Eurasian music science journal

https://eamsj.uz/index.php/eamsjournal Eurasian music science journal of The state conservatory of Uzbekistan. Open access to scientific articles in music discipline. en-US <a title="Copyright and licensing statement" href="https://eamsj.uz/index.php/eamsjournal/copyright" target="_blank" rel="noopener">Copyright and licensing statement</a> (Shoyista Ganikhanova) [email protected] (Victor Khandamian) OJS 3.2.1.4 http://blogs.law.harvard.edu/tech/rss 60 Performance Features of Robert Schumann’s Work ‘Six Etudes in Canon Form’ Op.56 in Claude Debussy’s Version for 2 Pianos https://eamsj.uz/index.php/eamsjournal/article/view/75 This article considers and analyses the work ‘Six Etudes in Canon form’ by the German composer, music critic and pedagogue, representative of the Romanticism era - Robert Schumann. It is studied that the etudes were written by Schumann for an old-fashioned instrument - a piano with an added foot keyboard, and later were edited by Claude Debussy for 2 pianos. It is examined the history of 6 etudes and their relationship to the organ. How concepts of genres have changed over some hundred years, and discussed how this work manages to combine these two genres. Also noted the time when the composer wrote these etudes and how his fascination with polyphony came about. The notion of ensemble performance is summarized, and it is shown that its role in the 19th century differs from that in the 18th century in that the ensemble is no longer of a salon nature but is considered a serious concert genre. It concludes with an analysis of each of the six etudes: their tonal plan, form, texture, means of expression, harmony and character. Nigora Khusanova Copyright (c) 2022 Nigora Khusanova https://creativecommons.org/licenses/by-nc-nd/4.0 https://eamsj.uz/index.php/eamsjournal/article/view/75 Fri, 17 Jun 2022 00:00:00 +0300 Composing from Scratch: A Storyboard, Rationale and Reflection on Creating a Course for Digital Music Examiners Using The 7Cs Framework https://eamsj.uz/index.php/eamsjournal/article/view/85 The impact of COVID-19 as a global pandemic placed the cultural field of music education into an online world which requires new and innovative ways of thinking about teaching, learning and assessment. Innovative methods in the field of music education, are often about the pedagogy with less consideration and understanding of how to create approaches using learning design technology to enhance and engage the experience of every learner, including that of the teacher. This research paper presents a storyboard depicting a conceptual model of learning design, the rationale for design and reflection on peer review researcher feedback. The study seeks to use learning design in practice as a tool to provide the necessary training to music examiners undertaking music assessments delivered on an innovative digital platform designed and built by the International School of Musicians. A conclusion is provided with suggestions on how to improve practice now that we all find ourselves living in a world of digitalisation. June Fileti Copyright (c) 2022 June Fileti https://creativecommons.org/licenses/by-nc-nd/4.0 https://eamsj.uz/index.php/eamsjournal/article/view/85 Sat, 25 Jun 2022 00:00:00 +0300 Problems of Teaching the Specificity of Chamber Ensemble on the Example of Sonatas for Violin and Piano Op. 79 F.Kuhlau https://eamsj.uz/index.php/eamsjournal/article/view/77 Chamber ensemble performance is one of the most difficult types of performing arts, as it connects musicians who are playing different instruments. Therefore, the process of training performers in the chamber ensemble class is very important. In this article, based on a methodological analysis of sonatas for violin and piano, op. 79 F. Kuhlau, the tasks and the techniques are investigated which are typical for playing in a chamber ensemble. For example, the nature of sound production on the violin and piano, the difference and similarity of articulation, the ways to achieve sound balance, building phrasing, etc. And since the work of F. Kuhlau is not as widely known as the work of his contemporaries K. M. Weber and F. Schubert, familiarization with the chamber sonatas of this composer expands the horizons of young performers and reveals important aspects of work on the genre and stylistic features of the works of the early romantic period. Detailed methodological recommendations of the author's work on forms, phrasing, unity of articulation, ensemble synchrony for performers to develop the appropriate tempo, metro-rhythm, prevalence, and performance plan of the works. The practical work on definition, artistic intent, and style is driven by the necessary skills, driven by the specific characteristic of the activity, taking into account the greater productivity of the work in the chamber ensemble class. Tatyana Myakushko Copyright (c) 2022 Tatyana Myakushko https://creativecommons.org/licenses/by-nc-nd/4.0 https://eamsj.uz/index.php/eamsjournal/article/view/77 Sun, 19 Jun 2022 00:00:00 +0300 Third Symphony by Igor Pinkhasov. Some stylistic features https://eamsj.uz/index.php/eamsjournal/article/view/81 The given article is devoted to the creative work of the famous composer of Uzbekistan – Igor Pinkhasov. His Third Symphony - the composition of 2020 - is considered and analyzed in the context of the main trends of music of the XXI century. The task of the work is to show the main stylistic techniques and musical expressive means of the composition, which are given in accordance with the most noticeable phenomena in the world symphonic music of the XX and XXI centuries. Therefore, a free sonorics combined with tonal episodes creates a picture of an active thematic movement. Aleatorics, a beneficial environment for the emergence of melodic material, tonal in fact, itself also undergoes a deep transformation and development throughout the work. Despite the composer's active use of aleatoric principles and elements of sonorics, the melody underlying many of his themes still occupies its central place in the hierarchy of musical expressive means. Genre transformations, as the next stage of the stylistic complex, also take place as a look towards the great symphonists of the XX century. These are genre allusions that illustrate very accurately the fractures of the worldview, express themselves, for example, through the march, which is one of the most recognizable and representative genres for several centuries. Such semantic references allow the listener to navigate in the ongoing event series. The analysis in the light of these trends makes it possible to identify common problems in the system of expressive means of the musical language of the modern symphony in various countries. Together with the emotional aspect of the symphony, they play an important role in the musical "reflection" of people's aspirations and hopes, their negative and positive expectations from the events of reality. Vasiliy Medved Copyright (c) 2022 Vasiliy Medved https://creativecommons.org/licenses/by-nc-nd/4.0 https://eamsj.uz/index.php/eamsjournal/article/view/81 Mon, 20 Jun 2022 00:00:00 +0300