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Section 2. Musical arts - PRE_M|ER European Journal of Arts 4 (2021) - ISSN 2310-5666 -
UDC: 783.2 (477.83-25):781.42(0.053.2) DOI: 10.29013/EJA-21-4-87-95
A. R. NEMERKO 1
1 Ivan Franko National University of Lviv, Lviv, Ukraine
CANON FORM IN VOCAL AND CHORAL PIECES BY LVIV COMPOSERS OF THE XX 1ST CENTURY FOR CHILDREN
Abstract
Objective: to consider specific compositions in the canon form and the pieces of which canon is just a part. The goal of the research to supplement choir repertoire for children with canons differing in content and form (choir exercises, concert compositions); to offer more accessible and interesting material for the development of polyphonic singing for children as exemplified by vocal and choral pieces compiled by Lviv composers.
Methods: retrospect method; observation and selection; theoretical and analytical method; interpretation method.
Results: obtained while analyzing vocal and choral compositions, may be used to prepare concert performance of children's choirs. Comprehensive theoretical and analytical analysis of the pieces written in the canon form has enabled to considerably expand the knowledge of the vocal and choral creativity of Lviv composers.
Scientific novelty: the suggested article constitutes the first special study of the vocal and choral creativity of Lviv composers, where choral pieces for children in the canon form are analyzed for the first time in music studies. The principles of form development as well as peculiarities of the composition of those pieces are analyzed.
Practical significance: lies in the possibility of applying the results of the study in the practical activity of choir conductors and teachers of choir classes of different-level educational institutions (amateur groups, children's art schools, music schools) as well as for popular science lectures and master classes.
Keywords: canon; simple canon; Lviv composers; A. Shepel; M. Volynskyi; M. Datsko; B. Kotiuk; M. Hev.
For citation: A. R. Nemerko. Canon Form in Vocal and Choral Pieces by Lviv Composers of the Xx ist Century for Children // European Journal ofArts, 2021, №4. - C. 87-95. DOI: https://doi.org/10.29013/EJA-21-4-87-95
Introduction. Since the Xllth century the music of the Western world has been dominated by the French innovation which gave birth to the first samples of polyphonic vocal religious music. Very soon the many-voiced polyphonic music started prevailing in different European countries and came into existence both in religious and in secular contexts.
The tradition of polyphonic polyvocality appeared on the basis of one-voiced Catholic chorals. By its compositional structure canon constitutes a strictly followed imitation where each of the voices performs the same melody, with a delayed start as compared to the previous voice. «The word "canon", as the music form definition, started being used only in the XVIth century, in spite of the fact that the first known canons date back to the XIIIth-century Italy» [1, 38]. Modern rules of canon writing were shaped up by the composers belonging
to the Roman School, the most famous of which was Giovanni Palestrina. Later canon was used rather rarely, but for the exceptions of the works by J. S. Bach, Pach-elbel, Telemann, Zelenka, where the most diverse types of canons are present.
As far as the manner of polyphonic music performance is concerned, it is known that the works were performed by a specially trained choir of singers (consisting of men and boys). Since childhood they dedicated their lives to the art of singing. «An obligatory precondition for chorists was the skill of "reading the music", singing not just in the "old style" - one-voiced music, but in the "new" as well - polyphonic music» [2, 7]. Performed polyphonic works were difficult, and the repertoire was very rich. Taking into account the fact that in the second half of the XVIIth century polyphonic layout of the music material was replaced with homophonic-harmonic one,
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the canon lost its popularity, and it was only in the XXth century that the interest in this form was revived by Arnold Schoenberg, Dmitri Shostakovich, Rodion Shchedrin.
Discussion. Canon singing was not wide-spread in Ukraine, however, in the book by Oleksandr Kozarenko «Fenomen Ukrayinskoyi Natsionalnoyi Muzychnoyi Movy» («The Phenomenon of Ukrainian National Language of Music») it is stated: "The part polyphonic singing that became the national variant of the European invariant of choral singing possesses a wide spectrum of counterpoint devices (for example: the «Voskresnyi Kanon" by Mykola Dyletskyi contains the imitation at a different time interval, a perpetual canon, canonic sequences, stretto developments)» [3, 68]. As far as further introduction of canon as a music form into the vocal and choral practice for children is concerned, it can be traced already in the XXth century.
Modern Lviv composers like Oleksandr Opana-siuk, Volodymyr Pavenskyi, Roman Tsys, Mykola Las-tovetskyi, Myroslav Volynskyi, Myron Datsko, Anatoliy Shepel, Bohdan Kotiuk, Oleksandr Albul, Zoriana Mar-tyn, Mariya Hev and others considerably enriched the vocal and choral repertoire. Following the traditions of classical composers, these composers also created interesting original samples of the vocal and choral genre of music in all the diversity of topics, forms, and devices of vocal and choral expressiveness. The pieces in the canon form for children, composed by modern authors, become the samples of combination of strict classical forms with new original compositional devices and bright refinement of the music language. Pieces for children in the canon form became most popular among composers thanks to the annual festival "Spivajmo Kanon" ("Let Us Sing Canons") that has been held in Lviv since 2002.
The simplest canon form is a canon of two voices (simple). "The technique of its compilation is not difficult: a melody part is written - proposta (P) in the initial voice until the start of the imitating voice, and then this part is transferred to the imitating voice - risposta (R). The delay interval is not really important, but regardless of it (the delay interval) simple canon does not require any moving counterpoints. The initial leader (P1) and the imitating follower (R1) are written further, and this creates a two-voice nature" [4, 12].
Composers do not always write all the voices in the canon. Sometimes just one voice is recorded with marks that enable to reproduce the whole canon in a high-quality way - such record is called closed. If only the main canon
melody is written, with no indications of the places and delay intervals of risposta - such record is called mysterious. Lviv composers more often use full canon recording, that enables children to embrace the whole piece while learning it and develops their ability to read scores, viz. to follow proposta (P) and risposta (R) in the canon.
Simple canons may be illustrated by a piece by Lviv composer Anatoliy Shepel "Zhuk-Zhuchenko". The composition was written for junior two-part choir with accompaniment. The piece is written in a complex two-part form, with the introduction. The introduction is a solmizated and rhythmic play; the first part consists of two couplets, where the first couplets is performed at unison, while in the second one the author cites Bohdana Filts' "Zhuk-Zhuchenko"; the second part constitutes the continuation of solmizated canto in the two-part layout. The canon is accurate, with an upward melody movement, and the delay interval coincides in accuracy [5, 76]. The texture of the melody layout is determined by rhythmical (there prevail quarter notes) and interval stability (simple canon is written within an octave, which makes it convenient for performance). The general performance tempo (Allegretto), touch - staccato, non legato. Dynamic plan: from mf to f. This composition rather reminds a choral exercise which uses different touches, forms of music material delivery, and singing techniques. Brightness and complexity are added up by the piano accompaniment in the jazz style.
An example of a simple two-part perpetual canon is Myroslav Volynskyi's composition - canon "Nisenit-nytsia" (the author of lyrics is unknown). A two-part diatonic canon is small in size (14 measures) [6, 136; 9, 13]. The canon is written with one melody, and is, therefore, simple. A peculiarity of a perpetual canon is the fact that the voice imitation interval is the same. In terms of the composition technique, perpetual canon resembles a canonic sequence, that is thanks to the same imitation delay interval it regularly gets to its initial point and creates a sort of a circle.
Proposta (4 measures) is based on the linear voice development principle. The texture of the melody layout is variant, and is determined by the rhythm and intervals: for example, in measures 1-2, 5-6 the melody is dominated by such intervals as tertia and sixth, the main rhythmic values are set out in quavers; in measures 3-4, 7-8 - the melody follows an upward or downward scalelike movement in semiquavers. The theme of the proposta appears in the counterpoint variant (example 1).
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Example 1. M. Volynskyi. Canon "Nisenitnytsia"
Risposta is kept within the given key (As dur), but minor ones with major ones (minor 3 with major 3; mi-changes its quality: its introduction starts with the tonic nor 7 with major 7). The canon ends up in the modula-chord of the mediant key, replaces the proposta intervals: tion into G dur (measures 13-14) (example 2).
Ill - CC - KIT
Example 2. M. Volynskyi. Canon "Nisenitnytsia"
However, the composer makes it possible to transform the canon into a perpetual one if one smoothly moves from measure 12 to the beginning and to sing it on over an endlessly long period.
The general performance tempo (Poco Allegretto), there are some agogic deviations; character - lively,
touch - marcato. Dynamic plan: from mf to f with minor gradations in the second part of the piece. The canon is rather complex for performance due to textual layering and notes of small durations (sixteenth notes) and the tempo that requires from performers possessing of a whole complex of vocal and choral technique,
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particularly, distinct diction, articulation, and rhythmic ensemble.
Myron Datsko's choral piece for children's choir "Ro-zvyvajsia Lozo, Borzo" (I. Franko's lyrics) constitutes an example of a two-part simple canon [7, 57; 9, 44]. The composition technique is based on the above principles.
This can be accounted for by the fact that there are two starting points in a two-part (simple) canon: the leader start note; the follower start note. Thus, the piece is written in a simple two-part form with accompaniment, where the second part is just a simple canon (12 bars) (example 3).
Example 3. M. Datsko. "Rozvyvajsia Lozo, Borzo". Second part
The imitation interval is prime. Concise start, clear accompaniment rhythm, chord texture of the choral parties of the first part cause its bright and solemn nature. The canon is built in an upward melody movement on the address from the second verse couplet. The choral texture is penetrated with elevated
mood, solemnity, created through exclamation intonations of chord movements, intensified through clear rhythmic (of the march style in the metric rhythm of 4/4). Arpeggioed passagios of the piano accompaniment attach an excited and joyful mood to the choral texture (example 4).
Example 4. M. Datsko. "Rozvyvajsia Lozo, Borzo". Second part
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Bohdan Kotiuk's three canons (as the composer himself characterizes the form) for child voices a cappella "Alleluia", "Bud Imja Hospodnie" ("Blessed be the name of the Lord"), "Pro Kota-Pekaria" (2016) [8, 21]. Two of them - "Alleluia", "Bud Imja Hospodnie" ("Blessed be the name of the Lord") are dedicated to spiritual topics and are written for a two-part choir, canon "Pro Kota-Pekaria" is characterized by a three-part layout. These canons are not classical by structure, in them the composer applies only canonical lead introduction, and then follows its development, complication, or modification, both vocal, and rhythmic and tonal. It is, though, the texture layout of the score and observance of voices starting points within the required timeframe that characterizes
the classical recording of a symmetrical canon (the lower voice starts at the distance of two bars as compared to the upper one in canons "Alleluia" and "Bud Imja Hospodnie" ("Blessed be the name of the Lord"); and one bar - in the canon "Pro Kota-Pekaria").
The theme and the counterpoint, set out in the "Alleluia" canon, are kept within the given key A dur up till bar 15. From bar 16 onwards and till the very end their keynote change for G dur takes place. The selected time % characterizes the smoothness of the melody in different voices. The texture of the melody layout is variant one, and this is determined at the rhythmic and interval level. The Moderato tempo enables to clearly and qualitatively sing all the small counterpoint durations (example 5).
Example 5. B. Kotiuk. Canon "Alleluia"
Го - с под - не. 6.1 л - хос - ло ■ вСн - не I - ч1*.
Example 6. B. Kotiuk. Canon "Bud Imja Hospodnie»
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Similar characteristics are also inherent in the canon ized by a playful nature. It has been written in C dur
"Bud Imja Hospodnie"" ("Blessed be the name of the key, with no deviations and modulations. Proposta is
Lord"): the initial F dur modulates into G dur. The theme laid out through the sequence of leaps by the perfect
is set out on the leading tones and based on singing around fifth, perfect fourth, and a downward tetrachord to the
the main tone (II, IV, VI, VII). Proposta is characterized keynote. This automatically requires from performers
with downward and upward scale-like movement and a leap to have a clear intonation and helps develop the skills
by major sixth up to the main tone. In the given Andante of smoothing registers in singing. Of interest is the use
tempo it is possible to clearly sing the words and to qualita- of dotted rhythm and notes of small durations (six-
tively sing all the small counterpoint durations (example 6). teenths) in risposta, stressing the meaning of the text
The canon "Pro Kota-Pekaria" is written in a quick ("did not know, did not know"; "dough is necessary")
tempo (Allegro), in simple 2/4 time, and is character
(example 7).
Example 7. B. Kotiuk. Canon "Pro Kota-Pekaria"
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The canons "Alleluia", "Bud Imja Hospodnie" ("Blessed be the name of the Lord"), "Pro Kota-Pekaria" are written within an octave, which would be supposed to create convenience for performance, however, application of different touches (staccato, non legato); small durations; short and long word singing and their layering, frequent jumps in the melody require from performers good vocal and choral singing skills and smoothening of registries in singing, therefore, we recommend to sing these pieces with a senior choir.
Simple two-part canon is represented with Mariya Hev's composition "Muzyka Ridnoho Krayu" (lyrics by M. Hev) [9, 23].
The canon has one melody, therefore, is simple and diatonic. Proposta is built following the linear voice expansion principle. Its peculiarity also lies in adding a major third to the main theme (proposta) of the canon. The melody layout texture is determined by the rhythmic and interval stability. Risposta is kept within the given key (F dur) (example 8).
Example 8. M. Hev. "Muzyka Ridnoho Krayu"
ccfhiic fiay-iua. JbM1»«. xno-l -iiu. JJi&c-nil...
Example 9. M. Hev. "Muzyka Ridnoho Krayu"
The general performance tempo (Allegretto leggiero) changes throughout the piece (leggiero, giocoso, dolce), allows for some agogical deviations (rall.); the character in non legato. The overall range: C of the one-line oc-
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tave - F of the two-line octave. Dynamic plan: from mp to f, with minor gradations. The interval ofvoice entrance is five beats in the bar. The time of the piece is 6/8. Of interest is the very form of the composition opted for by the composer. It may be treated as a canon or as a canon-based couplet form. Characteristic of the piece are repeats, where proposta and risposta merge through one rhythm and chord texture. It is this nuance that allows speaking about combination of two forms in one (example 8).
Canon is not complicated for performance, but it requires from the performers the whole set of vocal and choral techniques, particularly distinct diction, articulation, and rhythmic ensemble.
Conclusion. The canon form, thanks to its expressiveness, is widely used by composers for different artistic purposes. Composers, while creating repertoire for children, follow the principles of accessibility, artistic value of the piece, simplicity and clarity of the composition, gradual making of the repertoire more complex in accordance with age characteristics. Appealing to the principles of upbringing, teaching, and development, the
authors and heads of choir collectives also mention the importance of the principle of contrast in the selection of the vocal and choral repertoire. Such characteristics are important for professional growth of not just a child-performer, but the collective in general. As Rosina Hutsal indicates: "The choir's repertoire is the most important means of the collective's creative life, that is its face, its business card. To a certain extent the mastery of the collective can be judged only by its repertoire, with no idea about its performing capacity" [10, 118].
The mastery of the composers is manifested in their ability to embody bright images that would be memorable for children in simple composition. Canon may be both a technical vocal and choral exercise for performers, and highly artistic pieces. Performance of pieces in the form of canons contributes to the upbringing of stamina and concentration of performer's will, requires independent creativity in the disclosure of the artistic image. Thus, in a popular and accessible form modern Lviv composers involve children in getting acquainted with and performance of the first samples of polyphonic music.
References
1. Bodak Ya. The History of Western European Music from the Ancient Times to the XVIIth Century: Teaching Guide / editorial board: Ya. Kenio, Z, Lelio, B. Pyts. - Drohobych: Kolo, 2017.- 280 p. (in Ukrainian).
2. 55 works for children's choir, written in the form of a canon / Compilers E. Karpovich, S. Karpovich, N. Manko.-Lviv: TeRus, 2014. - 60 p. (in Ukrainian).
3. Kozarenko O. The Phenomenon of Ukrainian National Music Language. Resp. ed. I. Piaskovskyi, O. Kupchyn-skyi; Shevchenko Scientific Society in Lviv.- Lviv, 2000.- 286 p. Bibilogr.: - P. 266-284. ISBN966-7155-43-9 (in Ukrainian).
4. Canons for Choir: teaching manual / compiler: Vyshniakova T., Sokolova T.: Planeta Muzyky, 2016.- 136 p. ISBN: 978-5-8114-2079-7. (in Ukrainian).
5. Nemerko A. Compositional features of form and disclosure of artistic content in choral works of Ukrainian composer for children // "Visnyk" of Ivan Franko LNU, art history series.- Issue 18.- Lviv, 2017.- P. 73-81. (in Ukrainian).
6. Nemerko A. The theme of a fairy tale in the works of M. Volynsky // XIX International Scientific and Practical Conference "Young Musicologists". Abstracts. Kyiv, January 9-11, 2019.- P. 135-137.
7. Nemerko A. The artistic world of choral music for children of Myron Datsk // Scientific collections of LNMA named after MV Lysenko.- Lviv, 2019.- Issue 45: Musicological Universe.- P. 44-53. (in Ukrainian).
8. Gulyanich Yu. Composer Bogdan Kotyuk. Faces of creative personality / for scientific editor-in-chief, candidate of art history, prof. T. Barana.- Lviv, 2018.- 159 p. (in Ukrainian).
9. We live in songs. Choral works for children's choir / compilers E. Karpovych, S. Karpovich. - Lviv: Raster-7, 2019.- 68 p. (in Ukrainian).
10. Hutsal R. The Main Principles of Selecting Repertoire for a Choir - Khmelnytskyi, 2016.- 118 p. (in Ukrainian).
Section 2. Musical arts - PRE_M|ER European Journal of Arts 4 (2021)
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Information about the author
Nemerko Anna Rafikivna, graduate student of the Department of Musicology and Choral Arts, Ivan Franko National University of Lviv, Address: 18a, Valova str., 79008, Lviv, Ukraine, E-mail: asharifova79@gmail.com; Tel.: +38 (093) 236-13-87 ORCID: 0000-0001-6789-596X
НЕМЕРКО А.Р. 1
1 Львiвський шщональшй ушверситет iM. I. Франка, Aheie, Украша
ФОРМА КАНОНУ В П1СЕННО-ХОРОВИХ ТВОРАХ ЛЬВ1ВСЬКИХ КОМПОЗИТОР1В ХХ1 СТОЛ1ТТЯ ДЛЯ Д1ТЕЙ
Анотаця.
Мета: розглянути OKpeMi композицп у формi канону та твори, в яких канон е лише i'x частиною. Цгллю дослiдження е поповнити дитячий хоровий репертуар канонами рiзноманiтними за змiстом та формою (хоровi вправи, концертнi композицп); запропонувати найбгльш доступний та цiкавий матерiал для розвитку багато-голосного полiфонiчного ству для дiтей на прикладах тсенно-хорових композицiй львiвських композиторiв.
Методи: ретроспективний метод; спостереження й вiдбору; теоретико-аналггичний; метод iнтерпретацГi.
Результати отриманi в процеа aнaлiзу пiсенно-хорових композицiй, можуть бути використаш при тдго-товщ до концертного виконання дитячими хоровими колективами. Всебiчний теоретико-aнaлiтичний aнaлiз творiв, написаних у формi канону, дозволив значно розширити уявлення про тсенно-хорову творчiсть л^в-ських композиторiв.
Наукова новизна: пропонована стаття е першим спещальним досл!дженням пiсенно-хоровоi' творчостi львiвських композиторiв, де вперше в музикознавсга aнaлiзуються хоровi твори для дггей у формi канону. Проaнaлiзовaно принципи формотворення та композицiйнi особливостi творiв.
Практичне значення: полягае у можливостях застосування результaтiв дослiдження у практичнш дiяль-ностi хормейстера та педагога хорового класу навчальних зaклaдiв рiзних рiвнiв (аматорських гуртках, ДШМ, ДМШ), а також для науково-популярних лекцш та мaйстер-клaсiв.
KAMHOBi слова: канон, простий канон, львiвськi композитори, А. Шепель, М. Волинський, М. Дацко, Б. Котюк, М. Гев.
1нформац1я про автора
Немерко Анна Рафтвна, aспiрaнткa кафедри музикознавства та хорового мистецтва Л^вського нацюналь-
ного ушверситету iм. I. Франка.
Адреса: 79008, Л^в, Украша, вул.. Валова, 18а,
E-mail: asharifova79@gmail.com; Тел.: +38 (093) 236-13-87
ORCID: 0000-0001-6789-596X
