŽINA DAUNORAVIČIENĖ

Lithuanian Academy of Music and Theatre grazina.daunoraviciene@lmta.lt

The typological phenomena of music are by nature a conceptual, intricately organized system that accumulates intramusical and extramusical factors of different origins. Due to their complicated systemic structure and constant change, they have become not-so-easily theorized objects of systemic (theoretical) musicology studies. In the presentation, the focus is put on the ontic concept of the music genre, or music genotype (Daunoravičienė 1990, 2019), which is examined via three problem sections. The viewpoint is concentrated through the methodological approach of the general systems theory (GST), which focuses on the nature and functioning of the music genotype and the relevant laws of fractality and isomorphism in the structure of systemic phenomena.

The first problem section considers the significance of the historical memory of art music typologies (from Boethius to Adler; see Marx, 2004) for the epistemology of the music genotype. The author of the presentation argues that the constructive centers of the historical typological systems of music reflect the structure of the system of formative elements (criteria) at the ontical level of the music genotype. The latter, formed by the collective intelligence of music scholars of the sixth through the twentieth century, will be discussed in the presentation. In the discourse of the second problem section, the meta-functions of the music genotype – the realization of typologization through its own subfunctions, that is, compositional function and communicative function – will be based on the case study of an opera by young Lithuanian composers of today. Simultaneously, the metaphors of the generic contract applied by Jeffery Kallberg and music genotypes as agents of communication proposed by Jim Samson will be made relevant.

The intersection of the postwar music avant-garde with the postmodernist philosophy of artistic introspection can be associated with the “explosive” effect of evolution. The seismic state of music evolution and the intensity of change tested the universality and plasticity of typological structures. The data of analysis of the early twenty-first-century practice of music art is a testament to the fulfillment of numerous twentieth-century visionary insights professed in the manifestos of such figures as Busoni (1907), Pratella (1910), Russolo (1913), Munari (1938), and Maciunas (1963) a. o., as well as their mixes in the strangest forms in Klangkunst, the fourth type of music. For the docu-

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mentary evidence of the development of art forms and genotypes in the late twentieth and early twenty-first century, a chart of typology of the Fluxus art forms, which evolved over time, drawn in 1965 by Fluxus artist Dick Higgins and accompanied by a graphic system signifying it, was of great importance.

Postmodernist theories and new research methodologies offer preconditions for the renewal of the traumatic functioning of the epistemological approach to the music genotype. As mentioned above, for this purpose, the interpretation of system (element) and (macro)system transformations, derived from the GST and based on the research in periodic self-organization of open systems and spontaneous self-management processes, was chosen for the present approach. The intersystemic “chaos” of music genotypes is to be identified in this talk as the junction and transgression field of the “old” and the “new” genotype (macro)systems. The concept of an open self-organizing system made it possible to view the music genotype (s) – the system and the (macro)system – as an object whose dynamics is based on the regularities of nonlinear processes predicting crises and chaos phases, with the recombinations of the old and the new genetic traits taking place in their milieus.

Keywords: genre, genotype of music, (macro)system, self-organization, mono-genre, poly-genre, free genre.

This talk is part of the project “The Evolution of Lithuanian Music Culture (1970–2020) in Typology Approach: from Deformation to New Phenomena”, funded by the Lithuanian Research Council, No. S-LIP-19-71, 2019-04-30.

Gražina Daunoravičienė is a PhD, dr. habil. in musicology (2008) and full-time professor.

She has been teaching at the Lithuanian Academy of Music and Theatre since 1979 and was the Head of the Department of Music Theory between 1998 and 2003. She has received scientific scholarships and grants to study and do research at the Moscow State P. Tchaikovsky Conservatory, Salzburg Mozarteum, and Oxford University (Oxford Colleges Hospitality program) and was awarded a scholarship from the Ministry of Culture and Education of Saxon Lands and a DAAD grant (Germany). She has presented reports and published scientific articles in Lithuania, Latvia, Poland, Germany, Russia, Great Britain, Belgium, Switzerland, Slovenia, Yugoslavia, Finland, the United States, China, Austria, and Italy. She initiated the publication of a series of monographs dedicated to the most outstanding Lithuanian composers (Balakauskas, Bajoras, Kutavičius). Daunoravičienė has been the editor of four collections (2002, 2007, 2013, and 2019). In 2016 she published the monograph Exploration of Modernistic Identity in Lithuanian Music and was awarded the Vytautas Landsbergis Prize at the Lithuanian Composers’ Union Musicologists’ Section competition for the best musicological works of the year. She is a Knight of the National Order of Merit. She has been awarded the State Prize for Culture and Art established by the Government of the Republic of Lithuania. She is the founder and editor of the scientific journal Lithuanian Musicology (for the editing of twenty volumes she was awarded the Ona Narbutienė Prize at the aforementioned competition) as well as the editor and author of a five-book study guide called The Language of Music (two volumes were published in 2003 and 2006). From 2008 to 2013 she was a member of the Research Council of Lithuania and a representative of the Committee of Humanities and Social Sciences.

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TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE

SEARCHING FOR THE SOUL OF ACADEMIC DISCIPLINES: A FEW ADVENTURES IN THE TYPOLOGY OF THE HUMANITIES AND SOCIAL SCIENCES KĘSTAS KIRTIKLIS

Vilnius University kestutis.kirtiklis@fsf.vu.lt

What are academic disciplines? Natural kinds inhabiting the university environment or rather tribes ready to fight for each foot of their space in the academic woods? Or perhaps they are called into being by the decrees of the education policy makers and research administrators? Drawing on my own experience as an interdisciplinary scholar, working in the disciplines of philosophy and communication studies, and the research on the disciplinarity in the humanities and social sciences, I will analyze and compare two rival approaches to this problem.

The partisans of the first perspective argue that the disciplines have some essential features that make distinctions between them clear-cut. These distinctions are embodied in the different methods various disciplines use, not the different objects they focus on. For example, an economist and a sociologist may both be interested in such topics as money or family; however, the research questions they pose will be quite different as well as the ways they conduct the research.

The other approach, inspired by the so-called social studies of science, takes a non­essentialist point of view and defines disciplinarity using the external – social and/or political – characteristics. The adherents of this approach focus either on the disciplinary identity of the groups of scholars (to describe them they use the metaphors of academic tribes or even academic gangs) or on the interchangeability of the parts of various academic institutions (e.g., departments), or their abilities to create and sustain particular academic markets.

I will argue that although the latter approach seems to be based on arbitrary premises, it describes already existing academic practices more adequately and also serves better as a prescription for further developments in the humanities and social sciences. Moreover, this approach encourages and explains the possibility of such widespread contemporary academic practices as interdisciplinarity or artistic research.

Keywords: academic disciplines, humanities, social sciences, typologies, essentialism, social studies of science.

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Kęstas Kirtiklis is an associate professor at the Faculty of Communication and Faculty of Philosophy, Vilnius University. He studied philosophy at Vilnius University and KarlFranzens University in Graz, Austria, and holds a PhD in philosophy (2009) from Vilnius University. His research interests include the philosophy of communication and the media, communication theory, mediated constructions of reality, media and social change, and the philosophy of the humanities and social sciences. Since 2018 he has been the chair of the Philosophy of Communication Section at the European Communication Research and Education Association (ECREA). Kirtiklis has published three books: Tarp vertės ir poveikio: apie tikrą ir tariamą humanitarinių mokslų krizę ir jos įveikos būdus [Between Value and Impact: On Real and Imaginary Crisis in the Humanities and the Ways to Overcome It] (co-authored with Aldis Gedutis, published by Jonas ir Jokūbas, 2020), Models of Communication: Theoretical and Philosophical Approaches (co-edited with Mats Bergman and Johan Siebers, published by Routledge, 2020), and Socialinės tikrovės mediacija. Kultūra, politika ir visuomenė [Mediation of Social Reality. Culture, Politics, Society] (co-edited with Renata Šukaitytė, published by Vilnius University Press, 2018) as well as numerous articles and book chapters. He has also translated into Lithuanian works of classical and contemporary philosophers and social theorists – David Hume, Herbert Marcuse, and Zygmunt Bauman. Beside his academic interests, he is actively involved in bringing scholarly knowledge to the broader public. Kirtiklis writes extensively as a columnist for the press and collaborates as a commentator for Lithuanian National Radio (LRT). Presently, he is a columnist for the lifestyle magazine Moteris and the cultural magazine Literatūra ir menas.

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TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE

MUSICAL GENRES IN THE AGE OF LIMINALITY WOLFGANG MARX

University College Dublin wolfgang.marx@ucd.ie

Our understanding of the genre category is influenced by the general trends and values of our time. Today “genre” means something other than what we understood it to be even 15 or 20 years ago, as the questions we ask in musical scholarship are different ones. In this talk I will explore three central issues that have impacted musical classification in recent years, namely liminality, neoliberalism, and power structures. All three are united in that they use genre as a flexible communicative strategy rather than a normative, set-in-stone category.

We live in an age of liminality. Research in the humanities and social sciences regularly names among its main goals transcending boundaries, engaging with the intersectional, and exploring the liminal. In both popular and art music, new pieces are praised highly if they push boundaries or merge separate traditions. A normative classification of music according to genres does not seem to fit into this world. However, they still form the unloved yet indispensable basis of our “in-between-ness” – without them we would lose all bearings in this constantly shifting world.

Most recent literature on musical classification is dedicated to its use in online presentation and marketing. Spotify in particular has created an impressive, ever-expanding “genre cloud” (see Every noise at once). Yet this exercise is no longer about categorizing music, it is about classifying the user/ customer. The neoliberal target is reached if each listener can be defined by a unique combination of generic preferences which then allows for an extremely precise targeting of new content and ads.

Finally, being able to establish new genres and determine how they are used indicates a position of power. Like all other discourses, those around the classification of music can be deconstructed in order to learn what those dominating them want to achieve, and how they use language to create trends and steer developments in society. Of course, this aspect overlaps with the two previous ones. All of them are deeply influenced by the opportunities provided by our digital technology.

I want to invite all delegates to visit the following two webpages in advance of the conference: Every noise at once (<https://everynoise.com/>)

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Musicmap (<https://musicmap.info/>) They will be featured at the beginning of my talk, yet are too large and complex to be explained and demonstrated in detail on screen – you should explore and play with them a little bit yourself to see how they work.

Keywords: genre as communicative strategy, genre and liminality, genre and neoliberalism, genre and power, genre in the digital age.

Wolfgang Marx is an associate professor in historical musicology at the University College Dublin (UCD) and a member of the UCD Humanities Institute, where he leads the Research Strand “Death, Burial and the Afterlife.” His main research interests include the theory of musical genres, György Ligeti, the representation of death in music, and post-truth and music. He is the editor of the Dublin Death Studies series.

Between 1992 and 2002, Marx worked as a freelance author and product manager for several labels (Sony, Teldec, BMG, and others). In 1994 he co-founded the Dachverband der Studierenden der Musikwissenschaft (German Musicological Students’ Association) and was its chairman between 1996 and 1998. He was awarded his PhD by Hamburg University in 2002. In the same year he joined the then UCD Department of Music and served as head of the restructured School of Music from 2005 to 2008, 2012 to 2013, and 2017 to 2018. From 2002 to 2012 he was co-editor of the journal Frankfurter Zeitschrift für Musikwissenschaft, and from 2004 to 2012 he was editor of the Journal of the Society for Musicology in Ireland. He served as Honorary Secretary of the Council of Heads of Music in Higher Education in Ireland and as council member of the Society for Musicology in Ireland. In 2012 he was a visiting lecturer at the Institute of Musicology Berne/Switzerland and in 2016 at the Gheorghe Dima Music Academy in Cluj-Napoca, Romania. He has been involved in organizing eleven international conferences at UCD (five of which he initiated) and regularly presents at conferences in Europe and the US. Forthcoming publications include an edited volume on Music and Death (Boydell and Brewer, late 2021) and an edited volume on György Ligeti in the context of his centenary in 2023 (Centro Studi Opera Omnia Luigi Boccherini, Contemporary Composer Series, late 2022). A recent (June 2020) presentation on the Requiem by Bernd Alois Zimmermann can be watched here: https:// www.youtube.com/watch?v=pbdB5ACyRgo&t=820s

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TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE

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RE-APPROACHING A TAXONOMY OF THE OPERA FANTASIA:

A CLARIFIED GENRE, A CLARIFIED CONTEXT RACHEL BECKER

Boise State University rachelnbecker@boisestate.edu

To discuss opera fantasias as a corpus situated in a historical and social context – not to mention the ways in which opera fantasias interact with and comment on that context – we must first ask not only “what is an opera fantasia?” but also “how can such a piece be described and categorized?” Many scholars of the opera fantasia have emphasized the blurred boundaries variation sets and fantasias, and woodwind fantasias rarely occupy ambiguous positions between variation and fantasia by using a single theme but stepping beyond the category of “theme and variations”; by avoiding virtuosic ornamentation on themes yet altering them; or by including multiple solo instruments.

Often a desire to separate out and describe the “true opera fantasy” (as per Suttoni) pairs with a desire to exceptionalize a single composer while, purposefully or incidentally, denigrating the genre as a whole. Yet carefully considering aspects, including variation methods and characteristics, levels of virtuosity, specific titles, and number of operatic themes, solidifies the idea of the fantasia as a distinct genre. At the same time, this allows for analysis of cultural reception and placement of these works as a genre beyond individual composer characteristics. For example, the wide range of titles assigned to opera fantasies does not necessarily reflect a wide range of differences in content. Nevertheless, the title “potpourri” can have strongly negative implications, while the title “concerto” can be seen as an attempt at elevating a fantasia into a more established genre. From implications of censorship to attitudes towards woodwind virtuosity to a prolonged Italian focus on vocality in instrumental music, woodwind opera fantasias in their specifics and as a clarified genre reflect their nineteenth-century Italian context and the often Germanic history of musicological reception between the times of their composition and now.

Keywords: woodwinds, virtuosity, opera, fantasia, genre.

Dr. Rachel Becker is an assistant professor of musicology and oboe at Boise State University. Rachel’s research focuses on issues of genre, virtuosity, gender, popularity, and the development of woodwind instruments. She is currently investigating the social and cultural implications of virtuosic woodwind music and instruction. Her future research plans include expanding a new approach to narrative in instrumental works and exploring performance spaces of virtuosic woodwind soloists. Rachel remains active as a performing oboist, and she has played with the Portland Opera, with the King’s College and St John’s College Cambridge choirs, and with the Philharmonia Orchestra.

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BOETHIUS: THE MATHEMATICAL STRUCTURE OF MUSIC PRINCIPLES JONAS ČIURLIONIS Vilnius University jonas.ciurlionis@fsf.vu.lt

The presentation analyzes the relationship between music and mathematics in Boethius’s philosophy. Mathematical principles that have been used since the times of the Pythagoreans to construct music theory are revealed. The relations of mathematical ratios in harmony are shown. The canon of harmony and its relation to other sciences is analyzed. Boethius’s theoretical insights are compared to other Ancient and Renaissance theories relating to music and mathematics. It is claimed that despite differences, the fundamental theoretical mathematical structures in music are the same.

It is shown that with each note and the relationship between them, intervals have strictly defined mathematical signification which is expressed according to the principles of arithmetic and geometry. These principles allow Boethius to construct the typological system of strings, consonances and genera et genus.

Keywords: mathematics, music, consonance, ratios, harmony.

Dr. Jonas Čiurlionis (b. 1975) is a musician and philosopher. He has studied at the Roosevelt University (USA) and Vilnius University, where he defended a PhD in 2006 under supervision of Prof. Arvydas Šliogeris. Since then, he has been working at the Faculty of Philosophy, where he teaches the courses on aesthetics, and history and philosophy of science. Čiurlionis has given lectures in various universities in Europe. His main scientific interests are metaphysics, ancient and classical science, the relationship between science and metaphysics, the philosophy of space and time, and music philosophy. He is the chair of the organizing committee of the international conference “Space and Time: An Interdisciplinary Approach.” Čiurlionis’s musical compositions have been recorded in collaboration with famous performers and presented in world tours. They have also received inernational radio airplay and have won over 50 international awards.

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TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE

A CASE-STUDY OF CREATIVE CATEGORIES: THE “PRIMITIVISTIC” STYLE IN PIANO MUSIC VINCENZO DE MARTINO

Lithuanian Academy of Music and Theatre vince.dema92@gmail.com

The paper will delve into some specific aspects of the author’s thesis Interpreting Primitivism in Piano Music of the 20th Century, inherent to the classification of the phenomenon of “Primitivistic” piano music through purposebuilt creative categories by the Italian musicologist Dario Martinelli, which are the following: geographical/anthropological, historical, ontogenetic, and formal. The artist-researcher also intertwines them with the key concepts deduced from the theory of topic (Ratner, Monelle, Agawu, etc.), thus disclosing a broad array of musical signs indicative of a “Primitivistic” style on its own.

The continuous cross-reference between the two theoretical backgrounds mentioned above leads to a consistent and organic approach to the topic of Primitivism in twentieth-century piano music, aiming at identifying its most distinctive features, differently implemented by the diverse composers a part of this genre but also equally ascribable to a framework of recurring patterns and marks.

The ultimate common thread is represented by clearly ascertainable stylistic features, mostly influenced by their counterparts in the field of visual representation and summarized by the author as: percussiveness and rhythmical emphasis; exiguousness and repetitiveness of music material, that is, patterns; and reference to non-Western sources. As revealed, their presence in a musical work conveys an authentic Primitivistic penchant and also implies quite focused pianistic tasks at once, thus corroborating the idea of the oneness and peculiarity of this style of music.

Keywords: Primitivism, piano music, style, topics, creative categories.

Vincenzo De Martino was born in Cagliari, Italy, in 1992. From 2011 to 2015 he studied at the G. P. da Palestrina State Conservatory of Music, where he was awarded a bachelor’s degree with the highest honor. From 2015 to 2017 he studied with Prof. Jurgis Karnavičius at the Lithuanian Academy of Music and Theatre in Vilnius, where he was awarded a master’s degree. In 2021, he was awarded an artistic doctorate degree by the same institution (supervisors Prof. Jurgis Karnavičius and Prof. Dr. Lina Navickaitė-Martinelli). He has been a finalist and laureate of several international piano competitions, and he regularly gives concerts in Italy and across the Baltic States. As a researcher, he has taken part in several artistic research conferences (Doctors in Performance, 2018 and 2021; LMTA Annual Conference, 2019) and published a few articles.

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THE PASTORALE IN UKRAINIAN PROFESSIONAL MUSIC OF THE TURN OF THE TWENTIETH AND TWENTY-FIRST CENTURIES: GENRE, MODE, AND CONCEPT OLENA DYACHKOVA

Tchaikovsky National Music Academy of Ukraine uccellino.a.cantare@gmail.com

In Ukrainian modern music, the word “pastorale” is quite common in the titles of works. The most famous compositions are the “Symphony of Pastorales” (Symphony No. 5) and the string trio “Submissive Pastorale” by Yevhen Stankovych, as well as numerous pastorales in Valentyn Silvestrov’s microand macrocycles.

Pastorale imagery can also be presented in compositions without direct mention of the word “pastorale” in the title. And finally, the pastorale’s semantics can be created by the special timbre combination.

Aim: In general, in Ukrainian contemporary music, the pastorale genre indicates an artistic dialogue with the musical traditions of different eras and national schools. The study of the features of this dialogue will make it possible to reveal the specifics of the pastorale and its signification.

Research background: Alla Korobova explains that the pastorale is a complex musical genre having a fairly long historical evolution, ambiguous parameters, numerous genre subspecies, and stylistic and national modifications. To these observations, the following could be added: In the twentieth century, the semantics of the classical pastorale were actively used in the works of the socialist realism style. Since the 1960s, alternative pastorale images have appeared in Ukrainian poetic cinema (the films of S. Parajanov or Y. Illenko). As the Ukrainian composers (L. Hrabovsky, M. Skoryk, Y. Stankovych) worked in cinematography, we can assume that the semantics of the musical pastorale was intensively innovated in film music.

Methodology: The work was carried out based on the studies of A. G. Korobova, Y. V. Nazaikinsky, D. S. Likhachev, and E. S. Zinkevich.

Results and conclusions: In modern Ukrainian music, the pastorale is presented in several structural-artistic forms: as a genre (V. Gubarenko), as a genre of the second plan (genre mode) (L. Hrabowski, Z. Almashi) and as semantic concepts. In the latter case, the pastorale is associated with the artistic realization in music of the mythological concepts of Orpheus (V. Silvestrov, Y. Stankovych) and the Lost Paradise (Y. Stankovych, L. Hrabovsky).

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TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE

Keywords: genre, pastorale, genre modus, Ukrainian music, music signification.

Olena Dyachkova is an assistant professor at the P.I. Tchaikovsky National Music Academy of Ukraine. She teaches the courses Contemporary Music: Trends and Concepts; Music Criticism; and the History of Music. Candidate of Science (2000). The title of her doctoral thesis was “Metaphor as a factor of artistic activity of the music works.” She has been a member of the National Composers’ Union of Ukraine since 2001. She is a member of the International Musical Society (IMS, since 2019). Her fields of interest include music analysis, semiotics, interpretation, contemporary music, music and literature, and music in cinema. More information available at https://orcid.org/0000-0002-1131-0552

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A COMPUTER-ASSISTED ANALYSIS OF RECORDINGS OF MUSICAL WORKS EXPRESSING THUNDERSTORMS WITH THE TARGET OF SYSTEMATIZING THE USAGE OF THIS WEATHER PHENOMENON SINCE THE 18TH CENTURY CHARRIS EFTHIMIOU

University of Music and Performing Arts Graz Austria charis.ef@gmail.com

During the last 300 years there were several composers who expressed thunderstorms with music. From Vivaldi’s The Four Seasons (1723), Haydn’s Symphony No. 8 (1761) and Beethoven’s Symphony No. 6 (1808), Rossini’s Overture William Tel, Berlioz’s Symphonie Fantastique (1830), to Strauss’s Alpine Symphony (1915) and Henze’s Symphony No. 6, thunderstorms found their place in the musical repertory.

The aim of this paper is to systematize the expression of thunderstorms with music. To do so, several available recordings of the abovementioned musical works will be analyzed and compared with each other. This computer-assisted comparative study tries to reveal long-term tendencies and similarities between recordings of the present as compared to those before the Second World War. The following aspects are presented in detail: general tempo, tempo changes within the musical phrase with thunderstorms, dynamics, a spectral analysis of the relationship between the different groups of the orchestra, and the tone-color features of the specific instruments participating in those musical phrases.

Furthermore, the computer-assisted analysis (computer programs used: Sonic Visualizer and Sonic Lineup) aims to answer the following questions: Can we systematize the usage of this weather phenomenon in the first place, or are there no clear long-term tendencies? How do conductors interpret thunderstorms? How does one conductor distinguish themselves from another in terms of performing those thunderstorms? Do they possess individual characteristics? Does a conductor (for example, Karajan) interpret the same musical phase in a similar way over the decades, or not?

Keywords: thunderstorms, instrumentation, music recordings, sonic visualizer.

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TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE

Charris Efthimiou was born in 1978 in Greece. He has a Master’s in Composition and Music Theory from the University of Music and Performing Arts Graz (KUG) and a PhD in Mozart’s Symphonies. Since 2012 he has been a senior lecturer at the University of Music and Performing Arts Graz on music history and music theory. Since 2019 he has been a postdoc senior scientist at KUG. He has written monographs on Metallica’s riffs and Mozart’s symphonies and publications on the symphonic works of W. A. Mozart (Mozart-Jahrbuch 2016), J. Sibelius (Cambridge Scholars Publishing), J. Myslivecek, L. Sorkocevic, R. Wagner, J. M. Krauss, A. Rolla, A. Honegger, L. Janacek, J. S. Mayr, the trio sonatas of J. L. Krebs, and heavy metal.

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“TALKING ABOUT OUR DECISIONS”: CLASSIFYING SPREES AND GREY AREAS IN THE CONSIDERATION OF MUSICAL GENRE JOHN FALLAS

Independent scholar johnfallas@yahoo.co.uk

Writing on Nabokov, the critic and scholar Michael Wood proposes a distinction between what he calls “signature” and “style” in literary writing, and emphasizes its provisional and speculative quality – not as a drawback but as an advantage. Such a distinction, he suggests, can usefully function as the beginning of a discussion rather than the end of one.

In this paper I examine two competing understandings of what genre means in connection with music: a relatively recent but now exceedingly widespread one which emerges from a presumed association between stylistic features and particular, sociologically defined groups of listeners; and a more “traditional” one which, in instrumental music at least, is expressed in work titles such as “sonata,” “symphony,” or “string quartet.” I consider the degree to which, on each of these definitions, genre is made “discussable,” drawing on the work of Gérard Genette to elucidate the status of titles and other paratexts as markers of (but not only of) compositional intention.

Moreover, I argue, on neither of these definitions is genre strictly speaking a system of classification. Yet the ghost of taxonomy haunts discourse around this topic. I return to the term “signature,” considering the relatively openended concepts of identity with which it is now associated but also its earlier sense as “a peculiarity in form or colouring etc. on a plant or other natural object formerly supposed to be an indication of its [medicinal or other] qualities” (Oxford English Dictionary), and argue in conclusion that in all its many forms, classification takes its place on a spectrum of conceptual activities and modes wherein its borders are deliberately and usefully porous.

Keywords: genre, paratext, signature, taxonomy, grey areas.

John Fallas is a writer, editor, and musicologist specializing in the music of the twentieth and twenty-first centuries, with a particular interest in the question of how both individual genres and genre as a concept function under modernism and after. His research is also much concerned with the question of paratexts – titles and other “ways in” to the work.

He was born near Manchester, and studied at the University of Cambridge, King’s College London, and the University of Leeds. He has written booklet essays for over thirty CDs featuring some of the leading composers and performers of our time.

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TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE

MUSIC AND MIMESIS: REVISITING TYPOLOGIES OF MUSICAL SIGNS BASED ON IMITATION MAŁGORZATA GRAJTER

The Grażyna and Kiejstut Bacewicz Academy of Music in Łódź malgorzata.grajter@gmail.com

The principle of mimesis and tone painting as a vehicle of musical meaning was still considered one of the key vehicles of musical meaning in late eighteenth- and early nineteenth-century aesthetics of music, as reflected in the classification of musical by Johann Nikolaus Forkel in Allgemeine Geschichte der Musik (1788), which still includes “musikalische Malereyen.” Notwithstanding the “antimimetic breakthrough” and the prevalence of the idea of absolute music in the early nineteenth century, the Aristotelian principle never lost its significance entirely: many authors have continuously dealt with the problem of music imitating either itself, or other phenomena, from different perspectives, for example, August Wilhelm Ambros (Die Grenzen der Musik und Poesie: eine Studie zur Ästhetik der Tonkunst).

The present-day view on mimesis is affected by the still emerging field of musical semiotics. Many contributors dealing with the problem of musical meaning have expanded the theory with new categories, such as musical topics (Danuta Mirka, The Oxford Handbook of Topic Theory). From the perspective of semiotics, the relationship between music and other sign systems also plays a significant role.

The goal of this presentation is to propose a typology of musical signs based on imitation, which covers not only tone painting or musical topics, but also musical arrangement and ekphrasis as signs representing other works of art. It seems that combining historical perspective with modern theories can be extremely productive and may result in creating more comprehensive systematics.

Keywords: mimesis, tone painting, topic theory, arrangement, semiotics.

Małgorzata Grajter is a PhD, music theorist, and pianist. She received her Master of Arts and PhD from the Academy of Music in Łódź, Poland, where she is currently an assistant professor. She is also a guest researcher at the University of Łódź. She has taken part in many international seminars and conferences, including the International Congress on Musical Signification, the International Beethoven Conference (Manchester), the Academy of Cultural Heritages (Syros), and the Beethoven-Perspektiven (Bonn). Her doctoral thesis, Das Wort-Ton-Verhältnis im Werk von Ludwig van Beethoven was published by Peter Lang Verlag (2019). She has also authored articles in Polish, English, German, and Portuguese, dealing with different aspects of the relationship between language and music.

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MUSICAL SIGNIFICATION IN AGATA ZUBEL’S OPERA-FORM BILDBESCHREIBUNG ANNA GRANAT-JANKI

Karol Lipiński Academy of Music in Wrocław, Poland anna.granat-janki@amkl.edu.pl

Discussions of genres are an important aspect of music semiotics. A genre plays a significant role in social communication, being a powerful code that connects the composer with the listeners. This also refers to the opera genre, which underwent profound transformations in the twentieth and beginning of the twenty-first century, as it no longer satisfied the expectations of composers and audiences. After the Second World War, the opera became an area of numerous experiments, as a new preference for mixed genres and hybrid, ambiguous forms developed. Genre transgressions are also a characteristic feature of the operatic oeuvre of Agata Zubel, an outstanding Wrocław-based composer and vocalist of the middle generation.

Her output includes three operatic works. The most recent one, Bildbeschreibung, set to a text by Heiner Müller (2016), is the subject of the paper, the aim of which is to discuss the individual way in which Zubel interprets the principles of the long-established genre. The starting point is the analysis of Müller’s dramatic work, which the composer used in its entire form to construct the libretto. This is followed by the discussion of the structure of Zubel’s opera and the relations between the music and the dramatic text, which significantly affect the constituent elements of the operatic work.

The analysis of word-music relations has shown that the music complements the text, which in turn determines the dramaturgy of the work. The composer tries to bring out the expression of the word and to enhance the ambiguity of the text. Sometimes she underscores single words which carry specific meanings and senses. Her music harmonizes perfectly with the whole complex sphere of thoughts and emotions that Heiner Müller wished to convey, marking its presence where the message cannot be expressed by words.

Agata Zubel’s opera form offers new genre, thematic, structural, and aesthetic solutions. It is an example of a genre hybrid combining elements of instrumental music genres, such as the symphony or concerto, with those of experimental theater forms, for example, instrumental theater or installation. Thanks to the inter-genre nature and hybridity of the opera, Agata Zubel was able to free it from restraining patterns and conventions. Bildbeschreibung is an attempt to modernize the genre in order to bring it closer to today’s audience.

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TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE

Keywords: opera genre, polish contemporary music, Agata Zubel, social communication, musical signification.

Anna Granat-Janki is a professor, doctor habilitatus, music theorist, and musicologist.

She studied music theory at the State Higher School of Music in Wrocław (1976–1981). In 1985, thanks to a scholarship from the French government, she lived in Paris, where she conducted research on Alexandre Tansman’s music. In 1992 she was granted the scientific title of Doctor of Philosophy in Musicology by the Institute of Art of the Polish Academy of Sciences in Warsaw, in 2006 the title of Doctor Habilitated in Music Art with a specialization in music theory by the Cracow Academy of Music, in 2014 the title of Professor in Music Art. Since 1981 she has been working at the Academy of Music in Wrocław, where from 2006 she was the head of the Unit of the History of Silesian Musical Culture, and since 2010 she has been the head of the Chair of Music Theory and History of Silesian Musical Culture. She has organized a series of conferences on musical analysis, Silesian musical culture, and the patron of the Academy of Music in Wrocław, Karol Lipiński. Her scientific interests focus on the history and theory of twentieth and twenty-first century music; the output of twentieth and twenty-first century Polish composers with a special emphasis on Alexandre Tansman, Marta Ptaszyńska, Wrocław-based composers, and the history of music culture in post-war Wrocław; and music analysis (especially semiotics analysis).

She has published two books: Form in the instrumental works by Alexander Tansman and The works of Wrocław composers in the years 1945–2000, numerous articles in Polish and foreign collective monographs and in scientific journals as well as entries in the PWM Music Encyclopaedia, Encyclopaedia of Wrocław, and the Polish Biographical Dictionary. She has participated in a number of scientific conferences both at home and abroad (Paris, Los Angeles, Imatra, Rennes, Banská Štiavnica, Canterbury, Kaunas, Cluj-Napoca, Athens, Svätý Jur). She is also the editor-in-chief of eleven collective monographs from various series: Musical Analysis. Historia-theoria-praxis, Traditions of Silesian Musical Culture, Wroclaw Musicians (Ryszard Bukowski, Tadeusz Natanson), Karol Lipiński – life, activity, epoch.

She is a member of various societies: Les Amis d’Alexandre Tansman in Paris, the Polish Composers’ Union in Warsaw, the Polish Music Analysis Society in Warsaw, the Academy of Cultural Heritages in Helsinki, and the Athens Institute for Education and Research in Athens.

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MAPPING MUSICAL SIGNIFICATION JOAN GRIMALT

Escola superior de música de Catalunya jgrimalt@esmuc.cat

Is it possible to systematize the main questions and typologies of musical signification in a clear, pragmatic way that encourages students and colleagues to use this methodology? Musical signification is an emerging field, but it is already bearing some solid results. The trouble is, they are mostly scattered around, in books and articles that are not always easily accessible.

My students kept asking for some order to my hermeneutic observations, hence the title Mapping Musical Signification (Springer 2020). Its aim is to help orient all those who wish to include expressive meanings into their analysis, their teaching, and their performances. The methodology follows pragmatic criteria and avoids purely theoretical discussion. The book’s table of contents reflects all tools that have been useful to me, whether as a performer or as a teacher, to give some solid ground – or to dement – my intuitions about musical meaning. It uses semiotic tools such as sign, trope, isotopy, and the old tried-and-tested semiotic square. It also relies heavily on the so-called topic theory and some of the new theories on musical narrativity, but it adapts all these utensils to the practical terrains of musical performance and teaching.

Beyond all systematizing efforts, the ultimate goal is to regain music as a significative artifact, and thus to reincorporate it into the humanities, where it traditionally belongs. Twentieth-century formalism brought academic isolation to art music. The music world can find its way back to its contemporary audience through an extra effort in putting words to the ineffable, finally unexplainable music experience.

Keywords: musical signification, teaching, taxonomy, topic theory, exploration.

Joan Grimalt is a conductor, philologist, and PhD in musicology who wrote his thesis on Gustav Mahler. After a decade devoted exclusively to performing, especially as an opera conductor, he combines practical musicianship with teaching and research at the Escola Superior de Música de Catalunya. Joan’s main field of research is musical signification, especially those regions on the edge of literature and language: hermeneutic, rhetoric, and poetic meters. The intersection between musicological reflection and performance has also been a constant point of interest. In June 2022, he will be the local organizer of the last of the International Congresses on Musical Signification n. XV. In his last book, Mapping Musical Signification (Springer), Joan gathers his and his colleagues’ research in a systematic textbook.

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MUSIC REVIEWS AS SIGNS OF THE SOCIOCULTURAL CONTEXT: COMPARATIVE CASE STUDIES OF THE LATVIAN, GERMAN, AND RUSSIAN MUSIC CRITICISM IN RIGA DURING THE LATE NINETEENTH AND EARLY TWENTIETH CENTURIES BAIBA JAUNSLAVIETE

Jāzeps Vītols Latvian Academy of Music baiba.jaunslaviete@jvlma.lv

The music reviews of any epoch could be considered as “signs” manifesting the critics’ belonging to a certain social or national community with an established system of values. The aim of this paper is to discover the meaning of such “signs” in the Latvian music history of the late nineteenth and early twentieth century: the publications of Riga’s newspapers representing three national communities – Latvian, Baltic German, and Russian – will be researched. The relationships between these communities were complicated: Germans and Russians competed for influence in the Baltic cultural space, and simultaneously the natives of the country, the Latvians, strived to manifest their national identity; the first academically educated Latvian musicians were beginning to enter concert life. How were the relationships between these three communities reflected in music critique? Searching for an answer, current research of Latvian history will be taken into account, but a new approach based on the framing theory will also be provided.

The case studies will include the comparison between the reviews of significant musical events by the Latvian, Russian, and Baltic German newspapers – the performances of new works by several Latvian composers (e.g., Alfrēds Kalniņš, Jāzeps Vītols). In the course of a content analysis, special attention will be paid to critics’ judgments about the national color, patriotic ideas, individual expression, and professional skills of the composers. It will result in the typologization of notions (frames), created by critics regarding the new Latvian music and its sociocultural contexts. Thus, conclusions about common and different tendencies in the reception of Latvian music of the chosen period, as well as its potential reasons, will be formulated. In the future, this typology may serve as a tool for studying music history in other regions, where different national communities with their own cultural traditions have long coexisted.

Keywords: national identity, composers, framing theory.

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Baiba Jaunslaviete (b. 1964) received her Doctorate of Art in 1993. She is a researcher (from 1992), a lecturer (from 1994), and associate professor (from 2014) at the Jāzeps Vītols Latvian Academy of Music. Her special research subjects cover aspects of Latvian music as well as its stylistic and historical context. She has given presentations at many international musicological conferences and has published books and research articles in Latvian, German, Polish, Russian, Slovenian, and Croatian scientific journals.

She is the editor of the selection Latviešu mūzika cittautu kritiķu skatījumā (“The reception of Latvian music by foreign [Baltic German and Russian] critics”) (Riga, 2004).

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TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE

ARISTOXENUS GÈNĒ AND TONOI ON ANCIENT GREEK LYRES EVANGELIA KOPSALIDOU

Democritus University of Thrace, Greece aerikop7@otenet.gr

Aristoxenus was the first to formulate the concept of the gènē, defined by the position of the two movable notes within a tetrachord. The two movable notes divide the tetrachord into three intervals of varying sizes, resulting in the diatonic, the chromatic, and the enharmonic genera. He used a model for creating scales based upon the notion of a topos, or range of pitch location.

The only work of his that has come down to us is the three books of the Elements of Harmony, an incomplete musical treatise. The first book contains an explanation of the genera of Greek music, and also of their species; this is followed by some general definitions of terms, particularly those of sound, interval, and system. In the second book, Aristoxenus divides music into seven parts, which he takes to be the genera, intervals, sounds, systems, tones or modes, mutations, and melopoeia. In book three Aristoxenus goes on to describe twenty-eight laws of melodic succession, which are of great interest to those concerned with classical Greek melodic structure.

In this presentation we will discover and demonstrate the above by listening and singing melodies (well known or not) played on ancient Greek lyres: phorminx, lyre, barbitos, kitharis.

Keywords: Aristoxenus, gene, ancient Greek lyres.

Evangelia Kopsalidou was born in Komotini (Thrace-Hellas). She is a graduate of the Music Department of the Ionian University. She holds a D.E.A. (Diplôme d’Etudes Approfondies) from the Faculty of Music of the Sorbonne-Paris IV University in Musicology and a PhD in Music and musicology from the Lettres Sorbonne-University (ex Paris IV).

She has been teaching music education as a member of the special teaching staff at the School of Education Sciences at Democritus University of Thrace since 2003. She has attended seminars concerning musicology, music education, and Baroque music through the world and took part in papers, panels, and workshops at Hellenic and international symposiums of music and music Education. She has published books, articles, and papers. She is a pianist, who also plays the recorder, the viola-da-gamba, and the ancient Greek lyre. More information available at https://duth.academia.edu/EvagheliaKopsalidou and https://www.linkedin.com/profile/view?id=308986668&trk=nav_responsive_ tab_profile_pic

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SIGNIFICATION AND SYSTEMATIZATION IN THE THEORY OF MUSICAL GENRES ALLA KOROBOVA

Ural State Mussorgsky Conservatoire kor.all@list.ru

The problem of signification is an important part of musicology as a science. This fully applies to the theory of musical genres, starting with its central term “genre” (fr. genre). It appeals (genre ← genus ← genos) to the general scientific category associated with the classification procedure (division genus et species). In ancient science, this category was developed first in logic and rhetoric; it also has entered to the theory of music. Therefore, the etymology of this term itself reflects the notion of genre as a classification category.

In contemporary musicology, there are various concepts regarding what a genre is as well as its nature and essence. About 20 approaches can be counted: genre is seen as a category that is, for example, ontological, morphological, semantic, axiological, sociological, or institutional. Traditionally, the approach in terms of systematization remains an important vector, as often the concept of genre and its theory grew out of various classification constructions in European music science. It was an attempt to cover the genre “repertoire” of musical practice, and the classification itself was an important object in the development of genre problems.

As an example, let’s take three points of this classification trend in the historical period of “reflective traditionalism” (in S. Averintsev’s terminology), comparing the logic of the classifications by Boethius, I. de Groheo, and M. Pretorius.

The logical basis of the classification operation is a proportionate and consistent division of the volume of the notion (the examined object) into sub-volumes according to the general criterion. Regarding the abovementioned classifications, we can see: as a whole, the line associated with the awareness and the designation of the object of genre division runs from the general concept of musica (where theoretical and practical activities were syncretically combined) to a musical work – the opus. This gradually transforms the classification procedure itself, since the “volume of division” is blurred: genres and/or works.

In the contemporary theory of musical genres, attention begins to shift from classification to a more flexible systematics, which considers genre features not as the basis for genre differentiation, but as criteria for genre types attribution, the “volume” of which is not fully known in advance, and

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TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE

the composition of genre features is objectively variable and it is the subject of discussion.

Thus, the transition in the systematization of genres from classification to typologization should be defined as a new scientific paradigm in the musicology.

Keywords: theory of musical genres, systematization, classification, typologization, the scientific paradigm.

Alla G. Korobova is a dr. habil. (Doctor of Art Studies) and full professor of the Music Theory Department of the Ural State Mussorgsky Conservatoire in Yekaterinburg, Russia, and holds the title of Honored Worker of Culture of the Russian Federation. She graduated from the Music Theory Department of the Ural Conservatory and completed postgraduate studies at the Music Theory Department of Tchaikovsky Moscow State Conservatory.

The defense of her PhD thesis took place at the Vilnius Conservatory in 1987. In 2008, she defended her doctoral dissertation at the Moscow Conservatory. She has authored about 150 scientific publications. Her research interests include the theory and history of musical genres, problems of ancient and modern music, and the musical pastoral.

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CHARACTER PIECES, PROGRAM, AND EKPHRASIS: IMPOSED SEMIOTICS OR OVERT MITGESEHEN? MARCOS KRIEGER

Susquehanna University [ELCA], USA kriegerm@susqu.edu

Though the practice of giving suggestive titles to keyboard pieces has been well documented since the publications of the French clavecinistes in the seventeenth century, it spread widely in the Romantic period, thus creating programmatic expectations for keyboard music. Today, many of these compositions are classified as “character pieces” – a label that encompasses more intention than objectivity while suggestive of mimesis of representation. The several publications for piano by Felix Mendelssohn collectively titled Songs without Words are a unique exemplar of the genre, especially if we consider the interference of editors in assigning programmatic content to them. These pieces are used here as a case-study for musical typology.

In the absence of the standard formal designs of the Classic style, Romantic formal freedom caused composers to use non-formal categories to facilitate the interaction with both performers and audiences. Titles and descriptors mediate between the score and the imagination of both the performer and the audience, not only serving as rhetorical scaffolding for the performer’s choice of interpretation, but also awakening in the audience connections and emotional content as individualized as the number of listeners.

As exemplified by Mendelssohn’s piano pieces, commercial forces have impacted genre definitions for a long time. Any discussion of this topic must account for such forces that influence musical typology beyond the choices made by the composer, as well as for the need of critics and historians to coin vocabulary for expedient handling of artistic production. This paper examines the aesthetics of representation as a defining aspect of musical typology. The function and power of types and classifications are explored within the epistemic frame of the platonic view of ekphrasis and the expansion of its meaning in H. G. Gadamer’s concept of mitgesehen (seeing-together-as), where the artist (composer) and the expectator (listener) play equally essential roles in developing the subject matter activated by the artistic product, in this case, the musical composition.

Keywords: ekphrasis, mitgesehen, character pieces, interpretation, program music.

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Marcos Krieger teaches organ, harpsichord, and music history at Susquehanna University, PA. He is also on the board of directors of the Historical Keyboard Society of North America. His research activities focus on early Baroque treatises and keyboard repertoire from Iberia and Italy. In addition, he has contributed papers and publications on the hermeneutics of the Romantic keyboard repertoire. As a keyboard artist, he has performed organ and harpsichord recitals in Argentina, Austria, Brazil, Canada, Germany, Italy, Spain, and the USA.

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THE CONCEPT OF MUSICAL PRECOMPOSITION: CONTRADICTIONS, PRACTICE, TYPOLOGY AGNĖ MAŽULIENĖ

Lithuanian Academy of Music and Theatre akemeklyte@gmail.com

The relationship of composition and precomposition was once defined by the metaphor of the loom and tapestry: “the weaver chooses techniques that will produce a specific visual effect on the surface of the fabric” (Rust, 1994: 62). Anyway, the demarcation line between composition and precomposition, as well as the question, if the precomposition even exists, seems to be a topic for wide discussion.

The focus point of this paper is to present the contrasting conceptions of precomposition, grounding this phenomenon in the theoretical works of Christopher F. Hasty (1988) and Douglas Rust (1994), a. o. The theoretical framework is expanded with practice-based observations, found in recent interviews with renowned Lithuanian composers Rytis Mažulis, Egidija Medekšaitė, and Ričardas Kabelis.

On the second part, the author’s four-type typology of precomposition is presented, defining textual, symbolic, sound-related, and figurate precompositional methods. Each represents different attitude towards creative thinking, related to visual and syntactical semiotics, apparent in practical compositional examples. The latter type reveals a new theoretical concept – the precomposition of FMC (figurate music composition), detected in geometrical sketches, and proved by the systematic approach to compositional material and the integrity of visual and musical parameters.

Keywords: precomposition, precompositional methods, composition ex nihilo, FMC precomposition, visual semiotics.

Agnė Mažulienė is currently studying figurate music composition for her Art.D. at the Lithuanian Academy of Music and Theatre, where she previously earned her bachelor’s and master’s degrees in musical composition. She is active in the Lithuanian compositional field: her works are performed by professional ensembles such as Musica Humana, Giunter Percussion, Jauna Muzika choir, Melos vocal ensemble, and St. Christopher chamber orchestra. In her creative work, she explores the potential of figurate composition, linking it to diverse compositional methods.

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CATEGORIES OF MUSIC THEORY IN TERMS OF LINGUISTIC COMMUNICATION SIGITAS MICKIS

Lithuanian Academy of Music and Theatre / Academy of Music of Vytautas Magnus University sigitasmickis@outlook.com

This report seeks to infuse alternatives into the usual typology based on music theory to support the composition, performance, or analysis of music. The assumptions of ethnomusicology, cognitive psychology, and neuroscience are used to do so, especially the communicative theory of musical meanings (Cross and Woodruff, 2009).

The field of sound communication, analyzing the similarities and differences of music with speech, is divided into three dimensions – motivation of social uncertainty, cultural power, and social intentions, showing that the latter is reasonably conceptualized in a bundle of categories and tools of analysis. In the speech analysis, such tools are classified as prosody, but linking the latter to possible music-only entrainment shows an alternative contribution to the meaningful discourse of typologies in music theory (based on the biological and psychological assumptions of humans as a species).

Examples of application of the signification concept include short-term perceptual memory focus (attention) control with metrical accents, the influence of dimensional perception of frequency (e. g., low perceived as the big one) on arrangement intentions, differentiation of sound emanation effort, and biological sound communication power with melodic and rhythmic contours (e.g., wide vs. narrow, open vs. closed), as well as recursive cyclicality of musical structures (musical form associations and hierarchy).

The benefit of the presented cognitive method is alternative consideration of musicking solutions from a communicative point of view (next to insights based on intuition and/or the tradition of music theory), possibly allowing message encoding to music on a more immediate supra-cultural level.

Keywords: communicative interaction of music typology and signification, sound emanation prosody, cyclicity of musical entrainment, supra-cultural intentions of making music, musical motivation of social uncertainty.

Sigitas Mickis (b. 1969) studied piano at the National M. K. Čiurlionis School of Art. He holds a Master of Piano Performance (1993, under Prof. Raimundas Kontrimas), a Master of Composition (2008, under Prof. Rimantas Janeliauskas), and a Doctor of Art (2018, artistic research project “Projection of the phenomenon of creativity in musical composi-

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tion” under supervision of Prof. Hab. Dr. Gražina Daunoravičienė and Prof. Vaclovas Augustinas) from the Lithuanian Academy of Music and Theatre (LMTA). In 2015 he took part in the Principles of Music Composing conference; his report-based article “Parametrical judgment of cognitive melodic realm: technological aspect” was published in the conference collection. In 2016 his article “Research of creative phenomena in music composition: theoretical model” was published in Lithuanian Musicology, vol. 18. In 2017 Mickis presented the stand-alone report “Creative composing of rhythm: rational contexts of expression (cognitive model)” at the 17th International Music Theory Conference “Principles of music composing: ratio versus intuition.” In 2018 he took part in the Principles of Music Composing conference with the report “Targeting three dimensions of auditory imagery in creative composing: models of rhythmical expression.” Mickis is an associate professor of music theory, music technology, and music production at the Academy of Music of Vytautas Magnus University and is a master’s thesis supervisor at the LMTA. In 2014 Mickis composed music and produced a soundtrack for the animation feature film Gustavo nuotykiai (The Adventures of Gustavas). In 2015 his opera for children Zuikis Puikis (Rabbit the Haughty) was staged at the Lithuanian National Opera and Ballet Theatre. In 2016 his piece for chorus Žmogus Tamsoje (The Man in the Dark) was awarded third place at the Vox Juventutis contest. Mickis is the keyboard player and/or arranger in the projects Paskutiniai Brėmeno muzikantai (The Last Musicians of Bremen), Musė (The Fly) and Naktis teatre (a Night at the theater).

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TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE

CLASSIFYING PERFORMERS’ GESTURES: CORPOREAL EXPRESSION AND ITS FUNCTIONS LINA NAVICKAITĖ-MARTINELLI

Lithuanian Academy of Music and Theatre lina.martinelli@lmta.lt

The present paper will attempt to outline and discuss several aspects of the corporeal identity of academic music performers, pianists more specifically, as significant carriers of the expressive meanings of the performance itself. The richness of potential significations that a musical performance is capable of communicating shall be emphasized here, and for that purpose two semiotic models shall be employed that contribute to the investigation of corporeal semiosis within the phenomenon of musical performance. Acknowledging the already-existing broad spectrum of discussions on a performer’s corporeal identity and communication, the author’s contribution to this discussion is proposing a combination of the Peircean icon-index-symbol classification of sign relations, and the model on the functions of language formulated by the Russian linguist Roman Jakobson. Having explained in general terms how these particular theories by Peirce and Jakobson work within the field of performers’ corporeality, the suggestion will be made to combine the two, for the purposes of encompassing the topic into a single model, thus encapsulating different forms of analysis of performers’ corporeality. The paper presents preliminary findings from the project “Perception of Expression in Musical Performance: Cross-Cultural Aspects and the Lithuanian Case,” No. S-MIP-19/49 / F16-503, funded by the Lithuanian Research Council.

Keywords: music performance, Charles Sanders Peirce, Roman Jakobson, performers’ corporeality, pianists’ gestural expression.

Lina Navickaitė-Martinelli is a professor and senior researcher at the Lithuanian Academy of Music and Theatre, as well as chair of the Musicologists’ Section at the Lithuanian Composers’ Union. She has authored the books A Suite of Conversations: 32 Interviews and Essays on the Art of Music Performance (2010) and Piano Performance in a Semiotic Key: Society, Musical Canon and Novel Discourses (2014). In addition, she has presented keynote and guest lectures, edited academic collections, organized conferences, and published her research internationally. Her main research interest is the art of music performance, with a specific focus on its semiotic and sociological aspects as well as practice-led research. More information at linamartinelli.wordpress.com.

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METHODOLOGICAL APPROACHES TO INTERTEXTUALITY IN THE WORKS OF CONTEMPORARY COMPOSERS ANNA NOWAK

The Feliks Nowowiejski Academy of Music in Bydgoszcz am.nowak15@gmail.com

In modern times, the practice of referring to a cultural heritage has become a particularly widespread phenomenon in the works of composers and has assumed a variety of forms; this is due to, among other factors, the multiplicity of techniques, forms and means of expression as well as material and stylistic connections applied in contemporary music. It implies the need to define the relationships that exist between musical works, identify those elements adopted from other works, and indicate what makes particular pieces one-of-a-kind and unique.

One approach to solving this particular research problem is the endeavor to systematize the rich world of artifacts by defining the relationships between works using various categorizing criteria. However, historical taxonomic divisions turn out to be insufficient when it comes to new forms of artistic expression. In my speech, I present selected approaches to intertextual relations used in descriptions of the works of composers, that are used in Polish musicological literature. I also analyze the criteria underlying these systematics, and their methodological usefulness for descriptions of contemporary music.

Keywords: works of contemporary composers, intertextual relations, music systematics.

Anna Nowak is a professor and a PhD in music theory as well as lecturer at the Feliks Nowowiejski Academy of Music in Bydgoszcz. Her research focuses on the theory and history of twentieth-century Polish music, particularly genre studies related the art song, instrumental concerto, and mazurka. She has published three monographs: The Pomeranian Symphony Orchestra. An Idea Enfleshed (1994); The Contemporary Polish Concerto: Transformations of the Genre (1998); and Piano mazurkas in 20th-century Polish music (2013). She is the author of several dozen entries in Polish and foreign encyclopedias and nearly a hundred papers in collective works published at home and abroad.

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TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE

PATTERNS IN ORGANIZATION OF MUSICAL MATERIAL IN THE STRING QUARTETS OF ONUTĖ NARBUTAITĖ JURGIS PALIAUKA

Lithuanian Academy of Music and Theatre jurgis.paliauka@lmta.lt

Before now, music analysis has been predominated by classical categories, defined by clear boundaries and therefore not overlapping and only dealing with members that clearly correspond to the defined list of features.

This approach was complemented by the prototype theory developed in the 1970s. Among the first to use it in music was musicologist Dora A. Hanninen (1997, 2001, 2002, 2003, 2004, 2009). Based on the theory and Hanninen’s methods and terms of analysis, this presentation seeks to illustrate the patterns in organization of musical material in three pieces by Onutė Narbutaitė for a string quartet, representing different periods of the composer’s creative life (“Piešinys styginių kvartetui ir sugrįžtančiai žiemai” (The Drawing for a String Quartet and Returning Winter / String Quartet No. 3, 1991), “Drappeggio” (String Quartet No. 4, 2004), “just strings and a light wind above them” (2018).

Using the Hanninen analytical model, associations between musical segments are sought in the entirety of the works mentioned above. This gives an opportunity to see the typical organizational factor of these works: exact and varied repetition of segments. It was also noted that while part of segments in one associative set are found in several places of the work, they are mostly used locally, thus creating musical fragments predominated by segments from a single associative set. The presentation generalizes the research results, discussing both the spread of segments in the string quartets and their similarities described using the contextual associations graph created by Hanninen (2002).

Keywords: categorization, prototype theory, similarity, Onutė Narbutaitė, Dora A. Hanninen.

Jurgis Paliauka (b. 1982) studied composition (BA) and musicology (MA) at the Lithuanian Academy of Music and Theatre, where he now works as an assistant and is a PhD candidate. He has published scientific articles in international musical journals and several essays in various musical magazines and has taken part in several international and local conferences. His major interests are linked with the issues of music theory and analysis.

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THE “RETROSPECT” IN JOHANNES BRAHMS’S WORK – OR HOW A PIANO SPEAKS WITHOUT WORDS CRISTINA G. ROJO

Escola Superior de Música de Catalunya cris.gonzalez.rojo@gmail.com

The “Retrospect” (der Rückblick) is a narrative archetype that represents a changing of temporality. In the Retrospect, the musical discourse makes an expressive use of the double temporality implicit in the switching from predefined material – associated with a remembered past, unrecoverable, which is being evoked – to spontaneous material and back. The latter is associated with a dysphoric present that remembers and reacts spontaneously, as if improvised. The term is taken from Brahms’s Sonata No. 3 Op. 5, the 4th movement of which, Intermezzo, has the rubric Rückblick and presents a “retrospective” version of the material that had been previously heard in the second movement.

This paper aims to define and classify those concepts, categories, and styles implied in the signification process of the Retrospect (der Rückblick).

Special attention will be paid to the markers of the temporal dimension: all those signs through which a change of temporality is represented in music.

This change consists of a transition between the present and the past, and vice versa. All those markers need to be classified in order to propose a definition for the Retrospect. The agent behind those changes of temporality is the musical persona, through which music, as in literature, is able to represent a virtual character who is in the present and suddenly looks back to the past.

Furthermore, the aforementioned Retrospect can appear at the movement level and at the whole-work level. In this paper, I propose a systematization of this archetype on these two levels of action, taking Brahms’s Piano Sonata No. 3 Op. 5 as an example. Regarding the whole-work level, Brahms added an extra movement to the four standard movements of the Sonata cycle. That is the aforementioned Intermezzo in the fourth position, with the rubric Rückblick (literally, “a look back”).

Keywords: musical signification, Johannes Brahms, narrative archetype, retrospect, musical persona.

Cristina G. Rojo is currently finishing her bachelor degree in piano at Esmuc (Escola Superior de Música de Catalunya). She participates regularly in the Kawai Heinrich-Neuhaus Meisterkurs für Klavier, where she has performed several piano recitals in Holland and Germany. She is especially interested in musical narrativity and currently researching about how musical signification affects performance. In addition to piano performance, she has started teaching music appreciation and has given lectures on opera in Aula Oberta in Barcelona as well as on musical signification at the Jornades ab Sentits at the Escola Superior de Música de Catalunya.

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THE PROBLEM OF TIME AND SPACE TERMS IN GÉRARD GRISEY’S DISCOURSES GABRIELIUS SIMAS SAPIEGA

Lithuanian Academy of Music and Theatre gabrielius.sapiega@lmta.lt

Spectralism as a historical movement is generally considered to have begun in France and Germany in the 1970s, precursors to the philosophy and techniques of spectralism, as prizing the nature and properties of sound above all else as an organizing principle for music, go back at least to the early twentieth century.

Controlling the sound parameters in the respective music inevitably becomes an important one of the essential parameters of the organization of music in time – the relationship between space and time. These issues were discussed in Gérard Grisey’s article “Tempus ex machina” in 1980, which is based on Grisey’s earlier 1979 discourse, Réflections sur le temps. Grisey himself states in “Tempus ex machina” that this concept was based on the implications of “primary numbers (Messiaen), the golden ratio (Bartók), the Fibonacci series (Stockhausen), the Newton binomial series (Risset) and <…> kinetic gas theories. (Xenakis)” (Grisey 2018: 62). Examining Grisey’s musical works as well as his writings, we can feel a smooth transition from K. Stockhausen’s “... wie die Zeit vergeht…” (...How Time Passes…, 1957) and P. Boulez’s Penser la musique aujourd’hui (Thinking about music today, 1963) which is not mentioned in the original texts. Such an approach allows a closer look at the processes of organization of sound propagation prevailing in spectral music, complements the theoretical fields of this compositional current and further perspectives from a phenomenological point of view.

An important aspect of significations and their categorization can be realized: what relationship between time and space is meant by certain compositional elements and solutions represented by intended terms? Looking critically at Grisey’s musical texts, we notice the current problem of term significations, which is obvious in the perspective of this time: many of them are not fully explained, and the descriptions themselves are sleek, not specific, perhaps even misleading, without knowing the full genesis of the term. For this reason, it is necessary to identify the field of significance of the relevant terms, to typologize it as an appropriate method of cognition.

Keywords: spectral music, time, space, typology, signification.

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Gabrielius Simas Sapiega (b. 1990) is currently studying at the Lithuanian Academy of Music and Theatre for an artistic doc­torate under Prof. Habil. Dr. Gražina Daunoravičienė (LMTA) and Prof. Stefano Gervasoni (CNSMDP). He deepened his knowledge of musicology in France (the Conservatoire de Lyon), and of philosophy in Israel (the University of Jerusalem). He studied with Raminta Šerkšnytė for his Bachelor of Music Composition and continued his master’s studies with Mārtiņš Viļums. Sapiega composes in­strumental music of various kinds and regularly participates in composition master classes and music festivals. His works have been performed in countries such as Lithuania, France, the Czech Republic, Austria, and Estonia, as well as broadcasted and recorded for the UK’s BBC 3 radio.

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THE SYSTEMATIZATION OF PIANO PIECES WHICH EMPLOY “EXTENDED TECHNIQUES”

(BASED ON EXAMPLES OF SOLO WORKS BY UKRAINIAN COMPOSERS OF THE SECOND HALF OF THE TWENTIETH TO EARLY TWENTY-FIRST CENTURY) ANASTASIIA SHARINA

Tchaikovsky National Music Academy of Ukraine anastasia13conpassione@gmail.com

At the beginning of the twentieth century, a new phenomenon in the field of art music was the introduction of “extended techniques.” The main aim is to consider the “extended piano techniques” and to create a new classification.

Research background. The analysis of scientific works shows a considerable number of different classifications (Ishii Reiko, Jean-François Proulx, Luk Vaes, etc.). The methodology of the research includes historical, systematic, and performance analysis.

Results. This research focuses on the study of solo piano pieces by Ukrainian composers. My classification offers a new idea for considering “extended piano techniques.” First, I come from a work that involves such playing methods. An attempt is made to classify these techniques not as a separate phenomenon, but as directly living within one work. Works for piano solo may be systematized by three features: 1. the number of techniques: • use of one or two methods (“Euphoria” by V. Kyianytsia); • use of the complex methods (“Greetings M.K.” by V. Runchak); 2. the degree of use: • “extended techniques” are used only partially, whilst “traditional piano techniques” prevail (Romantic elegue for home music-making/ Piano Sonata No. 2: “When tired heart” by I. Shcherbakov); • “traditional” and “extended piano” methods are used on equal terms in percentage and functional ratio (“Aqua Sonare” by A. Korsun); • piano works are entirely based on the extended techniques (“De(zember)” by A. Kobzar).

3. by the number of performers: • only soloist (“That’s it!” by S. Zazhytko); • soloist and assistant (Piano Sonata No. 3: “AER” by V. Tsanko).

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Conclusions. The analysis of piano works by Ukrainian composers demonstrates their creative achievement in many genres, various imaginative areas that convey the character of the works which are aimed at discovering new emotional areas, as well as acquiring a fundamentally new listening experience.

Keywords: “extended piano techniques”, solo piano pieces, Ukrainian composers of the second half of the 20th–early 21st century, the classification.

Anastasiia Sharina is a postgraduate student of Petro Tchaikovsky National Music Academy of Ukraine. Her research interests include contemporary art music, extended piano techniques, Ukrainian music of the second half of the twentieth and early twenty-first century. Her study Extended techniques in music for piano solo by Kyiv school composers (using glissando as an example in “Aqua Sonare” by A. Korsun) was awarded the first prize at the Ukrainian competition of student scholarly works on musical art and cultural studies” (2018, Kyiv). She is the author of three articles and has taken part in many scholarly conferences both in Ukraine and Europe.

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ASSOCIATIVE MUSICAL TEXT: DEFINITION, TYPOLOGY, RESEARCH METHODOLOGY OLGA SOLOMONOVA

Ukrainian National Tchaikovsky Academy of Music solo55mono@gmail.com

This systematic approach analyzes musical texts which have clear textual address and enhance the semantic density of music to contribute to interpreting the mechanisms of a composer’s creative activities. The analysis of such texts has already been carried out earlier. The novelty is to outline a systematic view on such phenomena and attempt to come to a consensus on their naming and the methodology of their analysis. The first step is to suggest a general definition of such textual phenomena as associative musical text (AMT).

The purpose of the work is to set out the concept of AMT. Tasks: • put together texts which bear the memory of other specific texts under the AMT category; • define the AMT concept and to discuss how to use it; • classify associative texts and to make the AMT concept broader by including phenomena where a disbalance between genre “supply” and “demand” exists; • propose a methodology for the AMT analysis; • present of algorithm of how AMT works using a musical parody as an example.

Methodology The AMT analysis is made in three stages: 1. Identify the prototype and its constant features.

2. Determine prototype transformation by comparing the virtual and real co-texts.

3. Analyze the mechanisms of dealing with original source.

Outcome and conclusions. Definition and analytical motivation of AMT are proposed. It is revealed that the AMT’s purpose is to establish a dialogue within “composer-performer-listener” communication. The AMT’s systemic signs are determined, including: a) the intertextual connections providing figurative and intonational parallels at intertextual or intermediate level; b) two-layered compositional basis of AMT that simultaneously exhibits a vir-

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tual prototype and a real text. It was also revealed that all AMT types are often in a transitional state despite their uniqueness.

Keywords: associative musical text, typology, virtual and real texts.

Olga Solomonova graduated from Kiev’s Tchaikovsky National Music Academy in 1978, specializing in musicology and theory of music (BMus). Then she earned her Dr. phil. degree in 1987 with the dissertation The art of Skomorochs in a context of native musical culture, followed by her dr. hab. dissertation The World of Laughter in Russian Musical Classics in 2008.

Solomonova is a professor of Tchaikovsky at NMAU and teaches history of music, theory of music parody, and music criticism at the History of World Music Department as well as supervises bachelor’s, master’s, and doctoral research. She also teaches various music disciplines like solfeggio, harmony, music theory, and polyphony at Kiev’s Academy of Art. Solomonova has authored more than 100 articles. Her professional interests include the musical laughter, the theory of music parody, music of composers of the nineteenth and twentieth centuries, the culture of totalitarian epochs, the genre system in music art, and the semantics and hermeneutics of music.

ORCID: https://orcid.org/0000-0002-3058-425X

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TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE

THE PAST AND THE FUTURE OF GREEK POPULAR SONG: FROM THE REBETIKON TO THE GREEK TRAP?!

KALLIOPI STIGA

High-School of Neo Faliron kallistiga@yahoo.gr

Composers, musicologists, and sociologists, among others, have long been trying to define the boundary between savant music and popular music (or Musiques Actuelles). In the case of Greece, as Greek popular music is defined the “music of the city” (αστική), opposed to the demotic music which is identified to the “music of the province.” Greek popular music comprises, among others: the rebetikon song, the erotic-humoristic-satirical songs by Attic, the “songs of wine and taverna,” the songs of the Resistance, the political song, the savant-popular music, the new wave song, and the dog’s songs (σκυλάδικα). The last 30 years, Greek rap and recently the Greek trap have a lot of success with the young generations in particular.

The aim of this paper is, first, to examine the music-poetic characteristics of these completely different categories of Greek popular song and to propose some new criteria of typologization.

Keywords: sociopolitical context, music-poetical analysis, rebetikon song, savant-popular music, Greek trap.

Kalliopi Stiga, born in Athens, Greece, studied piano in the Conservatory of Athens and musicology at the Ionian University of Corfu in Greece, the Université de Paris IV-Sorbonne in France, and the Université Lumière- Lyon II in France, taking a diploma, D.E.A., and PhD in Literature and Arts respectively. In 2010, she was qualified as a Maître de Conférences by the French National Council of Universities (CNU).

Since September 1998, she has been an established music teacher in Greece. She has worked in the Department of Musicology in the University of Athens (2007–2010) and in the Department of Primary Level Education of the Democritus University of Thrace (2010).

Her research interests are in the fields of sociology of music and of history of Greek contemporary popular music.

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A PROBLEM OF TYPOLOGIZATION OF TEXTURES IN CONTEMPORARY ART MUSIC: THE POST-SOVIET CASE IRYNA TUKOVA

Petro Tchaikovsky National Music Academy of Ukraine tukova@ukr.net

Contemporary art music presents a multiplicity of complex methods of work with sounds, their combinations, and the methods of their organization.

Such situation creates numerous problems with typologization of musical compositions at different levels (from genre to language). At the same time, the difficulties of musicological research are added by the presence of diversity of methods, tools, and definitions that have been formed by different musicological schools and very often aren’t correlated with each other. This problematic situation formed the main idea of my presentation. The idea is the characterization traditional for the musicology of Post-Soviet countries’ (for example, Ukraine’s, Belarus’s, and Russia’s) approaches to understanding musical texture phenomenon, its kinds, types etc. To arrive at a solution to this problem, works by Valentina Kholopova, Tatiana Bershdskaya, Marina Skrebkova-Filatova, Aleksandr Maklygin, and Irina Snitkova are examined.

The phenomenon of “sonoristic compositional technique,” very specific for Post-Soviet musicology, is considered in the context of approaches to the texture in contemporary art music. The correlation of the terminology in English and Russian is proposed, for example, texture categories and texture types (“склад” in Russian).

On the basis of composers’ practice of the second part of the twentieth and early twenty-first century, it is proposed to add a fourth element to the three existing texture categories/texture types (monophonic, homophonic, contrapuntal): the macrophonic. This texture category is based on the principle of sound mass and includes cluster and micropolyphonic (imitative and free) kinds. It is coordinated with some of the techniques which A. Maklygin attributes to “sonoristic compositional technique.” The kinds of macrophonic texture category are demonstrated in works by Ukrainian composers (Svyatoslav Lunyov, Maxim Shalygin).

Keywords: contemporary art music, texture, Post-Soviet musicology, sound mass, texture category / texture type.

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Iryna Tukova, PhD, is an associate professor in the Theory of Music Department of Petro Tchaikovsky National Music Academy of Ukraine in Kyiv. She has taken part in conferences in Ukraine, Germany, Lithuania, and Russia and given lectures about contemporary art and Ukrainian music at Ljubljana Academy of Music in Slovenia. Her areas of scientific interest are theory of musical genre, the history of theoretical musicology, techniques of composition in contemporary art music, and problems of the interaction of natural science and art music in modern and contemporary times. She is the author of more than 40 articles.

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THE COMPOSING PROCESS: THEORIES OF ANALYTICAL STRATEGIES AND COMBINATIONAL PERSPECTIVES IN CLASSIFICATION JURGITA VALČIKAITĖ-ŠIDLAUSKIENĖ Lithuanian Culture Research Institute jurgitavalcikaite@gmail.com

In 1713, Johann Mattheson, in his book Das neu-eröffnete Orchester, presented the first structural model of music composition. In 1787 Heinrich Christoph Koch, in his Versuch einer Anleitung zur Composition, offered a theory based on the laws of rhetoric presented by Matthesson, which brought it closer to music and developed teaching on aspects of the work-states and the process of composition. Their theories laid the foundation for further research into the creative process and raised fundamental categories in music and related phenomena. However, musical creation is a complicated process to define, which still lacks precise signification results, and their categorization creates a problematic field of research that is still difficult to unravel.

In the twentieth century, creativity and the creative process attracted the attention of psychologists, researchers of human behavior (Wall, 1926; Rosmann, 1931; Koberg/Bagnall, 1981; Barron, 1988, and so forth), which introduced some fundamental, mostly similar theories. Most of them were formed based on general ideas and research of creative thinking and psychology.

Since creation directly depends on the creator’s individuality, not all declarable models of creativity can be applied in their original form, especially based on the logic of the phases (stages) of the creative process envisaged by the author of the chosen specific theory. Nevertheless, more detailed studies of theories allow us to notice their common denominators and supplements, the combinations of which allow to identify in the horizontal of the composing process the phases directly related to the analyzed work of the selected composer.

This paper focuses on the essential theories of creativity and the creative process of the last century in order to conceptualize the phases of the different stages of the creative process, classify their significations and evaluate their implication opportunities in developing research into the music creation process.

Keywords: music, creativity, process, composing stages, sketches.

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TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE

Jurgita Valčikaitė-Šidlauskienė (b. 1993), 2012 graduated from Šiauliai Saulius Sondeckis Arts Gymnasium. In 2016 she obtained a bachelor’s degree in music theory and criticism at the Lithuanian Academy of Music and Theater, and in 2018 her master’s degree. From 2020, she has been studying in the joint doctoral program in art history of the Lithuanian Culture Research Institute, the Lithuanian Academy of Music and Theater, and the Vilnius Academy of Arts. Her research interest is the process of composing music.

Valčikaitė-Šidlauskienė pays significant attention to music criticism. She has published over 40 reviews, reviews of music publications, and articles, and she has also prepared a monograph on the Lithuanian opera soloist Nijolė Ambrazaitytė (Nijolė Ambrazaitytė. An Extraordinary Voice, Lithuanian Independence Act Signatories Club, 2018).

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STORYTELLING IN INSTRUMENTAL MUSIC – CLAUDE DEBUSSY’S BALLADE TIJANA VUKOSAVLJEVIĆ

University of Arts in Belgrade, Serbia tijana.muz@gmail.com

Finding and defining meaning in music is always a current and challenging research question. Looking back at the history of such classifications and foreseeing the need to rethink them, for this paper I chose the form of the ballad. Starting from the original appearance of the ballad, which was a song with a dance, all the way to the formation of the instrumental ballad in art music, we find that the ballad should be understood as a process of thought, rather than as a closed unit. A ballad understood as a story or “story within a story” indicates a certain fragmentation of this form. Thus, the ballad principle of building the form of a work is on the one hand free and fragmentary, but on the other hand it is conditioned by the story itself. Recognizing the meaning is far easier if it is a form of ballad that also contains a literary text.

Nevertheless, the instrumental ballad also has its meaning, which we can set on the basis of musical parameters (melody, harmony, form, rhythm). As Impressionism is known for its short fragmentary units created as a result of immediate impressions, the analysis of Claude Debussy’s Ballade served as a suitable example to illustrate the ballad principle of thought in music (much like a narration). I will present the main actors (themes or motifs) who, through mutual interaction, form four stories (or four parts of the same story) in Debussy’s Ballade. The existence of agogic and dynamic labels adds a fine note of narration that would be appropriate even if this was told in speech, not music.

Key words: ballad, Debussy, music form, impressionism in music, meaning in music.

Tijana Vukosavljević is a PhD student of music theory at the Faculty of Music in Belgrade.

She received her specialization degree with the thesis Activity of Tonal Dynamics in the Music of Maurice Ravel. She participated in annual meetings of students of music theory in 2017 and 2018, as well as in the 20th Pedagogical Forum of Performing Arts in Belgrade and 13th Biennial International Conference on Music Theory and Analysis in Belgrade in 2019.

She was a member of the organizing committee at the First International Conference of Psychology and Music – Interdisciplinary Encounters.

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EINE BEGRIFFSSUCHE ZUR TYPOLOGIE DER OPERNPROJEKTE IN DER GEGENWART ADELINA YEFIMENKO

Lviv National Lysenko Music Academy / Munich Ukrainian Free University musikwiss@t-online.de

Die neuen Inszenierungen im Opernbetrieb weisen auf ein Umdenken der Gattung Oper hin. Eine diffuse Grenze zwischen Regieoper und Postoper ermahnt die Musikwissenschaftler, diese Phänomene nicht der Gattung Oper einzuordnen. Richard Wagner weigerte sich, seine musikalischen Dramen als Opern zu benennen. Aber es stellt sich heraus, dass der Begriff “Oper” momentan eine Renaissance erlebt, denn viele Artefakte, die ein Gemenge von einerseits Symphonieorchester, elektronischer und U-Musik, andererseits Filmclips, Vision-Art, Fashion-Design, in Verbindung bringen, werden mit dem Begriff “Oper” bezeichnet. Die Dominanz der Regieoper treibt die zeitgenössischen Komponisten dazu an, den alternativen Begriff “Postopera” zu erfinden.

Und mittlerweile wird das Interesse der Musikwissenschaft daran erweckt, wie die Beispiele belegen: H. Lehmann: Postdramatisches Theater. Je. Novak: Postopera: Reinventing the Voice-Body. Eine Begriffsbestimmung, die alle Merkmale berücksichtigt, ist noch nicht möglich. Aber eine Typologie exemplarischer Beispiele der neuen musik-theatralischen Artefakte ist inhaltlich und methodologisch durchführbar (was das Ziel meiner Abhandlungen ist). Auf dem Weg vielseitiger Auseinandersetzungen stellt sich neben operntextbezogenen Zugängen die Frage nach der methodischen Ausrichtung von Aufführungsanalysen, die die subjektive Wahrnehmung des Wissenschaftlers als Rezipienten einschließt. Das äußert sich auch dahingehend, dass sich die Musikwissenschaft dem Appel der zu erforschenden Live-Ereignisse zuwenden müsste, die eine Vision kreieren, es gäbe eine “Idee der Oper”, die die gesamtkunstwerklichen, sozialpolitischen und technologischen Voraussetzungen erfüllt.

Das Resultat der Aufführungsanalysen lässt Typen von Artefakten erwarten, die sich als Oper anbieten, gleichfalls jedoch die Gattung negieren. Interessant dabei ist, dass diese Negation im Sinne der “doppelten Negation” erscheint. Es wurde festgestellt, dass der Begriff „Oper“ als Werkzeug sowie “opera aperta” (U. Eco, Das offene Kunstwerk) in performativen Praktiken verwendet wird, um die Bedeutung des einzelnen Gesamtkunstwerkes emporzuheben. Die Postoper dient somit nicht mehr als Gattung, sondern als ein Impetus, Impuls, Code, Symbol, Zitat, Re-Post und eine neue Vorahnung über Das Kunstwerk der Zukunft.

Keywords: Gattung Oper, Regieoper, Postoper, Idee der Oper.

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Adelina Yefimenko. Musikwissenschaftlerin, Promotion 1996, Habilitation 2011, 2013 erhielt sie den Professorentitel. Sie lehrt an der Lviv National Music Academy Lemberg und an der Ukrainischen Freien Universität München. Schwerpunkte und Lehrveranstaltungen: Zeitgenössische Regieoper, Musica Sacra im 20. Jahrhundert. Fr. Yefimenko ist die Preisträgerin der Strawinsky-Kulturpreises, DAAD- und KAAD-Stipendiatin, Autorin von sieben Monographien und über 500 Aufsätzen, Buch-Anleitungen u.a. Sie ist Mitglied der Nationalen Gesellschaft der Komponisten, der Galician Music Society, der RichardWagner-Gesellschaft, der Deutschen Gesellschaft für Musikforschung und der Deutschen Schostakowitsch Gesellschaft. Als Opernexpertin schreibt sie über neue Inszenierungen an europäischen Opernhäusern und Musik-Festivals (Bayreuther Festspiele, Salzburger Festspiele, Händel-Festspiele Karlsruhe, Rossini-Festival in Pesaro u.a.). ORCID iD: https:/ orcid.org/0000-0002-4278-5016

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TYPOLOGY OF MODERN BALLET VERONIKA ZINCHENKO

Ukrainian National Tchaikovsky Academy of Music veronika-music@ukr.net

Ballet is a popular genre of the twenty-first century. Despite the uniqueness of each ballet performance, we can identify common features and develop a typology of the ballet genre, which will differentiate the processes and make generalizations on the scale of all modern ballet.

The purpose of the study is to create a typology of modern ballet.

Taking into account the experience of previous researchers (V. Kholopova, M. Zagaykevych, D. Sharykov, N. Terentyeva, etc.), a typology of ballet based on the following criteria is proposed: 1. The genesis of the musical component, which allows to differentiate three models: - primary ballet music, created specifically for ballet; - secondary ballet, which uses existing opuses (both ballet and nonballet); - a synthetic model that combines existing and specially written music.

2. Approach to the sound design of musical matter, the actual instrumentation – instrumental, vocal-instrumental, vocal-choral, electronic music, and synthetic version with the involvement of different types.

3. Structural-scale criterion by which we distinguish a large ballet and chamber – entire or suite type.

4. Ethnic specificity of ballet, which allows us to divide ballets into non-ethnic ballets and those with a pronounced ethnicity.

5. Genre definition: ballet, opera-ballet, symphony-ballet, cantata-ballet, oratorio-ballet, and dance performance.

6. The presence or absence of a story line.

7. Ballet vocabulary: folk, classical-romantic and modern.

8. Types of scenography: detailed (classical-plot), abstract and combined.

8. Focus on the audience age group: children’s ballet, adult ballet, family ballet.

The proposed typology allows us to identify and systematize the common features of the modern process of development of the ballet genre, to comprehend the variety of approaches to the creation of ballet performances.

Keywords: ballet, typology, modern art, ballet music.

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Veronika Zinchenko is a Ukrainian musicologist and a music and theater critic. She holds a junior specialist of musicology degree from the Kyiv Municipal R. Glier Academy of Music (2014), a bachelor’s degree (2019) and a master’s degree in musicology from the Ukrainian National Tchaikovsky Academy of Music (2020), and a master’s degree in theater criticism from the Kyiv National I. K. Karpenko-Kary Theatre, Cinema and Television University (2020). Now she is getting her PhD in Musicology from the Ukrainian National Tchaikovsky Academy of Music.

Zinchenko is a teacher of theoretical disciplines at Kyiv State D. Shostakovich Music School No. 4 and a methodologist of the highest category at the State Scientific and Methodological Center for the content and quality of cultural and artistic education.

More information available at https://orcid.org/0000-0001-8607-3582

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SIGNIFICATION OF MUSICAL VARIABLES AS A PATTERN OF “STATE OF BEING AESTHETICS”: THE PROBLEM OF MUSICAL TEXTURE VILTĖ ŽAKEVIČIŪTĖ

Lithuanian Academy of Music and Theatre viltezak@gmail.com

“It is possible to imagine music without harmony, but it is difficult to imagine sounded music which would be devoid of texture” (Huron, 1989: 131).

When we try to ponder upon our recent past retrospectively and think about the twentieth century, the issue of the dominance of musical texture expression as a principle of structuring remains particularly significant for the composers of the twenty-first century. Is it possible for the contemporary artist to be original and unique, especially when “Modernity is the challenge of the infinite within the capacities of the present” (Harper, 2011: 5)? We can imagine that “being unique and up-to-date” is determined by a composer’s decision to creatively use different patterns in musical structure and choose a particular aesthetics in composing music. Regarding Adam Harper, to find a more reasonable fundamental creative condition of composition, we need to look for a possibility to express the power while manipulating the sound by grasping the specific attributes of any sound based on the ways in which it varies. The result – unique expression of musical texture. Music, according to Harper, is a “complex system of variables relating primarily of the production of sound,” so musical variables are subjects creating and forming that particular musical system.

It is recognizable that Lithuanian composers of the twenty-first century can be identified by the particular “state of being” aesthetics. Their music seems to be quite melancholic, subtle, contemplative, rich of consonance, with a slow and calm change. The main aim of this paper is to analyze contemporary Lithuanian composers’ pieces to look for appropriate musical variables on which musical texture might depend and to ponder upon the ability to classify it.

Keywords: musical texture, musical variables, 21st-century Lithuanian composers, classification, signification.

Viltė Žakevičiūtė (b. 1995) is currently undergoing her artistic doctorate studies at the Lithuanian Academy of Music and Theatre. She is exploring a theoretical study about the musical texture of Lithuanian composers of the twenty-first century. Her works feature musical tokens representing different epochs and are meant to convey the subtlety and personal existential experience. By following the concept of beauty in associative music, she supplements rational music-making with extremely precise methods of expression.

Viltė’s music is performed at various concerts and festivals. Her “The Secret of Magnolia Bloom” was nominated in 2019 for the International Rostrum of Composers.

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Typologies of Music Signification: Retrospective and Perspective. Book of Abstracts.

Editor: Lina Navickaitė-Martinelli. – Vilnius: Lithuanian Academy of Music and Theatre, Lithuanian Composers’ Union, 2021. – 72 pages.

ISBN 978-609-8071-60-3 The Book of Abstracts features the texts for the international conference “Typologies of Music Signification: Retrospective and Perspective”, held on October 21–23, 2021, in Vilnius, Lithuania. Musical signification, as any other issue related to the meaning in music, has constantly been an object of interest for musicologists, composers, semioticians, and philosophers, often in an attempt to classify and categorize it. Looking back at the history of such classifications and foreseeing the need to rethink them, the theme of this conference is dedicated to the theoretical and practical discourses dealing with the interrelations between musical signification and a variety of typologies.

The conference seeks to reinvigorate the approach to the concepts, terms, and categories employed in the process of music signification as well as attempts to conceptualize the practices of classification of musical phenomena. Scholars, in their papers, tackle this task from a variety of perspectives: they discuss them as problems of research philosophy, raise the question of criteria, present individual approaches, analyze historical or current cases, and present the perspectives of systematization.

TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE BOOK OF ABSTRACTS Edited by Lina Navickaitė-Martinelli English language editing: Kerry Kubilius Layout: Rokas Gelažius Printed by UAB Baltijos kopija

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