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Section 2. Musical arts - PRE_M|ER European Journal of Arts 4 (2021) - ISSN 2310-5666 -
UDC78.071.1(73)(029)78.03.071.2 DOI: 10.29013/EJA-21-4-25-31
ZHANG QI 1
1 Kharkiv I. P. Kotlyarevsky National University of Arts, Kharkiv, Ukraine
J. COLTRANE'S TECHNIQUE OF "SOUND LAYERS" IN THE ASPECT OF PERFORMANCE STYLE ANALYSIS
Abstract
The purpose of the research is to formulate the guidelines of his style ofjazz music-making (based on the performance analysis of compositions)
Methods: performance analysis, stylistic.
Results: John Coltrane's creative work is full of numerous musical inventions and experimental discoveries. He became a "pioneer" in the application of several musical techniques that played an invaluable role in the development of jazz composition and improvisation. Coltrane has always demonstrated a creative search for performance principles that go beyond the jazz technique that existed at the time and Each stage of his creative development was a step and an inspiration for the appearance of the next stage.
The reason for the extraordinary popularity and admiration for the creative work ofJ. Coltrane is not only in the art of mastering the techniques of "Coltrane's matrix", "sound layers" and the use of a modal approach, but also in the art of playing out of harmony (he invented the method of the re-harmonizing of chords).
The performing style ofJ. Coltrane is characterized by an indisputable innovation of harmonious thinking, which makes the research of his performing principles fundamental to the basic training of the modern musician.
Scientific novelty: the main compositions ofJ. Coltrane have been analysed, in particular the innovative method of "sound layers" as the foundation of the musician's performance style, the main positions of the performance style have been formulated.
Practical significance: a performance analysis ofJ. Coltrane's jazz compositions is proposed, which can be used in the process of teaching disciplines in the history of jazz styles, the history of American music, etc.
Keywords: creativity of J. Coltrane, "sound layers" technique, saxophone compositions, jazz music-making, performance, performance specifics, style of performance.
For citation: Zhang Qi. J. Coltrane's technique of "Sound layers" in the aspect of performance style analysis // European Journal ofArts, 2021, №4. - C. 25-31. DOI: https://doi.org/10.29013/EJA-21-4-25-31
Introduction
J. Coltrane is one of the most outstanding jazz musicians in the world. His creative portrait consists of a large number of interviews and studies of American jazz music of the 1960 s - by F. Kofsky [1], De Vito [2] and others (the book by the team of authors "The John Coltrane Reference" [3], annotations to disks [4; 5]). He is considered an undisputed great innovator in j azz, an inventor, a key figure in jazz (Lewis Porter [6]), a man with a unique sound of the saxophone [7], and a teacher 1.
One of the first creative innovations by John Col-trane is considered by many researchers to be his so-called "sound layers". As is known, this term was first used by the j azz critic Ira Gilter in an annotation to Coltrane's 1958 album "Soultrane". The essence of this technique was to play passages, arpeggios, melodic-rhythmic figures and patterns in extremely fast sequences. In a very short period of time, J. Coltrane managed to accommodate a record number of notes. Because of this, the sounds did not even always have time to sound at a level sufficient for audible perception, so they were perceived as glissando.
1 Coltrane's J.creativity is almost all the time mentioned in the research devoted to the history and theory of j azz [8; 9; 10; 11]..
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This technique was also called the "vertical approach" to improvisation, which also involved playing the arpeggio of the chord in ascending and descending sequences. In Coltrane's improvisations, this technique was often used until about 1960. The historian Frank Kofsky believes that the technique of "sound layers" is the most important factor in the development of jazz improvisation. He notes that the "sound layers" of J. Coltrane make great progress in terms of rhythmic and harmonic complexity and require a more developed, masterful technique of performance, put qualitatively new requirements for the mastery of the instrument before the performer. Thus, F. Kofsky refers Coltrane's invention to the first rank of contributions to the creative work of jazz improvisation [1, p. 260-261].
The purpose of the research is to formulate the guidelines of his style of jazz music-making (based on the performance analysis of compositions).
Discussion. Sound layers are a technique that requires extremely perfect mastery of the instrument and at the same time deep knowledge of harmony and the ability to think quickly, instantly solve problems that arise every second during the development of musical material. In the interview with Ira Gitler (1958), J. Coltrane acknowledged the limitations and imperfections of this technique "... in this case we are not talking about beauty, the only way to justify such a technique is if it acquires beauty in the future" [quoted from 2, P. 43]. During this period, Coltrane already demonstrated his creative search for performance principles that would go beyond the jazz technique that existed at that time. The next stage in the technical development ofJ. Coltrane's performance style is the so-called "Coltrane matrix", the use of a harmonious sequence of chords that distinguishes Coltrane's playing from other jazz saxophonists. The Coltrane matrix (also known as the Coltrane variation or the Coltrane cycle) is to replace different chords with a general sequence of chords II - V - I. These substitution patterns are based on the third tone (major third) and provide a tonally unusual root movement of the major third up or down. This creates an augmented triad. Col-trane created melodies with many variations of the "matrix", but the best examples of the use of this technique are in his album "Giant Steps" (1960), in particular the song "Countdown" of this album.
This sequence of chords is an important component of jazz pedagogy. Coltrane experimented with this technique in his compositions and arrangements from
1958 to 1960, and the recording and release of the album called "Coltrane's Sound" (1960) was the final stage in the development of the matrix technique. As in the case of the "sound layers" technique, the "matrix" was not an inexhaustible source and had its limitations. Coltrane's invention of the "matrix" significantly influenced the creative work of many jazz performers. Since 1960, a large number of musicians have used this technique in their compositions. For example, Joe Henderson released a version of "Without a Song" in his album "The Bridge" (1962), in which the "matrix" was involved in the first passage of musical material. Wayne Shorter recorded his song "Fee-Fi-Fo-Fum" in the album "Speak No Evil" (1964), where one can also find the technique of the "matrix". Despite the fact that Coltrane's "matrix" has a specific sound that is immediately recognized by the listener, its inventor was aware of the limitations of this technique. Regarding these chord sequences, Coltrane expressed concern that they sounded like academic exercises and tried to do everything possible to give it more beauty [2]. But Coltrane's musical thinking was always characterized by a relentless search for new creative solutions. In his compositions he sought much more than technique, even if at the beginning of its emergence this technique is very complex and requires a high level of performance. When Coltrane realized that the "matrix" technique had exhausted itself, he found the answer (resonance, relevance) in the music of Ornett Coleman. In those days (1960), Ornett Coleman composed experimental music, which provided free improvisation, but at the same time it was structured and guided by melody. The accompanist had to play patterns of harmony that belonged (that the improviser had to play), but not a predetermined chord structure. Coltrane's words about Coleman's approach are telling: "I love him. I follow his example" (quoted by L. Porter [6, P. 203]. Ornette Coleman's direction of development helped Coltrane to solve a crisis of the "matrix" technique and move to modality. Although Coltrane used both techniques from 1959 to 1960, over the next few years his focus was on modality. Let us note that modality (or modal jazz) uses folk music modes and other scales instead of chord sequences as a harmonic basis. This approach is a scale that is performed on a certain chord during improvisation. That is, now the chords change rarely, if in the period of bebop and post-bop the chords changed very quickly, changes could occur for each beat, or during one passage the chord could change three times. According to the American re-
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searcher and j azz theory lecturer Kurt Ellenberger [12], in modal jazz music, chords can be changed once in four bars, and all the movement and development of musical material is built with help of modes that are in constant reincarnation. Owing to this, the shades of the melody change not due to harmony, but due to the change of modes. The tendency to thin the chord sequences (more rare chord changes; sometimes one chord can occur for an entire musical section) can be seen in the composition "Impressions" from the album Impressions (1962), in which the entire section A (eight bars) is built on a D-minor chord of the seventh (Dm7). The principle of modality in Coltrane's creative work and states that the harmonic deviations in Coltrane's music are usually not amenable to analysis as those which are in a certain contrasting key. Coltrane's playing in the compositions of the modal period is distinguished by a particular diversity. And Coltrane's modal compositions acquired such a wide range of varieties owing to his previous techniques of developing harmony (technique of "sound layers", "matrix"). In order to use both of the above techniques, the improviser must have huge knowledge base of harmony. Such knowledge, for example, which involves the use of one chord to reveal its potential - the movement in quantitative directions for the improviser. Interestingly, Coltrane experimented with modality and matrix in parallel, at about the same time. Indicative in this respect is the album called Giant Steps, which contains not only the matrix (the composition "Giant Steps"), but also modal inventions in "Syeeda's Song Flute". Coltrane's Sound album (i960) demonstrates modal techniques in the composition called "The night has a Thousand Eyes", while this album features the composition "26-2", which is full of matrices. Modality was a new step in the development of Coltrane's compositional and performing skills, and it was connected with his interest in music from other cultures. Coltrane found new sources and ideas of creative inspiration in the ethnic sphere of music making. His legacy includes albums with an Afrocentric focus: an appeal to the philosophy of Bantu Congo and the musical thinking of this ethnic group, there are also albums involving the expressiveness of the music of the East, especially India [6]. But Coltrane's creative pursuits were not limited to the musical means of "exotic" countries. While recording the English folk song "Greensleeves" and the "Song of the Underground Railroad", an adaptation of the African-American folk song "The Drinking Gourd", Coltrane took an interest in a big number of ideas that
went beyond jazz. Coltrane was most influenced by the classical music of South India. This is demonstrated in such compositions as "My Favourite Things" and "Africa", which use the inherent in Indian music permanent sustained sounds - drones. In addition, noteworthy are the exotic Indian scales, which are found in the compositions "Olé" and "India". Coltrane repeated and developed short motifs in his improvisations of the compositions "Impressions" and "Out of this world". Coltrane was influenced not only by Indian music itself, but also by its connections to spirituality.
John Coltrane used to take criticism of his innovations calmly. Each of his technical inventions was perceived negatively by critics, and listeners reacted indignantly to new sounds and intonations. Coltrane's attraction to avant-garde jazz was no exception.
Avant-garde jazz (or free jazz) is a style of composition and improvisation that goes beyond the established jazz rules. Its representatives experimented with basic jazz characteristics such as rhythm, harmony, melody, structure and timbre. The performers also reinterpreted the technical capabilities of the instruments, expanded the range, extracted new sonorous effects, and used the extra-musical type of sound production. John Coltrane was one of the first innovators and reformers on all of the above norms regarding extra musical sound production, although Coltrane was the first to start playing this way, the saxophonist Peter Brotzmann was the one who developed and culminated this technique. As early as 1961, Coltrane became the object of the term "antijazz", a phrase used by the critic John Tainan as a clumsy response to Coltrane's musical development and creative pursuits: "Coltrane and Dolphy seem to be trying to destroy the swing on purpose" [quoted by 3].
The period after the release of the album A Love Supreme is called by many researchers the fourth or last period of the development of John Coltrane's creative work. This period is marked by a tendency to expressionism and contains elements of free jazz, formed under the influence of jazz "avant-garde representatives", such as Ornette Coleman, Archie Shepp, Albert Ayler, and Pharaoh Sanders.
At the time of the recording of the album A Love Supreme in 1964, Coltrane had an arsenal of purely expressive means that he used to create this album, which rightfully occupies an important position in Coltrane's repertoire (discography) and became one of the most significant jazz albums of all times.
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The first part of the album A Love Supreme "Acknowledgment" is characterized by the fact that in the introduction there is an ostinato bass line, which is the main material for further construction of improvisation through numerous tonal centres. This ostinato goes throughout the whole part and performs a port function: the foundations for motivational development, in fact, the basic bass part and the landmark during improvisation. The second part -"Resolution", includes an improvisational solo by Coltrane, typical ofhis style ofthis period. Small phrases are involved and developed in different ways: they are presented in inversion, shortened or vice versa, lengthened, transposed and contain various variations ofrhythmic patterns. Unlike the Coltrane solo of the early period of creativity, this solo does not have a large number of sounds that flow quickly during the performance ofvirtuoso passages, i.e., the technique of "sound layers"; instead, the phrases are followed by long notes or pauses. Spaces between sounds are given the same priority as the sounds themselves. Improvisation develops as long as there is only one remaining direction - a return to the main melody of the theme.
Noteworthy is another song from the album - the fourth part of the album A Love Supreme - "Psalm", which is a free "recitation" of the text "A Love Supreme", written by Coltrane. But this is not a recitation in the usual sense. Coltrane improvises phrases of the text on the saxophone in such a way that a melody is formed from the rhythm of words (syllables), and whole sentences form a musical phrase.
John Coltrane made an invaluable contribution to the evolution of jazz owing to his specific thinking, his ability to go beyond the established dimensions. This is, first of all, his invention of the method of re-harmonization of chords. It was Coltrane who showed the enormous potential that can be contained in individual sounds and the simplest jazz progression of the II-V-I steps. Among the numerous chord progressions, such progression of II-V-I is the most popular among jazz musicians, and the major scale modes became the source for the creation of its chords. Coltrane's Giant Steps theme contains 2 progressions - in G-dur and B-dur. Diatonic progression of chords of I-II-III-IV steps was also often used by Coltrane. Chord of step IV, that is, the Lyd-ian mode "fa", Coltrane puts every second note into the "frame" - prime, large third, pure fifth and large seventh of the chord FA (I'm Old Fashioned composition). The only altered sound in this chord is the note si - an elevated fourth in the chord FA. In a fragment ofMoment's
Notice theme, Coltrane uses the I-II-III-IV progression to switch from E flat major to another key. Instead of the expected chord IV A bA one can hear Ab-7, which is solved in Db7, or the progression of II-V in the key of Gb-dur. Often in Coltrane's compositions one can find "sus" chords (from English sustain - to delay), the difference between which is the delayed fourth, which remains unresolved. Such chords are vividly demonstrated in the compositions of Naima and The Night Has A Thousand Eyes. But especially sus-chords proved themselves in the blues of Coltrane called Mr. Day (album Coltrane Plays the Blues, 1960), which consists almost entirely of similar chords. In this composition one should pay attention to the unusual tone of Gb-dur, as well as the unusual chords D7 and A7 in bars 9 and 10. Instead of the expected chords V and IV (Db7 and B7), the musician performs chords IV and bIII. The blues range is also the basis for Locomotion and Blue Train compositions. Another expressive means that Coltrane attracted was the whole-tone scale. For example, the melody of the theme One Down, One Up is based on the descending large thirds of the whole-tone scale from B flat. The whole-tone range lacks half of the intervals present in Western European academic music. Coltrane often used sequences. Indicative in this regard is a fragment of improvisation in the composition Locomotion (the album Blue Train, 1957 - one of the most outstanding in the creative work of Coltrane). In it, the first note of each group of four sounds of the eighths is the introductory tone to the fifth of the descending triad. Seventh chord-based sequences are also common. Just like triads, when they are in improvisation, they give harmony more stability, and improvisation - more structure. In a fragment of Coltrane's improvisation on the theme of Miles Davis Milestones on the G-7 chord, the performer plays all the seventh chords that can be found in F-dur, in the form of descending arpeggios. John Coltrane performs a melodic fragment based on the descending bebop major scale that goes before the solo in the Moment's Notice theme. In the same episode, he performs a dominant descending bebop scale.
Many jazz musicians have come to the conclusion that Coltrane's latest albums of the 1960 s contain many examples of such playing. This technique means that any note can be played on any chord. Mark Levine explains this as follows: "Ifyou think that it [a note] sounds right, then it is so. If not, then it is so" [13, P. 180]. This technique is also considered to be related to bitonality, when
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two tonalities sound in parallel. For example, a pianist-accompanist plays in one key and a soloist-saxophonist -in another. A perfect example of playing out of harmony is the composition Impressions (recorded in 1962).
John Coltrane's creative ideas were significantly influenced by the music of different ethnic cultures, from which the performer borrowed key elements and placed them in his compositions. One such element is the pen-tatonic scale. A bright example of attracting the penta-tonic scale when playing chords is the composition Giant Steps. The Giant Steps theme has a reputation for being difficult to perform. 16 bars of the theme contain 26 chords. As the jazz performer and theorist Mark Levine [13] points out, that is a lot for a theme of such a fast tempo. The first chord is БД. The next two - D7 and G7 form a progression V - I in G-dur. The next chord, Bb7, is a V step chord in Eb-dur. That is, in the first four chords, three tonalities have already changed. Thus, each chord of the theme belongs to one of these three tonalities, so the performer uses three pentatonic scales. Throughout the Giant Steps theme, the chords change more often than the tonalities, for 26 chords there are 10 tonalities changes performed, but the tonalities themselves are three: B-dur, G-dur, and Eb-dur.
There are many combinations of the five sounds that could be considered pentatonic scales. One of such combinations, which is often performed in jazz, is the in-sen scale, which was introduced into jazz circulation byJohn Coltrane (according to M. Levine [13]). The unusual order of intervals in it is represented by a half-tone, a large third, a tone and a small third.
An important feature ofJ. Coltrane's compositional and improvisational approach is also considered the use of blues chords. It is known that many jazz performers had a special relationship with the blues. In Coltrane's discography regarding the appeal to the blues, the compositions "Equinox" and "Mr. P.C" are indicative. In Equinox, minor chords are defined as C- and F- instead of C-7 and F-7, because in functional terms they are manifested as tonic minor chords of I step, and not as small seventh chords (chords of II step).
Conclusions
Summing up the analysis of J. Coltrane's compositions, we should mark the main achievements of his jazz technology.
1. John Coltrane's creative work is full of numerous musical inventions and experimental discoveries. He became a "pioneer" in the application of several musical
techniques that played an invaluable role in the development of jazz composition and improvisation. Each stage of his creative development was a step and an inspiration (and a reason) for the appearance of the next stage.
2. J. Coltrane has always demonstrated a creative search for performance principles that go beyond the jazz technique that existed at the time. John Coltrane made an invaluable contribution to the evolution of jazz technology due to his specific harmonious thinking, his ability to go beyond the established dimensions (he invented the method of the re-harmonizing of chords, the principles of "sound layers", "Coltrane's matrix").
Coltrane's Chords - the method, which means the movement of tonal centres in large thirds throughout the whole theme, was a revolutionary step in jazz music. John Coltrane was the first to create themes that were entirely based on the movement of the large thirds. The composers used this technique before him, but it was fragmentary and lasted only a few bars and did not allow for large-scale improvisation. The composition Giant Steps became a turning point in the thinking of jazz performers, because at the beginning of its emergence, no musician, except Coltrane himself, could play all the chords present there. Using the movement of tonal centres in large thirds and chords of the theme of Miles Davis "Tune Up", Coltrane creates his famous theme "Countdown". In his re-harmonization, Coltrane leaves unchanged the first chord E-7, chord II in D-dur. Next, he moves the tonal centre by a large third down from D to Bb in the second bar, by a large third down from Bb to Gb in the third bar, and by another large third down from Gb to D in the fourth bar. Each new chord of I step, BbA, GbA, and DA is prepared by its dominant chord, and as a result there are chords of the first four bars of the theme "Countdown". Coltrane also used this technique when referring to jazz standards. In addition, Coltrane also invented the technique of moving the tonal centre in small thirds. This can be seen, for example, in the composition "Central Park West".
The reason for the extraordinary popularity and admiration for the creative work of J. Coltrane is not only in the art of mastering the techniques of "matrix", "sound layers" and the use of a modal approach, but also in the art of playing out of harmony. Thus, the performing style ofJ. Coltrane is characterized by an indisputable innovation of harmonious thinking, which makes the research of his performing principles fundamental to the basic training of the modern musician.
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References
1. Kofsky Frank. John Coltrane and the Jazz Revolution ofthe 1960 s.-New York (NY): Pathfinder, 1970.- 582 p.
2. De Vito Chris (Ed.). Coltrane on Coltrane: The John Coltrane Interviews. Musicians in Their Own Words Music. Chicago, IL. Chicago Review Press Incorporated, 2010.- 416 p.
3. Porter Lewis, De Vito Chris, Wild David, Fujioka Yasuhiro, Schmaler, Wolf. The John Coltrane Reference. 1st Edition.- New York, 2008.- 848 p.
4. Gilson Ral'f. Ole Coltrane. Annotacii k al'bomu. 1961.- P. 3-14.
5. Hentof Net. John Coltrane. Giant Steps. Annotacii k al'bomu. 2003.- P. 4-9.
6. Porter Lewis. John Coltrane. His Life and Music. Ann Arbor, MI. The University ofMichigan Press, 1999.- 448 p.
7. Ratliff Ben. Coltrane. The Story of a Sound. - London, United Kingdom: Faber & Faber, 2011.- 272 p.
8. Pon'kina A. Vliyanie dzhaza na evolyuciyu akademicheskogo iskusstva igry na saksofone (The influence ofjazz on the evolution of the academic art of playing the saxophone). Vestnik Tomskogo gosudarstvennogo universiteta Kul'turologiya i iskusstvovedenie. - No. 34. 2019.- P. 137-144.
9. Ritter P. Specifika dzhazovogo ispolnitel'stva na saksofone (Specifics of jazz performance on the saxophone). Iskusstvo i obrazovanie. - No. 6(110).2017.- P. 56-62.
10. Zotov D. Intonatsiyno-psihologichna funktsiya saksofonista improvizatora (Intonational-psychological function ofthe saxophonist-improvisor). Mizhnarodna naukova konferentsiya "Muzikoznavchiy universum molodih" 1-2 bereznya 2017 roku: Tezi. LNMA imenI M. V. Lisenka.- Lviv: Vidavets T. Tetyuk, 2017.- P. 60-62.
11. Stetsyuk R. Instrumentalno-vidovoy stil kak ispolnitelskiy fenomen (na primere saksofona) (Instrumental-specific style as a performing phenomenon (on the example of the saxophone)). Problemi vzaemodiyi mistetstva, pedagogiki ta teoriyi i praktiki osviti. - Harkiv, 2019.- Vol. 54.- P. 154-173.
12. Ellenberger Kurt. Materiels and Concepts of Jazz Improvisation: a Theory ofJazz Improvisation for Beginning and Advance Players. A Keytone Publication. Grand Rapids MI, 2005.- 124 p.
13. Levayn M. Teoriya dzhaza (Jazz theory).- M.- Izhevsk: Institut komp'yuternykh issledovaniy, 2014.- 568 p.
Information about the author
Zhang Qi, post-graduate student in the Kharkiv I. P. Kotlyarevsky National University of Arts, Kharkiv, Ukraine
Address: Building 7, building 1, No. 4, East Street, Licheng District, Quanzhou City, Fujian Province, China
E-mail: 925726588@qq.com
ORCID: 0000-0003-3844-6043
ЧЖАН Ч! 1
1 Хартвський нащональний утверситет мистецтв iменi I. П. Котляревського, м. Хартв, Украша
ТЕХНОЛОГ1Я «ЗВУКОВИХ ПЛАСТ1В» ДЖ. КОЛТРЕЙНА В АСПЕКТ АНАЛ1ЗУ ВИКОНАВСЬКОГО СТИЛЮ
Аннотацт
Мета: формулювання основ стилю джазового музикування Дж. Колтрейна (на основi виконавського ана-лiзу композицш).
Методи: виконавського аналiзу, стильовий.
Результати: Творчшть Джона Колтрейна е постшним процесом музичних винаходiв та експерименталь-них в^дкритпв. Вш став «тонером» у застосуванш юлькох музичних прийомiв, яю вщграли незаперечну роль
Section 2. Musical arts - PREMJER European Journal of Arts 4 (2021) - ISSN 2310-5666 -
у розвитку джазово! композицп та iмпровiзацГi. Дж. Колтрейн завжди демонстрував творчий пошук виконав-ських принципгв, що виходять за рамки джазово! технгки, що гснувала в тi часи, i кожен етап його творчого розвитку надихав його до появи наступного етапу.
Причина надзвичайно! популярностг та захоплення творчiстю Дж. Колтрейна полягае не тгльки в мистецтвi оволодiння технгками «матрицг», «звукових пластгв» та використаннг модального пгдходу, але й у самому мистецтвг гармоншно! гри, винайденому ним методом регармонгзацп акордiв).
Виконавський стиль Дж.Колтрейна вiдрiзняеться безперечною шновацшшстю гармонiйного мислення, що робить вивчення його виконавських принципiв основоположними для базового навчання сучасного джазового музиканта.
Наукова новизна: проаналiзовано основнi композицп Дж. Колтрейна, зокрема - шновацшний метод «зву-кових пластгв» як фундамент виконавського стилю музиканта, сформульовано основнг позицГ! виконавського стилю.
Практичне значения: запропонований виконавський аналГз джазових композицгй Дж. Колтрейна, який можна застосувати в процесг викладання гсторГ! джазових стилгв, гсторГ! американсько! джазово! музики.
KAMHOBi слова: творчгсть Дж. Колтрейна, технгка «звукових пластгв», композицп для саксофона, джазове музикування, виконання, виконавська специфгка, виконавський стиль.
Iнформацiя про автора
Чжан 4i, аспгрант кафедри гнтерпретологг! та аналгзу музики Харкгвського нацгонального унгверситету мис-тецтв гменг 1.П.Котляревського (науковий кергвник - доктор мистецтвознавства, професор Нгколаевська Юлгя Вгкторгвна). Харкгв, Укра!на
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