ДЖЕРЕЛА ФОРМУВАННЯ ТА ОСОБЛИВОСТІ ІНТЕРПРЕТАЦІЇ СТАРОВИННОЇ СЮЇТИ ДЛЯ ДВОКЛАВІРНОГО ДУЕТУ

In the article the specifics of interpretation and genesis process of the old suite for a two-clavier duo are researched. The influence of transformations in the area of improving mechanics of keyboard music instruments in XVIII century on performer’s stylistics is considered. The analysis of four parts of g-moll Suite by Johann Mattheson, one of the first examples of the suite for a two-clavier duo is offered.In the concert practice of modern performers along with music of various styles there can be observed a big interest towards baroque music. This trend is especially characteristic of the European countries. The interpretation of old instrumental music stimulates raising and solving a number of performance problems, which will be the aims of this article. This research will try to solve the tasks connected with the ability of understanding a music text, hiding behind ornamental melodic structure, a genuine inspiration of the creator of baroque music, with reconstruction of authentic, historically genuine sound of instruments on modern pianos. The realization of such tasks will require the performer’s skills of differentiated distribution of dynamics in a special way of articulation as well as consideration of such an important element of music speech as melismatics. Problems of the old music’s interpreting is so complicated that the author of the article agrees with the opinion of Walter Gieseking, who considered that it was necessary to use intuition, which helped one’s mind and feelings and which could direct a thought and perception of musicians-interpreters towards a right interpretation of those works, which had been created by composers of past ages, hundreds years before nowadays. Basing on analytic research of one of the earliest suites created for a two-clavier duo – g-moll Suite (1704-5) by Johann Mattheson, we raised scientific tasks, touching upon problems of instrumental sound (studies of historic traditions, in which the piece was created) as well as upon artistic direction of interpretation and peculiarities of the dialogue between two performers. There is diverse information in the structure of Mattheson’s Suite. Upon a complex performer’s analysis one can discover an emotional element of the music. It reveals in roll call of voices, changes in direction of passage movements, reproduction of intonations, imitations and canons, filled with the expression of the dialogues of conflict or friendship. Performers’ of Mattheson’s Suite will face the problem of discovering of old notation of affects in the grammar, which will reveal for the modern listeners connection of old dances with an individual author’s style and artistic features of composer’s image of the dance. It should be pointed out that genre essence of two-clavier suites of the baroque epoch was still close towards applied and functional basis of the dance semantics. At the primary stage of working on the Suite by J.Mattheson, performers should be familiarized with the decryption of ornaments, suggested by the composer, which makes closer to the right text interpretation. In the instrumental music the process of typification of ornamentation formulae takes place earlier than in the vocal music, and the formulae are written in the music text. We consider that the search of artistic and technical devices of the Suite’s performance should be based on the knowledge of dancing baroque tradition for reconstructing a character of old dances expressed by the composer in the music text.Such approach should be combined with listening to the piano sound and search of timbre correspondence to the sound colour and specifics of harpsichord performance. Studying historic materials of reflecting performers’ stylistics of the past epoch, which has undergone significant changes, modern performers can find emotional expression in the interpretation of old dances, getting closer to the authenticity of the sound. The presented information allows us to make a conclusion that the interest towards performing on two claviers becomes an impulse for organological improvement of mechanics of keyboard instruments and, vice versa, new instruments create favourable conditions for the development of ensemble formation in the composer’s and performer’s areas. Taking into consideration that Johann Mattheson was one of the first in the music history who realized the suite idea in the performance form of a two-clavier duo and directly perceived rhythmic, intonation and kinetic impulses of dancing nature, it can be suggested that his specific musical and personal-domestic perceptions about dances are naturally integrated into individual artistic creativity.В статье исследуются специфика интерпретации и процесс генезиса старинной сюиты для двухклавирного дуэта. Рассматривается влияние, которое оказали на исполнительскую стилистику преобразования в области усовершенствования механики клавишных музыкальных инструментов, происходившие в XVIII столетии. Предлагается анализ четырехчастной Сюиты соль минор Иоганна Маттезона, которая является одним из первых образцов сюиты для двухклавирного дуэта. По результатам исследования выявляется влияние танцевальной музыки эпохи Барокко на старинную сюиту для двухклавирного дуэта.У статті досліджується специфіка інтерпретації та процес генезису старовинної сюїти для двоклавірного дуету. Розглядається вплив, який здійснили на виконавську стилістику перетворення в царині удосконалення клавішних музичних інструментів у XVIII сторіччі. Пропонується аналіз Сюїти соль мінор з чотирьох частин Йоганна Маттезона, яка є однією з перших зразків сюїти для двоклавірного дуету. Внаслідок дослідження виявляється вплив танцювальної музики епохи Бароко на старовинну сюїту для двохклавірного дуету

АНСАМБЛЕВО-ВИКОНАВСЬКІ ЗАВДАННЯ ІНТЕРПРЕТАЦІЇ ОБРАЗУ ТАНЦЮ В ІНСТРУМЕНТАЛЬНІЙ МУЗИЦІ

In the article there is considered and determined a number of ensemble and performance tasks aimed at the dance image interpretation. On the example of the suites for a two-clavier duo by M. Skoryk, Zh. Kolodub, A. Casella, E. Chabrier and other composers there is revealed the meaning of musical and instrumental expressive means (tempo and rhythmic organization, agogic character, performance dynamics) in the implementation of dance idea. It is suggested to consider the notion of the "modus of performer’s dancingness" as a peculiar performer’s state during retranslation of the dance image by the pianists’ ensemble.Necessity and actuality of this research is ensured by numerous references to piano duo works, whose artistic structure suggests interpretation of the dancing semantics, in teaching and pedagogic process as well as in the concert practice. Instrumental performance of dancing music and choreographic implementation of the dance unites temporal and procedural factors. With the external resemblance of many parameters of organizational and expressive means (performance tempo, slowing down or acceleration of movement, accents, caesura etc.) pianists should take into consideration specifics of expressive means introduced by the composer in the music scores for individual realization of a dance idea.The purpose of the article is to identify specifics of ensemble and performers’ tasks on the way towards interpretation of the dance image. Consideration of several important components facilitating interpretation in the projection on music and dance performance will help to efficiently realize potential of dancingness in the instrumental piece. Based on the above mentioned goal, the following tasks are considered in the research: 1) manifestation of communicative ties between the dance images and piano expressive means; 2) analysis of the main manifestations of dance semantics in the piano duo pieces.Manifestations of rhythm and tempo, of accelerations and slowing down, of plastics and amplitude of movements can be observed in the performance kinetics of a two-clavier duo while interpreting the music text of the suite of the dance type. It is not possible to perceive dance music without a comprehensive mastery interpretation of metric nature and rhythmic organization, which are connected with experiencing music motion.The tasks, which a two-clavier duo constantly faces in the works of a dance character, are retaining precise rhythmic energy in a stable way, creating a plastic relief of the piece architectonics and building advanced rhythmic constructions. The ability to get soaked with a meter and rhythmic energy of the dance, to accumulate its emotional and motion potential and to convey it to the recipient-listener through the act of artistic interpretation during the concert performance are important elements of a peculiar state of performers, which we can be called a modus of performance dancingness. This notion signifies a peculiar psycho-emotional and physical state of the musician, promoting efficient production and retranslating performer’s dance image. Performance experience of the author of this research gives grounds to consider creation of synergy of rhythmic ideas of piano duo members while working on the suites of a dancing type as one of the most actual tasks. Solutions for these tasks should be based on building a common vision of the image potential of each separate source, on which dance semantics of the piece is based. When playing in a duo the pianists need to combine continual hearing control during their performance with the previous discussion of the plan of interpretation during rehearsals in order to reach synchronization of tempo changes.Complex consideration of approaches towards estimation of the use of music means helps to reveal determining trends on the way towards solving the issues of effective realization of dancing content in the duo interpretation. Combination of clarity of performers’ ideas on the means found in the composer’s dance image with practical retranslation of motion and plastics content lays basis for success of interpreter’s activity. Understanding of the whole complex of musical and expressive manifestations of dancingness, of its links with characteristics of choreographic dancing plastics helps to achieve a live personal feedback of the participants of the two-clavier duo while performing suites. Interconnection of certain music means and kinetic information dance flow, which is clearly expressed in the instrumental piece, create preconditions for a positive result in the work of the duo members on the implementation of dancing semantics. В статье рассматривается и определяется круг ансамблево-исполнительских задач, направленных на интерпретацию образа танца. На примере сюит для двухклавирного дуэта украинских и зарубежных композиторов (М. Скорика, Ж. Колодуб, А. Казеллы, Э. Шабрие и др.) выявляется значение музыкально-инструментальных выразительных средств (темпо-ритмическая организация, агогическая характерность, динамика исполнения) в воплощении танцевальной идеи. Предлагается к рассмотрению понятие "модус исполнительской дансантности" как особое исполнительское состояние во время ретрансляции ансамблем пианистов образа танца.У статті розглядається та визначається коло ансамблево-виконавських завдань, спрямованих на інтерпретацію образу танцю. На прикладі сюїт для двоклавірного дуету українських та зарубіжних композиторів (М. Скорик, Ж. Колодуб, А. Казелла, Е. Шабріє та ін.) виявляється значення музично-інструментальних виразових засобів (темпо-ритмічна організація, агогічна характерність, динаміка виконання) у втіленні танцювальної ідеї. Пропонується до розгляду поняття "модус виконавської дансантності" як особливий виконавський стан під час ретрансляції ансамблем піаністів образу танцю

Аналитически-численный алгоритм вычисления корней алгебраических уравнений с заданными предельными погрешностями

Предложен алгоритм вычисления приближенных значений корней алгебраических уравнений с заданными предельными абсолютными погрешностями. Математическую основу алгоритма составляет аналитически-численный метод решения нелинейных интегрально-дифференциальных уравнений с нестационарными коэффициентами. Аналитически-численный метод относится к классу одношаговых непрерывных методов переменного порядка с адаптивной процедурой выбора шага расчета, формализованной оценкой погрешности производимых вычислений на каждом шаге и погрешности, накапливаемой в ходе расчета. Предлагаемый алгоритм вычисления приближенных значений корней алгебраического уравнения с заданными предельными абсолютными погрешностями состоит из двух этапов. Результатом выполнения первого этапа служат числовые интервалы, содержащие неизвестные точные значения корней алгебраического уравнения. На втором этапе вычисляем приближенные значения этих корней с заданными предельными абсолютными погрешностями. В качестве примера использования предложенного алгоритма приведено нахождение корней алгебраического уравнения пятого порядка с тремя различными значениями предельной абсолютной погрешности. На основе полученных результатов сделаны следующие выводы. Предложенный алгоритм позволяет выделить числовые интервалы, содержащие неизвестные точные значения корней. Знание этих интервалов дает возможность вычисления приближенных значений корней с любой заданной предельной абсолютной погрешностью. Результативность алгоритма, то есть гарантия достижения поставленной цели не зависит от выбора начальных условий. Алгоритм не итерационный, поэтому число шагов расчета, которое необходимо для выделения числового интервала, содержащего неизвестное точное значение какого-либо из корней алгебраического уравнения, всегда ограничено. Алгоритм при поиске определенного корня алгебраического уравнения вычислительно полностью автономен

The Phenomenon of the Cross-Resistance of Breast Cancer to Target and Hormonal Drugs: The Role of Epigenetic Reconstruction

The rearrangement of molecular pathways and the activation of bypass signaling determine the progression of tumor cell resistance to various drugs that specifically block target signaling proteins. The present work was performed on the MCF-7 breast cancer cells and established sublines, resistant to mTOR inhibitor rapamycin or antiestrogen tamoxifen, developed under prolonged cell treatment with rapamycin or tamoxifen, respectively. We have shown that both resistant sublines demonstrate the cross-resistance to rapamycin and tamoxifen and are characterized with the common signaling changes, namely—blocking of the estrogen receptor α (ERα) transcriptional activity and constitutive activation of Akt signaling. Analysis of the epigenetic machinery revealed the drastic suppression of the level of DNA methyltransferase 3A (DNMT3A) in both the resistant sublines that were correlated with the demethylation of the LINE-1 repeats. Knockdown of the DNMT3A via siRNA results in the progression of partial resistance of MCF-7 cells to both tamoxifen and rapamycin, supporting the important role of DNA methylation in the formation of the resistant phenotype. Totally, the results obtained highlight the possible mechanism of the tumor cell resistance to targeting/hormonal drugs based on the rearrangement of DNA methylation profile and activation of the bypass signaling pathways