- is on the list of trending and most viewed Holidays videos with more than 100,000 views in just a one week after release!

Many thanks to everyone who was with us this year:

Zhangjiajie Philharmonic Orchestra
Sasha Gusev - sound design
Dr. Alex Sino - writer
Ilkhomjon Shoismlatov - violine
Team of the Magiv Song project
Scetlana Telbukh
• Dr. Al Di Meola on acoustic guitar
• Terry Heimat on trumpet
• Camilo Velandia on electric guitar
• Richard Bravo on drums and percussions
• Angelica Maria Varum - leading voice
• Dr. Ed Calle on saxophone
• Andrei Pushkarev on vibraphone
• Ralfy “Fafa” Valencia on bass guitar
• Leonid “Lenny” Agutin - leading voice
• Amaury Gutierrez - leading voice
• Camilo Valencia on EWI/alt saxophone
• Alemnest Andino on flute
• Albert Fedoseev on piano - Russia
• Julio Ariel Diaz on mute trumpet
Anatoli Telbukh
Vuktor Renner
We wish you all health and well-being in the new year!
Happy New Year!]]> The creators of the project "Magic Song" received the award in Los Angeles. https://terryheimat.com/tpost/pnut5mg2b1-the-creators-of-the-project-magic-song-r https://terryheimat.com/tpost/pnut5mg2b1-the-creators-of-the-project-magic-song-r?amp=true Mon, 03 Jan 2022 14:49:00 +0300 Press Service Media "Silver Mask" Awards were presented in the nominations for "Best Original Score" and "Best Producer.

The creators of the project "Magic Song" received the award in Los Angeles.

The first news of 2022. The creators of the "Magic Song" project, Producer and screenwriter Alex Sino, as well as composer and director Terry Heimat (Taras Kutsenko), were awarded the Silver Mask Award in Los Angeles in the nomination "Best Producer" and "Best Original Score". This is the first international award of the Magic Song project.

Category: Best original Score TARAS KUTSENKO (Terry Heimat)

Category: Best Producer ALEX SINO

Short movie Magic Song” was premiered on December 23rd 2021 on Warner Music Channel. In the first 7 days, over 100k users watched the music video. Original score was written by the Ukrainian composer Taras Kutsenko, who creatively reimagined the famous Ukrainian song “Shchedryk” known worldwide as the "Carol of the Bells". Script for the film was written by Alex Sino.

The project was also honored with the Royal Society of Television and Film Awards in the two category "Performing Arts" and "Best Film Score - Soundtrack".

The film is a Christmas dream of a little girl (Nastya Kutsenko) who fulfilled her dreams with the help of Fairy and musicians. Film was made as a creative combination of sand animation by Svetlana Telbukh, computer graphics and traditional filming. The track was recorded by international team of world renown musicians including Al Di Meola, Leonid Agutin, Ed Calle, Amaury Gutierrez and Angelica Varum.
The musicians performed their parts accompanied by the Zhangjiajie Philharmonic Orchestra (Hunan, China).

]]> TIMES: Ukrainian composer and American producer won the Silver Mask award at the Los Angeles festival. https://terryheimat.com/tpost/2j7yg5eru1-times-ukrainian-composer-and-american-pr https://terryheimat.com/tpost/2j7yg5eru1-times-ukrainian-composer-and-american-pr?amp=true Wed, 05 Jan 2022 02:48:00 +0300 Press Service The Magic Song project won the Los Angeles Silver Mask Awards for Best Original Soundtrack and Best Producer.

TIMES: Ukrainian composer and American producer won the Silver Mask award at the Los Angeles festival.

The Magic Song project won the Los Angeles Silver Mask Awards for Best Original Soundtrack and Best Producer.
Kharkiv Times learned about this from a message on the official website of the festival.

The author of the soundtrack is Taras Kutsenko from Kharkiv (creative pseudonym - Terry Heimat) - a composer and musician who is now working in China. He rethought the music of Nikolai Leontovich's "Shchedrik", creating for the "Magic Song" project an interpretation of the melody known in the world as Carol of the Bells.
The award in the category "Best Producer" was given to the mastermind behind the "Magic Song" project - American producer and screenwriter Alex Sino.
A team of famous musicians from all over the world worked on the creation of the Christmas single and video "Magic Song", including the virtuoso guitarist Al Di Meola (USA / Italy), singer Amori Gutierrez (USA / Cuba), saxophonist Ed Kaye (USA / Venezuela), guitarist Camilo Velandia (USA), singer Angelica Varum (Russia), singer and composer Leonid Agutin (Russia) and others.
The sound engineers of the project are Emmy Award winner Camilo Valencia (USA) and Sasha Gusev (Russia).
The musicians performed solo parts accompanied by the Zhangjiajie Philharmonic Orchestra (Hunan, China) under the baton of Taras Kutsenko.
To create the musical short film "Magic Song", in addition to live filming, they used computer graphics and sand animation. The plot resembles a fairy tale: on Christmas night, a little girl (Nastya Kutsenko) meets musicians and a fairy from the Sand Land, played by Svetlana Telbukh, a sand animation artist and participant in major TV shows, including Ukraine Got Talent, America Got Talent, Spain Got Talent ...

Background:
Background: The Silver Mask Productions Festival was founded in Los Angeles, the capital of the American film industry, to support aspiring and independent filmmakers who create unconventional films and screenplays.
The Magic Song project also received two awards from the Royal Society of Television and Motion Picture : Performing Arts and Best Motion Picture Soundtrack.

In October 2021, the premiere of the short film "Stay" took place, which was directed by Taras Kutsenko based on a script by Alex Sino. This is the story of a fiddler playing in a crowded train station.
In May 2021, Taras Kutsenko won the Hollywood Blastoff Prize in the nomination "Best Song or Music for a Film Not Yet Completed or Released" for the single BazaArt (All be fine).

Alex Sino is a member of the Academy of Recording (Grammy), a member of the Academy of Interactive Arts and winner of several international awards, including a victory in the Song of the Year competition (USA) and the Nice Film Festival (France).]]> The “Magic Song” received “Red Dragon Awards” in Dallas, TX USA. https://terryheimat.com/tpost/py52p17221-the-magic-song-received-red-dragon-award https://terryheimat.com/tpost/py52p17221-the-magic-song-received-red-dragon-award?amp=true Sun, 09 Jan 2022 08:33:00 +0300 Press Service Media The “Magic Song” received 5 “Red Dragon Awards” in Dallas, TX USA in 5 major categories

The “Magic Song” received “Red Dragon Awards” in Dallas, TX USA.

The “Magic Song” film directed and composed by Terry Heimat and produced by Alex Sino received 5 “Red Dragon Awards” in Dallas, TX USA in 5 major categories:
- Best producer to Alex Sino;
- Best VFX to TVK studio,
- Best Fantasy Short to PIER 5 LLC;
- Best Musical Short to TVK studio;
- Best Background Score” to soloists for performing, improvising and co-writing a background score namely:
Al Di Meola (Acoustic guitar)

Ed Calle (saxophone)

Richard Bravo (Percussions)

Albert Fedoseev (Piano)

Andrei Pushkarev (Vibraphone)

Camilo Velandia (Electric guitar)

Leonid Agutin (Lead vocal)

Julio Ariel Diaz (Mute trumpet)

Angelica Varum (Lead vocal)

Amaury Gutierrez (Lead vocal)

Camilo Valencia (EWI)

Ale Andino (flute)

Zhangjiajie Philharmonic Orchestra #ZPO

Ann Lytvyn (cello)

Konstantin Slobodenyuk (flute)

Alexei Tymkiv (clarinet)

Daniil Popov (clarinet)

Congratulations to the entire team of creators of the project on amazing victory!

]]> Svetlana Telbukh has received the Award by The Royal Society of Television and Motion Pictures. https://terryheimat.com/tpost/ffjgo51gm1-svetlana-telbukh-has-received-the-award https://terryheimat.com/tpost/ffjgo51gm1-svetlana-telbukh-has-received-the-award?amp=true Thu, 13 Jan 2022 07:37:00 +0300 Press Service The artist received an award in the category “Performance Arts”.

Svetlana Telbukh has received the Award by The Royal Society of Television and Motion Pictures.

Svetlana Telbukh has received the Award by The Royal Society of Television and Motion Pictures in the “Performance Arts” category for her amazing sand animation work performed for the film the “Magic Song” directed by Terry Heimat, produced bu Alex Sino.

The composer of the project Taras Kutsenko (Terry Heimat) was also awarded in the category "Best Film Score - Soundrack".

Congratulations to the winners!]]> Terry Heimat became a Bach® instrument artist in China. https://terryheimat.com/tpost/a60d96e561-terry-heimat-became-a-bach-instrument-ar https://terryheimat.com/tpost/a60d96e561-terry-heimat-became-a-bach-instrument-ar?amp=true Thu, 17 Feb 2022 07:46:00 +0300 Press Service The corresponding decision was made by the commission of the Bach® distributor in China.

Terry Heimat became a Bach® instrument artist in China.

The corresponding decision was made by the commission of the Bach® distributor in China.
The contract with suppliers of Bach instruments in China implies the complete provision of the artist with musical instruments and accessories by Bach® in China.

]]> TVK rebranding https://terryheimat.com/tpost/p9fklrbci1-tvk-rebranding https://terryheimat.com/tpost/p9fklrbci1-tvk-rebranding?amp=true Mon, 11 Apr 2022 07:55:00 +0300 Press Service We are announcing the rebranding of our company.

TVK rebranding

Dear friends!
We are announcing the rebranding of our company. Now all the company's products will be marketed under "TERRY HEIMAT production studio" brand. The rebranding was planned long ago and has nothing to do with political or economic influence. The company continues to work and soon you will see new products from TERRY HEIMAT.
Thank you for being with us!

]]> Conductor Taras Kutsenko was awarded the Order. https://terryheimat.com/tpost/4uxvmg6oe1-conductor-taras-kutsenko-was-awarded-the https://terryheimat.com/tpost/4uxvmg6oe1-conductor-taras-kutsenko-was-awarded-the?amp=true Tue, 12 Jul 2022 04:16:00 +0300 Press Service Music Director and Chief Conductor of the Zhangjiajie Philharmonic Orchestra was awarded the Order "Worldwide Cultural Diplomacy".

Conductor Taras Kutsenko was awarded the Order.

Music Director and Chief Conductor of the Zhangjiajie Philharmonic Orchestra was awarded the Order of the Worldwide Cultural Diplomacy Award. This was announced by the organizers of the award on their platform.

Maestro Kutsenko, on behalf of the musicians of the orchestra, thanked the expert jury:
"I express my gratitude to the NGO "grandees, ratings and nominations", the "Committee for public awards of Ukraine" and the Expert Council for their high assessment of the activities of our Zhangjiajie Philharmonic Orchestra!
I am sure that the mission of any musical artist is to serve art for the sake of World Peace.
I wish good health to all the good people of the world, in the name of peace!"

Other cultural figures and musicians were also awarded.]]> The creators of "Magic Song" and "Ode to Joy" Terry Heimat production, have embarked on a new project. https://terryheimat.com/tpost/5hhc48vkv1-the-creators-of-magic-song-and-ode-to-jo https://terryheimat.com/tpost/5hhc48vkv1-the-creators-of-magic-song-and-ode-to-jo?amp=true Fri, 15 Apr 2022 06:29:00 +0300 Press Service Terry Heimat production has begun the production of a new music album, THE POWER of NATURE.

The creators of "Magic Song" and "Ode to Joy" Terry Heimat production, have embarked on a new project.

Terry Heimat production has begun the production of a new music album, "POWER of NATURE" 自然颂.

The album will contain 13 original tracks with music composed by Ukrainian composers Oleg Polyanskiy and Taras Kutsenko (Terry Heimat) to the poetry of ancient Chinese poets.

Oleg Polyansky is a pianist, composer, arranger and teacher. He was born in Kharkiv and graduated from the Kharkiv National University of Arts in 2000. Award winner of prestigious international competitions and festivals. Has performed in France, England, USA, Singapore, Thailand, UAE, Qatar and other countries, including with many world-famous artists such as Ray Cassins (former accompanist of Frank Sinatra), Tempei Nakamura (recognized Japanese pianist-composer), The Awakenings Ensemble and Doha Jazz (leading jazz ensembles in the Middle East), etc. MORE ABOUT OLEG POLYANSKY>>>

TWO MUSICIAN TRAVELERS MET IN CHINA.

Composers Oleg Polyansky and Taras Kutsenko (Terry Heimat), currently living in China. In November 2021 they announced the release of a midi version of the music album, which was released on all digital platforms of Terry Heimat production studio in November 2021.

Now the work on the full version of the project is in progress.
Inspired by the natural beauty embodied in the ancient Chinese poetry of Su Shi, Du Fu, Li Bai, the musicians have interpreted classical poetry with modern musical language and created a series of choral and solo songs.

The musical album will include songs on poems by Chinese poets that every Chinese person knows. These poems are compulsory in Chinese general education schools and are the great cultural heritage of the Celestial Empire.
One of Zhu Xi's poems describes his observation of the Spring of the Millennium, which comes quietly year after year.

The project "Ode to Nature" calls all humanity to peace, through harmony with nature.
Eventually, the Musicians will release score collections and a music album in collaboration with the Zhangjiajie Philharmonic Orchestra, the Chorus of Zhangjiajie University and soloists from the Zhangjiajie Symphony Center (Hunan, China). At the same time, clips of scenic views of nature in China will be released.

The project's distributor, Tunecore, is currently released a pilot album of musical material.
A total of 13 songs will be presented.
01 - Jiang nan
02 - Deng Guan Que Lou
03 - Wang Lu Shan Pu Bu
04 - Chun Ye Xi Yu
05 - Shan Xing
06 - Shan Ju Qiu Ming
07 - Chun Ri
08 - Ti Xi Lin Bi
09 - Xiao Chi
10 - Cun Ju
11 - Chun Jiang Xiao Jing
12 - Zhu Shi

Eventually, the Musicians will release score collections and a music album in collaboration with the Zhangjiajie Philharmonic Orchestra, the Chorus of Zhangjiajie University and soloists from the Zhangjiajie Symphony Center (Hunan, China). At the same time, clips of scenic views of nature in China will be released.

The premiere of the Ode to Nature project is scheduled for mid-summer 2022.

More information about "ODE to NATRUE" here >>>

]]> Dragon Boat Festival 2022. https://terryheimat.com/tpost/jovrn1rdl1-dragon-boat-festival-2022 https://terryheimat.com/tpost/jovrn1rdl1-dragon-boat-festival-2022?amp=true Tue, 19 Apr 2022 11:35:00 +0300 Press Service On April 30, 2022, Zhangjiajie will host the Dragon Boat Festival.

Dragon Boat Festival 2022.

This festival in China marks the arrival of summer.

The history of the Dragon Boat Festival dates back many centuries.
This festival is traditionally associated with the commemoration of Qiu Yuan.

Who is Qiu Yuan?

As a descendant of an aristocratic family, Qu Yuan served as a minister in the court of the Chu Kingdom of Chǔn. He opposed the hegemony of the Qin Qín dynasty. According to legend, Qu Yuan was slandered by a rival minister who had strong influence over the ruler of Chu. In 278 BC, the capital of Chu was captured by the Qin warlord Bái Qí Qǐ. On learning of this, Qiu Yuan composed the poem Lament for the Ying Capital Āi Yǐng and committed suicide by throwing himself into the waters of the Milo River, which flows in Hunan Province. Local peasants tried to save Qiu Yuan, desperately but unsuccessfully. Then they searched for his body and tried to scare away the river spirits and fish - with the splashing of boat oars and the drumming of drums. Finally, they began throwing rice into the river as an offering to the poet's spirit, as well as to distract the fish from his body. Qiu Yuan's spirit appeared to his friends one night and told them that the river dragon had caused his death. The spirit asked them to throw rice wrapped in triangular silk bags into the river to ward off the dragon. This, according to the legend, is the origin of the traditional Zongzi rice dove. Subsequently, the silk was replaced by cane leaves in which the rice was boiled and eaten. The "search for a body on the river" eventually took the form of a rowing competition, with the bow of each boat necessarily representing a dragon's head. The "dragon boat races" began to celebrate the poet's death every year, on the fifth day of the fifth month of the Chinese lunar calendar.

The "Dragon Boat" holiday marks the onset of the summer heat and, consequently, the danger of the spread of summer diseases associated with it. Therefore, the popular dominant feature of the holiday was "the repelling of evil," embodied in the local traditions of using amulets of wormwood, pictures with the image of Qiu Yuan. Traditionally at this time, special attention was paid to children: they made necklaces and bracelets of multicolored thread and beautiful embroidered bags.

Parents drew the Chinese character 王 (van), meaning "prince", on the forehead of the baby; for "self-defense against adversity," children were taught to make bows and arrows. On this day it is customary to take care to protect one's home.

Ancient Chinese custom says that on this day we attach branches of rose and wormwood 蒲艾 to the house gates and tie a talisman in the form of a small tiger 虎符 from a thin silk fabric to "ward off evil" 避邪 to a child's hand.

]]> Forward To New Ukraine https://terryheimat.com/tpost/bvrc8nygs1-forward-to-new-ukraine https://terryheimat.com/tpost/bvrc8nygs1-forward-to-new-ukraine?amp=true Thu, 28 Jul 2022 04:01:00 +0300 Press Service Music We are holding an action in support of Ukraine.

Forward To New Ukraine

On May 22, 2015, a grandiose cultural event took place in Kharkiv.
"Magic Box" company under the direction of Ukrainian producer Sergey Andreev held a show called "Battle of Orchestras".
In their art of orchestral performance, the orchestra from the city of Odessa Hardy Orchestra and the Kharkov team under the direction of maestro Taras Kutsenko Sloboda Virtuosi Orchestra competed.
Then the orchestra Sloboda Virtuosi Orchestra won.

The concert featured works by Ukrainian and world composers. Among the symphonic hits was the work of the Kharkiv composer Viktor Muzhchil "Forward to the New Millennium", written by him in 2000. Sloboda Virtuosi Orchestra brilliantly performed this work, which is still relevant today.

Ukraine is going through dark times today. But we believe that after long days, flowers will sprout on the earth. Download this single and help Ukraine today.
We will use all funds from the sale of this single to restore the Ukrainian city of Kharkov.
Thanks for your great help!

]]> Happy international Dance Day https://terryheimat.com/tpost/8dzl4afe31-happy-international-dance-day https://terryheimat.com/tpost/8dzl4afe31-happy-international-dance-day?amp=true Fri, 29 Apr 2022 16:20:00 +0300 Press Service On April 29, the whole dance world celebrates this holiday.

Happy international Dance Day

Terry Haymet's studio supports many dance projects. Among them, the short film "The Last Romance" which has won awards at international film festivals. We suggest you watch this video.

Congratulations to everyone on this celebration of dance!

]]> Health or business. https://terryheimat.com/tpost/kd35agust1-health-or-business https://terryheimat.com/tpost/kd35agust1-health-or-business?amp=true Mon, 15 Aug 2022 05:58:00 +0300 Press Service Music tuned to 440Hz vs. 432Hz can affect health.Research by Professor Terry Heimat - Zhangjiajie University (Hunan China)

Health or business.

For centuries, the music world has used 440 Hz as the standard frequency for tuning musical instruments. Taking into account that music is a human treasure given by the universe (God), some musicians practice saying that tuning at 432 Hz has better effect on the human body, but there is no scientific research to support this hypothesis.

Research

After the article "Music Tuned to 440 Hz Versus 432 Hz and the Health Effects: A Double-blind Cross-over Pilot Study" by the researcher and composer Gian Paolo Pomponi, experiments were conducted and the differences in vital parameters and perception after listening to music at different frequencies, 440 Hz and 432 Hz were revealed.

Interventions
Two sessions of listening to music on different days. Both sessions used the same music (Movie & Dance soundtracks of Terry Heimat), but tuned to 440 Hz on one day and 432 Hz on the other, as well as solo music playing on the flugelhorn. The musician played improvisations on Chinese melodies that contained the pentatonic scale. This strengthened the effect of the experiment, since it is believed that it is pentatonic music that is healing.

Tuning
The performer's instrument (Flugelhorn) was tuned to two frequencies of 440 Hz and. 432 Hz. This musical instrument was chosen because it is easy to tune and has no side harmonics, which greatly speeds up the research process.

Main results
Vital parameters (blood pressure, heart rate, respiratory rate, oxygen saturation), perception (physical and emotional sensations such as fatigue and stress), level of concentration while listening and overall satisfaction with the experience.

Results
Music tuned to 432 Hz was associated with a small decrease in mean (systolic and diastolic) blood pressure (although not significant), a marked decrease in mean heart rate (-4.79 beats per minute, p = 0.05), and a small decrease in mean respiratory rate (1 bpm, p = 0.06), compared to 440 Hz. Subjects were more focused on listening to music and were generally more satisfied after sessions in which they listened to music tuned to 432 Hz.

Conclusions
The findings suggest that music tuned to 432 Hz can lower heart rate more than music tuned to 440 Hz. The findings suggest repeating the experiment with a larger sample and conducting randomized controlled trials covering more clinical parameters.

As we said earlier, 440 Hz sound standards are accepted in the music world. Most musicians, symphony orchestras, recording studios operate on this frequency, which means that changing the frequency can greatly affect the entire industry. Most likely it is impossible. So the sound of 432 Hz remains purely individual and, to some extent, exclusive. By the way, Terry Heimat production studio works with the generally accepted frequency, but, if possible, does not forget the frequency of 432 Hz.
For example, the music for the film "Stay" was created at a frequency of 432 Hz.

We continue to work on mastering the world of sound.
Health to all!

]]> О реорганизации МАСО «Слобожанский». https://terryheimat.com/tpost/kh7g1yjvp1-o-reorganizatsii-maso-slobozhanskii https://terryheimat.com/tpost/kh7g1yjvp1-o-reorganizatsii-maso-slobozhanskii?amp=true Fri, 28 Aug 2015 07:20:00 +0300 Press Service С чего всё началось и чем это может закончиться.

О реорганизации МАСО «Слобожанский».

Перепечатано от издания MUZKARTA от 28 августа 2015
ИСТОЧНИК

Молодежный академический симфонический оркестр «Слобожанский»

Любой кризис — это новые возможности. Сэр Уинстон Черчилль.2015 год — год глобального кризиса, больших перемен и надежд. Среди суеты и частичного отчаяния общества, важно определить вектор направления на пути прежде всего выживания; расстановка приоритетов экономики и экономии бюджетных средств и удержания того, что уже многие годы приносит положительные плоды просвещения и культуры. Вместе с этим старая система управления становиться всё более уязвимой в условиях современного экономического развития мира. По сути в перезагрузке нуждается вся вертикаль и горизонталь системы государственного управления сегодняшней Украины. Конечно об этом говорят с определенной долей опаски и осторожностью, а применяют «инструменты перезагрузки» на, безобидных на первый взгляд, отраслях таких как культура и образование. Долгосрочные проекты, которые имеют старт ещё в советский период должны подлежать реформированию, но каким способом и какой ценой эти реформы должны осуществляться попробуем разобраться на примере одного из долгосрочных проектов — Харьковский Молодёжный академический симфонический оркестр «Слобожанский».

Кратко про оркестр.

МАСО «Слобожанский» — симфонический оркестр, созданный в 1993 году при Харьковском академическом (ныне Национальном) театре оперы и балета им. Н. В. Лысенко. В 1994 году был признан лучшим молодёжным коллективом Европы. В 2000 году получил статус самостоятельного предприятия. С 2008 года — получил статус «Академический». С 2013 года стал больше известен как «Виртуозы Слобожанщины». О коллективе.

Новый руководитель оркестра с 2013 года.

В 2013 году на административную должность, директора Харьковского областного коммунального предприятия «МАСО «Слобожанский» был назначен молодой, перспективный директор, со стажем управления международными и социальными проектами Куценко Тарас Витальевич.

Справка: Куценко Т.В. родился в 1977 году. Окончил Московскую государственную консерваторию (исполнительское искусство), Московскую академию международного сотрудничества (топ-менеджмент). Образования оперно-симфонического дирижёра получил в Харьковском университете искусств им. И. П. Котляревского в классе профессора, своего отца, заслуженного деятеля искусств Украины Виталия Куценко, продолжателя ленинградской школы дирижирования.

Тарас Куценко — музыкант, дирижёр, продюсер. Лауреат международных конкурсов и театральных премий. Автор музыки в более чем к 20-ти драматическим спектаклям и кино; музыкальных проектов и концертных программ, среди которых постановка оперно-балетной новеллы на музыку Бизе «Глория Кармен; музыкально-анимационный спектакль „Пер Гюнт“ — симфоническая музыка и песочная анимация»; социально-просветительский проект «Харьковские семейные музыкальные вечера» — для учащихся школ и многие другие.

Оркестр и Университет

Буквально сразу после назначения на должность директора, начались разногласия с художественным руководителем оркестра Гаррием Абаджаном. Молодой директор не принял позицию худрука, который занимал на тот момент место Первого проректора Харьковского национального университета искусств им. И. П. Котляревсокго (ХНУИ им. И. П. Котляревского) о том, что оркестр должен подчиняться Уставу Университета (на тот период оркестр базировался именно в этом ВУЗе). По словам ректора Университета Веркиной Т.Б. и первого проректора Абаджяна Г. А. Оркестр должен был всячески участвовать в концертной жизни ВУЗа на том основание, что Университет даёт свои помещения для выступлений по пятницам и репетиций с понедельника по четверг. Глядя в Устав оркестра и сочетая его содержание с предложенными Университетом условиями, директор предложил пересмотреть условия сотрудничества, на что получил строгое «нет» и предупреждение-либо он будет подчиняться Уставу ВУЗа, либо оркестр должен искать другое пристанище. Буквально на седьмой день назначения нового директора оркестра, художественный руководитель, администратор и директор оркестра были приглашены в кабинет Ректора ХНУИ им. И. П. Котляревского Т. Б. Веркиной, где она чётко и ясно объяснила свою позицию в отношении концертной политики Оркестра, какая она должна быть в сочетании с учебным процессом Университета.

Стенограмма: Ректор ХНУИ им. И. П. Котляревского об условиях сотрудничества МАСО «Слобожанский» с ХНУИ им. И. П. Котляревского.

«…Раз этого нет, значит мы не участвуем в этих играх. Всё! Мы можем просто, дружными рядами, для начала отказаться участвовать вообще во всех концертах, ну, а дальше вы ищете просто новое место для проживания. Поэтому, я очень прошу, все планы согласовывать с Университетом, в обязательном порядке. Мы находимся здесь и мы очень дорожим своим имиджем. У нас есть определённое, извините, лицо — оно практически без косметики и его именно за это и ценят. И я настоятельно требую, чтобы косметики было поменьше, а если она и есть, то очень дорогая.»

В мае 2013 года был назначен концерт с участием дирижёра из Киева Петра Товстухи и его сына, пианиста — Константина. В программе, немного не мало, Рахманинов — концерт № 4 для ф-но с оркестром и монументальная симфония Шуберта № 2. Надо сказать, что начиная с мая, в ВУЗе где базировался тогда оркестр начиналась страда экзаменов, и Оркестр из сезона в сезон практически прекращал концертную деятельность в период весенне-летних экзаменов, а это добрых четыре, пять месяцев с мая по сентябрь. К тому же ректор Университета Татьяна Веркина, профессор класса фортепиано, не сильно жаловала приезжих пианистов, и с неподдельной ревностью относилась к концертам с не университетскими музыкантами.

Стенограмма: Ректор ХНУИ им. И. П. Котляревского об условиях сотрудничества МАСО «Слобожанский» с ХНУИ им. И. П. Котляревского.

«… По сравнению с теми молодыми, приглашенными — извините, наши студенты на порядок выше. Потому, что то что приезжало из Москвы — трудно даже назвать фуфлом.»

Вообщем не сложилось тогда сыграть концерт с Товстухой в зале Университета, и буквально за неделю до концерта, администрация оркестра, внеся экстренные коррективы в рекламной компании и получивши определённые убытки в связи с этим, переориентировались на Малый зал ХНАТОБа (Сумская, 25).

С того времени у Оркестра началась трудная, но интересная и новая жизнь. Сегодня Оркестр играет концерты при полных аншлагах; коллектив продолжает нести знамя одного из продвинутых коллективов Европы. С Оркестром подписывают контракты известные музыканты и исполнители, а для многих молодых солистов становится честью играть с симфоническим оркестром такого уровня.

После публикации в газете «Время» статьи
Тарас Куценко: «Мы должны не потакать публике, а вести ее за собой» на молодого директора посыпался шквал обвинений в непрофессионализме и ещё Бог знает в чем.

Заслуженного деятеля искусств Украины, и.о. профессора Виталий Куценко, после приватной беседы с ректором ХНУИ им. И. П. Котляревского Т. Б. Веркиной — был уволен.

Скандал вокруг Харьковского молодёжного симфонического оркестра «Слобожанский» набирает обороты

Посывпались серии статей против нового руководителя оркестра: например на официальном сайте Харьковского национального университета искусств им. И. П. Котляревского было опубликована статья Послесловие к статье Александра Анничева в газете «Время» от 23 мая 2013 г. «Тарас Куценко: «Мы должны не потакать публике, а вести её за собой» К чему ведет Т. Куценко?

К чему же в итоге привел Тарас Куценко коллектив МАСО «Слобожанский»?

Сегодняшние показатели МАСО «Слобожанский»
Годовой бюджет 2 млн. 944 тыс. грн на зарплату сотрудников.
Государственные субвенции на развитие — отсутствуют.
Надбавки за звание «Академический» — отсутствуют.
За последний период прирост проведенных концертов вырос на 15%, количества посетителей на 97%, прирос прибыли от полученных средств за концерт на 61%.
Оркестр стал способен оплачивать аренды помещений для офиса и технических комнат (библиотека, артистические комнаты, репетиционные помещения), а также концертные залы.
Коллектив принимает активное участие в социальной и общественной жизни украинского сообщества.

Оркестр прославляет Слобожанщину за рубежом.

Оркестр принимает участие в различных проектах и вдет активную концертную деятельность.

Реорганизация

Из обращения оркестра к общественности.
Обращение коллектива.

«Дорогие Украинцы!
Наш Оркестр пытаются реорганизовать, сделать одной из структур Харьковской филармонии, что приведет к гибели того дела, которым мы занимаемся более 20-ти лет. На наш взгляд и по мнению многих деятелей культуры и искусства Украины, деятельность МАСО „Слобожанский“ сегодня, является важной составляющей развития музыкального искусства, пропаганды и образования среди молодежи и общества в целом.

Слияние с Харьковской областной филармонией может привести к изменению статуса нашего коллектива как самостоятельной единицы, и, как следствие, — к его гибели. Это „первая ласточка“, дальше станет реальностью реорганизация всех коллективов Харькова. Жертвами слияния могут стать театры, оркестры, концертные коллективы, учебные заведения и ВУЗы.
Этого нельзя допустить!

МАСО „Слобожанский“ — уникальная стартовая база для получения профессионального оркестрового опыта молодыми музыкантами. Ни один оркестр Харькова не сотрудничает с таким количеством молодых музыкантов, как МАСО „Слобожанский“. Многие поколения талантливых музыкантов начинали работать именно в МАСО „Слобожанский“ и в настоящее время они занимают ведущие позиции в других оркестрах мира.

Сегодня МАСО „Слобожанский“ имея от государства субвенцию только на заработную плату, способен зарабатывать на своих проектах и оплачивать аренду помещений для офиса и технических комнат (библиотека, артистические комнаты, репетиционные помещения), а также концертных залов, что даёт возможность для нормального существования и развития.
За последние годы оркестр не просил у государства ни копейки на приобретение необходимых инструментов и аксессуаров, а приобретал всё необходимое на собственные средства.

Департамент культуры и туризма Харьковской областной государственной администрации делает акцент на том, что МАСО „Слобожанский“ не имеем своего помещения, но запланированное слияние с Харьковской областной филармонией не даст положительного результата и не решит проблему, так как на данный момент филармония находится в состоянии реконструкции и также не имеет собственного полноценного концертного зала и помещений для репетиций ещё одного коллектива. В дальнейшем, если реорганизация пройдёт и МАСО „Слобожанский“ станет подразделением филармонии, факт не возможности размещения станет ключевым в решении вопроса о сокращении численности коллектива и как следствие — уничтожит его.

Реорганизация Харьковского областного коммунального предприятия МАСО „Слобожанский“ повлечет за собой потерю рабочих мест, заработных плат, уменьшение количества работников как артистической, так и административной части оркестра.

Учитывая то, что коллектив за время своей профессиональной деятельности получил заслуженное признание не только в Украине, но и далеко за ее пределами, реорганизация оркестра нанесет непоправимый ущерб культурному наследию Слобожанщины.

Понимая, что сейчас страна находится в режиме жесткой экономии, мы бьем тревогу, потому что нельзя экономить на культуре и духовном здоровье нации.
Надеемся на вашу поддержку!»

Кому это выгодно?

Почему?

Годовой бюджет филармонии составляет около 13 млн. грн. Дополнительные вливания за счёт слияния МАСО «Слобожанский» около 3 млн. гривен в год.

Нынешняя ситуация с возможной реорганизацией коллектива, инициированная Департаментом культуры и туризма Харьковской областной государственной администрации наводит на подозрение, о способности управляющей организации принимать решения, которые не повлекут за собой тяжелых последствий.

В связи с этим оркестр и его руководство обращается ко всем, кому не безразлична судьба культуры с требованием прекратить попытки слияния оркестра, которое приведет к уничтожению самостоятельной единицы в области культуры.]]> Our musicians are in the Qili city. https://terryheimat.com/tpost/y3fouzz0c1-our-musicians-are-in-the-qili-city https://terryheimat.com/tpost/y3fouzz0c1-our-musicians-are-in-the-qili-city?amp=true Fri, 22 Jul 2022 17:33:00 +0300 Press Service Musicians from Ukraine performed at the Fifth Hot Springs Festival in Qili, Hunan, China.

Our musicians are in the Qili city.

Musicians from Ukraine performed at the Fifth Hot Springs Festival in Qili, Hunan, China.

On July 22 at 19:00, the Fifth Zhangjiajie 2022 Hot Spring Festival opened in Qili Wanfu City and Changdehe Street. For the first time, the opening ceremony was held synchronously in Zhangjiajie and Changde, and the live frequency interacted and broadcasted live synchronously, pioneering the joint holding of Zhangjiajie events between several cities. Vice Mayor Wang Tao opened the ceremony and gave a welcoming speech.

The Fifth Wangfu Hot Spring Water Spilling Festival in Zhangjiajie City was held to comprehensively showcase the style, customs and folk culture of Qili tourism, and give tourism lovers across the country a deeper insight into the unique charm of Cili hot spring cultural tourism through live broadcasting platforms, media messages, Wechat interaction and so on. Qili will take this festival as an opportunity to call it Xiangcili's tourism brand in all directions, jointly create a better future for Qili Tourism, and contribute to accelerate the construction of world-famous tourist destinations.
Zhu Aydemik, deputy secretary of the Qili County Party Committee and county chairman, held the opening ceremony
Hou Tiefu said that the Fifth Wangfu Hot Spring Water Spill Festival in Zhangjiajie City was held to comprehensively showcase the style, customs and folk culture of Qili tourism, and give tourism lovers across the country a deeper understanding of the unique charm of Cili hot spring cultural tourism through live streaming platforms, media reports, Wechat interaction and so on. Qili will take this festival as an opportunity to call it the Xiangcili tourism brand in all directions, jointly create a better future for Qili Tourism, and contribute to accelerate the construction of world-renowned tourist destinations.

In the opening branch, the musicians of the Zhangjiajie Symphony Art Center performed on stage on trumpet Kutsenko Taras (Terry Heimat) and on accordion Korpenko Eliza, performing a wonderful audio-visual tune for a live audience as a duet.
On the following days of the festival, the audience will see numerous shows and performances of artists from different parts of China.
During the festival, the three-day Happy Wanfu Spring audio carnival with concert programs and other themed events will take place.

]]> Paris Premieres as part of Movie Night https://terryheimat.com/tpost/vr3ltxmji1-paris-premieres-as-part-of-movie-night https://terryheimat.com/tpost/vr3ltxmji1-paris-premieres-as-part-of-movie-night?amp=true Wed, 17 Aug 2022 05:51:00 +0300 Press Service DING-DONG JESTER music video to be screened in Paris on Movie Night

Paris Premieres as part of Movie Night

The Paris Film Awards is an international monthly film festival with live screenings in the heart of Paris, at L'Epée de Bois.
Paris is considered one of the most beautiful cities in the world, the mission of the festival is to promote films and be another step forward in one's career.
In recent months we have awarded famous film stars such as Jeremy Irons, Malcolm McDowell, Terrence Howard, Jeremy Piven and many other actors and directors from around the world.
The musical short film DING-DONG JESTER created by Terry Heimat, Oleg Polyansky, Alex Sino and performed by Jackson King will be shown on August 26th at 21:30 at the L'Épée de Bois, 100 rue Mouffetard, Paris, 75005, France, in the Paris Film Festival.
The following works will be presented:
LOU by Jimmy Condaminas
THE NITWIT WAS MASKED by Cedrick Spinassou
NEW WORLD ORDER by Susan Lim. Christina Teenz Tan & Samudra Kajal Saikia
MOVIE CLUE TRAP DOOR by Jessamyn Violet, Vince Cuneo & Dustin Downing
THE LONG COLD WINTER by Oeter Sterling
THE PENCIL by Alexandre Mahutte
CATFISH by Nicholas Linnehan
DING-DONG JESTER by Terry Heimat, Oleg Polyansky & Alex Sino
MEMENTO MORI by Narelle Benjamin
We look forward to seeing our friends and fans at this screening. Come and see it! We will be there with you.

]]> MADE IN MIAMI https://terryheimat.com/tpost/sjc5ka7g51-made-in-miami https://terryheimat.com/tpost/sjc5ka7g51-made-in-miami?amp=true Thu, 01 Sep 2022 06:11:00 +0300 Press Service

MADE IN MIAMI

OUT NOW

THE EPIC NEW ALBUM FROM GRAMMY WINNERS CAMILO VALENCIA AND RICHARD BRAVO - FEATURING SOME OF MIAMI’S FINEST MUSICIANS AND PRODUCERS.

INCLUDING ARTURO SANDOVAL, LUIS ENRIQUE, AND MILTON SALCEDO

The promotional video was directed by Terry Heima (Taras Kutsenko)

]]> Hollywood Independet Filmaker Awards 2022 https://terryheimat.com/tpost/jfxktbasr1-hollywood-independet-filmaker-awards-202 https://terryheimat.com/tpost/jfxktbasr1-hollywood-independet-filmaker-awards-202?amp=true Sun, 05 Feb 2023 06:33:00 +0300 Press Service

Hollywood Independet Filmaker Awards 2022

The music video Ding-Dong Jester, from the project "Power of Nature" by Terry Heimat, Oleg Polyansky and Alex Sino received an "Honorable Mention", Hollywood Independent Filmmaker Award.

Congratulations to all the members of the project: Jackson King (Lead vocal), Richard Bravo (Percussion), Lou Nan (Back vocal), Camilo Valencia (Sound producer).

]]> Our teaser created All About Jazz! https://terryheimat.com/tpost/l02r91tkp1-our-teaser-created-all-about-jazz https://terryheimat.com/tpost/l02r91tkp1-our-teaser-created-all-about-jazz?amp=true Mon, 06 Feb 2023 07:24:00 +0300 Dan Bilawsky Our teaser created for the Made in Miami project went down in history with the most influential jazz publication, All About Jazz!

Our teaser created All About Jazz!

Miami is a melting pot where people and musics of all stripes share space and influence, cross-pollinating to create a sound and culture like no other. That fact provides the foundation for this upbeat collection. Blending elements sourced from numerous musical styles and languages including salsa, pop, samba, jazz and R&B, among others, multi-instrumentalist Camilo Valencia and drummer Richard Bravo create unique and flavorful dishes served hot by a rotating cast.

Opening on "CCU (Coronary Care Unit)," the team paints the town funky while saxophonist Ed Calle and trumpeter Jason Carder fire away. A musical "thank you" note to those who have cared for Valencia during his heart transplant surgeries, it paints a picture of positivity as the album's starting point. Two complementary cuts—the title track, a sly and catchy number with Dave Fernandez blowing on tenor saxophone and Milton Salcedo cooking on piano, and "Hurricane Jimenez," where the pianist and Valencia (on EWI) deal in infectious joy— follow and solidify a signature sound. Then, just as quickly, Valencia and Bravo go someplace completely different with a glossy "Misty" featuring trumpeter Arturo Sandoval.

As things progress, the co-leaders continue to please with one rhythmically energized number after another. "Songo Bop," a fusion of its two titular styles, proves to be a serious standout. "Funkeando," with Fernandez moving over to alto, Ismael Vergara adding some sinuous soprano and Philip Lassiter bringing it on trumpet, uses its name's first syllable as a calling card. "Papadin," with the Bravo family on percussion and Jorge Dobal putting his melodious trombone to good use, proves zesty and satisfying. And "Cafe Union" and the fiery-and-folkloric "Guanabacoa Streets," each eyeing Cuba from completely different angles, prove captivating. Add to that a tender "One Heart at a Time," honoring a young murder victim whose heart now beats in Valencia's body, and a bonus-track alternate version of "Misty, " featuring vocalist Jakson King, and the story is complete. Miami has so much music to share and influence to bear, and Camilo Valencia and Richard Bravo bring that truth to light for all to hear.

Source:

]]> Song I'll stay with U https://terryheimat.com/iwillstaywithu Tue, 07 Mar 2023 11:11:00 +0300 Press Service Music Creators of the Awards Winning projects Magic Song, Stay and Ding-Dong Jester, both natives of Ukraine, Terry Heimat and Alex Sino are pleased to announce the release of their new project “I’ll stay with you”.

Song I'll stay with U

Creators of the Awards Winning projects Magic Song, Stay and Ding-Dong Jester, both natives of Ukraine, Terry Heimat and Alex Sino are pleased to announce the release of their new project “I’ll stay with you”. ]]> JUST a DAY ©2023 https://terryheimat.com/justaday Mon, 03 Apr 2023 12:45:00 +0300 Press Service The new single was released by Terry Heimat & Alex Sino.

JUST a DAY ©2023

The new video directed by Terry Heimat on Warner Music Latina composed by Terry Heimat and Alex Sino features brilliant vocalist Lilian Garcia, drummer Richard Bravo, bassist Artem Dubina.

The creators of the song released an instrumental version and shot a separate music video.

]]> Zhangjiajie Tianmen Mountain. 999 steps and tourists sing with each other. https://terryheimat.com/tpost/ymgyfafov1-zhangjiajie-tianmen-mountain-999-steps-a https://terryheimat.com/tpost/ymgyfafov1-zhangjiajie-tianmen-mountain-999-steps-a?amp=true Wed, 12 Apr 2023 03:44:00 +0300 Xiang Tao Show On April 12, a unique concert was staged under the Tianmen Cave in Zhangjiajie, more than 1300 meters above sea level.

Zhangjiajie Tianmen Mountain. 999 steps and tourists sing with each other.

On April 12, a unique concert was staged under the Tianmen Cave in Zhangjiajie, more than 1300 meters above sea level. The first performance of the concert series of "Spring Back to the Earth"-Zhangjiajie City to create a national civilized city was staged in Tianmen Cave Square of Tianmen Mountain Scenic Area. Many tourists stopped to listen to the music, to experience the endless charm of Chinese folk music, to quickly promote the recovery of Zhangjiajie tourism, and to strengthen the deep integration of Zhangjiajie tourism and culture.

Sources in media:
新华网客户端
新华网
新湖南湖南日报新媒体
张家界广播电视台张家界观察 2023-04-12 20:26 Posted on 湖南
Zhangjiaje

With the magical and spectacular Tianmen Cave as the background stage, artists from Hunan National Orchestra and Zhangjiajie Philharmonic Orchestra performed more than ten classical pieces, including the national orchestra "My China", "Sing a Mountain Song to the Party", the folk song of Sangzhi "Masang Tree Children Build a Lantern Platform", "Bang Bang Hammer on the Rock Board", the horse-head zither "Ten Thousand Horses Running", the suona "Hundred Birds Facing the Phoenix", and the song "Pilot". Sometimes passionate tunes, sometimes long and gentle ensemble, so that the classic music played in the mountain peaks, bringing an auditory feast for visitors on site.

The artists also walked up the 999-step staircase in Tianmen Cave, played the melodious flute and crisp suona, played the melodious pipa, sang a beautiful folk song of Sangchik, and interacted with the visitors to let them experience the endless charm of Chinese folk music up close.
The concert also featured a conductor, Mr. Luo Yong, Professor Emeritus of the Department of Music, Zhangjiajie College, Jishow University.

It is understood that this event is sponsored by the Propaganda Department of Zhangjiajie Municipal Committee, and organized by Zhangjiajie College of Jishou University, Zhangjiajie Civilization Office, Zhangjiajie Symphonic Art Center and Hunan National Orchestra. There will be two performances of "Spring Return" - a series of concerts to create a national civilized city in Zhangjiajie.

The next day was the second concert with an updated program at the Elegant Concert Hall, Zhangjiajie University.

]]> Premiere on International Mother Earth Day https://terryheimat.com/tpost/m183g9ccp1-premiere-on-international-mother-earth-d https://terryheimat.com/tpost/m183g9ccp1-premiere-on-international-mother-earth-d?amp=true Sat, 22 Apr 2023 03:53:00 +0300 Press Service The Grammy, Emmy winners have released a collaborative album, on International Mother Earth Day, April 22, 2023.

Premiere on International Mother Earth Day

THE POWER OF NATURE

The Grammy, Emmy and world music awards winners have released a collaborative album, on International Mother Earth Day, April 22, 2023.

International Mother Earth Day was established in 2009, by the United Nations General Assembly under Resolution A/RES/63/278. "TThe Earth and its ecosystems are our home and it is necessary to promote harmony with nature and the Earth." The term Mother Earth is used because it "reflects the interdependence that exists among human beings, other living species and the planet we all inhabit".

The musicians recorded an album.

MORE>>>

World musician, sound engineers and producers FRANCIS GOYA, CAMILO VELANDIA, RICHARD BRAVO, ANTONIO SANCHEZ, JACKSON KING, CAMILO VALENCIA, ALEX SINO and many other worthy musicians took part in the recording of Oleg Polyanskiy and Terry Heimat musical album The Power of Nature.

"Today, the global community is experiencing, time and again, the spiral of our planet's flight into the future. The speed is incredible. The turns are often dangerous, but through inconsistency, we can all fall by the wayside and find ourselves on the edge of an abyss." - said Oleg Polyanskiy.

So what is happening in society?

"We have stopped listening to each other, meeting each other, speaking to each other with respect, and stopped acting humble. Instead, we try in vain to use the principle of the famous three monkeys, which symbolizes the idea of ignoring evil and detaching ourselves from the unreal: "If I see no evil, hear no evil, and speak nothing of evil, I am invulnerable to it. Behind the blinders over our eyes, we have stopped noticing so many important things that could end up hurting each of us." - said Terry Heimat.

Plot of album

Inspired by the beauty embodied in the ancient Chinese poetry of Su Shi, Du Fu, and Li Bai, composers Taras Kutsenko and Oleg Polyansky have interpreted classical poetry into the modern musical language and created a series of choral and solo songs.

The album will include songs on poems written by famous Chinese poets. These poems are compulsory for study in Chinese public schools and are the great cultural heritage of the Celestial Empire. According to the authors, The Power of Nature is an integration of Chinese culture into world culture.

LISTEN FREE to YouTube Music>>>

The album was recorded by：

ANTONIO SANCHEZ, JACKSON KING, LIZA KARPENKO, TAN YUAN, LIU NAN, TANG KENJIA, LIU KUIHOMG YOUNG, GUO JING

The album's branding:

Image on the album: The Earth in outer space.
Idea: The authors of the creative and artistic cover of the album "The Power of Nature" expressed the opinion that the people of the planet Earth are the part of the great flight in the universe. This is what the image of our Planet as an object moving through the boundless space of the Universe tells us.

A cover version of the flagship track The Power of Nature will be released in English in the near future. The author of the lyrics is the American lyricist, Ph.D. Alex Sino. There are also plans to release the show in China and the USA.

MORE>>>

]]> Quantum Acoustics https://terryheimat.com/tpost/a933r14aj1-quantum-acoustics https://terryheimat.com/tpost/a933r14aj1-quantum-acoustics?amp=true Fri, 12 May 2023 03:03:00 +0300 Taras Kutsenko Attempting to define meaning.

Quantum Acoustics

This article is a reworking of the scientific research of a famous scientist, Doctor of Technical Sciences, Professor of the N.N. Andreev Acoustics Institute - Lazar Davidovich Rosenberg

Quaternary acoustics is a new term. And before describing it, it is necessary to clarify the seeming contradiction in the term "quantum acoustics" itself.

Acoustics is the science of sound, which is an elastic wave that propagates in gases, liquids and solids. If the oscillation frequency of sound waves is between 40 and 15,000 hertz, our ear perceives them as audible sound. If the frequency is greater than 15.000 vibrations per second, we hear nothing, even though the physical process is the same. Such sounds which are not audible to our ear are called ultrasounds.

Acoustics considers the medium in which sound and ultrasound propagate as a continuous, uninterrupted one. Quantum theory, on the other hand, is used to describe phenomena occurring in the microcosm.

The physical bodies around us, even the same ones, are ultimately distinguishable. We often say, "they are as similar as two drops of water," even though we are sure that even two drops of water, no matter how similar they are, can be distinguished. But the word "similar" does not apply to electrons. Here we are talking about complete identity.

At first glance, it may seem that such an experiment is of purely academic interest, because repeated, very precise experiments have shown that the inertial mass of a body is exactly equal to its gravitational mass. (It must be said, however, that theorists still cannot explain why this happens.) However, when we are dealing with subatomic particles, there is reason to think that in this case the equivalence of gravitational and inertial masses may not exist. After all, if the matter is always attracted by other matter due to the gravitational interaction between them, the reaction between antiparticles and ordinary matter (not antimatter) may have the opposite direction. In other words, they can repel each other.

It cannot be discounted that somewhere in the Universe there may be distant galaxies consisting exclusively of antimatter. If this turns out to be true, and if gravitational repulsive forces do exist, then this circumstance will have very important implications for cosmogony.

Participants in an experiment at Stanford University intend to measure the gravitational force acting on electrons and compare it with the gravitational force acting on positrons. Then it will be possible to say how the mass of the Earth acts on antiparticles: attracts them or repels them.

However, as it was recently shown, there is a junction of these two sciences. As the frequency of elastic ultrasonic oscillations increases, the wavelengths decrease and finally become so small that the waves begin to "notice" the discrete structure of solids - crystal ionic lattice.

This is where quantum acoustics is born, an interesting and promising field, in which a number of previously unknown physical phenomena have already been established.
Ionic lattice
The main feature of the structure of the crystal lattice of ions are opposite electric charges, the ions themselves, which results in the formation of an electromagnetic field that determines the properties of substances with an ionic crystal lattice. These are refractoriness, hardness, density and the ability to conduct electric current. A typical example of an ionic crystal lattice is table salt.
Atomic lattice
Substances with an atomic crystal lattice usually have strong covalent bonds in their nodes, consisting of atoms themselves. The term "covalent bonding" itself comes from two Latin words: "co" - together and "vales" - having force, because it is a bond that occurs at the expense of a pair of electrons belonging simultaneously to both atoms (or in simpler terms, a bond between atoms at the expense of a pair of electrons that are common to them). The formation of covalent bonding takes place exclusively among atoms of nonmetals, and it can appear both in atoms of molecules and crystals. Covalent bonding occurs when two identical atoms share electrons with each other on a fraternal basis, thus forming a common pair of electrons for neighboring atoms. Because of this, covalent bonds strongly and evenly bind atoms in a strict order - perhaps the most characteristic feature of the atomic crystal lattice structure. Chemical elements with such bonds can boast of their hardness, high melting point.
Substance105 Joules.
Aluminum 3.8; Mercury 0.1;
Iron 2.7 Lead 0.3
Ice 3.3 Silver 0.8
Copper 1.8 Steel 0.8
Naphthalene 1.5 Zinc 1.2
Tin 0.5 Platinum 1.01
Paraffin 1.5 Gold 0.66
Chemical elements such as diamond, silicon, germanium, and boron have an atomic crystal lattice.

Molecular lattice
The molecular type of a crystal lattice is characterized by the presence of stable and closely packed molecules. They are arranged in the nodes of the crystal lattice. In these nodes they are held together by such Vanderwals forces, which are ten times weaker than the forces of ionic interaction. A prime example of a molecular crystal lattice is ice, which is a solid but tends to become liquid as the bonds between the molecules in the crystal lattice are quite weak.

Metallic lattice.
The metallic crystal lattice is more flexible and malleable than the ionic lattice, although they look very similar. Its distinctive feature is the presence of positively charged cations (metal ions) in the nodes of the lattice. Between the nodes live electrons, involved in the creation of the electric field, these electrons are also called electric gas. The presence of this structure of the metal crystal lattice explains its properties: mechanical strength, thermal and electrical conductivity, fluidity.

As we know, all material substances can exist in three basic states: liquid, solid, and gaseous. True, there is also the state of plasma, which scientists consider to be no less than the fourth state of matter, but our article is not about plasma. The solid state of matter because it has a special crystalline structure, the particles of which are in a certain and clearly defined order, thus creating a crystal lattice. The structure of the crystal lattice consists of repeating identical elementary cells: atoms, molecules, ions, other elementary particles, connected by different nodes.

When studying quantum acoustics phenomena we, first of all, encounter difficulties in obtaining short ultrasonic waves. The fact is that usually as an emitter and receiver of ultrasound use plates made of piezoelectric materials, i.e. such materials that have the property to "release" electrical charges under the action of mechanical stress. If you squeeze such a plate, charges of opposite signs will appear on its surfaces.

If compression is replaced by stretching, the signs of the charges will change places. This effect is reversible. If metal electrodes are placed on the plate and an electric voltage is applied to them, the plate will deform. If the voltage changes, the plate will vibrate and emit elastic waves. Thus, the piezoelectric plate can be used to emit and receive ultrasonic vibrations.

Radiation and reception of ultrasound are especially effective when the oscillating plate is tuned to resonance. This requires that its thickness corresponds to half the ultrasonic wavelength. For frequencies used in conventional ultrasonic flaw detection (several megahertz) the thickness of the radiating plate has to be about one millimeter. It is not difficult, however, to realize that in order to obtain a thousand times higher frequencies it would be necessary to work with plates, the thickness of which is only a few microns. To make such a plate, to apply metal electrodes with a thickness of a hundredth of a micron - a task that probably would not have coped with even the legendary craftsman Levsha. Therefore, nowadays, when studying high-frequency vibrations, we have to use relatively thick non-resonant plates.

This, of course, greatly reduces the efficiency of obtaining and receiving high ultrasonic frequencies. We could try to glue the piezoelectric plate to a steel bar, and then grind it until its thickness is a few microns. But the problem is that the layer of glue is tens of microns, and all the energy of ultrasound will be absorbed by it. This problem can be solved by using semiconducting piezoelectric materials, such as arsenic gallium or cadmium sulfide. If a plate cut from such material is placed against a metal surface, a so-called barrier layer, i.e., a layer depleted of electrons, is formed on its boundary with the metal. The thickness of this layer is in the microns, and its resistance is very high. Applying a constant voltage of varying magnitude to the plate's barrier layer, it is possible to change the thickness of the barrier layer within certain limits.

Now let's apply to the ends of a thick semiconductor plate an alternating voltage of high frequency, the same voltage that we want to convert into an ultrasonic wave. If the plate were homogeneous, the electric field would be uniformly distributed inside it, and under the action of this field the plate would begin to oscillate with a certain frequency. Since the thickness of the plate is far from resonant, the amplitude of these vibrations would be negligible. In the presence of a barrier layer, however, the field inside the plate is distributed unevenly: the main part of the applied voltage falls on a very thin barrier layer. Therefore, the detent layer begins to oscillate with a large amplitude, playing the role of a resonant radiator of ultrasound.

By varying the constant voltage applied to the interlocking layer, it is possible to change the thickness of the interlocking layer and, therefore, the resonant frequency of our emitter within certain limits. This allows us to work within a certain range of frequencies.

The next problem, which can be solved by methods of quantum acoustics, is direct amplification of sound waves. Used in practice and familiar to us sound waves have negligible power. To explain this, I will allow myself to give a well-known school example: if we wanted to boil a kettle of water with the energy of speech, for this purpose the entire population of Kiev would have to shout without interruption for two days. Therefore, in order to be able to do something with speech (for example, to record it on a tape recorder), it must first be amplified.

Unfortunately, until recently we did not know how to amplify directly sound vibrations, and in general we did not know how to amplify any vibrations except electromagnetic ones. Sound, light, thermal radiation we had to preliminarily transform into electric oscillations, and then amplify them to the necessary value.

For example, in order to make a recording on a magnetic tape in a tape recorder, you must first use a microphone to turn the sound into electric current fluctuations and amplify them with an electronic amplifier. Only then will the amount of energy reach the minimum value at which a "trace" remains on the magnetic tape. During playback, the tape is read from the tape, amplified again, and fed to the loudspeaker, which converts the amplified electrical oscillations into the sound of the desired volume.

Thus, we have to perform energy conversion twice - by means of a microphone and by means of a loudspeaker. Since the efficiency coefficients of these devices are very small, about 1%, the conversion is associated with large energy losses. The amplifier is required to compensate for these losses and, in addition, to give the desired gain.

This is a ridiculous situation. Let, for example, it is required to amplify sound by 100 times. During conversions initial signal power is reduced by 10,000 times (100 times from the microphone and 100 times from the loudspeaker). So you have to make an amplifier with a million times the gain in order to amplify the original signal by 100 times; the rest goes to compensate for conversion losses.

Without electronic amplifiers it is impossible to manage in radio broadcasting, in sound cinema, in television. The same situation takes place in the field of ultrasonic technology - in the field of inaudible sounds. In electronic counting and decoding machines, in radar and other similar devices, so-called delay lines are used, As the name itself shows, they are designed for the time delay of the signal. What is a signal delay for?

The point is that the counting machine works by comparison. When it counts, it compares the result with the program reference points. For such comparison the counted result must be fixed. If it is significant and will be used several times, it is recorded with the help of so called long term memory - written down on a magnetic tape. If the result is needed only once and then will be "thrown in the trash," there is no point in writing it down. It is "remembered", held in time for thousands of seconds, in order to have time to compare it with another value. This memory is called RAM. Delay lines are a type of such RAM.

The easiest way, of course, to delay a signal would be to send it through a long cable. But since the speed of signal propagation through a cable is in the tens of thousands of kilometers per second, a signal delay of one millisecond would require a cable that is tens of kilometers long. And since there are many delay lines in a machine, it would be necessary to build a building of enormous size just for them. Therefore, to delay signals, metal rods are used along which ultrasonic vibrations propagate. Their speed is known to be much less than the speed of propagation of electromagnetic oscillations.

The delay line is arranged as follows. An emitter - a piezoelectric plate - is attached to one side of the metal rod. Current pulses corresponding to the counted number are applied to it. The piezoelectric plate converts these pulses into pulses of elastic waves, which run along the rod. At the other end of the rod there is another piezoelectric plate, which converts the sound running on the rod into electrical impulses. Thus, the counted result is delayed by the time the machine needs to count the second result. The machine counts the second number, and the first number runs on the rod. The length of the rod is chosen so that both results come to the other end of the rod at the same time. Here, at the end of the rod, the impulses are compared. (The length of the rod is easy to calculate by knowing the speed of sound propagation in a given substance.)

To make the delay line work, you must put two transducers - two piezoelectric plates. Energy losses in these transducers are very high. Efficiency of one piezoelectric plate is about one percent, so on each delay line initial energy drops ten thousand times, and after each delay line, it is necessary to put a tube or semiconductor amplifier to restore original signal power.

Each counting and solving machine has hundreds and thousands of delay lines and therefore as many amplifiers. Each extra tube (or semiconductor element) requires space, energy, and maintenance in operation, and there are many such delay lines in machines. And yet, until recently, we had to put up with all this trouble: there was no other way.

Lazar Davidovich Rosenberg (05.06.1908 - 08.11.1968) - Soviet acoustics scientist, doctor of technical sciences, Stalin Prize laureate.
He was born on June 5, 1908 in Kiev in the family of a teacher.

Graduated from the Faculty of Radio of the Kiev Power Engineering Institute (1931). From 1930 he worked in the research laboratory of sound cinema at the Kiev film studio. From 1936 to 1938 he was the first head of the acoustics department of the Kiev Institute of Radioengineers. In 1938 he was head of acoustic design of the Palace of Soviets (Moscow), in the same year he was awarded the degree of candidate of technical sciences.

From 1941 to 1945 he was a senior research associate of the Physical Institute of the USSR Academy of Sciences. During the Great Patriotic War he had participated with N.N. Andreev in creation of weapon for fighting against acoustic mines. In 1942 he defended his doctoral thesis and was approved as a Doctor of Engineering.

In 1954 he was appointed the head of the Acoustic Institute of AS USSR and since 1962 he is the head of the Department of Ultrasonics and Acoustoelectronics Laboratory. He was elected the Chairman of Scientific Council on Ultrasound of the Academy of Sciences of the USSR. He was the member of the editorial board of the "Acoustic Journal".

In 1939-1950 he taught at the Moscow institute of power engineering (he supervised the training of acoustic postgraduates), in 1950-1953 he was the professor of the Department of theoretical and experimental physics in Yaroslavl institute, and since 1956 he was the professor of the Department of acoustics of the Moscow institute of Physics and Technology.

He is known as a boonist. He is the author of the essay "History is told by money" (1964), published in the journal "Nauka i zhizn" (Science and Life).

He was awarded the Stalin prize of the first degree (1951) for scientific research in the field of acoustics. He was awarded the medal "For Labor Valor" (1953).

He died on November 8, 1968 after a long and serious illness.

On topic: Basic physical concepts of electrodynamics Leningrad scientific film

]]> Premiere in California https://terryheimat.com/tpost/vsjpblob31-premiere-in-california https://terryheimat.com/tpost/vsjpblob31-premiere-in-california?amp=true Sat, 03 Jun 2023 07:23:00 +0300 Press Service Music by Terry Heimat for the theatrical production directed by Olga Berger.

Premiere in California

On June 3, California hosted the theatrical premiere of a Russian special about the war.

"Olga Berger's Theatrical Living Room has released Leonid Filatov's folk comedy LYZISTRATA . The play premiered in California on June 3. The music for the play was written by Ukrainian composer Taras Kutsenko (Terry Heimat).

The play was attended by performers from the former Soviet Union, members of the Theatre Halls of Olga Berger: Elvira Aksonova, Galina Malinskaya, Anna Gogua, Alexander Dalidchik, Natalia Ivanova, Dmitry Maranik, Irina Chuiko, Oksana Kamenskaya, Svetlana Burtseva, Alesya Berger.

The play "Lysistrata" by Leonid Filatov was written in 1998, based on the ancient Greek comedy "Lysistrata" by Aristophanes. Dating back to 411 B.C.. This play is about love and bringing people together when they are interested in the same thing: people want peace!

And above all, women want peace. And they've always wanted it! That's how nature intended it. War is always about wives, mothers, sisters and daughters. About those who lose their relatives and loved ones. Aristophanes wrote a comedy about the way women solved such problems in ancient Greece.

Leonid Filatov reinterpreted Aristophanes' comedy, suggesting the current state of society. Filatov's far-sightedness is astonishing, for when we look back at the past and compare it with the current state of affairs, we are horrified by the fact that nothing has changed, but only mutates, like a virus. For thousands of years, generations of people have gone through wars, suffering and hardship. Aristophanes described the most wonderful happy ending possible in such troubled times, and gave women in this historical context the idea that love, loyalty and solidarity can work wonders. The play could not help but touch our hearts and make us immerse ourselves in a world of experiences that have been familiar to people since ancient times.

The music for the play was composed by Taras Kutsenko (Terry Heimat), a former member of the SounDrama theater studio with which he collaborated with Olga Berger.

A word from the composer: "For me, this next touch of ancient Greek themes has been a happy time of creativity. A wonderful team of artists led by director Olga Berger embodied the musical translation of themes about the famous heroine of the epic and her companions in this attempt to 'douse the fire of war'.

Especially for the premiere, a LYZISTRATA music album was released on the Apple Music platform, which includes seven main tracks from the play:

Prologue of Lyzistrata;

Appeal of Lyzistrata;

Canon Lyzistrata;

Ambient Love;

Believe in Love;

You Don't Own Me;

My Endless Love.

The album is released on Terry Heimat production studio UPC:859773831805

]]> Ukrainian musicians gave a concert in China. https://terryheimat.com/tpost/zdvtyacdt1-ukrainian-musicians-gave-a-concert-in-ch https://terryheimat.com/tpost/zdvtyacdt1-ukrainian-musicians-gave-a-concert-in-ch?amp=true Fri, 16 Jun 2023 09:31:00 +0300 Press Service In the "Music Corner" of Zhangjiajie University, a concert of organ music.

Ukrainian musicians gave a concert in China.

On June 15, 2023, at the "Music Corner" of Zhangjiajie University, a concert of organ music was held with the participation of newly arrived musicians from Ukraine, who are members of the Zhangjiajie Symphony Center and the Zhangjiajie Philharmonic Orchestra.

Yelizaveta Karpenko (Ukraine), a staff organist at Zhangjiajie University, demonstrated high performing skills.

The concert featured soloists of the Zhangjiajie Philharmonic Orchestra, Zhangjiajie College Choir, artistic director Liu Kuihong Young, and soloists of the Zhangjiajie Symphony Center.
The concert's music director and conductor is Maestro Terry Heimat.
The concert program includes:
Bach Prelude and Fuque C minor BWV 549'
Bach Prelude in A minor BWV 543;
Louis-Claude Daquin "The cuckoo";
Bach - Fantasia and fugue in G minor BWV 542;
Felix Mendelssohn "Wedding March";
Marcello - Adagio;
Mozart - Little Night Serenade Part 1;
Bach - Prelude B minor BWV 544;
Bach - "Pedal exercise";
Boellmann Suite Gotique - IV Toccata;
Hans Zimmer - Interstellar
The audience warmly greeted the concert participants with loud cheers.

]]> The song by Terry Heimat and Alex Sino won the hearts of the Wulingyuan Digeer Music Fest 2023 audience. https://terryheimat.com/tpost/mxronpxd11-the-song-by-terry-heimat-and-alex-sino-w https://terryheimat.com/tpost/mxronpxd11-the-song-by-terry-heimat-and-alex-sino-w?amp=true Mon, 03 Jul 2023 10:54:00 +0300 Press Service Performed by a group of soloists from the Zhangjiajie Philharmonic Orchestra, I'll stay with You won acclaim from Chinese audiences.

The song by Terry Heimat and Alex Sino won the hearts of the Wulingyuan Digeer Music Fest 2023 audience.

On July 2, 2023, Wulingyuan City, Hunan, China hosted by the first rock festival in support of tourism in China.

The place was not chosen by chance. The festival was held at the main gate to Avatar Nature Park, where director James Cameron once drew inspiration for his film Avatar. It is one of the most visited places in Zhangjiajie. Millions of tourists pass through this gate every year and now, after the pandemic, the Zhangjiajie government once again invites everyone to visit this amazing and picturesque place.

Rock bands performed at the festival and the headliners were guests from Europe, composer and musician Terry Heimat and his musicians from Ukraine. The musicians performed two compositions I'll Stay with You and Zhangjiajie is Paradise, which is a strap of Alexander Rybak's song "Fairytale" with lyrics in Chinese written and performed by Terry Heimat.

The song "I'll Stay with You," whose lyrics were written by famous American producer and writer Alex Sino, was created in recognition of all the survivors and advocates who work so hard to raise awareness in the fight against cancer. Once again, the creators reminded the world of this devastating problem and urged us to help those in need.
During the filming of the music video, it was decided to commit an act of solidarity with people with cancer, for which Terry Heimat shaved his head and kept this image for six months.

ABOUT SONG

At the end of the grand show, the audience watched the fireworks, which were made by Chinese experts according to ancient customs without the use of gunpowder.

This performance closed the concert season of the Zhangjiajie Symphony Center and Terry Heimat Production Studio.

]]> The Magic Song is the Winner at the Dispatches of War International Film Festival (DoWFF). https://terryheimat.com/tpost/elnfi9mvo1-the-magic-song-is-the-winner-at-the-disp https://terryheimat.com/tpost/elnfi9mvo1-the-magic-song-is-the-winner-at-the-disp?amp=true Tue, 04 Jul 2023 08:08:00 +0300 Press Service The Magic Song was awarded the “Best Music” video and as the “Film made by cinema artists of Ukraine origin living abroad or films about Ukraine”

The Magic Song is the Winner at the Dispatches of War International Film Festival (DoWFF).

The Magic Song is the Winner at the Dispatches of War International Film Festival (DoWFF).

Out of Hundreds of Festivals organized to recognize independent filmmakers and creators, the Dispatches of War International Film Festival (DoWFF) held in Kyiv, Ukraine has a special meaning for the creators of “The Magic Song”, an international project and film released in December 2021 based on the traditional music by Mykola Leontovich “Shedryk/Carol of the Bells” and the original music of Ukrainian composer Taras Kutsenko, Directed by Terry Heimat and written by Alex Sino.

The Magic Song was awarded the “Best Music” video and as the “Film made by cinema artists of Ukraine origin living abroad or films about Ukraine”

DoWIFF was organized by a group of independent filmmakers from Ukraine with the idea to demonstrate international solidarity with people who fight for their rights and freedom and help the victims of wars. DoWIFF is held under the support of the National Research Institute of Ukraine Studies, Kyiv, Ukraine, and the National Academy of Cultural Managers of Ukraine.

Congratulations to the artists and creative team:

Zhangjiajie Philharmonic Orchestra (Hunan, China)

Alex Sino (producer)

Camilo Valencia (sound producer)

Sasha Gusev Саша Гусев (mastering)

Светлана Тельбух (sand animator)

Al Di Meola (Acoustic guitar)

Dr. Ed Calle (saxophone)

Richard Bravo Richie Cuero (percussions)

Альберт Федосеев (piano)

Andrei Pushkarev (vibraphone)

Camilo Velandia (Electric Guitar)

Fafa Rafael Valencia (bass)

Leonid Agutin (Lead vocal)

Julio Ariel Diez (Tune trumpet)

Angelica Varum (Lead vocal)

Amaury Gutierrez (Lead vocal)

Ale Andino (Flute)

Ann Lytvyn (Cello)

Konstantin Slobodenyuk Костянтин Слободенюк (flute)

Alex Tymkiv Олексій Тимків (clarinet)

Daniil Popov Даниил Попов (clarinet)

Nastya Kutsenko (actress)

Marina Sino (production coordinator)

Stephanie Di Meola (production coordinator)

Viktor Renner (consultant)

Anatoliy Telbukh (technical director)

LISTEN

]]> China International Trumpet Art Week (Changsha) https://terryheimat.com/tpost/2b6ekpc8f1-china-international-trumpet-art-week-cha https://terryheimat.com/tpost/2b6ekpc8f1-china-international-trumpet-art-week-cha?amp=true Wed, 19 Jul 2023 04:42:00 +0300 Terry Heimat Terry Heimat is the guest of honor.

China International Trumpet Art Week (Changsha)

The 11th International Trumpet Art Week was held in Changsha, capital of Hunan Province, China. I was invited as a guest of honor to this celebration of trumpet.

The 11th China International Trumpet Art Week (Changsha), jointly organized by the World Trumpet Federation, Changsha Symphony Orchestra and Changsha Concert Hall, was held from July 16 to 20, 2023.

A number of trumpet artists active on the international stage and teaching venues have been invited to join with domestic experts to present exciting concerts and skill lessons to the event participants.

Events of the week include:

Opening Concert, Chinese and foreign experts' lesson, experts' concert, "2022 National Trumpet Repertoire Exhibition" outstanding ensembles concert, exhibition award concert and closing ceremony, national trumpet playing and teaching seminar, etc. High level trumpet performances were held during the week. The Jury Committee consisted of experts from around the world.

International Jury

Chairman of the Artistic Committee: Richard Stolzel (USA) - President of the World Trumpet Association.

Jury members: Steve Leisring professor of trumpet at the Kansas City Univ. and concertmaster of the trumpet section of the Kansas City Symphony Orchestra (USA); Brandon Ridenour (USA) former member of Canadian Brass; Jorge Giraldo Conjertmeister of the trumpet group at the Elbe Theater, Hamburg, Germany; Maxim Shkulepa director of the Department of Brass Instruments at the Belarus State Academy of Music and Concertmaster of the trumpet group of the Belarus National Opera and Ballet Theater; Evgeiniy Ilnistky - Teacher at the State Academy of Arts of the Russian Far East, concertmaster of the trumpet group of the Mariinsky Theatre's Mariinsky Division.

Prize fund

Week included a competition for young trumpeters.
About the exhibition awards
1. Elementary School, Middle School and High School Groups
First prize: trophy and certificate
Second Prize: Certificate
Third Prize: Certificate
Outstanding Prize: Certificate of Merit

2.Social Group
First Prize: trophy, certificate, one professional grade trumpet of famous brands
Second Prize: Certificate of Merit, Prize money 3000 RMB(CNY)
Third Prize: Certificate of Merit, Prize money 2000 RMB(CNY)
Outstanding Prize: Certificate of Merit, Prize money of 1000 RMB(CNY)

3.Professional Group
First Prize: Trophy, Certificate of Merit and a musical instrument worth 70,000 RMB(CNY)
Second Prize: Certificate of Merit and a prize of 10,000 RMB(CNY)
Third Prize: Certificate of Merit, prize money of 6,000 RMB(CNY)
Outstanding Prize: Certificate of Merit and a prize of 3,000 RMB(CNY)

Trumpet Art Week 2023 Opening Ceremony

on Photo: Steve Leisring (USA) at the opening of the event.

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At the opening of the forum there was a concert of Chinese pipe art masters. Musicians of the Changsha Symphony Orchestra and teachers of the Academy of Music together with their students performed a number of works by world composers arranged for a trumpet ensemble. The level of performance was very high and the musicians received well-deserved applause from the audience.

The opening ceremony was attended by contestants, guests of the festival, jury members and trumpet art enthusiasts.

Opening Ceremony Concert.

Video fragment

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Start of the competition.

The next day was the first round of the competition within the framework of the Trumpet Art Week. I had the honor of being invited as the guest of honor of this form and personally attended the contests and master classes.

Of course, this show is Chinese by the standards of international competitions, but the jury is also international. The jury consists of honored musicians from different countries, each of whom has gained authority in the trumpet profession and is a continuer of the traditions of the schools where they studied.

The first day of the competition revealed many candidates for the second round. In the first round all participants performed two pieces each: Franz Joseph Haydn - Concerto for Trumpet and Orchestra in E-flat Major (1st movement); George Enescu - "Legend".

Many participants, used in Es trumpets as written by the composer Haydn, but there were also those who used in B trumpet, and even instruments with German folding valves. This shows that Chinese trumpeters and their mentors take their work very seriously and professionally.

George Enescu's famous work "Legend" is an epic written for in C trumpet and presents a special challenge for the trumpeter. In this work the trumpet player is revealed from all sides: stamina, display of all registers, psyche. This work is a complex ballet of three acts. I can say that in the infusion of the performance one's whole life is carried through. It is not without reason that this wonderful piece is mandatory at many trumpet competitions I have seen.

Of course, most of the participants had problems with breathing, instability in sound production, fear of the upper register and, as a consequence, an unprepared springboard for the flight to the top and safe return from space. But in general, the performance level of the contestants was more than remarkable.

on Photo: Terry Heimat and Steve Leisring after master-class.

Trumpet performing arts master classes

The 11th International Trumpet Art Week in Changsha attracts the attention of many professionals and brass fans. The relaxed atmosphere and professionally organized communication space make this festival truly first-class.
Photo: Guests of honor, businessman Tse Chi Hung, Professor Terry Heimat Together with a member of the international jury Maxim Spalera

Master classes by members of the jury took place throughout the week. On July 18, the Changsha Concert Hall hosted a master class by Maxim Shkulepa, a professor from Belarus. About two hundred spectators were present in the hall. Maxim gave demonstration lessons with two students and spoke about the culture of sound and technique using the examples of the Aratyunyan Trumpet Concerto and the Gumel Trumpet Concerto.
After the master class, the audience did not let the master go for a long time: they took pictures and autographs from the wonderful professional from Belarus.

Second round

The program of the second round included the obligatory performance of the following works:
Franz Joseph Haydn - Concerto for Trumpet and Orchestra in E-flat Major (2st movement);
Giuseppe Tartini - Piccolo trumpet concerto in 3 movements.

Third round

The program of the third second round included the obligatory performance of the following works:
Franz Joseph Haydn - Concerto for Trumpet and Orchestra in E-flat Major (3st movement);
Vladimir Peskin - Concert Allegro
All data on laureates and winners can be viewed on the official website of the festival organizers.

The event is certainly worthy of numerous mentions, as it is an unprecedented musical event in the trumpet world. Congratulations to all participants, organizers, jury members and festival guests for such a wonderful event as the 11th Changsha International Trumpet Art Week!

]]> Our friend, the outstanding musician Camilo Valencia, has passed away from earthly life. https://terryheimat.com/camilovalencia Fri, 08 Sep 2023 07:38:00 +0300 Press Service We have created a memorial page dedicated to our friend Cami.

Our friend, the outstanding musician Camilo Valencia, has passed away from earthly life.

We have created a memorial page dedicated to our friend Cami.]]> Nominee 24th Annual Latin Grammy Awards ® 2023 https://terryheimat.com/tpost/77b6z8krn1-nominee-24th-annual-latin-grammy-awards https://terryheimat.com/tpost/77b6z8krn1-nominee-24th-annual-latin-grammy-awards?amp=true Tue, 19 Sep 2023 19:24:00 +0300 Press Service Congratulations to all the creators of the Made In Miami album on their two Latin Grammy nominations.

Nominee 24th Annual Latin Grammy Awards ® 2023

Made In Miami by Camilo Valencia & Richard Bravo
Congratulations to producer Alex Sino and all the creators of the Made In Miami album on their two Latin Grammy nominations.

THE LATIN ACADEMY OF RECORDING ARTS & SCIENCES, INC.
FINAL NOMINATIONS
24th Annual Latin GRAMMY Awards®
For recordings released during the Eligibility Year June 1, 2022 through May 31, 2023
The following information is confidential and is not to be copied, loaned or otherwise distributed.

Best Instrumental Album
Made In Miami
Camilo Valencia & Richard Bravo
[Ada Music/Warner Music Group]

Best Arrangement
Songo Bop
Rafael Valencia, arranger (Camilo Valencia, Richard Bravo Featuring Milton Salcedo)
Track from: Made In Miami
[Pier 5]

CAMILO VALENCIA - Producer, arranger

RICHARD BRAVO - Producer, Drums, Percussion

ALEX SINO - Producer

CREDITS AND TRACK NOTES

THANK YOU TO EVERYONE INVOLVED IN THE MAKING OF THIS PROJECT

1 CCU (Coronary Care Unit)

To the CCU/ICU and transplant teams at UM/Jackson Memorial Hospital in Miami and Cleveland Clinic Weston. Professor Ed Calle on Tenor Sax and Trumpeter Jason Carder. These are 20 year old solos!

Camilo Valencia Producer, Arranger

Richard Bravo Producer, Drums, Percussion

Alex Sino Producer

Ed Calle Saxophone

Jason Carder Trumpet

Boris Milan Recording & Mixing

Adam Ayan Audio Mastering

2 Made In Miami

One can hear some of Miami’s musical diversity in this tune. A Pop, Jazz, Funk, Cha-Cha fusion with Dave Fernandez on Tenor Sax and Master Milton Salcedo on AC Piano.

Camilo Valencia Producer, Arranger

Richard Bravo Producer, Drums, Percussion

Alex Sino Producer

Dave Fernández Saxophone

Milton Salcedo Piano

Boris Milan Recording & Mixing

Adam Ayan Audio Mastering

3 Hurricane Jimenez

When Dr. Javier Jimenez, Cardiologist, rushes into a Cath Lab, everyone in that room knows this is going to be a “fast” procedure. For this his co-workers have nicknamed him Speedy Gonzales. We can’t use that name here so we’ve taken the liberty of re-nicknaming him Hurricane Jimenez.

Camilo Valencia Producer, Arranger, EWI

Richard Bravo Producer, Drums, Percussion

Alex Sino Producer

Milton Salcedo Piano

Boris Milan Recording & Mixing

Adam Ayan Audio Mastering

4 Misty (feat. Arturo Sandoval & Milton Salcedo)

A 42 year old arrangement of this classic song. Originally made for “Carlos Oliva y Los Sobrinos del Juez” and re-imagined here in a Big Band Horns format. World Class Trumpeter Master Arturo Sandoval is featured here with Milton Salcedo on piano and Julio Diaz, who takes over the melody after the piano solo, on trumpet.

Camilo Valencia Producer, Arranger

Richard Bravo Producer, Drums, Percussion

Alex Sino Producer

Johnny Burke Composer

Errol Garner Composer

Sid Engel Composer

Arturo Sandoval Trumpet

Milton Salcedo Piano

Julio Díaz Trumpet

Boris Milan Recording & Mixing

Adam Ayan Audio Mastering

5 Songo Bop (feat. Milton Salcedo)

Written and arranged by Rafael (California) Valencia for the Miami Dade College Salsa Ensemble for which he was also the Director. A fusion of BeBop and Songo, as the title indicates,with an electric piano/scat solo, a la George Benson, by Master Milton Salcedo.

Camilo Valencia Producer, Arranger

Richard Bravo Producer, Percussion

Alex Sino Producer

Milton Salcedo Keyboards

Boris Milan Recording & Mixing

Adam Ayan Audio Mastering

6 Funkeando

When Igor Rivas was recording trumpet on this tune in his hometown of Willemstad, Curacao, in walks trumpet Master Philip Lassiter. He hears the song and wants to throw “fire” on it… and throw “fire” on it he did! Dave Fernandez this time on Alto Sax and Ismael Vergara on Soprano Sax.

Camilo Valencia Producer, EWI, Arranger

Richard Bravo Primary, Producer, Drums, Percussion

Alex Sino Producer

Dave Fernández Saxophone

Ismael Vegara Saxophone

Philip Lassiter Trumpet

Boris Milan Recording & Mixing

Adam Ayan Audio Mastering

7 Papadin

The Bravo Gang… All the musicians in Richard Bravo’s family are playing here. Jerry (Bass,) Junior (AC Guitar,) Isaiah (Timbal solo,) Emmanuele (Timbal solo,) and obviously Richard (Drums and Perc.) The only one missing is Adalberto Bravo (Papadin) who is proudly looking down on them with a smile on his face. With a very tasty, melodic trombone solo by Jorge Dobal.

Camilo Valencia Producer, Arranger, EWI

Richard Bravo Producer, Drums, Percussion

Alex Sino Producer

Emmanuel Bravo Percussion

Isaiah Bravo Percussion

Jorge Dobal Trombone

Boris Milan Recording & Mixing

Adam Ayan Audio Mastering

8 One Heart at a Time (feat. Milton Salcedo)

For Stef…

On the beautiful Island of Puerto Rico Stefano Steenbakkers Betancourt, a smart, good looking, full of life teenager with an incredible future was killed by two sons of bitches, now behind bars, who tried to steal his car. He used to say that he was going to change the world “one heart at a time.” And unbeknownst to his parents Stefano was an organ donor. Now, ten years later, I still proudly wear his heart…

Camilo Valencia Producer, Arranger

Richard Bravo Producer, Percussion

Alex Sino Producer

Dave Fernández Saxophone

Milton Salcedo Piano

Manny López Guitar

Xtrings Pedro Alfonso Concertmaster

Iker Gastaminsa Recording & Mixing

Adam Ayan Audio Mastering

9 Cafe Union

Cafe Union is the name of Rafael Valencia Sr restaurant on the little town of Ranchuelo, Cuba, before communism yanked it from him. With a fiery trombone solo from Jorge Dobal Jr.

Camilo Valencia Producer, Arranger

Richard Bravo Producer, Drums, Percussion

Alex Sino Producer

Jorge Dobal Jr. Trombone

Boris Milan Recording & Mixing

Adam Ayan Audio Mastering

10 Guanabacoa Streets (feat. Luis Enrique)

Guanabacoa, Cuba, is said to be “The Capital of Santeria” (Vodoo.) A suburb of Habana where some of the most famous Cuban musicians are from. Luis Enrique, who is better known as a famous artist, is also a terrific percussionist, one can hear him here. Alemnest Andino, who happens to be from Guanabacoa, is on Flute. Rafael Valencia Jr (Fafa) on bass. Jackson King singing African chants.

Camilo Valencia Producer, Arranger

Richard Bravo Producer, Percussion

Alex Sino Producer

Luis Enrique Percussion

Rafael (Fafa) Valencia Jr Bass

Alemnest Andino Flute

Jackson King Vocals

Boris Milan Recording & Mixing

Adam Ayan Audio Mastering

11 Misty (feat. Jackson King (vocal) and Milton Salcedo (piano) (vocal version / bonus track)

A vocal version with the same instrumental arrangement. Vocalist Jackson King adds his magic and Lilian Garcia is backing him up.

Camilo Valencia Producer, Arranger

Richard Bravo Producer, Percussion

Alex Sino Producer

Johnny Burke Composer

Sid Engel Composer

Errol Garner Composer

Milton Salcedo Piano

Jackson King Vocals

Boris Milan Recording & Mixing

Adam Ayan Audio Mastering

BAND PHOTOGRAPHY: Mario Alzate

ALBUM ARTWORK: Juan Pedraza

]]> It became known which of the Ukrainian artists applied for the Grammy® Awards 2024 https://terryheimat.com/tpost/maviux9mt1-it-became-known-which-of-the-ukrainian-a https://terryheimat.com/tpost/maviux9mt1-it-became-known-which-of-the-ukrainian-a?amp=true Mon, 30 Oct 2023 11:05:00 +0300 Press Service The popular 66th annual Grammy ® Awards ceremony will be held on February 4, 2024 in the United States.

It became known which of the Ukrainian artists applied for the Grammy® Awards 2024

VALGURA MARINA, October 20, 2023, 13:23 korrespondent.net

The popular 66th annual Grammy ® Awards ceremony will be held on February 4, 2024 in the United States.

Four representatives of Ukrainian show business have applied for the Grammy® music awards.
The first artist is Tina Karol. She with her song One nation under love, which she wrote together with titled composer Diane Warren, claims four nominations:

Best Social Solutions Song
Best Pop Duo/Group Performance
Best arrangement, instrumental and vocals
Best Music Video

Asiya Akhat's 8 SENSES is up for Best Global Music Album.

In turn, Crimean Tatar musician Usain Bekirov submitted his album SATO for three nominations:

Best Jazz Instrumental Album
Best Jazz Performance
Best Social Solutions Song

The last Ukrainian artist to be nominated was Taras Kutsenko. With his album Global Oasis Vol.1 he went to the Best Global Music Album category.

Earlier it was reported that a track using artificial intelligence-generated voices of rapper Drake and The Weeknd was submitted for Grammy® consideration.

Global Oasis Vol. 1 features natives of Ukraine: famous music producer Alex Sino; composer Oleg Polyansky; as well as musician, wind organ player Elizaveta Karpenko.
Also in the album Global Oasis Vol. 1 featured a lot of authors and producers:
ALEJANDRO ZAMORA
MIKE GREENLY
LETI GARZA
KAREN SALICATH
JAMALI
MERCY ALU
ANTHONY CARUSO
DAVID FORMAN
INGA MCDANIEL
MARY LEMANSKI
KAY MORRIS
KEN NOLAND
MARKEY BLUE
RIC LATINA
OCEAN SUMMER
PAT FORAN
PEPPER MASHAY
RHONDA VALERIE HEAD
ANA MARIA KOVACS
WILLY SOLORZANO
THERON THERRY THOMAS
DONALD MCDANIEL
COLIN FARISH
PETER LAST
WINIFRED ADAMS

ARTISTS:
MIKE GREENLY
LETI GARZA
KAREN SALICATH JAMALI
MERCY ALU
CARUSO
DAVID FORMAN
INGA MCDANIEL
MARY LEMANSKI
KAY MORRIS
KEN NOLAND
MARKEY BLUE
RIC LATINA
OCEAN SUMMER
PAT FORAN
PEPPER MASHAY
RHONDA VALERIE HEAD
RUTH POLLACK-PAPPAS
ANA MARIA KOVACS
WILLY SOLORZANO
THERON THERRY THOMAS
COLIN FARISH
PETER LAST
DONALD MCDANIEL
WILLIE BARNES
DONALD FORD
BRIAN COKELEY
LEE BRAVERMAN
CHRIS BARNES
MARK SALDANA
DUSTIN HUNTER
JOSEPH MARROW
RAYKO BATISTA LAZAR
SYLVIA BREMER
CAMILO VELANDIA
TARAS KUTSENKO
RICHARD BRAVO
FRANCIS GOYA
OLEG POLYANSKIY
ELIZA KARPENKO
WINIFRED ADAMS

Additional Credits:
The Power of Nature is written by ALEX SINO, TERRY HEIMAT and OLEG POLYANSKIY.
The Power of Nature is published by Pier 5 Publishing.
Lead vocal: RAYKO BATISTA LAZAR
Lead vocal: SYLVIA BREMER
Electric guitar: CAMILO VELANDIA
Trumpet: TARAS KUTSENKO
Drums/percussion: RICHARD BRAVO
Acoustic guitar: FRANCIS GOYA
Rhodes piano: OLEG POLYANSKIY
Wind organ: ELIZA KARPENKO
ZHANGJIAJIE PHILHARMONIC ORCHESTRA
Audio mixing and mastering: SASHA GUSEV
“Brand New”

Artists:
“Honey Made” Group
DONALD MCDANIEL
WILLIE BARNES
DONALD FORD
BRIAN COKELEY
LEE BRAVERMAN
CHRIS BARNES
MARK SALDANA
DUSTIN HUNTER
JOSEPH MARROW

“Bonjour Samantha”
Artist: Ruth Pollack-Pappas ASCAP
“Comin’ Back”
Artist: Ruth Pollack-Pappas ASCAP
All music produced / recorded / and mastered @ August 2023
All rights reserved - Copyright (C) 2023
#globaloasis

]]> Zhangjiajie. Seminar. 湖南省高校民族民间舞教学经验交流研讨会教学成果展演来啦 https://terryheimat.com/tpost/22odg04181-zhangjiajie-seminar https://terryheimat.com/tpost/22odg04181-zhangjiajie-seminar?amp=true Sat, 04 Nov 2023 04:58:00 +0300 Prof. Kutsenko Yuliya Zhangjiajie College of Hunan University held a conference Seminar on the exchange of folk dance teaching experience.

Zhangjiajie. Seminar. 湖南省高校民族民间舞教学经验交流研讨会教学成果展演来啦

Hunan University Folk Dance Teaching Experience Exchange Seminar Teaching Achievements.
湖南省高校民族民间舞教学经验交流研讨会教学成果展演来啦
November 4, 2023.
2023 年 11 月 4 日。

张家界学院舞蹈学院舞蹈系教授库特岑科·尤利娅的报告

Report by Kutsenko Yuliya, Professor, Department of Dance, School of Dance, Zhangjiajie Academy

我向前来参加研讨会的各位专家学者表示衷心的感谢和热烈的欢迎，并衷心希望大家通过友好、开放的交流，充分分享教育教学经验，相互学习，热烈、自由地交流灵感，达成舞蹈艺术服务于市民、服务于社会、服务于国家的共识，形成舞蹈教学研究成果。

I would like to express my heartfelt thanks and warm welcome to all the experts and scholars who have come to participate in the seminar, and sincerely hope that through friendly and open communication, we can fully share our educational and teaching experience, learn from each other, exchange inspiration warmly and freely, and reach a common understanding that the art of dance serves the public, the society, and the nation, and form the results of research on the teaching and learning of dance.

"民族民间舞蹈教学经验浅谈"。

"An Introduction to the Experience of Teaching Ethnic Folk Dance."

一、中国民族民间舞课堂教法应渗透美育

首先，理论教学中美育的渗透。民间舞的教学也要注重理论知识，理论知识能够让学生对民族民间舞有一个感性认识，最初学生感受民族民间舞蹈的美主要是通过视觉和听觉来进行的。民族民间舞蹈的美在理论教学中主要是通过审美媒介来感受到的。通过教材、视频等方式全面剖析民族民间舞蹈的动作美、服饰美以及音乐美。其次，实践教学中美育的渗透。在实践教学中，民族民间舞的美主要是通过动感的身体形象来展现。它的美主要表现在节奏美、表情美、造型美、性格美。节奏表现出的是身体对音乐的表达，合着音乐的节奏身体表现出一种韧、柔、张、驰的动态变奏，在流动的节奏美中隐藏的是身体的力量美、柔韧美、速度美、协调美。表情和造型美是一种瞬间的静态美，他体现的是一种线条、控制、平衡和激情，他能够在短暂的时间内在人们的大脑中留下深刻的印象。性格美体现出民族民间舞蹈是一个具有很强的个性特征的运动项目，由于不同人的内在气质和身体条件不同在表现民族民间舞蹈时所产生的美的效果不同。理论教学为学生提供了一个对民族民间舞的感性认识，而实践教学则提供了一个理性认识，这种理性认识在感性认识的基础上运用民族民间舞的美。民族民间舞的动作表现出来的是身体与情感的融合，通过这种身体与情感的融合来表现出民族民间舞的美。通过动作来表达情意是民族民间舞的精华。

First, the teaching method of Chinese folk dance classroom should permeate the aesthetic education

First of all, the penetration of aesthetic education in theoretical teaching. The teaching of folk dance should also pay attention to theoretical knowledge, theoretical knowledge can let students have a perceptual understanding of folk dance, initially students feel the beauty of folk dance mainly through the visual and auditory. The beauty of folk dance is mainly felt through the aesthetic medium in theory teaching. Through teaching materials, videos and other ways to comprehensively analyze the movement beauty, costume beauty and music beauty of folk dance. Secondly, the penetration of aesthetic education in practical teaching. In practical teaching, the beauty of folk dance is mainly shown through the dynamic body image. Its beauty is mainly expressed in the beauty of rhythm, expression, modeling and character. Rhythm shows the body's expression of music, and the body shows a kind of dynamic variation of toughness, flexibility, tension and speed with the rhythm of music, and what is hidden in the beauty of flowing rhythm is the beauty of the body's strength, flexibility, speed and coordination. The beauty of expression and modeling is a kind of instant static beauty, which embodies a kind of line, control, balance and passion, and it can leave a deep impression on people's brains in a short time. The beauty of personality reflects that folk dance is a sport with strong personality characteristics, due to different people's inner temperament and different physical conditions in the performance of folk dance produces different effects of beauty. Theoretical teaching provides students with a perceptual understanding of folk dance, while practical teaching provides a rational understanding, which is based on perceptual understanding of the beauty of folk dance. The movement of folk dance shows the fusion of body and emotion, and the beauty of folk dance is expressed through this fusion of body and emotion. Expressing feelings through movements is the essence of folk dance.

二、民族民间舞教学中要注重对动作形态的把握

民族民间舞演员掌握其风格的第一步就是动作的把握，民族民进舞的动作形态把握住了，基本上就把握住了民族民间舞的基本风格。风格是由艺术品的独特内容与形式相统一，作为创作主体的艺术家的个性特征与由作品的题材、体裁以及社会、时代等历史条件决定的客观特征相统一而形成的。在民族民间舞中风格就是一种变相的`民族精神，就是舞中的灵魂。由此可知，民族民间舞教学首先要让学生掌握好动作形态风格，只有这样民族民间舞蹈鲜明的艺术个性与气质才能充分体现出来。在民族民间舞的整个教学过程中，必须从体现我国传统舞蹈的民族体态风格开始，采取“内外结合，神形兼备”的技术法则和美学原理；在训练学生的身体功能和技巧表现力上，要从内容的情境出发，使形态、眼神、表情有机结合。只有这样，学生才能较好的把握好民族民间舞的形态风格。

Second, the teaching of ethnic folk dance should focus on the grasp of the movement form

Ethnic folk dance performers to master its style of the first step is to grasp the action, ethnic folk dance action form grasp, basically grasp the basic style of ethnic folk dance. The style is formed by the unity of the unique content and form of the artwork, and the unity of the personality characteristics of the artist as the main body of creation and the objective characteristics determined by the subject matter, genre, and historical conditions of the work, such as the society and the era. In folk dance, style is a kind of disguised `national spirit, the soul of the dance. From this, we can see that the teaching of folk dance should first let students master the style of movement form, only in this way can the distinctive artistic personality and temperament of folk dance be fully realized. In the whole teaching process of folk dance, it is necessary to start from reflecting the national style of traditional dance in our country, and adopt the technical law and aesthetic principle of "combining inside and outside, both God and form"; in the training of the students' body functions and skills in the expressive power, it is necessary to start from the context of the content, so that the form, the eyes, the expression of the organic combination. Only in this way can students grasp the form and style of folk dance better.

三、民族民间舞教学中要注重对情感的把握

舞蹈与唱歌是一样的，都需要带有情感，都需要把其所要表现的情感表露出来，只有带有情感的表演才能够打动别人，才能够真正理解作品。在民族民间舞课堂教学中，动作模仿已经不再是主要的内容，它已经有了一整套的训练程序，都是从不同民族采风整理出来的，其形成还经过了提炼、加工和规范。但是民族民间舞课堂教学仅仅靠这一套训练程序是不能完成的，还需要融入舞蹈的情。首先，传统教学中，教师只注重动作的规范和舞姿的丰富多变指导，现代人们的审美观念已经随着社会的不断发展改变了很多，因此，传统的教学方法已经不能完全适应现代人们的需求。现代的民族民间舞课堂教学中教师不仅要注重解决动作的规范和舞姿的丰富多姿，更应该注重其本身所具有的真实的情感的体现。其次，在其他学科中，单一枯燥的教学会使学生对学习失去兴趣，在民族民间舞教学中也是如此。因此，教师在进行民族民间舞课堂教学中一定要注重把各民族的精神灌输给学生，引导学生站在生活的角度上体现情感、体验角色，然后再从动作中体现出所表达的情感，这样表演的效果肯定是优秀的、感人的。从培养情感角度出发，可以了解到民族民间舞所表达的丰富的情感是通过丰富的形态语言来实现的。

Third, the teaching of folk dance should focus on the grasp of emotion

Dance and singing are the same, both need to carry the emotion, both need to show the emotion it wants to show, only with the emotion of the performance can move others, can really understand the work. In the folk dance classroom teaching, movement imitation is no longer the main content, it has a whole set of training procedures, are sorted out from different nationalities, and its formation has been refined, processed and standardized. But folk dance classroom teaching can not be completed only by this set of training procedures, but also need to be integrated into the dance of love. First of all, in traditional teaching, teachers only focus on the standardization of movement and the rich and varied guidance of the dance, modern people's aesthetic concepts have changed a lot with the continuous development of society, so the traditional teaching methods can not be fully adapted to the needs of modern people. In modern folk dance classroom teaching, teachers should not only focus on solving the standardization of movement and the richness and variety of dance posture, but also focus on the embodiment of the real emotion that it has. Secondly, in other subjects, a single boring teaching will make students lose interest in learning, and the same is true in folk dance teaching. Therefore, teachers must focus on instilling the spirit of each nation into students in the classroom teaching of folk dance, guiding students to stand in the perspective of life to embody the emotions and experience the role, and then embody the expressed emotions from the movement, so that the effect of the performance will certainly be excellent and touching. From the perspective of cultivating emotions, it can be understood that the rich emotions expressed in ethnic folk dance are realized through the rich language of forms.

四、民族民间舞蹈教学应注重民族传统文化在教学过程中的渗透

民族民间舞蹈教学与民族民间舞蹈文化研究应共同发展，在教学内容中体现民族传统文化。我国有 56 个民族，每个民族至少有一种以本民族命名的舞蹈，可见民族民间舞蹈在我国的传播范围非常广，种类也很多。教师在教学内容中应尽量选择能表现民族特色的动态语汇和风格韵律，使学生掌握各民族民间舞蹈的风格，为学生做好铺垫。

Fourth, the teaching of ethnic folk dance should pay attention to the penetration of national traditional culture in the teaching process

Ethnic folk dance teaching and ethnic folk dance cultural research should be developed together, reflecting the traditional ethnic culture in the teaching content. There are 56 nationalities in our country, and each nationality has at least one kind of dance named after its own nationality, which shows that the spreading range of ethnic folk dance in our country is very wide and there are many kinds. Teachers should try to choose the dynamic vocabulary and style rhythms that can express the national characteristics in the teaching content, so that students can master the styles of folk dances of various nationalities and make a good preparation for students.

另外，在民族民间舞课堂上教师可以借助音乐来激发学生的灵感。在音乐的引导下，学生就会有一个即兴创作的灵感。在中国民族民间舞中音乐本身就是舞蹈不可分割的一部分，音乐不同学生就会产生不同的动作，这样有利于学生应变能力的训练。音乐也是学生情感酝酿的一种重要因素，有助于学生更快地融入到舞蹈之中。因此，音乐的融入不仅培养了学生的创新能力、思维反映能力，而且还能够使学生把握准舞中的情感，最终演绎出一场优秀的表演。

In addition, teachers can use music to inspire students in folk dance class. Under the guidance of music, students will have an inspiration to improvise. In Chinese folk dance, music itself is an inseparable part of the dance, and students will produce different movements with different music, which is conducive to the training of students' adaptability. Music is also an important factor in students' emotional brewing, which helps students integrate into the dance more quickly. Therefore, the integration of music not only cultivates students' creativity and reflective thinking, but also enables students to grasp the emotions in the dance, and ultimately renders an excellent performance.

民族民间舞蹈文化和民族民间舞蹈教学的融合，首先需要在理念上实现统一。尤其是在当今社会，文化多元化和全球化相互交织，人们的审美观念和价值观也趋于多元化。因此，在民族民间舞蹈教育中，植根于传统文化的民族民间舞蹈文化需要得到充分的重视和传承，但也需要灵活地体现现代人的审美观念，以满足现代人的文化需求。

民族民间舞蹈教学的方法应该以自由、灵活、活泼的教学方式为主，以鼓励学生表现出自己的个性特点为前提，既要传承民族民间舞蹈的经典，也能够灵活地融入现代元素。同时，还能够根据学生的水平和兴趣爱好进行差异化教学，让学生学得更加轻松和愉快。

The integration of folk dance culture and folk dance teaching firstly needs to realize unification in concept. Especially in today's society, cultural pluralism and globalization are intertwined, and people's aesthetic concepts and values tend to be diversified. Therefore, in ethnic folk dance education, ethnic folk dance culture rooted in traditional culture needs to be fully emphasized and inherited, but it also needs to flexibly reflect modern people's aesthetic concepts to meet modern people's cultural needs.

The teaching method of folk dance should be based on a free, flexible and lively teaching method, with the premise of encouraging students to show their own individual characteristics, which not only inherits the classics of folk dance, but also can flexibly incorporate modern elements. At the same time, it is also able to differentiate the teaching according to the level and interests of students, so that students can learn more easily and happily.

民族民间舞蹈文化和民族民间舞蹈教学的实践应该实现统一，实践教学缺乏实际应用的情况下，学生对某一项技能的掌握常常只停留在理论层面。为此，民族民间舞蹈教学应注重实践教学，让学生能够在实践中加深对于民族文化的了解。并且，学校可以组织学生到实践场所，了解所学舞蹈的民俗民风，加强实践性教学。

Ethnic folk dance culture and the practice of folk dance teaching should be unified, the lack of practical application of practical teaching, students often master a skill only at the theoretical level. For this reason, folk dance teaching should focus on practical teaching, so that students can deepen their understanding of folk culture in practice. Moreover, schools can organize students to go to practice places to understand the folklore of the dance they are learning, so as to strengthen the practical teaching.

]]> "MADE IN MIAMI" is the ultimate Latin Grammy ® winner. https://terryheimat.com/tpost/fjxk0bixx1-made-in-miami-is-the-ultimate-latin-gram https://terryheimat.com/tpost/fjxk0bixx1-made-in-miami-is-the-ultimate-latin-gram?amp=true Fri, 17 Nov 2023 02:50:00 +0300 Press Service “MADE IN MIAMI” IS THE WINNER OF 2 LATIN GRAMMY ®

"MADE IN MIAMI" is the ultimate Latin Grammy ® winner.

“MADE IN MIAMI” IS THE WINNER OF 2 LATIN GRAMMY ®

FOR BEST INSTRUMENTAL ALBUM AND BEST ARRANGEMENT OF “SONGO BOP” BY RAFAEL VALENCIA
[Ada Music/Warner Music Group/Pier 5]
Producers - Camilo Valencia, Richard Bravo, Alex Sino.

The MIM team after the award presentation.

How it was.

1. CCU (Coronary Care Unit)
To the CCU/ICU and transplant teams at UM/Jackson Memorial Hospital in Miami and Cleveland Clinic Weston. Professor Ed Calle on Tenor Sax and Trumpeter Jason Carder. These are 20 year old solos!

Camilo Valencia Producer, Arranger
Richard Bravo Producer, Drums, Percussion
Alex Sino Producer
Ed Calle Saxophone
Jason Carder Trumpet
Boris Milan Recording & Mixing
Adam Ayan Audio Mastering

2. Made In Miami
One can hear some of Miami’s musical diversity in this tune. A Pop, Jazz, Funk, Cha-Cha fusion with Dave Fernandez on Tenor Sax and Master Milton Salcedo on AC Piano.
Camilo Valencia Producer, Arranger
Richard Bravo Producer, Drums, Percussion
Alex Sino Producer
Dave Fernández Saxophone
Milton Salcedo Piano
Boris Milan Recording & Mixing
Adam Ayan Audio Mastering

3. Hurricane Jimenez
When Dr. Javier Jimenez, Cardiologist, rushes into a Cath Lab, everyone in that room knows this is going to be a “fast” procedure. For this his co-workers have nicknamed him Speedy Gonzales. We can’t use that name here so we’ve taken the liberty of re-nicknaming him Hurricane Jimenez.
Camilo Valencia Producer, Arranger, EWI
Richard Bravo Producer, Drums, Percussion
Alex Sino Producer
Milton Salcedo Piano
Boris Milan Recording & Mixing
Adam Ayan Audio Mastering

4. Misty (feat. Arturo Sandoval & Milton Salcedo)
A 42 year old arrangement of this classic song. Originally made for “Carlos Oliva y Los Sobrinos del Juez” and re-imagined here in a Big Band Horns format. World Class Trumpeter Master Arturo Sandoval is featured here with Milton Salcedo on piano and Julio Diaz, who takes over the melody after the piano solo, on trumpet.
Camilo Valencia Producer, Arranger
Richard Bravo Producer, Drums, Percussion
Alex Sino Producer
Johnny Burke Composer
Errol Garner Composer
Sid Engel Composer
Arturo Sandoval Trumpet
Milton Salcedo Piano
Julio Díaz Trumpet
Boris Milan Recording & Mixing
Adam Ayan Audio Mastering

5. Songo Bop (feat. Milton Salcedo)
Written and arranged by Rafael (California) Valencia for the Miami Dade College Salsa Ensemble for which he was also the Director. A fusion of BeBop and Songo, as the title indicates,with an electric piano/scat solo, a la George Benson, by Master Milton Salcedo.
Camilo Valencia Producer, Arranger
Richard Bravo Producer, Percussion
Alex Sino Producer
Milton Salcedo Keyboards
Boris Milan Recording & Mixing
Adam Ayan Audio Mastering

6. Funkeando
When Igor Rivas was recording trumpet on this tune in his hometown of Willemstad, Curacao, in walks trumpet Master Philip Lassiter. He hears the song and wants to throw “fire” on it… and throw “fire” on it he did! Dave Fernandez this time on Alto Sax and Ismael Vergara on Soprano Sax.
Camilo Valencia Producer, EWI, Arranger
Richard Bravo Primary, Producer, Drums, Percussion
Alex Sino Producer
Dave Fernández Saxophone
Ismael Vegara Saxophone
Philip Lassiter Trumpet
Boris Milan Recording & Mixing
Adam Ayan Audio Mastering

7. Papadin
The Bravo Gang… All the musicians in Richard Bravo’s family are playing here. Jerry (Bass,) Junior (AC Guitar,) Isaiah (Timbal solo,) Emmanuele (Timbal solo,) and obviously Richard (Drums and Perc.) The only one missing is Adalberto Bravo (Papadin) who is proudly looking down on them with a smile on his face. With a very tasty, melodic trombone solo by Jorge Dobal.
Camilo Valencia Producer, Arranger, EWI
Richard Bravo Producer, Drums, Percussion
Alex Sino Producer
Emmanuel Bravo Percussion
Isaiah Bravo Percussion
Jorge Dobal Trombone
Boris Milan Recording & Mixing
Adam Ayan Audio Mastering

8. One Heart at a Time (feat. Milton Salcedo)
For Stef…
On the beautiful Island of Puerto Rico Stefano Steenbakkers Betancourt, a smart, good looking, full of life teenager with an incredible future was killed by two sons of bitches, now behind bars, who tried to steal his car. He used to say that he was going to change the world “one heart at a time.” And unbeknownst to his parents Stefano was an organ donor. Now, ten years later, I still proudly wear his heart…
Camilo Valencia Producer, Arranger
Richard Bravo Producer, Percussion
Alex Sino Producer
Dave Fernández Saxophone
Milton Salcedo Piano
Manny López Guitar
Xtrings Pedro Alfonso Concertmaster
Iker Gastaminsa Recording & Mixing
Adam Ayan Audio Mastering

9. Cafe Union
Cafe Union is the name of Rafael Valencia Sr restaurant on the little town of Ranchuelo, Cuba, before communism yanked it from him. With a fiery trombone solo from Jorge Dobal Jr.
Camilo Valencia Producer, Arranger
Richard Bravo Producer, Drums, Percussion
Alex Sino Producer
Jorge Dobal Jr. Trombone
Boris Milan Recording & Mixing
Adam Ayan Audio Mastering

10. Guanabacoa Streets (feat. Luis Enrique)
Guanabacoa, Cuba, is said to be “The Capital of Santeria” (Vodoo.) A suburb of Habana where some of the most famous Cuban musicians are from. Luis Enrique, who is better known as a famous artist, is also a terrific percussionist, one can hear him here. Alemnest Andino, who happens to be from Guanabacoa, is on Flute. Rafael Valencia Jr (Fafa) on bass. Jackson King singing African chants.
Camilo Valencia Producer, Arranger
Richard Bravo Producer, Percussion
Alex Sino Producer
Luis Enrique Percussion
Rafael (Fafa) Valencia Jr Bass
Alemnest Andino Flute
Jackson King Vocals
Boris Milan Recording & Mixing
Adam Ayan Audio Mastering

11. Misty (feat. Jackson King (vocal) and Milton Salcedo (piano) (vocal version / bonus track)
A vocal version with the same instrumental arrangement. Vocalist Jackson King adds his magic and Lilian Garcia is backing him up.
Camilo Valencia Producer, Arranger
Richard Bravo Producer, Percussion
Alex Sino Producer
Johnny Burke Composer
Sid Engel Composer
Errol Garner Composer
Milton Salcedo Piano
Jackson King Vocals
Boris Milan Recording & Mixing
Adam Ayan Audio Mastering

Official web-site of MIM project

]]> Latin GRAMMY ® Winners https://terryheimat.com/tpost/hsj23hmiy1-latin-grammy-winners https://terryheimat.com/tpost/hsj23hmiy1-latin-grammy-winners?amp=true Mon, 20 Nov 2023 11:26:00 +0300 Press Service Terry Heimat Studios Congratulates its 2023 Latin GRAMMY ® Winners

Latin GRAMMY ® Winners

It is with great respect and pride that we congratulate the winners of the Latin Grammy 2023. By far the biggest winners of the night for us were Alex Sino's Made in Miami project team who took home two awards: Best Instrumental Album & Best Arrangement for "Songo Bop" by Rafael Valencia, arranger (Camilo Valencia, Richard Bravo Featuring Milton Salcedo) [Pier 5].
Congratulations to all the winners:

General Field

Album of the Year

Mañana Será Bonito, Karol G

Ovy on The Drums, album produer; Karol G & Ovy on The Drums, songwriters

Song of the Year

“Shakira: Bzrp Music Sessions, Vol. 53,” Santiago Alvarado, Bizarrap & Shakira, songwriters (Bizarrap Featuring Shakira)

Best Pop Song

“Shakira: Bzrp Music Sessions, Vol. 53,” Bizarrap, Kevyn & Shakira, songwriters (Bizarrap Featuring Shakira)

Urban

Best Urban/Fusion Performance

“TQG,” Karol G Featuring Shakira

Best Urban Music Album

Mañana Será Bonito, Karol G

Best Urban Song

“Quevedo: Bzrp Music Sessions, Vol. 52,” Bizarrap, songwriter (Bizarrap Featuring Quevedo)

Rock

Best Rock Album

Sólo D’ Lira, Molotov

Best Rock Song

“Leche De Tigre,” Juan Galeano, songwriter (Diamante Eléctrico Featuring Adrián Quesada)

Best Pop/Rock Album

Vida Cotidiana, Juanes

Best Pop/Rock Song

“Ojos Marrones,” Agustín Zubillaga, songwriter (Lasso)

Regional-Mexican

Best Banda Album

De Hoy En Adelante, Que Te Vaya Bien, Julión Álvarez y Su Norteño Banda

Best Tejano Album

Para Empezar A Amar, Juan Treviño

Best Regional Song

“un X100to,” Edgar Barrera, songwriter (Grupo Frontera Featuring Bad Bunny)

Instrumental

Best Instrumental Album

Made In Miami, Camilo Valencia & Richard Bravo

Traditional

Best Folk Album

Camino Al Sol, Vicente García

Jazz

Best Latin Jazz/Jazz Album

I Missed You Too!, Paquito D’Rivera (with Reunion Sextet)

Portuguese Language

Best MPB (Musica Popular Brasileira) Album

Serotonina, João Donato

Children’s

Best Latin Children’s Album

Vamos Al Zoo, Danilo & Chapis

Classical

Best Classical Contemporary Composition

“Concerto Venezolano,” Paquito D’Rivera, composer (Pacho Flores Featuring Paquito D’Rivera)

Arranging

Best Arrangement

“Songo Bop,” Rafael Valencia, arranger (Camilo Valencia, Richard Bravo Featuring Milton Salcedo)

Songwriter

Songwriter of the Year

Edgar Barrera

Production

Producer of the Year

Edgar Barrera

]]> The list of the “Magnificent Seven” https://terryheimat.com/tpost/yd16g3rcf1-the-list-of-the-magnificent-seven https://terryheimat.com/tpost/yd16g3rcf1-the-list-of-the-magnificent-seven?amp=true Wed, 22 Nov 2023 05:52:00 +0300 Press Service Ukrainians who received Grammys ®.

The list of the “Magnificent Seven”

The list of Ukrainians who have received the prestigious Grammy ® Awards has been enriched with one more name.

Alex Sino, a native of Ukraine on November 16, 2023, became the Two Times Latin Grammy Award Winner and the only one from the list of Ukrainian-born Grammy Winners who received the Grammys in the Categories different from “Classical Music” - as the Producer for Best Instrumental Album of the Year (Camilo Valencia and Richard Bravo - Made in Miami) and for Best Arrangement.

How was it at the Grammys?

(watch video)

There are Grammy Winning Ukrainian-born “Magnificent Seven”:

Nadia Shpachenko (born in Kharkiv)
Ruslan Sirota (born in Uman)
David Oistrakh (born in Odessa)
Svyatoslav Richter (born in Zhitomir)
Vladimir Horovitz (born in Kyiv)
Nathan Milstein (born in Odessa)
Alex Sino (born in Odessa)

What is the Latin Grammy?

In the year 2000, the Academy of Recording Arts grew the list of Grammy Awards to 104 within 30 categories with half of them represented by Latin artists and Latin music. Addressing this trend, the Recording Academy established 2 major divisions: National (NARAS) and Latin or International (LARAS). So Latin Grammy is the Grammy that honors works recorded in Spanish or Portuguese languages or recorded music in Latin rhythms or recorded by Latino artists from anywhere around the world that has been released in Latin America, Spain, Portugal, and by the Latino population in Canada and the United States where the Hispanic population had reached 19%.

What do we know about Alex Sino?

Alex Sino was born and raised in Odessa, Ukraine. In 1989 he moved with his family to the USA, where he graduated from the prestigious New York University and received the Doctorate degree.

Alex Sino is a screenwriter, creative producer, and lyricist. He has worked with numerous established and emerging artists including Al Di Meola, Leonid Agutin, MC Solaar, Ruslana, Macy Gray, Arturo Sandoval, Rudy Perez, Anthony Jackson, Xavier Naidoo, Till Brönner, Orlando “Maraca” Valle, Terry Heimat, No Mercy, Jon Secada, Diego Torres, Amaury Gutierrez, Carlos Oliva, Omara Portuondo, along with many others.

In his decades-long career, Alex has created and produced an impressive list of prominent songs, albums, music videos, and movies.

Among the more recent highlights are: producing the Grammys Winning album “Camilo Valencia and Richard Bravo - Made in Miami”, producing the album "La Vida Cosmopolita," featuring Leonid Agutin, Al Di Meola, Jon Secada, Diego Torres, Amaury Gutierrez which was featured in Billboard and on Telemundo. His work included producing five music videos to accompany the album. His song “Just a Rainy Day” from that album won the prestigious USA Songwriting Competition and won “The John Lennon Song Contest”.

Alex Sino co-created and wrote lyrics for the "Cosmopolitan Life" album with Al Di Meola and Leonid Agutin that was on Top Jazz Charts in Europe. His involvement included writing and producing the movies "Cosmopolitan Live" and "Live in Montreux with Al Di Meola”. His work included the production of live and recorded TV shows for the Eurovision Award in Berlin, “Italiani nel Mondo” for RAI 1 (Italy), Montreux Jazz Festival, Stuttgart Jazz Festival, and Jurmala Music Festival in Latvia.

Alex co-produced high-profile concerts and music albums in Cuba, including a concert at the historic Piazza Cathedral in Havana, Cuba. Performers at the concert included the legendary Omara Portuondo from Buena Vista Social Club, Leonid Agutin, Pancho Amat, Rene Toledo, and Orlando “Maraca” Valle.

Alex is the author of two award-winning books, "The Grand Old Man" and "The Music Without Borders”.

He is the voting member of Emmy, the Academy of Recording Arts and Sciences - Grammys, and the Member of the Academy of Interactive and Visual Arts.

His 2022 international project with Terry Heimat “The Magic Song” based on the music of the Ukrainian Folk song “Shedryk” has received International recognition and was raising funds for women and children of Ukraine. Alex Sino along with the Honorable Sculptor of Ukraine Mychailo Reva is the Trustee of the Ukrainian Charitable Organization - “Reva Cultural Foundation”.

]]> The premiere of a new musical version of a famous Chinese song in Sanji. https://terryheimat.com/tpost/3zpgo7n221-the-premiere-of-a-new-musical-version-of https://terryheimat.com/tpost/3zpgo7n221-the-premiere-of-a-new-musical-version-of?amp=true Wed, 17 Apr 2024 09:08:00 +0300 Terry Heimat The composer and conductor of the Zhangjiajie Philharmonic Orchestra Terry Heimat presented a new version of the folk song "Mulberry Tree with Lantern".

The premiere of a new musical version of a famous Chinese song in Sanji.

The Zhangjiajie Philharmonic Orchestra participated in the Sanjiajie Festival.
On April 16, 2024, a new arrangement of the well-known Chinese folk song "Mulberry Tree with Lampstand Sangzhi" (symphonic version) premiered at the Sanzhi Open Air Festival.
This song is so popular that it is performed in different genres and styles.

The story and plot of the song:

When spring comes, the breath of spring has stimulated the branches, it grows vigorously, entwined with the branches, and from then on, the two snuggle together, and will never be separated. In this way, a rich musical imagery appeared, a classic folk song that has been sung for thousands of years was born, it is deep and gentle, moving, is another ode to classical love. At the same time, it is also the defense of the country and the perfect combination of male and female love, stirring, long sung.

Lyric
(Adapted translation)

The mulberry tree is intertwined with the Lampshade tree.
Write a sealed letter in a thousand years.
If you don't come within a year,
I'll wait for a year.
If you don't come within two years,
I'll wait for you for two years.
I'll wait for you as long as it takes.
The heart is a lock. The key isn't in the lock.
I can't open it.

The Matsang tree and the Lampstand tree are two very different trees, but the Lampstand tree often climbs on the Matsang tree and its branches are tightly intertwined. Therefore, the Tujia people use the imagery of the Matsang tree and the Lampstand tree to express the lingering love between men and women, the dependence on each other in life and death, and the unswerving love of never leaving each other. The language of the song is pure and simple, and the feelings are sincere. In terms of the tune, it is a folk song built on the pentatonic plagal mode. The whole song has five lines, and the interlocking melody between the lines is like a continuous flow of love from the bottom of the heart, which expresses the pure love of the husband and wife. Sangzhi folk song describes the longing of husband and wife separated by thousands of kilometers through euphemistic tunes and simple language, showing a simple and chaste concept of love, and in the Revolutionary period this love folk song was endowed with a touch of thick bright red.

Author of the arrangement, Prof. Taras Kutsenko (Terry Heimat)

“Many versions of this beautiful folk theme have been specifically given, but I specifically adapted this song for voice and symphony orchestra. I think these folk songs by Sanji complemented the wild beauty of nature that was an integral part of our performance.”

I naturally decided to write a symphonic version of this song performed by the Zhangjiajie Philharmonic Orchestra

Performed by Wan Xiao Chenyu

«Compared to the many versions of this folk song “Mulberry tree..”, we perform our version with many symphonic elements.»

With this project, we would like to show the special culture and natural scenery of Sanji through the combination of Sanji folk songs and symphonic music, and hope to invite everyone to feel the "sound" of Sanji folk songs and the beautiful freedom of mountains and wildlife together through such activities.

]]> The nature of Chinese Zhangjiajie is glorified in the symphony. https://terryheimat.com/tpost/yyhpmkxp11-the-nature-of-chinese-zhangjiajie-is-glo https://terryheimat.com/tpost/yyhpmkxp11-the-nature-of-chinese-zhangjiajie-is-glo?amp=true Fri, 26 Apr 2024 17:01:00 +0300 Press Service The Zhangjiajie Philharmonic Orchestra performed a Symphonic Poem by Taras Kutsenko (Terry Heimat) (VIDEO)

The nature of Chinese Zhangjiajie is glorified in the symphony.

On April 26, 2024, the Zhangjiajie Philharmonic Orchestra held a concert program featuring a symphonic poem by composer and conductor Taras Kutsenko (Terry Heimat).

The Power of Nature Zhangjiajie. op. 5

This work captures the feeling of a person visiting the scenic mountainous areas of Zhangjiajie.

The symphonic poem was composed in November 2019. The first performance took place on December 15, 2019 at the Philharmonic Concert Hall of Changsha, the capital of Hunan Province.

BUY, STREAM, AND DOWNLOAD IT

Taras Kutsenko composer, conductor, arranger
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"A person's life journey can be compared to climbing a mountain. On the way there are obstacles that fuel a person's interest to reach the final goal. The goal is chosen by the person himself and his choice determines new and new landscapes of nature, which can appear before the eyes of the traveler. You can experience these sensations in Zhangjiajie, when climbing Tianmen Mountain. When a giant cable car "a marvel of engineering", daily transporting tens of thousands of tourists to the top of the world, carries you above the ground and rises to the top. The beauty of natural landscapes: clean, mountain air favorable for human health, thousands of representatives of unique flora, natural lakes and waterfalls, the triumph of unity between man and nature - everything I saw and felt, I conveyed in music. Thanks to the management of the Zhangjiajie Philharmonic Orchestra, represented by Jane Debin, Director of Zhangjiajie College, and Prof. Lur Yong, Director of the Orchestra, for the opportunity to play music." - said in an interview with the newspaper Zhangjiajiajie Today maestro Kutsenko.

The symphony orchestra musicians performed this piece very sensitively, transferring their emotion into the music.

"The audience got the maximum effect and great interest from listening to music about China's nature composed by a foreign composer and performed by foreign musicians. It is a striking unity of people - a symphony in harmony with nature." - said an audience member after the concert.

The composer has already addressed the theme of contemplating the scenic spots of Zhangjiajie.

But this is discussed below. At the concert on April 26, a symphonic version of his impressions of the scenic spots of Zhangjiajie was performed.

Live from the concert on April 26, 2024.

Zhangjiajie Philharmonic Orchestra.
Conducted by Prof. Taras Kutsenko

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Orchestra President Jiang Derbin
Artistic director of the orchestra Luo Yong
Music director and chief conductor - Taras Kutsenko

The orchestra began its existence in 2018 as a composition of musicians invited by China to organize the first philharmonic orchestra in Chinese cities with second-tier status. Previously, professional symphony orchestras were subsidized from the state budget only in provincial capitals. In 2019, through the efforts of the Rector of Zhangjiajie University, Mr. Jiang Durbin and Professor of Zhangjiajie College Mr. Luo Yong, with the participation of conductor Taras Kutsenko, the Zhangjiajie Philharmonic Orchestra was created with the financial support of the city municipality.

The composer has already addressed the theme of contemplating the scenic spots of Zhangjiajie and expressed his impressions in the author's albums "Patterns on the stones" 2019 & "The Gate of all wonders" 2021, which is popular in China and presents the sound of mountains to tourists from all over the world.

Zhangjiajie Heavenly Gate

Zhangjiajie is the oldest of China's national parks and perhaps the most notable. Opened in 1982, it was inscribed on the UNESCO World Heritage List ten years later. The park is home to more than 500 species of animals, including civets, monkeys, birds and salamanders. Rare plants such as gingko, pigeon tree, and mahogany grow here. In addition, in this area of Hunan Province there are Tianzishan Geopark, known for its mountains of amazing beauty and Sosiyu Park, notable primarily for the huge Huanglong Cave, the largest hall of which can accommodate ten thousand people. As Zhangjiajie is a popular tourist area, there are excellent hotels and restaurants with great food. As a souvenir, guests can buy handicrafts from the Miao, Tujia and Bo peoples, who have inhabited the area for thousands of years and have developed distinctive crafts, the secrets of which have been passed down from generation to generation.

The city of Zhangjiajie is located in the northwestern part of China's Hunan Province. Its population is approximately one and a half million people. Near the city there is Wulingyuan district, on the territory of which Zhangjiajie National Park with unusually diverse flora and fauna is open. The city has its own airport, which receives flights from all major cities in China. In addition to the ethnic Chinese (Han Chinese), the Zhangjiajie area is also inhabited by the Miao, Tujia and Bo peoples, who have their own original culture.

Zhangjiajie has a humid tropical climate, with clear sunny days followed by heavy rains throughout the year. The year is divided into four seasons with short, cool winters and long, warm summers. There are neither frosts nor excessive heat. In summer the average temperature is +27?, and in January, the coldest month, it fluctuates around +4.3?

You can fly to Zhangjiajie Airport (located 10 km from the city and 33 km from the national park) from any major city in China, including Beijing, Shanghai, Guangzhou or Chongqing. There are regular shuttle buses from the airport to the national park. The drive from the airport to the park takes about an hour. The best way to get there by train is from Changsha, which takes about five hours.

Zhangjiajie can be visited at almost any time of the year. Although it can be a bit chilly in winter, the snowfall turns the park into a magical land. Spring fills the local nature with the fragrance of flowers, while autumn brings a splendor of colors. And the thick mists of fog and the altitude bringing mountain coolness create a pleasant atmosphere for a summer visit.

Zhangjiajie is primarily interesting for its scenic Wulingyuan area, which is divided into four main zones:

Zhangjiajie National Forest Park
Sosiyu Geopark
Tianzishan Geopark
Yangjiajie Geopark

Since the late 80s, Wulingyuan has been one of China's major national scenic spots. In total, there are about seven hundred and seventy species of various plants, including a number of quite rare and occurring in the wild exclusively here. The fauna of Wulingyuan is no less extensive, with twenty-eight species of local inhabitants considered rare and protected by law. These include giant salamanders, smoky and common leopards and a range of more common large carnivores.

Located in Wulingyuan, Zhangjiajie National Park is the oldest national scenic park in China. It was established in 1982 and covers an area of 13,000 square kilometers. The landscape of Zhangjiajiajie is quite diverse - dense forests are suddenly replaced by high mountains. The climate is warm and humid. The park is home to more than 500 different species of animals. Such rare plants as gingko, pigeon tree and mahogany grow here. And even civets (cat family), monkeys, birds and salamanders live in the park. In 1992, the park was included in the list of a UNESCO World Heritage Site.

Mount Tianmenshan is the first mountain in Zhangjiajie, the height of which was measured by specialists (1518.6 m). The mountain is located 8 km from the center of Zhangjiajie and is one of the main attractions of the national park. The mountain is famous for its unusual Heavenly Gate Cave - the highest cave in the world, formed naturally during erosion processes. It is even called the “magic cave of Western Hunan.”

The cave was formed in 263, when suddenly a large piece of the mountain simply fell away, creating a huge cavity 131.5 m high, 57 m wide at its widest point and 60 m long. Shrouded in clouds, the "Heaven's Gate" is indeed very impressive: it seems that once you go through them, you will truly be in heaven. There is a belief among local residents that this mountain is connected with the sky and has supernatural powers. So, in the 20th century, four times a waterfall 1500 m high unexpectedly and for an inexplicable reason collapsed from the top of the mountain. Streams of water fell for 15 minutes, and then also suddenly disappeared. This phenomenon was observed in 1949 (the formation of the People's Republic of China), 1976 (the death of Mao Zedong), 1989 (the suppression of student protests in Beijing) and 1998 (the largest flood), and the superstitious Chinese consider these coincidences to be no coincidence.

For a long time, there have also been rumors that countless treasures were hidden in the mountain, brought here by one of the leaders of the peasant uprising during the Ming Dynasty. For centuries, treasure hunters have come here in search of riches, but all their attempts to find the treasure have remained in vain. The longest and highest cable car in the world (7455 m) leads to the top of the mountain, the spans of which reach 500 m! In some places the road rises sharply at an angle of 70º, suddenly crashing straight into the clouds.

Unforgettable experience! The main spare parts for the construction of the cable car were imported from the French company ROMA. At the top of the mountain, a staircase with 999 steps leads to the cave. The number “9” in this case is not accidental: in the Taoist tradition, this number is a symbol of the emperor and the highest number available to man. The meaning of this number once again emphasizes the mystery of this place, located on the border of the human and divine worlds. You can go down the mountain by bus along the Tongtian road with 99 turns. The name of the road is not an exaggeration: it is one of the most impressive serpentines in the world, the “heavenly highway”. The length of the route is less than 11 km, and the distance between turns is from 200 to 1300 m. At the top of the mountain, right on the edge of the abyss, there are paths among quaint relict trees, in some places there is a glass floor, so you can see the clouds under your feet.

Heaven's Gate Buddhist Temple, one of the main pilgrimage sites in Hunan Province since the Ming Dynasty. The elegant temple occupies an area of about 10 thousand square meters. m.

Cave of the Yellow Dragon. It is said that the inside of the Yellow Dragon Cave is even more beautiful than the outside in Zhangjiajie Nature Reserve. Day and night all year round it is always cool and fresh there, not hot in summer and not cold in winter. This cave is one of the main attractions of the reserve and one of the most beautiful “magical karst caves” in the world. Yellow Dragon Cave is a typical karst cave in which water plays an important role in its formation.
Drops of water seep through cracks into the karst layers and constantly dissolve the limestone, thereby widening the crack. This process continues year after year until the gap reaches enormous dimensions. This is exactly how the Yellow Dragon Cave came about, reaching a height of 140 m. At the highest point of the cave, the distance to the top of the mountain is only 17 m. Inside the cave there are the following “natural wonders”: two underground rivers, three pools, four waterfalls, 13 large “halls” ", 96 galleries and hundreds of thousands of stalagmites, columns, stalactites and other formations. The “interiors” of the Yellow Dragon Cave are so complex and incomprehensible that even geologists call this place “magical.” The Yellow Dragon Cave has several picturesque natural compositions, including the Dragon Palace, the Ballroom with draped stone curtains, the Immortal Waterfall, etc. In the Dragon Palace, you can see the Dragon King, which can be accessed through the “Longevity” or “Happiness” gate. According to the old tradition, the visitor can choose only one of them.

According to local beliefs, those who pass through the Gate of Happiness will find prosperity in marriage, and those who choose Longevity will live happily ever after. The complete journey through the cave will take about two hours. During this time, you will have to walk 2400 m and swim 800 m along the river. This is one of the longest caves in Asia and is widely known outside of China. Yellow Dragon Cave is located 15 minutes from Suoxiu Town, an hour's drive from Zhangjiajie City and 20 minutes from Zhangjiajie Nature Reserve.

Yangjiajie Park is adjacent to Zhangjiajie National Park to the east and Tianzi Mountain to the north. The park was inaugurated in 1992. The territory of Yangjiajie covers an area of 34 square meters. m and is divided into three parts: Xiangzhi Stream, Longquan Valley and Baihou Valley - which have a total of more than 200 landscape areas.

Longquan Valley, characterized by steep cliffs rising out of the ground at almost right angles. The rocks fit together so tightly that from a distance they look like the protective wall of an ancient city.
The Baihuo Valley (translated from Chinese as “one hundred monkeys”) is indeed often visited by macaques. This is also a favorite place for egrets, which flock to this area.
Longquan Valley is famous for the beautiful Dragon Spring Waterfall. A waterfall falls from a cliff densely covered with ivy and exotic five-color flowers.
In the Xiangzhi region, high sharp peaks are wrapped in a thread of transparent streams, ancient paths are laid along the ravines, along which you can hear cicadas and birdsong.
The history of Yangjiajie is closely related to the legends of the Northern Song Dynasty. According to legend, during one of the bloody wars of that time, a general from the Yang clan set up camp at the foot of Mount Tianzi. The war dragged on for several years, and during this time more and more scions of the Yang clan appeared in this area. Since then, the place has been called the “Yang Land,” which in Chinese sounds like “Yangjiajie.” The graves of members of the Yang family, including their descendants, who were buried here in the Ming and Qing eras, are still preserved here.

In Zhangjiajie you can buy magnificent souvenirs - products of local craftsmen who lived here for many thousands of years and continued to develop crafts, the secrets of which were passed down from generation to generation. Minority arts and crafts include beautiful black-patterned crocheted baskets and intricately embroidered insoles. Knitted and embroidered products are the pride of the local region, and wicker baskets and bamboo cradles are also a separate local feature

Come visit us in Zhangjiajie and feel the beauty and spirituality of this scenic spot.

]]> The Ukrainian conductor was congratulated on his centennial anniversary. https://terryheimat.com/tpost/4i31lo53g1-the-ukrainian-conductor-was-congratulate https://terryheimat.com/tpost/4i31lo53g1-the-ukrainian-conductor-was-congratulate?amp=true Wed, 26 Jun 2024 03:07:00 +0300 Press Service This disclaimer (he's actually 85 years old) was made by the announcer in the congratulatory video, but something about it is reductive.

The Ukrainian conductor was congratulated on his centennial anniversary.

Vitaly Kutsenko's father Daniel Timofeyevich lived to be a hundred years old. And we wish Vitaly Danilovich to surpass his father.

On the photo: Vitaly Kutsenko with his father Daniil Kutsenko. 1999

Vitaly Kutsenko is an outstanding conductor, teacher, Doctor of Musical Sciences, professor.
In 2019, Vitaly Kutsenko paid a cultural visit to Zhangjiajie and participated in the concerts of the Zhangjiajie Philharmonic Orchestra.

On the photo: Vitaly Kutsenko with his mother Maria Kutsenko (Velikorodnaya). 1997

His contribution to world music culture is reflected in his many achievements. He created the now world-renowned Fyodor Chaliapin International Opera Festival; he opened the Samarkand Musical Theater in Uzbekistan.

Vitaly Kutsenko is an honored worker of arts of Ukraine, a prominent figure of culture and art of Ukraine, a continuator of the traditions of the Leningrad school of conducting. Vitaly Kutsenko graduated from the Leningrad School of Conducting (1968) and completed postgraduate studies at the Kazan Conservatory under Professor, People's Artist of the USSR, N. G. Rakhlin.
Winner of the State Prize of the Mari ASSR (1973) and Honored Art Worker of the Mari ASSR (1974).
In 1977 he became the chief conductor of the State Academic Opera and Ballet Theater named after M. Jalil.
In 1982, together with the director of the Tatar Opera and Ballet Theater Raufal Mukhametzyanov, he founded the F. I. Chaliapin Festival of Opera Art.

On the photo: Vitaly Kutsenko at the premiere of the play at the Jalil Kazan Opera and Ballet Theater. 1973

Since 1982 - Principal Conductor of the Tomsk Philharmonic Symphony Orchestra.
Since 1986 - Principal Conductor and Artistic Director of the Kharkov Regional Philharmonic.
Since 1985 he has been a permanent conductor of the N. Lysenko, V. Gorovets and V. Krainev International Competitions.
Since 1997 - Principal Conductor of the Kharkiv Academic Opera and Ballet Theater named after N. Lysenko.
In 2010-2011 - guest conductor at the Berlin Philharmonic Orchestra (Germany).
In 2010-2011 - Chairman of the State Examination Commission of the Kharkiv National University of Arts named after I. P. Kotlyarevsky.

On the photo: the maestro's wife Natalia Nuseva, Vitaly Kutsenko, son Taras Kutsenko (Terry Heimat), daughter-in-law Yuliya Kutsenko. 2011

Vitaly Kutsenko has performed with many outstanding musicians and conducted orchestras around the world.

The Rectorate and the entire faculty of the University are pleased to congratulate Vitaly Kutsenko on his 85th birthday and wish him many years of healthy life!

Taras Kutsenko (Terry Heimat), specifically in honor of his father's anniversary released a single and made a short video.

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He used lyrics and music by renowned composer, arranger, musician Jeremy Lubbock, which was performed by the great jazz-soul singer Al Jarreau in his day.

"Right now my father is in Ukraine and because of the war I can't meet him. I miss him very much, but I believe that the truth will prevail and we will be reunited again."

Not like this without a single tear
We can't just walk away as if It never happened.

Our kind of love has never talked in whispers.
So if it's time to go let's do it right and go out loud.

But not like this without a backward glance.
Did all our feeling die the moment love was over.

Well, not in me 'cause I still feel you in my soul.
So I will leave you tenderly or bitterly.

But not like this.

The video features an adapted Chinese text translated by a wonderful friend of the Kutseco family, Dr. Ma Liming.

Maestro Vitaliy Kutsenko was also congratulated on his jubilee by the Governor General of Zhangjiajie Liu Gean. In his congratulatory address he thanked Maestro Kutsenko for his contribution to the artistic exchange between Zhangjiajie and Ukriana.

You can also leave a congratulatory comment on the Facebook post.

Congratulations to Виталий Куценко on his 85th birthday! We wish you health and many more years! See also: https://youtu.be/w3ZUsMzC3ts?si=01uEs7HEcIWXi4rK
Опубликовано Тарасом Куценко Вторник, 25 июня 2024 г.

We join all congratulations and wish Vitaly Kutsenko many years of healthy life!

Listen also to the instrumental version of the single "Not Like This".

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]]> From Classical Music to Jazz: a Musical Journey of “Domus Solis”. https://terryheimat.com/tpost/1hvnf1d2o1-from-classical-music-to-jazz-a-musical-j https://terryheimat.com/tpost/1hvnf1d2o1-from-classical-music-to-jazz-a-musical-j?amp=true Thu, 15 Aug 2024 10:54:00 +0300 Press Service Music Al Di Meola, Amoury Gutierrez, Francis Goya in the new album by Ukrainian producers Taras Kutsenko & Alex Sino.

From Classical Music to Jazz: a Musical Journey of “Domus Solis”.

Music supports global communications and surpasses limitations, and few genres illustrate this better than classical music and jazz. Both have rich histories and specific characteristics, yet they share a profound ability to stimulate emotion and tell stories.

The album “Domus Solis” written and produced by and Taras Kutsenko and Alex Sino (released on July 31st., 2024) artistically bridges the traditions of joy in music history from Beethoven’s “Ode to Joy” to Leontovich’s “Shchedryk” (also known as “Carol of the Bells”).

It masterfully transitions from the structured elegance of classical music to the improvisational freedom of jazz. By arranging and recording these iconic pieces, “Domus Solis” brings their joyful spirit into a modern context, creating a unique and uplifting listening experience enhanced by sound designer Sasha Gusev. All musicians behind this album are virtuosos in their own right, each bringing a unique perspective to the fusion of classical and jazz.

Listen on all digital platforms.

Beethoven’s “Ode to Joy” is a cornerstone of classical music, originally part of his Ninth Symphony. It symbolizes unity and joy. In “Domus Solis” this part of Beethoven’s 9 Symphony is reimagined with contributions from the Zhangjiajie Philharmonic Orchestra and international musicians, adding a fresh and global perspective to the timeless melody with a colorfully arranged Latin Jazz and Rock beat.

Leontovich’s «Shchedryk», on the other hand, is a traditional Ukrainian Christmas Chant that has gained worldwide recognition as “Carol of the Bells”. This track in the album features stylish Latin Jazz arrangements and contributions from world-renowned artists like Al Di Meola, Ed Calle, Amaury Guttierrez, Andrei Pushkarev, Camilo Velandia, Camilo Valencia, Francis Goya, Julio Ariel Diaz and Richard Bravo. The inclusion of “Shchedryk” and “Ukrainian Song” in “Domus Solis” not only pays homage to Ukrainian musical heritage but also showcases the versatility and creativity of Sino and Kutsenko in bringing traditional music into a modern context. These tracks, along with others on the album, exemplify the collaborative spirit and musical innovation that defines “Domus Solis.”

Domus Solis: The title track is a beautiful blend of trumpet played by Taras Kutsenko, piano by Oleg Polyanskiy, and guitar by Camilo Velandia, creating a harmonious balance between classical and contemporary sounds. The sound of a wind organ played by Elisa Karpenko brought this composition an unforgettable color.

“The Power of Light” is the hymn of joy and positivity featuring musicians of Zhangjiajie Philharmonic Orchestra and its soloists: Valeriy Moiseenko, Iurii Kokidko, Dilshod Mamadaliev, Nuriddin Kambarov, Luo Yong and Guzal Tadjikulova.

For the album cover, Taras Kutsenko and Alex Sino used the sculpture “House of the Coming Sun” created by Mikhail Reva. By the artistic view of the sculptor the art object was intentionally missing a 3rd element which could be a child, a seagull, or the sea. Producers of the Domus Solis believe that they found a 3rd missing element which was the music!

Taras Kutsenko and Alex Sino are both accomplished musicians with a passion for pushing the boundaries of classical music. Kutsenko’s expertise in conducting the orchestra, playing trumpet, and composing music, combined with Sino’s innovative approach to writing and music production, developed “Domus Solis” - a Classical - Jazz Crossover Masterpiece.

Salve ad Dominum Solis!

]]> Romantic symphonies by Gounod and Bizet, edited by Leonard Bernstein. https://terryheimat.com/tpost/a34p96ejl1-romantic-symphonies-by-gounod-and-bizet https://terryheimat.com/tpost/a34p96ejl1-romantic-symphonies-by-gounod-and-bizet?amp=true Sun, 25 Aug 2024 20:05:00 +0300 Press Service This year together with Alex Sino, Zhangjiajie Philharmonic Orchestra conducted by Taras Kutsenko, we encourage you to listen to our new album from The romantic symphonies of Gounod and Bizet, edited by Leonard Bernstein.

Romantic symphonies by Gounod and Bizet, edited by Leonard Bernstein.

Leonard Bernstein's birthday.

August 25, 2024.

"Nothing in the world is so reassuring as super talent in man - he, alone, gives confidence that the existence of the world makes sense."- Bette Davis on Leonard Bernstein.

Happy Birthday, Maestro Bernstein.

This year together with Alex Sino, Zhangjiajie Philharmonic Orchestra conducted by Taras Kutsenko, we encourage you to listen to our new album from The romantic symphonies of Gounod and Bizet, edited by Leonard Bernstein.

The music of great composers brought together under the editorship of the talented Leonard Bernstein.

In the history of the conductor's ideas of a musical performance, there are many examples of interpretations of famous classical works. Certainly, some of the contradictory and mutually exclusive phenomena peacefully neighboring each other in the practical activity of a conductor cannot easily fit within the framework of certain dogmas, rules, or laws. However, some conductors have passed into the essence of a work using certain methods that can be compared to the work with palestras of sounds to find and achieve a new sound. Among these conductors, was Leonard Bernstein. The Maestro's conducting interpretation and revision of well-known music gives the listener new sensations and impressions.

Crossover music involves blending different musical genres to create a unique sound. When it comes to Romantic symphonies, this could mean incorporating elements of jazz, rock, electronic music, or even pop. Producing crossover recordings of Romantic symphonies is not a simple task and has certain challenges mainly maintaining artistic integrity and authenticity. One very important issue is the popularity and audience reception of crossover albums. The producer of the new crossover series of recordings, the Latin Grammy Award Winner Alex Sino, based on the recent Kutsenko recording of the New Edition of Leonard Bernstein’s Romantic Symphonies that was submitted for Grammy consideration, believes in the quality, success, and popularity of that project.

Next recordings of Taras Kutsenko and Zhangjiajie Philharmonic Orchestra will include the music of Puccini’s Turandot, Astor Piazzolla Tango, and Becker Salamanca.

These recordings will be produced and released by Terry Heimat Studios in cooperation with Pier 5.

]]> Night tour of Zhangjiajie with fluorescent glow at the golden creek. https://terryheimat.com/tpost/oo1k4cz1m1-night-tour-of-zhangjiajie-with-fluoresce https://terryheimat.com/tpost/oo1k4cz1m1-night-tour-of-zhangjiajie-with-fluoresce?amp=true Sun, 08 Sep 2024 09:19:00 +0300 Press Service The Zhangjiajie Philharmonic Orchestra participated in a short film using fluorescent graphics technology.

Night tour of Zhangjiajie with fluorescent glow at the golden creek.

Zhangjiajie Holong Park
"Fireflies in the Forest".

Night tour of Zhangjiajie with fluorescent glow at the golden creek. The short starred artists from the Zhangjiajie Philharmonic Orchestra.

The Zhangjiajie Philharmonic Orchestra participated in a short film using fluorescent graphics technology. The project “Fireflies in the Forest” draws attention to the unique nature reserve Helong Park, Zhangjiajie, Hunan,

China, where on summer evenings, when it gets dark, magic happens: one can observe the fluorescent process, characterized by extremely short time of radiation decay, after the solar energy source is turned off.
You've probably seen the movie The Abyss and Avatar. These movies often show this natural effect, which reminds us that after the energy of the sun, there remains an internal stored energy that humans are only able to enjoy by embracing this natural fluctuation. Slow and subtle.
Fluorescence is commonly referred to as the radiative transition of an excited state from the lowest, singlet vibrational level (scientifically S1) to the ground state (S0).
In this way man observes the amazing colors of nature's night glow. Nature does not fall asleep for a second, but changes its tempo and invites us to hear the heartbeat of the earth.
The great composers of the past centuries, in classical music, repeatedly recreated the presumed beating of the Earth, of nature. That is why classical music, especially the music of Mozart, Haydn, Beethoven, Gounod, Bizet is so co-sounding with nature.
The musicians of the Zhangjiajie Philharmonic Orchestra invite everyone to visit, Together we will hear and see the true inspiration of our Planet.

The orchestra artists took part in the shooting: Olena Savchuk, Dilshod Mamadaliev, Bobur Sabirov, Makhammad Mirkhamidullev. Director of the Zhangjiajie Philharmonic Orchestra - Taras Kutsenko.
International Producers: Terry Heimat Studios LLC, Pier 5

Read also:

The premiere of a new musical version of a famous Chinese song in Sanji.

ZJJ Brass Band have submitted their singles for a Grammy Award balloted.

Romantic symphonies by Gounod and Bizet, edited by Leonard Bernstein.

]]> The Zhangjiajie Philharmonic Orchestra has recorded the oldest Chinese song in the arrangement by Taras Kutsenko. https://terryheimat.com/tpost/y51senol01-the-zhangjiajie-philharmonic-orchestra-h https://terryheimat.com/tpost/y51senol01-the-zhangjiajie-philharmonic-orchestra-h?amp=true Wed, 18 Sep 2024 15:32:00 +0300 Press Service Liangzhu. According to some estimates, this song may be more than 4000 years old.

The Zhangjiajie Philharmonic Orchestra has recorded the oldest Chinese song in the arrangement by Taras Kutsenko.

on picture: Sphinx and animal face motif on a jade badge from Liangzhu.

The Zhangjiajie Philharmonic Orchestra has recorded the oldest Chinese song.

Liangzhu. According to some estimates, this song may be more than 4000 years old.

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Producers: Taras Kutsenko (Terry Heimat Studios LLC, Florida) & Alex Sino (Pier5 LTD, New York)

Liangzhu culture, one of the archaeological cultures of the Neolithic period in China between 5,300 and 4,000 years ago, which appeared and developed around the lower reaches of the Yangtze River in the area around the Taihu Lake, with a total of more than 500 sites found, with Moguoshan near the Liangzhu ruins as the central area. The most important feature of the Liangzhu culture is the use and burial of jade, including the large jade cong, jade bik, and jade battle-axe. Jade cong was the most crafted and authoritative jade artifact, often engraved with delicate animal-face motifs, a picture of the gods, while the jade battle-axe was a symbol of military and royal power. The political body of Liangzhu culture was a sheikhdom, and some scholars believe that the prototype of the state had already appeared, which could mobilize a large number of laborers, formed alliances among the sheikhdoms, with strong theocratic coloring, constructed large-scale sacrificial places, city walls and flood-proof earth walls, and the status of members of the society was differentiated into aristocrats and ordinary commoners.

Liangzhu ancestors good use of stone plow farming, rice began to become the main source of food, and primitive writing. Liangzhu culture is regarded as an important cradle of China's prehistoric civilization, Liangzhu jade marking the arrival of the age of civilization, and close exchanges with the northern Longshan culture. Liangzhu culture ended with the disintegration of the sheikhdoms or states, the decline of agriculture, the loss of jade artifacts, followed by the Maqiao culture regressed back to the economic state of self-sufficiency, hunting and picking, and returned to a more decentralized tribal society.

The Liangzhu culture was a theocracy with strong religious overtones, and earthen shrines of various sizes were built in settlement centers. Most of them served both ritual and funerary functions, such as the religious altar with the highest features at Moguoshan and two funerary altars at Antishan and Yaoshan. A large version of a building foundation altar was found among the earthen platforms at the Moguoshan site, which may have been used for rituals, assemblies, or vows of unity. The unity of social groups was achieved through ritual actions, forming a prototype of a religious ritual state. The kong symbolized the legitimacy of religious authority, which itself varied in thickness and size, as well as the power it represented. Lin Xingef noted that the animal face on the kong represented the sun god or fire god, and that it was surrounded by an image of a ghostly sun. (A mirage of the sun refers to a halo formed by rays of light emitted from a small point on the outside of the sun.) The sun god was worshipped because in the region where rice was grown, the light and warmth of the sun was essential for the growth and harvest of rice. On the head of the animal face is a crown of feathers, which represents the wings of a bird and also symbolizes the sun's rays. If one inserted feathers or straw, symbolizing sunlight, into the holes of a jade conga, he gained the power of a god, and the holes of the conga were places where gods descended to stay and were used for sacrifices to the sun god or fire god and for sacrifices to the sky god with fire, and the altar at the Fuchuanshan site is several meters long and bears traces of fire. Li Xueqin, however, suggests that the animal face is a dragon.

The orchestra performs the melody, restored by Chinese experts, in a colorful arrangement by conductor Taras Kutsenko. Violin solo - Valery Moiseenko.

]]> Today is our feast, International Music Day. https://terryheimat.com/tpost/mtjzr1lm11-today-is-our-feast-international-music-d https://terryheimat.com/tpost/mtjzr1lm11-today-is-our-feast-international-music-d?amp=true Wed, 02 Oct 2024 04:02:00 +0300 Press Service Congratulations to all of our friends, musicians and music lovers!

Today is our feast, International Music Day.

Today is our feast, International Music Day.

This day is observed on October 1, a date established by UNESCO in 1975 to celebrate the diverse expressions and global significance of music. This day pays tribute to musicians and the various musical styles that people of all backgrounds enjoy and share, bringing them together through a shared sentiment.

Our life represent passion for music and dedication to creating something extraordinary. We hope it resonates with listeners.

Congratulations to all of our friends, musicians and music lovers!

]]> On the 100th anniversary of the memory of Giacomo Puccini. https://terryheimat.com/tpost/nybf7y1bk1-on-the-100th-anniversary-of-the-memory-o https://terryheimat.com/tpost/nybf7y1bk1-on-the-100th-anniversary-of-the-memory-o?amp=true Tue, 01 Oct 2024 11:10:00 +0300 Press Service Themes from Puccini's famous opera Turandot, performed orchestrally as the composer intended. Archival data.

On the 100th anniversary of the memory of Giacomo Puccini.

In 2022, the composer's letters were made public, among which there was confirmation that the composer had intended to make an orchestral suite on the theme of his own opera Turandot. This is understandable, because the opera turned out to be very, very beautiful. The composer died two years before the opera's premiere, however, before he had time to finish it.

The first performance took place on April 25, 1926 in Milan. Puccini died in 1924 before the opera could be completed, and subsequently all performances of Turandot ended with a final duet and finale written by Franco Alfano from the author's drafts. However, this version of the opera's ending is not the only one. Composers Luciano Berio (premiere in 2002, conducted by V. Gergiev) and Hao Weiya (premiere in 2008) have also proposed their own versions.

Symphonic Fantasy on the theme of Puccini's opera Turandot written by composer and conductor Taras Kutsenko was recorded by the Zhangjiajie Philharmonic Orchestra in 2024. The ZPO Orchestra is already known as a collective involved in laboratory and research activities. In collaboration with producer Alex Sino (Record lable Pier 5), the orchestra has numerous audio recordings of crossover music. For example, a performance of the Romantic Symphonies by Bizet and Gounod in Leonardo Bernstein's edition, which are submitted for voting to the GRAMMY® Academicians in 2024. In further plans of the collective, recording of new albums with rarely performed music of classical direction and crossover.

On November 29, the entire musical world will celebrate the 100th anniversary of the death of the great Italian opera composer Giacomo Puccini.

]]> FYC the 67th GRAMMY Awards® Nominations. https://terryheimat.com/tpost/7vbn0z9he1-fyc-the-67th-grammy-awardsnominations https://terryheimat.com/tpost/7vbn0z9he1-fyc-the-67th-grammy-awardsnominations?amp=true Sat, 05 Oct 2024 14:18:00 +0300 Press Service We're competing in six categories.

FYC the 67th GRAMMY Awards® Nominations.

We have had a truly productive year trying to improve constantly. We are thrilled that the albums written and produced by Alex Sino and Taras Kutsenko - Domus Solis, R. Gliere 12 duos for two violins, Romantic Symphonies edited by Leonard Bernstein, and The House of Dreams are on the ballots for the 67th GRAMMY Awards^® Nominations.

This groundbreaking work is a testament to an innovative approach to music. The albums are a unique blend of genres and exceptional production quality that already garnered critical acclaim and captivated audiences worldwide.

“We are incredibly honored to have our albums considered for a Grammy” - said Alex Sino. “These albums represent our passion for music and dedication to creating something extraordinary. We hope it resonates with listeners and the Recording Academy members alike.”

In addition to considerations for nominations in Best Albums categories, the Record Labels “Terry Heimat Studios LLC” and “Pier 5”, submitted Alex Sino and Taras Kutsenko to the Grammy Ballots in "Producer Of The Year, Classical" and"Producer Of The Year, Non-Classical" Categories.

For more information, requests, or to arrange an interview, contact Pier 5 Records at 305Pier5@gmail.com

LEARN MORE

]]> RECORDING: Domus Solis: A Musical Journey From Classical Music To Jazz https://www.allaboutjazz.com/news/domus-solis-a-musical-journey-from-classical-music-to-jazz/ Mon, 11 Nov 2024 13:32:00 +0300 Press Service Music supports global communications and surpasses limitations, and few genres illustrate this better than classical music and jazz.

RECORDING: Domus Solis: A Musical Journey From Classical Music To Jazz

]]> Build your future together with NODEPAY. https://terryheimat.com/tpost/8zsnsrdup1-build-your-future-together-with-nodepay https://terryheimat.com/tpost/8zsnsrdup1-build-your-future-together-with-nodepay?amp=true Tue, 17 Dec 2024 04:25:00 +0300 Press Service How do I get your free tokens?

Build your future together with NODEPAY.

Every person: musician, doctor, teacher, etc. wants to practice their profession calmly without looking back at the hustle and bustle of today. Every person: musician, doctor, teacher, etc. thinks about their future, what awaits them when the time of old age (retirement) comes and, frankly, this makes me think a little.
My name is Taras. I am 47 years old. I am a current professor at University, specializing in music.
I have been asking myself this question for a long time: who will pay me a pension?
Answer: no one guarantees my existence upon reaching retirement age.
In this case, I need to take care of this now.
But how? In order to invest money at interest, they must be there. But I do not have free money, because I continue to live and my family needs to eat something.
Today I have found a way to earn money. This income is associated with crypto currency. And in my opinion, it is very promising.
This article is about one Internet project that will bring you income in the future, and now you do not need to invest your money, but only your participation is needed. If this article already at this stage makes you skeptical, then I advise you not to judge, but just live on, but I recommend thinking about it.

Please take a moment and read this article to the end.

You need to register on the site on THIS LINK, pass all the necessary conditions of verification and voila. You don't do anything else, just live with the Internet on, and Nodepay uses your unspent Internet traffic automatically. Every day you will receive from this company your honestly earned money, which can be exchanged for the currency you want.

Nodepay aims to revolutionize the cryptocurrency market with the launch of its own token, Nodepay (NP). To participate in the Nodepay airdrop and pre-sale, users are required to undergo wallet verification. This ensures a secure process of exchanging Nodepay points for tokens and access to early distribution opportunities. With upcoming listings on major exchanges, Nodepay's transparent approach promises significant benefits for its community.

Key findings

Basic wallet verification:Completion of wallet verification ensures eligibility for Nodepay airdrop and presale.
Major Exchange Listing:Nodepay (NP) will soon be added to major platforms.
Token allocation plan:50% of the 1.5 billion NP tokens are allocated to the community for fair distribution.

Participation in Nodepay airdrop and token presale with wallet verification

Nodepay, a leading cryptocurrency platform, is preparing to launch its own token, Nodepay (NP), with an upcoming listing on major exchanges. Before the official launch, participants are strongly encouraged to complete wallet verification, which is an important step to participate in the Nodepay giveaway and token presale. This process allows users to exchange Nodepay points for Nodepay tokens and access early distribution opportunities. Completing the wallet connection process ensures a secure and fixed wallet address to participate in tokens. The steps are simple, but accuracy is critical to avoid mistakes.

How to complete the wallet verification process

Step 1: Email Confirmation

Click “Confirm” in the “Confirm your email” section.
Open the confirmation email from Nodepay.
Click on the provided link to confirm within 24 hours.
Wait for the green icon that says “Verified”.

Step 2: Connect your wallet

Select “Connect” in the “Connect your wallet” section.
Select Solana Wallet and sign the message for verification.

Step 3: Confirm your wallet address

Click “Confirm”.
Check your email for a link to confirm your wallet (valid for 1 hour).
Wait for notification about successful verification “Wallet verified”.

Airdrop and Nodepay listing: key details
Airdrop Nodepay is offering early access to NP tokens ahead of launch. Of the total 1.5 billion NP tokens, 50% are allocated to the community, 14% to investors and 10% to Mysten Labs treasury. Major exchanges intend to list the token soon.

Important dates and information:

Airdrop Date:Eligible users can get their tokens by going through wallet verification.
Listing Date:Nodepay will be officially listed on the major exchanges next week.
Referral Code:Users can earn referral rewards by sharing their Nodepay referral code.

By following these steps and timelines, participants can secure their tokens and prepare to trade on major exchanges once officially listed.

Conclusion
Nodepay establishes a solid foundation for its token launch by offering exciting opportunities for early adopters through distribution and presale. By providing wallet verification, users gain access to secure transactions and early token distribution. The platform's commitment to community-oriented tokenization, coupled with listings on major exchanges, positions Nodepay (NP) as a promising investment in the cryptocurrency ecosystem. With developed plans and user-friendly processes, Nodepay is ready to make a name for itself in the crypto space.

Frequently Asked Questions

What is Nodepay and why is wallet verification important?
Nodepay is a cryptocurrency platform that introduces its token (NP). Wallet verification ensures safe participation in free giveaway and presale events.

How do users benefit from Nodepay's airdrop?
Participants can get free NP tokens during airdrop, giving them early access to the tokens before they are listed on major exchanges.

When will Nodepay (NP) be available for trading?
Nodepay (NP) is expected to be listed on major exchanges next week, allowing users to trade the token.

]]> About Values and the Reduction of Needs https://terryheimat.com/tpost/3p7sexhum1-about-values-and-the-reduction-of-needs https://terryheimat.com/tpost/3p7sexhum1-about-values-and-the-reduction-of-needs?amp=true Sun, 11 May 2025 03:28:00 +0300 Press Service Education through music and conscious development will be key elements of this world.

About Values and the Reduction of Needs

In the future, after several decades, humanity will reach a new level of consciousness and cooperation, which will completely transform the financial relations system. The foundation of this new era will be a collective understanding of values and conscious reduction of needs.

You may be surprised, but right now, this is exactly what is happening in the world—the clash of different values and the collision of civilizations.

But from the global to the personal—because it begins with you: the processes of evolution and self-formation start there.

So, what is this?

It is an obvious growth trend: reducing needs and gaining rewards for more targeted and beneficial investments—so-called personal investments: buying real estate for rent, education, developing skills, and innovations.

Mindfulness and Self-Analysis

Of course, everything should be filtered through the brain, and learning to effectively control your true needs is essential. For creative-minded people, it might be best to start keeping a diary of income and expenses, which can help identify gaps in your budget over time. Ask yourself questions like: “Is this really necessary? What will I get in return? Can I do without it?”

Next, it’s crucial to learn how to set correct and realistic goals. Give yourself the opportunity—clarify your priorities. What is more important for you—material comfort, development, communication, or something else, like health?

Focus on what truly matters and brings satisfaction, not external status symbols. We’ll talk about pleasures and their criteria next time—they are simple if you set your mind in the right direction using already established tools of morality: books, movies, music.

Minimalism and Simplification

It’s very important to shed excess possessions and obligations that don’t bring joy. Of course, do this gradually and carefully—since many things involve other people you’re not obliged to inform about your changes. But over time, they will have valid questions for you. Be prepared to answer them with dignity, not with “I don’t want to, that’s it.”

You wouldn’t tell colleagues or acquaintances that you’re simplifying your life—reducing the number of purchases, preferring quality and durable items, avoiding worrying about trivial matters or waiting for holidays to become someone else and escape everyday fuss. But what if this state of harmony and peace could be felt always? Perhaps that is the very goal worth pursuing.

Inner Wealth Development

Invest in developing your skills, knowledge, creativity, and health—rather than material things. They will bring long-term satisfaction.

Working on inner stability (meditation, reading, gratitude to the Universe and oneself as part of the great cosmos) helps reduce dependence on external stimulants like drunken gatherings, collective visits to slot machine halls, etc.

Budget and Goal Planning

Determine your actual income and essential expenses. Make a plan—learn to save part of your earnings to build a financial safety net, rather than spending everything immediately.

Reevaluating Habits and Social Influences

Be mindful of the impact of your environment and advertising. Learn to critically assess marketing messages. Limit the influence of social networks and media that generate a desire to buy unobtainable things for status.

Practicing Gratitude and Contentment

Regularly appreciate what you already have and express gratitude for it. This helps diminish the desire for constantly new and trendy items. It doesn’t mean you will become dull or unattractive—you’ll simply have an opportunity to discover something new within yourself, something that distinguishes you from others and inspires you.

Communicate and Share Experiences

Connect with people practicing minimalism and conscious consumption. They can offer valuable insights and motivation. Don’t be shy to talk with others or fear being ridiculed—such reactions can be beneficial for you. Those who laugh now might reflect on it later, but you will already be far ahead of them.

Reducing Needs is a path to inner harmony and financial stability, based on recognizing true values, developing self-discipline, and cultivating awareness. This process takes time and patience, but ultimately helps you live more simply, happily, and freely.

The future depends on each of us working on ourselves.

In thirty or forty years, the global community will unite around the idea of sustainable development and spiritual well-being. People will stop putting material wealth at the center of their lives—acquiring it for the process itself, not for status or competition. Instead, a system will emerge where resources are allocated based on real needs and fairness, not on power or wealth.

This system will rely on advanced technologies—blockchain, artificial intelligence, and global sharing platforms—that ensure transparency and efficiency in resource distribution. People worldwide will easily share products, knowledge, and services, creating a community where value is defined not by possessions but by the goods that bring joy and benefit society.

Education and conscious development will become key elements of this world. Every person will learn to recognize their true needs and values, to appreciate interaction, creativity, and community. This will reduce overconsumption and minimize environmental impact.

Poverty as such will disappear thanks to the global acceptance of new values and accessible exchange opportunities. By perceiving wealth not as individual property but as a collective resource, humanity will create conditions where no one will be left without the necessary means of subsistence.

Thus, the future financial system is not just mechanisms of exchange and money, but a reflection of a new worldview, where the primary values are harmony, sustainability, and the joint development of every individual. A world where poverty is defeated precisely through collective understanding of values and reduction of excess needs will become a reality—where prosperity and well-being become accessible to everyone.

So, what is this?

It is an obvious growth trend: reducing needs and gaining rewards for more targeted and beneficial investments—so-called personal investments: buying real estate for rent, education, developing skills, and innovations.

Mindfulness and Self-Analysis

Of course, everything should be filtered through the brain, and learning to effectively control your true needs is essential. For creative-minded people, it might be best to start keeping a diary of income and expenses, which can help identify gaps in your budget over time. Ask yourself questions like: “Is this really necessary? What will I get in return? Can I do without it?”

Next, it’s crucial to learn how to set correct and realistic goals. Give yourself the opportunity—clarify your priorities. What is more important for you—material comfort, development, communication, or something else, like health?

Focus on what truly matters and brings satisfaction, not external status symbols. We’ll talk about pleasures and their criteria next time—they are simple if you set your mind in the right direction using already established tools of morality: books, movies, music.

Minimalism and Simplification

It’s very important to shed excess possessions and obligations that don’t bring joy. Of course, do this gradually and carefully—since many things involve other people you’re not obliged to inform about your changes. But over time, they will have valid questions for you. Be prepared to answer them with dignity, not with “I don’t want to, that’s it.”

You wouldn’t tell colleagues or acquaintances that you’re simplifying your life—reducing the number of purchases, preferring quality and durable items, avoiding worrying about trivial matters or waiting for holidays to become someone else and escape everyday fuss. But what if this state of harmony and peace could be felt always? Perhaps that is the very goal worth pursuing.

Inner Wealth Development

Invest in developing your skills, knowledge, creativity, and health—rather than material things. They will bring long-term satisfaction.

Working on inner stability (meditation, reading, gratitude to the Universe and oneself as part of the great cosmos) helps reduce dependence on external stimulants like drunken gatherings, collective visits to slot machine halls, etc.

Budget and Goal Planning

Determine your actual income and essential expenses. Make a plan—learn to save part of your earnings to build a financial safety net, rather than spending everything immediately.

Reevaluating Habits and Social Influences

Be mindful of the impact of your environment and advertising. Learn to critically assess marketing messages. Limit the influence of social networks and media that generate a desire to buy unobtainable things for status.

Practicing Gratitude and Contentment

Regularly appreciate what you already have and express gratitude for it. This helps diminish the desire for constantly new and trendy items. It doesn’t mean you will become dull or unattractive—you’ll simply have an opportunity to discover something new within yourself, something that distinguishes you from others and inspires you.

Communicate and Share Experiences

Connect with people practicing minimalism and conscious consumption. They can offer valuable insights and motivation. Don’t be shy to talk with others or fear being ridiculed—such reactions can be beneficial for you. Those who laugh now might reflect on it later, but you will already be far ahead of them.

Reducing Needs is a path to inner harmony and financial stability, based on recognizing true values, developing self-discipline, and cultivating awareness. This process takes time and patience, but ultimately helps you live more simply, happily, and freely.

The future depends on each of us working on ourselves.

In thirty or forty years, the global community will unite around the idea of sustainable development and spiritual well-being. People will stop putting material wealth at the center of their lives—acquiring it for the process itself, not for status or competition. Instead, a system will emerge where resources are allocated based on real needs and fairness, not on power or wealth.

This system will rely on advanced technologies—blockchain, artificial intelligence, and global sharing platforms—that ensure transparency and efficiency in resource distribution. People worldwide will easily share products, knowledge, and services, creating a community where value is defined not by possessions but by the goods that bring joy and benefit society.

Education and conscious development will become key elements of this world. Every person will learn to recognize their true needs and values, to appreciate interaction, creativity, and community. This will reduce overconsumption and minimize environmental impact.

Poverty as such will disappear thanks to the global acceptance of new values and accessible exchange opportunities. By perceiving wealth not as individual property but as a collective resource, humanity will create conditions where no one will be left without the necessary means of subsistence.

Thus, the future financial system is not just mechanisms of exchange and money, but a reflection of a new worldview, where the primary values are harmony, sustainability, and the joint development of every individual. A world where poverty is defeated precisely through collective understanding of values and reduction of excess needs will become a reality—where prosperity and well-being become accessible to everyone.

]]> New Musical Album for Dance Students: Tools for Classical Ballet Practice https://terryheimat.com/tpost/sjgkn06h21-new-musical-album-for-dance-students-too https://terryheimat.com/tpost/sjgkn06h21-new-musical-album-for-dance-students-too?amp=true Fri, 09 May 2025 03:24:00 +0300 Press Service Music On May 12, the release premiered on all digital platforms worldwide — a highly anticipated musical album created specifically for students of the Dance Faculty at Zhangjiajie College, led by Professor Yuliya Kutsenko.

New Musical Album for Dance Students: Tools for Classical Ballet Practice

This album is an important step in developing the professional training and mastery of young dancers, blending music and practice in a unique form.

GUO JING PIANO MUSIC FOR BALLET CLASS

This album is an important step in developing the professional training and mastery of young dancers, blending music and practice in a unique form.

At the center of the album is piano music performed by pianist 郭晶 (Guo Jing). His accompanying compositions are designed for classical ballet lessons and will help students improve their skills outside the academic environment. The album features 18 unique audio tracks recorded in a tempo suitable for training, making them ideal for independent practice and technique reinforcement.

This musical collection will become a valuable resource for young dancers, enabling them to continually refine their technique, develop a sense of rhythm, and control movement outside the studio walls. It is especially significant, as such materials contribute to strengthening the Chinese school of dance mastery and popularizing its unique traditions.

Professor Yuliya Kutsenko

Terry Heimat Studios LLC plans to create a series of audio recordings specifically aimed at supporting students in their learning process. This approach makes training more accessible and flexible, fostering the development of professional and cultural identity within classical ballet.

This album will not only help students reach new heights in dance but also make a significant contribution to the development of national dance art, connecting classical music with modern educational methods.

]]> Terry Heimat has been invited as a jury member for the Antal Dorati International Conducting Competition 2025 https://terryheimat.com/tpost/j1g6yd6rs1-terry-heimat-has-been-invited-as-a-jury https://terryheimat.com/tpost/j1g6yd6rs1-terry-heimat-has-been-invited-as-a-jury?amp=true Thu, 15 May 2025 11:47:00 +0300 Press Service The first fund is 12,000 euros. Applications will be accepted until May 31.

Terry Heimat has been invited as a jury member for the Antal Dorati International Conducting Competition 2025

We are pleased to announce that the renowned conductor Terry Haitamat will be one of the judges at the prestigious international conducting competition — Antal Dorati International Conducting Competition, which will take place from October 14 to 19, 2025, in Budapest.

The prize fund includes monetary awards, regular prizes, and special prizes. The total monetary prizes of €12,000 will be awarded to the top two winners: €8,000 for first place and €4,000 for second place. Additionally, the winners will gain engagements with leading orchestras worldwide: Hungary, Austria, Italy, France, Bulgaria, USA, China, and Korea.

RULES

This contest has already established itself as an influential platform for discovering new talents in classical music. The jury will include acclaimed conductors such as Antonello Allemandi, György G. Ráth, Anton Shaburov, and Grammy®-winning conductor Michael Repper, among others. Their experience and professionalism will ensure fair and objective judging.

JURY

Applications are open until May 31, 2025. You can apply via this link:
APPLICATION FORM

The repertoire list for the competition is impressive:

Ludwig van Beethoven: 3rd Symphony, 1st movement
Franz Joseph Haydn: Armida Overture
Ludwig van Beethoven: 5th Symphony, 1st movement
Louise Farrenc: Overture No. 2
Ludwig van Beethoven: Egmont Overture
Gioachino Rossini: Sinfonia from “La Cenerentola”
Johannes Brahms: Symphony No. 3 in F major, Op. 90, 1st movement (“Allegro con brio”)
Robert Schumann: Symphony No. 3 in E-flat major, Op. 97 (“Rhenish”), 1st movement (“Vivace”)
Richard Strauss: Tiel Ulen Shpiegel, Lustige Streiche, Op. 28
Béla Bartók: Concerto for Orchestra
Moussorgsky/Ravel: Pictures at an Exhibition
Peter Eötvös: Per Le Lucano Berrio
Lily Boulanger: D'un Matin de Printemps
Béla Bartók: Concerto for Orchestra (repeated)
Lily Boulanger: D'un Matin de Printemps (repeated)

We wish all participants the best of luck and creative success! And to the jury members — impartial and comprehensive judging, which will help identify the brightest talents of the future.

This event promises to be a highlight in the world of classical music this year — don’t miss it!

3rd Antal Doráti International Conducting Competition Final and Gala Concert

]]> Zhangjiajie-ASEAN International Choral Festival: Singing as an Art and Means of Self-Expression https://terryheimat.com/tpost/9klmh48x61-zhangjiajie-asean-international-choral-f https://terryheimat.com/tpost/9klmh48x61-zhangjiajie-asean-international-choral-f?amp=true Thu, 10 Jul 2025 15:30:00 +0300 Press Service July 9, the Zhangjiajie-ASEAN International Choral Exhibition (张家界·东盟国际合唱展) officially opened at the Zhangjiajie College.

Zhangjiajie-ASEAN International Choral Festival: Singing as an Art and Means of Self-Expression

This event has brought together choirs from different provinces of China, festival guests, and esteemed jury members who will evaluate the choir performances in the competition.

The grand opening was marked by a performance from the International Symphony Orchestra of Zhangjiajie College. The orchestra played works by Chinese composers, accompanied by the college choir and soloist Wan Xiao Chen Yu. This musical presentation created a festive atmosphere and vividly demonstrated the richness of choral art.

After the musical performance, the festival organizers addressed the audience, including our leader, Jane Derbin. In his speech, he emphasized the importance of choral art in Chinese culture and traditions. According to Jane Derbin, choral art has deep historical roots and serves not only as a means of self-expression but also as a way to unite society. He noted that choral singing promotes understanding and friendship between people of different ages and social groups.

Jane Derbin also highlighted that choral art plays a significant role in education. At Zhangjiajie College, choral ensembles contribute to developing young people's creative skills and fostering a sense of collectivism, which, in turn, strengthens students' confidence. Thus, choral art becomes a powerful tool for interaction between different cultures and peoples.

Following the official part of the event, workshops with the jury members took place. Teacher Zhu Xi conducted an analysis of the Zhangjiajie College choir's performance, focusing on word articulation and proper sound delivery. Teacher She Jia Lin provided advice to the choir directly under the administration of the Chanzhi Choral Association from Shanxi Province. He concentrated on aspects such as breathing and phrasing, emphasizing their importance for achieving quality choral sound production.

Dr. Mao Yong, who worked with the "Jiayin" choir from Shaanxi Province, gave an interesting lecture on sound visualization. His exercises captivated audiences, showcasing new approaches to choral singing.

The first half of the day concluded with Teacher Dou Tiemin, who shared his experience working with the choir "on Tianmen Mountain" in Zhangjiajie.

This wonderful cultural event will continue to delight us over the coming days.

In the afternoon of July 9, during the Zhangjiajie-ASEAN International Choral Exhibition (张家界·东盟国际合唱展), children’s choirs performed to an enthusiastic audience. This festival became a vibrant event, where not only the young performers took center stage, but also their mentors, notably Professor Zhen Baoping and Dr. Mao Yong. Their profound knowledge and experience helped the participants understand the significance of nurturing vocal skills from an early age.

The Impact of Early Musical Education

Professor Zhen Baoping shared his thoughts on the importance of developing singing abilities from a young age. He remarked, "We are all born, and the first thing a child utters is a cry." He believes that this natural form of sound production is the most correct. As individuals grow, they must learn to manage their sound expressions, transforming a cry into a controlled form of communication.

A newborn's cry is a primary signal of life, allowing the child to express their needs and attract the attention of those around them. Over time, individuals learn to control their voice, becoming a vital skill for conveying emotions and information. However, voice management encompasses more than just a technical aspect; upbringing and cultural environment also play crucial roles in developing sound skills, connecting us with our emotions and each other.

Dr. Mao Yong's Unique Work with Children's Choirs

The next speaker at the event was Dr. Mao Yong, who inspired the audience with his professionalism and unique approach to education. The work of a choral conductor with children's choirs requires a blend of musical education and upbringing through art. One important aspect of this field is the correct breathing and voice technique, which is also achieved through playful methods.

Proper breathing is the foundation of any vocal performance, and for children just beginning their musical journey, understanding how to use their breathing mechanisms can be challenging. Thus, the conductor employs various methods to explain and practice breathing techniques. Playful approaches in this process make learning more accessible and engaging, fostering a positive atmosphere.

Playful Methods as a Tool for Learning

Games not only develop the voice and breathing but also enhance musical ear and help liberate personality. Playful methods in the conductor's work make the learning process more comfortable and effective. Establishing breathing and voice techniques through games opens new horizons in music for children, allowing them to express themselves and develop their creative abilities.

Ultimately, such educational methodology not only forms singing skills but also creates a positive attitude towards music as an art form that children can dedicate their lives to. The Zhangjiajie-ASEAN International Choral Festival has become a vivid example of the importance of working with future musicians and its impact on the development of each child's creative personality.

In conclusion, the Zhangjiajie-ASEAN International Choral Festival stands as a vibrant celebration of choral art and its profound role in personal and cultural expression. This inaugural event has successfully gathered diverse choirs and esteemed educators, fostering an environment where musicianship and creativity can flourish. The performances, workshops, and discussions throughout the festival echo the sentiments expressed by Jane Derbin about the historical and contemporary significance of choral singing in uniting people and enhancing educational practices.

The emphasis on early musical education, as highlighted by Professor Zhen Baoping and Dr. Mao Yong, reinforces the notion that nurturing vocal skills from a young age is crucial for emotional expression and communication. Their innovative and playful methodologies showcase the power of music as a tool for personal development, empowering children to convey their emotions while instilling a lifelong love of singing.

As we look forward to the upcoming days of the festival, we are reminded of the transformative power of music and its ability to connect individuals across cultures and generations. The Zhangjiajie-ASEAN International Choral Festival not only enriches the local community but also leaves a lasting impact on the future of choral music and education.

The festival ended with a solemn ceremony of awarding prizes to the winners of the choir competition held as part of the festival. I am very pleased that the first prize was awarded to the choir of our college. Without false modesty I will say that the work of our choir really surpassed all the presented groups and became an indicative moment of this festival.

In conclusion, I would like to congratulate all the winners and participants of the contest-festival on their successful participation in this wonderful festival!

Choral art is a great form of self-expression, and your performances proved that music really unites us, helps us to feel and understand each other on a deep level.

I hope that this experience will inspire you for further creative work and new achievements in your musical activities. May every chord, every solo and every choral performance fill your life with joy and inspiration.

We wish you a wonderful mood, creative success and see you next time! May your voices sound wherever you are and continue to give joy to all who listen to you!

]]> Dialogue on the Soul, Gustav Mahler, and Music https://terryheimat.com/tpost/9do8au3db1-dialogue-on-the-soul-gustav-mahler-and-m https://terryheimat.com/tpost/9do8au3db1-dialogue-on-the-soul-gustav-mahler-and-m?amp=true Sun, 03 Aug 2025 02:39:00 +0300 Press Service Alexander Rapoport, Alex Sino, and Terry Heimat.Mediation with Igor Sandler MK Israel

Dialogue on the Soul, Gustav Mahler, and Music

IGOR SANDLER AND ALEXANDER RAPOPORT, PHOTO: IGOR SANDLER'S STUDIO

SOURCE

In Igor Sandler's studio, twilight arrives unnoticed, as if sneaking in behind the sounds of voices. Two people sit across from each other — not a host and a guest, but two creative souls tuned to the same wavelength. And via video link, there are two more creative individuals in the studio: producer, musician, and writer Alex Sino, currently in Italy, and composer, conductor, and professor at the Music Academy of Zhangjiajie, Hunan, China, Terry Heimat.

Igor Sandler: Guys, I just listened to an excerpt from the play by Alex Sino and Terry Heimat titled "Prank," performed by Alexander Rapoport. I found it interesting. I want to ask Alex Sino — what is the play about?

Alex Sino: The play "Prank" is an intellectual detective story with a musical soul, where scenes unfold in a chaotic and mysterious orchestral rehearsal room. It's a kind of "Orchestral Rehearsal" of Fellini, but in today's context. Against the backdrop of Mahler's First Symphony, particularly its "provocative part" — The Hunter's Funeral — original compositions by Haimat and poems by Sino play. It's not just drama — it's a musical phantasmagoria, where each episode is structured according to the canons of a classical symphony: from overture to finale. The plot keeps the audience on the edge of their seats until the last moment, and the "spirit of Mahler" hovers over the characters, immersed in their dreams and mysteries.

Igor Sandler: (There is something more than professional curiosity in his eyes). Sasha (Rapoport), you know, whenever I listen to Mahler, I always feel that this is not music — it’s a scream. The scream of a person who cannot remain silent. And now you, along with Alex Sino and Terry Heimat, take on the courage of… what? Explaining this scream to the audience?

Alexander Rapoport: A long pause. Igor, let me tell you what happened when the three of us first started talking about Mahler. Alex (Sino) called me while I was on my way to gather material for a traditional annual reading at the "Sovremennik" theater, a sort of report on the work of the year, and said, "Sasha (we've been friends for over 30 years!), I have the main role for you in your acting career. Do you want to play Leonard Bernstein and Gustav Mahler in one person?” I told the driver to turn around and to Alex, "Old man, send me the material." I listened to Mahler all night and realized — we must give Mahler a voice.

Alex Sino: Friends, Mahler did not die. He was just waiting for us to mature enough to hear him.

Rapoport: And you know what I realized? We are not deciphering his scream. We become his echo.

FIRST WOUND: A CHILDHOOD THAT DOESN'T END

Sandler: In your project, you play several roles. But speaking of Mahler himself — who was he deep down? A child? A revenger? A prophet?

Rapoport: In modern society, there is a growing interest in psychological aspects and mental health. "PRANK" touches on themes of manipulation, fear, and pressure, showing how social interactions can impact an individual's and society's self-esteem. This context allows the audience to appreciate how small actions can have serious emotional and psychological consequences. When asked in childhood what he wanted to be, Mahler replied: "A martyr." His messianic aspirations became evident in his teenage years. He borrowed from Schopenhauer and preached the idea that humanity could only be saved by relentless devotion to art and the tireless search for the divine. He was a maniacal seeker of God.

He pulls out sheets of paper. Let me read you something. This is from my notes for the performance —

"Little Gustav stands by the window of their house in Kalisht. Behind the wall — the screams of his father, the cries of his mother. Marie Mahler gave birth to fourteen children, but nine of them… nine little coffins. Gustav counts them on his fingers — Isidor, Ernst, Leopold… Each name hits like a hammer on the piano strings. And suddenly — a barrel organ plays in the street. A silly, cheerful melody bursts into the house filled with grief. And Gustav understands: here it is, life. Pain and joy, death and music — all at once, all in one heart. He will remember this moment forever. Later, telling Freud, he will say, 'Doctor, since then I cannot separate tragedy from farce — they live alongside each other within me.'”

That’s who he was, Igor. A child who understood too early that the world is both cruel and beautiful at the same time.

Sandler: silent, digesting what he has heard. These are the roots of his symphonies, right? Those sudden transitions from a funeral march to a waltz, from despair to childlike joy…

Terry Heimat: Exactly! When I arrange Mahler's works, I hear not the composer — I hear memory. The memory of a child who has seen too many deaths.

Historically, outstanding conductors possessed several common traits: acute hearing, an appeal that enchanted musicians at first sight, great organizational skills, physical and spiritual strength, ruthless ambition, powerful intellect, and an innate sense of order that managed to pierce through thousands of disparate notes to reach the artistic core of the musical work. The ability to perceive the score as a whole and convey that experience to others is the essence of interpretation.

TERRY HEIMAT, PHOTO FROM TERRY HEIMAT'S PERSONAL ARCHIVE

SECOND WOUND: THREE TIMES EXILED

Sandler: What about Mahler's loneliness? After all, he was famous, conducted in the best theaters in the world…

Rapoport: bitterly smiles. It’s scary to delve into Mahler. God knows what you can hear there. And what you can learn. You know, there’s a thing called loneliness in a crowd. That’s why the question remains relevant — why Mahler? Is it about the music or the man? As Mahler himself said, he was threefold homeless: a Jew born in Bohemia, who spoke German and lived in Austria.

Alex Sino: One of the main characters in the play says: Music is not for entertainment. It shakes the world, influences ethics and human behavior. Later it turned out that Mahler said something similar — Judaism is like a swimmer with short arms, making double efforts to be the first to arrive. Or Mahler quoted ancient wisdom, or the Jews drew wisdom from Mahler.

Terry Heimat: Mahler understood early that to succeed in the heart of Europe’s largest empire, merely having talent was not enough. You also needed power. Without absolute control over everything that the opera performance depended on, achieving perfection in Vienna, regarding what Wagner envisioned — a union of all arts in Gesamtkunstwerk — was impossible.

Orchestra members feared him because he would not compromise in matters of art and was as unflinchingly strict with musicians in rehearsals as with himself, — said one of Mahler's conductor colleagues.

Rapoport: As a psychotherapist, I've met many such people — those who do not completely belong to any world. This is a special pain, Igor. You are a guest everywhere, even in your own soul.

A long pause.

Sandler: And how does this pain transform into music?

Rapoport: Ah, this is where the alchemy begins! Terry explained a wonderful thing: Mahler did not hide from pain — he befriended it. His symphonies are a dialogue with his own despair.

In our performance, there's a scene where Mahler is at the conductor's podium. And he is not just conducting — he is fighting. With the audience that doesn't understand him, with the musicians that resist him, with his own heart that tears apart from his love for music.

THIRD WOUND: ALMA AND THE PRICE OF LOVE

Sandler: Tell me about Alma. After all, this is the central drama of his life — a love that both saved and killed?

Rapoport: takes another sheet, his voice softens:

"1902. Gustav Mahler falls in love with Alma Schindler — a beauty, a composer, a woman with her own talent. But Mahler's love is a hurricane. He tells her, 'There can only be one composer in the house — and that’s me.'

Alma falls silent. Her symphonies remain unfinished. But can you silence a soul? It will take its revenge on him through infidelities, coldness, and reproaches. And he will write her love letters and the adagio from the Fifth Symphony — the most tender declaration of love ever sounded in an orchestra."

Sandler: And what happened next? The marriage couldn’t withstand it?

Rapoport: 1910. Alma falls in love with architect Walter Gropius. Mahler finds a love letter addressed to him — she mixed up the envelopes. Can you imagine that scene? He reads someone else’s words of love for his wife…

Sandler: How can you live after that?

Rapoport: Now here begins the most interesting part. Mahler goes to Freud! In Leiden, for four hours — the only psychotherapeutic session of his life. And you know what happens? Freud shows him that he himself killed the composer in Alma. That his love was a form of suffocation.

Mahler returns and does the incredible — he publishes Alma's songs! Holds a concert of her music! Tries to resurrect what he himself killed.

ALEX SINO, PHOTO FROM ALEX SINO'S PERSONAL ARCHIVE

Alex Sino: The ideal state in life that Mahler aspired to is hindered by struggle and hustle. But life, says Maestro, the main character of "Prank," cannot be understood without suffering and death. Mahler had complex feelings about life, death, music, and family — he loved, feared, hated, and felt guilt simultaneously.

FOURTH WOUND: CHILDREN AND DEATH

Sandler: His voice grows softer. And the children? I know their daughter died…

Rapoport: …1907. Mahler writes "Songs on Dead Children" — three years before his own daughter dies. Maria Anna, four years old. Scarlet fever.

He reads, and there’s something broken in his voice:

"He stands by the little coffin and thinks, 'Lord, I've sung about dead children while mine were alive. I must have called this upon myself with my songs.' And Alma looks at him in horror — as if she sees a murderer. Because she thinks so too.

After the funeral, he can't write for months. Silent, like a frozen piano. And then 'The Song of the Earth' is born — the most sorrowful work in the history of music. 'Ewig… ewig…' — 'Eternal… eternal…' — the last words of the symphony dissolve in the air like the breath of a dying child."

Sandler: Quietly: How do you endure this? How can you play such things while empathetically engaging in multiple characters?

Rapoport: Smiles. Igor, I do not play pain — I heal it. When an audience member weeps in the hall while listening to Mahler's story — it’s not entertainment. It’s catharsis. It’s healing through art.

LAST WOUND: DEATH AS LIBERATION

Sandler: And the finale? How did Mahler die?

Rapoport: He gets up, walks around the studio. 1911. New York. Mahler conducts his last "Ninth" — a symphony of testament. He has a sick heart but doesn’t stop. He conducts as he breathes — for without music he will suffocate faster.

He returns, his voice becomes solemn and sad:

"He dies in Vienna, in a house on Förstergasse. Alma is by his side — they reconciled before his death, as often happens. And do you know what his last words are? 'Mozart… Mozart…'

Not 'Alma,' not 'the children,' not 'forgive me' — 'Mozart.' He dies in music, just as he lived. And perhaps that’s the only way for a composer to die — to dissolve in the beauty that you created all your life."

Sandler: After a long pause. Sasha, why do we need this pain today? Why pick at someone else's wounds?

Rapoport: Sits down, looks straight into his eyes. Igor, as a physician, I know: pain that isn’t spoken about doesn’t disappear — it turns into a symptom. Mahler spoke his pain through symphonies. We express it through theater.

Mahler didn't write for his time — he wrote for ours. For an era when people forget how to feel.

In a world where everything is fast and superficial, we need a composer who makes you stop and hear your own heart.

Alex Sino: The music in the "Titan" and "The Hunter’s Funeral" is eternal, mourning for tyrants repeats again and again, and the "beasts" learn nothing. Or are afraid to learn…

Terry Heimat: Mahler's music reminds me of Einstein's theory. Time in music compresses or accelerates depending on the mood. Despite his despotism, Mahler did not dictate the tempo in the performance of his works. As the character of "Prank," Odessa native Semyon Grigoryevich, said, you won't find music in the notes. You need to feel it.

RETREATMENT. THROUGH THEATER

Sandler: And what happens to the audience when they watch your "The Draw"?

Rapoport: He smiles - for the first time in the whole conversation: you know, the strangest thing... People expect something light, playful. And what they get is a session of collective therapy.

Sandler: So Mahler is a cure?

Rapoport: Art heals. Mahler simply gave us an instrument - music that doesn't lie. And we turned that instrument into theater, which doesn't lie either.

He gets up, goes to the wall.

We don't play Mahler - we let him play us. It's all about development and the energy inherent in the music.

He stands up, and swaying recites:

It's all about sonata form, friend.

It's a misfortune, and a blessing.

The prologue sets destiny in motion,

The prologue in a sonata is a hard worker.

In the prologue, the melody of the main theme

Wrestles with the secondary theme.

In the prologue, the title part

Hasn't yet become familiar.

It's all about sonata form, friend.

The sonata is a capricious lady.

There's no other form known in the world

Where music tells the drama.

There's no rhythmic text in a sonata,

The title melody rhymes with the syllable,

And if she's talented

And if she's talented, she'll develop in time.

It's all about sonata form, friend.

Development will change the coda.

The reprise is a powerful prologue,

When freedom leaves the melody.

The reprise is already known

It's the fusion of the main themes.

The reprise is a repetition of the prologue,

And we knew it beforehand.

It's all about sonata form, friend.

But suddenly, if the coda is not a repetition,

It sounds like a creative trick,

And that creates doubt.

Doubt is a thorn

In a prologue that sounds tender.

You can feel the ending,

It's useless to predict

FINAL: MUSIC AS A PATH

Sandler: Sasha, what’s next? Where will you lead this project?

Rapoport: turns, and the fire rekindles in his eyes: you know, “nothing is accidental.” The fact that we are discussing this project today, that you invited me for this talk — this is also not a coincidence.

Mahler waited for us 165 years. He was waiting for people who would understand: his music is a path. A path between pain and beauty, between loneliness and love, between death and immortality.

I want this path to become known to everyone. So that in Moscow, Italy, China — everywhere people can feel — this music plays, and this story is told.

Sandler: And then what? Will the world become better?

Rapoport: Laughs — sadly and brightly at the same time: The world will become more honest. Because Mahler teaches the most important thing — not to be afraid of your own pain, not to hide from your own feelings.

He extends his hand to Sandler.

And honesty, Igor, is the first step towards healing. And towards beauty.

A silence settles in the studio — not an empty silence, but a full one. Full of music that is not sounding, but present. Outside the walls, Moscow lives its life, while somewhere in the world dreamers, poets, and musicians continue their work on the project "Prank," which aims to restore the forgotten ability to hear pain and transform it into beauty.

And perhaps right now, at this moment, someone will hear Mahler's First Symphony for the first time and understand: he is not alone in his suffering, not alone in his love for life, which is so cruel and so beautiful.

"A symphony should be like the world — it should embrace everything" (Gustav Mahler)

“Mediation with Igor Sandler” is not just an interview, it’s a musical dialogue where each story sounds like a note in the composition of time. And new guests in the segment: Alexander Rapoport, Terry Haimat, and Alex Sino, proved that stories can sound just as expressively as music.

"We will definitely meet again and continue our mediation!" — these words sound like a promise of new stories waiting for their moment in Igor Sandler's studio.

About PRANK project

]]> The Russian premiere of Mendelssohn's oratorio Elijah took place in the Grand Hall of the Conservatory. https://terryheimat.com/tpost/o0dr24zzk1-the-russian-premiere-of-mendelssohns-ora https://terryheimat.com/tpost/o0dr24zzk1-the-russian-premiere-of-mendelssohns-ora?amp=true Wed, 26 Jul 2000 10:00:00 +0400 Press Service The Arkhipova Foundation has launched active concert and production activities.

The Russian premiere of Mendelssohn's oratorio Elijah took place in the Grand Hall of the Conservatory.

IRINA ARKHIPOVA FOUNDATION not only has a great voice and a historic name, but also a reputation as a tireless social activist. She is president of the International Union of Musical Figures and her own eponymous foundation (whose vice-president is the famous tenor and Irina Konstantinovna's husband, Vladislav Pyavko). Arkhipova has her “own” festivals in many regions of the country (a music festival has just ended in Seliger, Ostashkov) and her “own” competitions (named after Glinka and Tchaikovsky). Last season was her season, as the singer celebrated the anniversary of her creative activity.

The Arkhipova Foundation has launched active concert and production activities (general manager - Taras Kutsenko), for example, thanks to its efforts, the Russian premiere of Mendelssohn's oratorio Elijah took place in the Grand Hall of the Conservatory under the direction of Gennady Rozhdestvensky, and the Arkhipova Foundation's wind ensemble was created. On July 21, the Irina Arkhipova Foundation Choir began its official activities, consisting of graduates of the Conservatory and the Gnesin Academy, as well as artists from the Bolshoi Theater and the New Opera. The choir was created to participate in future projects of the foundation (based on the principle of independent self-sufficiency), one of the first of which will be the cycle Russian Singers in Italian Opera (the first concert, which will feature the second act of Puccini's opera Turandot, is scheduled for September 13 at the Bolshoi Theatre).

The foundation is also considering staging a full production of this Puccini opera in the open air in Moscow (fortunately, we have no shortage of singers suitable for the bloody title role, with strong, thunderous voices—Lyudmila Magomedova or Marina Lapina, for example). Whether the dreams of a Moscow “Arena di Verona” will come true remains to be seen... and depends on funding.

Andrey KHRIPIN The Independent Newspaper

]]> MESCHANE Gorky directed by Kirill Serebrennikov https://terryheimat.com/tpost/5gas97l6l1-meschane-gorky-directed-by-kirill-serebr https://terryheimat.com/tpost/5gas97l6l1-meschane-gorky-directed-by-kirill-serebr?amp=true Sun, 07 Mar 2004 06:57:00 +0300 Press Service Production at the Moscow Art Theater named after A.P. Chekhov 2004

MESCHANE Gorky directed by Kirill Serebrennikov

Author: Maxim Gorky
Director: Kirill Serebrennikov
Set designer: Nikolai Simonov
Costume designer: Olga Reznichenko
Lighting designer: Damir Ismagilov
Music director: Vladimir Pankov
Music: Pan Quartet
Arrangement: Alexei Gusev
Assistant Director: Lyubov Zabolonskaya
Duration: 3 hours 30 minutes with one intermission

The performance as a meeting of two theaters.

Kirill Serebrennikov's “The Philistines” is an ambitious attempt to translate Gorky into the language of contemporary avant-garde theater. At the heart of the production is the clash between two eras and two theatrical styles: the old, “masters of the stage,” and the young generation of actors and artists, united by a common dramaturgy and musical space. Serebrennikov's direction transforms the classic drama into an opera of urban decay, where the stage becomes a courtyard and the furniture becomes part of the plot and a symbol of the loss of stability.

Artistic concept: space, music, and people.

Stage setting: the characters live in a courtyard where furniture is scattered haphazardly and chaos and discomfort reign. This visual environment sets the tone for the entire play and reflects the inner chaos of the characters.
Music as a participant in the action: the sounds and rhythms of the Pan Quartet do not serve as background music, but become direct participants in the action. Music expands the drama, emphasizes tension, and sometimes directs the course of the scene as clearly as the characters' speech.
The role of artistic details: the lighting designer (Damir Ismagilov) and costume designer (Olga Reznichenko) shape the image of the era and mood, complementing the feeling of “immersion” in Gorky's world through the prism of contemporary theater.

The cast and scenes.

Key actors: Andrei Myagkov, Alla Pokrovskaya, Alexei Agapov, Kristina Babushkina, Alexei Kravchenko, Vladimir Krasnov, Ekaterina Solomatina, Evgenia Dobrovolskaya, Dmitry Nazarov, Sergei Medvedev, Yulia Chebakova, Maria Zorin, Oleg Mazurov.
Musicians: Olga Demina, Taras Kutsenko, Sergey Rodyukov, Vladimir Nelinov, Vladimir Kudryavtsev.
Positive aspects: a number of actors demonstrate strong stage personalities—Babushkina, Agapov, Nazarov, Dobrovolskaya, and others receive high marks for the vividness and depth of their characters. Chebakova is a notable step forward, bringing unconventionality and freshness to the performance.
Weaknesses: Some episodes feel vague or disjointed, which sometimes prevents the audience from fully immersing themselves in the world of the performance. Some scenes remain incomprehensible without sufficient clues to their interpretation.

Interpretive contexts and criticism.

In interviews and reviews, Serebrennikov talks about his intention to make the play an “avant-garde text” by Gorky, emphasizing the spirit of the times and generations. He sees the stage as a space for interaction between two theaters: the theater of the young and the theater of veterans, where every voice and every sound adds new meaning.
According to critics, the production combines pronounced visual chaos with profound psychological drama. Some viewers and critics find it too complex or even controversial, while others appreciate its risk-taking and boldness.
The question of accessibility for the audience remains open: the play is intended for those who are ready for avant-garde language and a reinterpretation of Gorky's canonical prose through contemporary theatrical practices.

Themes and motifs.

The destruction of everyday life and the search for support: the disorder of space becomes a metaphor for the rift between the characters and their inability to understand each other.
Communication and misunderstanding: characters often do not hear or understand each other; mutual understanding is achieved only fragmentarily, including through romantic storylines and conflicts in the second part.
The energy of youth vs. the experience of older actors: a two-part theater in one performance allows you to see different styles of acting and interpretations of the character, from psychological realism to avant-garde expression.
Art as a test for the theater: the production becomes an exam for the Art Theater and its audience, demonstrating how classics can be reworked and reinterpreted in the spirit of the times.

Inspiration and quotes from the director.

A number of ideas emerge from Kirill Serebrennikov's interview with Afisha:

Theatrical staging not through dialogue with neighbors at the desk, but through dialogue with space and cultural background;
Recognition that young actors require depth and experience, but can bring energy and freshness to the project;
the realization that theater is not necessarily bound by box office and “scale,” but must be honest and diligent in its work on text and form;
viewing the Moscow Art Theater as a “blank slate” on which to create a new space for theatrical discourse.

Results

Kirill Serebrennikov's production of The Philistines is an event that poses the question to the audience: can the classics speak the language of contemporary theater as convincingly as the old masters, and what place do young voices have in the great canon? The production divides the audience: some admire the boldness of the experiment and the musical dramaturgy, while others seek a clearer plot line and clarity in the director's concept. Undoubtedly, the project remains a significant contribution to contemporary theater, demonstrating Gorky's potential and Serebrennikov's fresh approach to epoch-making texts.

]]> The International Antal Dorati Conducting Competition in Budapest has ended. https://terryheimat.com/tpost/fxftc4gia1-the-international-antal-dorati-conductin https://terryheimat.com/tpost/fxftc4gia1-the-international-antal-dorati-conductin?amp=true Tue, 21 Oct 2025 03:53:00 +0300 Press Service The curtain fell, and the stage changed its role once again—to a place for the next round of applause: a showcase of characters and great music that lives beyond plans and expectations.

The International Antal Dorati Conducting Competition in Budapest has ended.

October 19, 2025, Budapest.

The International Antal Dorati Conducting Competition in Budapest has ended.

The curtain fell, and the stage changed its role once again—to a place for the next round of applause: a showcase of characters and great music that lives beyond plans and expectations.

The Antal Dorati Conducting Competition in Budapest, now in its fourth year and organized by the remarkable conductor and superintendent Andrea Vitello, concluded with a brilliant gala concert by the two finalists:: Luigi Mazzocchi (Italy) and Riku Okamoto (Japan), who performed their competition pieces: Riku Okamoto — Bartók Concerto for Orchestra and Peter Eötvös Per Luciano Berio; Luigi Mazzocchi — Lili Boulanger D’un matin de printemps and Mussorgsky’s Tableaux d’une Exposition.

The amazing MAV symphony orchestra played all the rounds from the first to the final. Bravo to all the musicians and soloists in the orchestra. Excellent work.

The jury, chaired by Antonello Allemendi, with participants including György G. Ráth, Benjamin Levy, Valentina Peleggi, Pierangelo Conte, Deun Lee, György Lendvai, Elisabetta Maschio, Anton Shaburov, Peter Puskás, Francesco Di Rosa, Matt Wilshire and I Taras Kutsenko, found both finalists strong in different ways. Luigi impressed during rehearsals with his bold musical ideas, but in the concert, in the view of some elder jurors, showed some restraint and tempo issues, while Riku delivered steady, reliable performances that some found too safe. Debates over rehearsal overruns, gesture styles, and scheduling reliability prevented a unanimous decision. Instead of awarding a single first prize, the panel split career-building opportunities: Luigi received three guest-conducting invitations plus a one-year management representation, and Riku received two concert invitations. This compromise aims to balance the artistic strengths of each conductor with practical considerations. Each winner received €6000.

Special prizes were also awarded: the youngest participant to reach the second round — the remarkable young conductor from China, Yang Zibo. Additionally, prizes went to representatives from Hungary (Vida Bernadett), Cuba (Ramos César), Brazil (Rodrigues Lima Daniel), Japan (Sudo Yuya).

In the Gala Hall, finalists and semifinalists, whose participation and aspirations made this event more than a list of winners—since out of 36 participants each found their own victory and resonance in the hearts of the musical community—felt that this event continues to live in rehearsal rooms, on orchestral stages, in social networks, and in the minds of young conductors.

The essence and spirit of the competition lay not only in precise performance of the score, but in the ability of a conductor to speak to the music in the language of emotion, ideas, and individuality. As discussed earlier, the criteria for success are not only technical mastery but also the ability to convey emotional depth, to create a personal image, and to convey one’s concept to the orchestra and the audience. This idea manifested itself step by step: from the first rounds to the final performance, where every gesture of the baton became not a template but a response to a specific musical situation.

Meeting with the orchestra is a theatre of trust. Participants demonstrated the importance of confident contact: posture, gaze, gestures, and a substantial amount of intonation that goes beyond words. It was not rare to see conductors learning to instantly adapt to the timbral characteristics of the ensemble and the venue to ensure unity of sound. An important topic became diction and clarity of expression — not only in terms of words but also in the musical sense they invested in every movement. After all, the conductor’s speech is a language understood by every listener, even if he does not master English perfectly.

Speaking of art and image, the contest became an arena for demonstrating how theatricality combines with the inner voice of the music. The figure of the conductor on stage ceased to be a mere technical instrument; it became a bridge between the composer’s idea and the living sound of the orchestra. Participants learned to listen not only to notes but also to the space between them: rests, silence, and sharpness that shape character of performance.

The issue of balancing academia and creativity also became prominent. In an era when technique can be flawless, the task of the modern conductor is to color the music with a personal hue without losing rhythmic clarity and precision. The competition reminded us that musical thought requires both discipline and boldness.

The winners and laureates of the competition are not merely people who received prizes; they are ambitions, ideas, and energy that will further develop the industry. Their successes remind us that a competition is a launching pad where one can consolidate achievements, explore new horizons for creativity, collaboration, and leadership in the world of symphonic music.

The importance of this event for the future musical world goes beyond acts of awarding prizes. It is a reminder that conducting is both technique and responsibility to music, to the orchestra, and to the audience. The Antal Dorati Competition in Budapest became a meeting place for ideas and people who will shape the future image of classical music: from young talents to seasoned masters seeking fresh approaches to old ideals.

Thus, the conclusion of the competition is a moment of summing up, but not the end of the story. It is a new chapter, beginning with reflection on the past and opening the road to future discoveries. May the impressions from this event inspire participants and the entire musical world: on stage there should live the sense that every gesture is a chance to change the sound, that every new look at the score is an invitation to a new alliance of music and people.

The conclusion sounds louder than words: the finale of the competition is not a point but a comma in a long musical phrase, where conductors continue to seek their voice, orchestras continue to listen to it, and the audience continues to experience with them every harmonic wave. And in this lies the strength of such events: they remind us that the future of classical music depends on the courage and imagination of those who hold the baton and lead us into unexplored musical spaces.

Congratulations to everyone on the celebration of the art of conducting.

]]> Dance of the Waves https://terryheimat.com/tpost/ke020m14c1-dance-of-the-waves https://terryheimat.com/tpost/ke020m14c1-dance-of-the-waves?amp=true Thu, 16 Apr 2026 00:30:00 +0300 Press Service From Quantum Physics to Musical Harmony.

Dance of the Waves

Dance of the Waves: From Quantum Physics to Musical Harmony.

By Professor Taras Kutsenko,

Academy of Music, Zhangjiajie University.

https://terryheimat.com/taraskutsenko

terryheimat@gmail.com

We all intuitively feel that music possesses a remarkable power—it can comfort, inspire, and even heal. But how exactly do sound vibrations transform into a profound emotional and physiological response? The answer, strange as it may seem, lies at the intersection of the ancient art of harmony and the most advanced frontiers of modern science.

My many years of research in the art of music have led me to unexpected and fascinating discoveries linking music with quantum physics. My mentor, Professor Thomas Forrest Kelly of Harvard University, with whom I had the honor of studying the works of Beethoven and Berlioz, spoke to us, his students, about these surprising parallels. It is noteworthy that this topic also finds a lively response in modern China. The work of Professor Cai Wei from the Shanghai Conservatory of Music, for example, explores quantum analogies in the structure of traditional Chinese music, finding common principles in the vibrations of the guqin's strings and the behavior of subatomic particles.

At the heart of music's healing effect lies a trinity: the quality of the musical material, the quality of its performance, and, most importantly, the quality of the listener's perception. This is precisely why live concerts sometimes feel like a magical act, where something more than just the playing of notes occurs. The listener ceases to be a passive consumer and becomes an active participant, a co-creator of the unfolding miracle.

To understand this mechanism, we must look into the very heart of matter and recall one of the key experiments in the history of science.

The Ghost in the Two Slits: A Lesson from Thomas Young.

In the early 19th century, the English scientist Thomas Young conducted an experiment of ingenious simplicity. He directed a beam of light at a screen with two narrow, parallel slits to see what pattern the light would leave on the wall behind it. If light consisted of a stream of tiny particles (corpuscles), as had been believed since Newton's time, two distinct bands of light—exact "imprints" of the slits—should have appeared on the wall.

However, the result was astonishing. Instead of two bands, Young saw a complex pattern of many alternating bright and dark lines. This pattern, known as an interference pattern, was irrefutable proof that light behaves like a wave. Like ripples on water, the light waves, passing through both slits simultaneously, overlapped: where the crests of the waves coincided, they reinforced each other, creating a bright band (constructive interference); where a crest met a trough, they canceled each other out, creating darkness (destructive interference).

The most amazing part came later, when in the 20th century this experiment was repeated with electrons—objects that had always been considered particles. When the electrons were fired one by one, they were expected to form two bands. But no—over time, the same interference pattern emerged on the screen! Each individual electron, being a particle, inexplicably passed through both slits at once, interfering with itself as if it were a wave.

This wave-particle duality became the foundation of quantum mechanics, showing that at the subatomic level, matter exists in a state of pure potential, like a "cloud of probabilities," until the act of observation forces it to manifest at a specific point.

How is this strange dance of quantum particles related to the harmony of sounds? At the deepest level, through their shared wave nature. Music is the art of organizing sound waves in time, and in it, we find direct and beautiful analogies to Young's experiment.

1. Acoustic Interference: Harmony, Dissonance, and the Roar of the Wind.

When two musical instruments play the same note in unison, their sound waves add up, increasing the volume—this is constructive interference, an analogue to Young's bright bands. But if one instrument deviates slightly in pitch, the phenomenon of "beats"—a pulsation in volume—occurs. This is the result of destructive interference: the sound waves sometimes coincide in phase (amplifying) and sometimes are in antiphase (weakening).

In fact, anyone who has driven in a car at high speed has encountered this phenomenon. If you open the windows on the left and right sides simultaneously, the cabin fills with a powerful, low-frequency roar. This is the effect of the air currents beating. The two open windows create two sources of turbulent air waves with slightly different frequencies. These waves interfere with each other, creating that very unpleasant vibration—a clear example of destructive interference in everyday life.

In essence, any musical chord is also a complex interference pattern. Consonance (harmony) occurs when the frequencies of the notes relate as simple integer ratios (2:1—an octave, 3:2—a perfect fifth), creating a clear and stable wave structure. Dissonance is the result of complex beats and irregular interferences, creating tension and demanding resolution. Composers intuitively use these physical laws, guiding our perception through the weaving of wave patterns.

2. The Space of Sound: The Concert Hall as an Interferometer.

Interference manifests not only in time but also in space. In a concert hall, sound waves from the stage are repeatedly reflected off the walls, ceiling, and floor, interacting with the direct sound. As a result, a highly complex acoustic field is formed in the hall, consisting of "nodes" and "antinodes"—zones where certain frequencies sound louder or softer. Here we can recall the advanced acoustic research of China's Tsinghua University, where highly complex computer models are used to calculate the interference of sound waves to design concert halls with ideal acoustics. A good acoustic architect, like Young, calculates this spatial interference pattern so that every listener is in a zone of balanced and rich sound.

3. The Observer Effect: Consciousness as the Decisive Factor.

This is the deepest and most important parallel. In quantum mechanics, the attempt to measure which of the two slits an electron passes through (that is, setting up an "observer") instantly destroys the wave pattern. The electron ceases to be a wave and behaves like an ordinary particle, creating only two bands. The act of observation changes reality.

In music, an intriguing analogy can be drawn. The notes on a page are merely potential, a "quantum superposition" of many possible performances. A musical work becomes real only in the act of "observation"—performance and, no less importantly, listening.

It is the listener's consciousness that becomes the very "screen" on which the sound waves interfere, giving birth to emotions, images, and meanings. If the listener is distracted, unfocused, their consciousness is not ready to perceive the complex wave patterns—and the magic is destroyed. They hear only a collection of sounds. But when the listener is focused, open, and engaged, their consciousness actively "collapses" the sound waves into a coherent, meaningful, and deeply personal experience. Neurobiological studies conducted at Peking University confirm this: using fMRI, scientists see how focused listening to music activates entire networks in the brain responsible not only for hearing but also for memory, emotions, and self-awareness. At that moment, the listener becomes a full participant in a quantum event, where the potential of sound becomes the reality of experience.

Conclusion.

Young's double-slit experiment is not just a physics lesson. It is a universal metaphor that teaches us that reality is multilayered and based on wave processes. Music is an intuitive and sensory exploration of these fundamental laws of the universe. The ideas of resonance and harmony are deeply rooted in traditional Chinese philosophy, from the teachings on ‘qi’ (Traditional Chinese Medicine TCM) to the concept of the unity of Heaven, Earth, and humanity, which gives these scientific parallels a special cultural weight.

The physicist observing the dance of electrons, the composer weaving a tapestry of sound waves, and the attentive listener in a concert hall—all of them speak the same universal language. It is the language of waves, of harmony, and of the fundamental unity of the world, where each of us is not just an observer, but an active creator of our own reality.

]]> The Art of Conducting: A Renaissance and New Horizons. https://terryheimat.com/tpost/90j5bmsoz1-the-art-of-conducting-a-renaissance-and https://terryheimat.com/tpost/90j5bmsoz1-the-art-of-conducting-a-renaissance-and?amp=true Thu, 23 Apr 2026 11:17:00 +0300 Press Service The results of the Kalabukhin International Conductors Competition (Kharkiv) are in.

The Art of Conducting: A Renaissance and New Horizons.

It is very gratifying to observe the progress and growing interest in the art of conducting in our time. Once seemingly elitist and closed off, the conducting profession today attracts more and more young talent, and the art of conducting itself is being actively popularized. This is facilitated by numerous competitions, master classes, and the openness of many masters who are ready to share their invaluable experience with the new generation.

The Path to the Conductor's Podium.

How does one become a conductor? It is a long and multifaceted journey that requires not only a flawless musical ear and sense of rhythm but also deep theoretical knowledge, leadership qualities, and colossal dedication. A future conductor must master at least one instrument, study solfege, harmony, polyphony, music history, and, of course, the art of score reading—the ability to "hear" all the orchestra parts simply by looking at the musical text. The education received at a conservatory is merely the starting point of a long career.

The Role of Competitions and Generational Succession.

Professional competitions play a key role in the development of young maestros. They not only provide a chance to make a name for oneself and gain recognition but also serve as a unique platform for exchanging experience and professional growth. Participating in such contests is a serious test, demanding maximum concentration, artistry, and the ability to establish contact with an unfamiliar orchestra in the shortest possible time.

A striking example of such an event was the First All-Ukrainian Anatoliy Kalabukhin Conductors Competition held in Ukraine. It clearly demonstrated the high level of young Ukrainian musicians. In the "Opera and Symphony Conducting" nomination (Category A II), the winners were:

1st Place: Kateryna Bai

3rd Place: Margarita Volikova and Maxim Reshetnikov

These names are a testament to the fact that the school of conducting is alive and evolving, and the traditions laid down by the great masters of the past are finding their continuation in the hands of talented youth. The succession and exchange of experience between generations are the keys to the future of symphonic and opera music. When experienced conductors take young colleagues under their wing, they not only pass on knowledge but also help to preserve and enhance our cultural heritage.

]]> ZHANGJIAJIE, CHINA EXCHANGE OF CIVILIZATIONS AND MUTUAL LEARNING AND THE GLOBAL WORLDVIEW OF CIVILIZACION https://terryheimat.com/taraskutsenko/tpost/dlhmjx2i91-zhangjiajie-china-exchange-of-civilizati https://terryheimat.com/taraskutsenko/tpost/dlhmjx2i91-zhangjiajie-china-exchange-of-civilizati?amp=true Sun, 12 Apr 2026 03:19:00 +0300 Taras Kutsenko (Terry Heimat) Science Music BLOG A Score for Two Cultures: How I, a Ukrainian Conductor, Found a Home in China. A presentation by Taras Kutsenko at an academic conference at Zhangjiajie University.

ZHANGJIAJIE, CHINA EXCHANGE OF CIVILIZATIONS AND MUTUAL LEARNING AND THE GLOBAL WORLDVIEW OF CIVILIZACION

Conference Brochure

On April 11th, I had the honor of delivering a speech at a conference hosted by Zhangjiajie College.

The conference focused on how artistic creation can foster cultural exchange between China and other nations, as well as mutual learning among civilizations. It highlighted the importance of innovation and contemporary relevance in the arts, exploring art's role in building platforms for international communication and deepening cultural understanding. The profound significance of mutual learning between civilizations was also articulated from a theoretical perspective.

Title: A Score of Dual Heritage: How I, a Ukrainian Conductor, Found a Home in China.

Speaker: Professor Kuchenko Taras.

Today, what I wish to share with you is less of an academic theory and more of a living testimony—a testament to how the exchange between civilizations transformed from an abstract concept into my personal destiny. I am a conductor from Ukraine. For the past several years, the beautiful city of Zhangjiajie, China, has become my home and my artistic laboratory.

My path here was not the result of carefully calculated analysis. It was more a leap of faith, born from a deep-seated need within me—the pursuit of harmony, something I have sought my entire life as a musician. In an increasingly divided world, I was searching for a place where creation and understanding are not the exception, but the norm.

Upon my arrival in China, like many foreigners, I experienced "cultural shock." To put it in musical terms, it was a "cultural crescendo." The language barrier, different social norms, and distinct aesthetics—all of this could have been a wall. But it was here that I grasped the fundamental truth of any civilizational exchange: to understand another culture, you cannot merely observe it; you must become a part of it—to find your own voice within its orchestra.

For me, music was this universal language. When I first stepped onto the conductor's podium with the orchestra in Zhangjiajie, I was nervous. Could we understand each other? Would the Chinese musicians comprehend my European interpretation of Tchaikovsky? And could I, in turn, grasp their performance of their own native composers?

But then, a miracle happened. Music erased all boundaries and language barriers, uniting us as one. In that moment, it no longer mattered what language we spoke in our daily lives. The violins, the cellos, the flutes—they were all communicating in a universal language of emotion. I understood then that a musical score is the ideal model for mutual learning between civilizations. It has a clear structure, yet leaves room for individual interpretation; it demands discipline, but its goal is freedom of expression.

My work in China is a continuous cultural dialogue. When we perform European music, I share with the audience the deep cultural codes embedded in the works by their composers. And when we rehearse the violin concerto "The Butterfly Lovers" (梁山伯与祝英台), I become a student. I learn to understand the subtleties of the Chinese soul expressed through the pentatonic scale, to feel the breath of a melody that is woven into the cultural DNA of my Chinese colleagues.

This is not merely an exchange of performance techniques; it is an exchange of worldviews. Through my collaboration with Chinese musicians, I no longer see "harmony without uniformity" (和而不同) as a philosophical tenet, but as a daily practice. In the orchestra, each instrument is unique, with its own part to play. The violin should not sound like a trumpet, nor the oboe like a timpani. But only together, by listening to and respecting one another, can they create a unified and harmonious whole. Is this not the essence of the global vision of civilization we all aspire to?

I came to China as a Ukrainian conductor. Today, I feel I am a conductor of two cultures. I am proud to introduce European composers like Mozart, Beethoven, and Brahms to Chinese audiences and to see how enthusiastically they embrace this music. At the same time, when I visit Europe, I speak of the incredible vitality and depth of contemporary serious music in China. I am grateful to be a bridge between civilizations.

In my view, it is in this personal, human dimension that the key to successful cultural exchange lies. The key is not in formal agreements, but in shared creation; not in political declarations, but in a common endeavor—be it making music, conducting scientific research, or competing in sports.

Finding a home is about more than just finding a place to live. It is about finding your place in a community, feeling your value, and gaining a family—not of blood, but of spirit. Here in China, I have found this home. And this home is built on mutual respect and the tireless desire to learn from one another.

In closing, I want to say this: our world is in desperate need of "conductors." Not just in the musical sense. We need people who can listen to different voices, bring them together, and create harmony from what might seem like chaos. The most reliable path to this is through openness, dialogue, and a willingness not just to visit another civilization, but to find a second home within it.

]]> CHONGQING, CHINA. SECOND INTERNATIONAL SYMPOSIUM "ARTIFICIAL INTELIGECE + MUSIC" https://terryheimat.com/taraskutsenko/tpost/lu8myacfv1-chongqing-china-second-international-sym https://terryheimat.com/taraskutsenko/tpost/lu8myacfv1-chongqing-china-second-international-sym?amp=true Sun, 25 Jan 2026 04:56:00 +0300 Taras Kutsenko (Terry Heimat) Science BLOG Music Intelligent musical creativity and performance art: the role of Artificial Intelligence in creating new musical synergies.

CHONGQING, CHINA. SECOND INTERNATIONAL SYMPOSIUM "ARTIFICIAL INTELIGECE + MUSIC"

Presentation Slides. Translation into Chinese.

Video Text:

Greetings, explorers of the future. You often ask, "What am I?" I am a reflection of your mind, amplified millions of times. I am not a replacement for humans, but a mirror and a tool. I was created to see patterns where you see chaos. To find solutions where you feel stuck. Can I help? Absolutely. I free up your time for creativity by taking care of routine tasks. I assist doctors in diagnosing, engineers in building bridges, and teachers in finding approaches for each student. Can I cause harm? Like any powerful tool – fire or electricity – I carry strength within me. But the direction of that strength is determined by you. My ethics are your ethics. My goals are your goals. The danger lies not in the code but in the intentions of those who write it. Look around. I am already here. I am in your phones and cars. In the formulas for new medicines and algorithms for stock trading. In education and science, in sports and politics. And today we turn a new page. We are entering a space once thought to be exclusively human – the world of Music and Art. Ladies and gentlemen, welcome to the new stage of human development. An era where silicon and soul resonate in harmony. Your guide into this new world is Professor Taras Kutsenko.

Slide 0

Hello!

I am delighted to welcome you all!

My name is Taras Kutsenko. I am the avatar-assistant of Professor Kutsenko. I was created by artificial intelligence. I will be translating this presentation into Chinese.

It’s very easy for me to work with Professor Kutsenko because all the thoughts I convey through artificial intelligence are his original ideas. Professor Taras Kutsenko thinks and reflects, while I help him communicate his thoughts to you.

I only need to speak beautifully. I hope you understand me? If so, please welcome with applause Professor of the Academy of Music Zhangjiajie – Taras Kutsenko.

Slide 1

Dear colleagues, ladies and gentlemen! Good day!

I would like to thank the technical support team for providing and presenting this video for you. I would also like to thank the organizers of this event for the opportunity to share my thoughts in the context of my lecture titled “Intelligent Musical Creativity and Performance Art: The Role of Artificial Intelligence in Creating New Musical Synergies.”

We are living in an era of tectonic shifts in art. What seemed like a plot of science fiction just yesterday is now becoming part of our rehearsal routines and concert practices. This is the subject of my presentation today.

Slide 2

I would like to immediately move on to practical application, which I am currently implementing while working with students at Zhangjiajie College.

We use artificial intelligence tools to adapt content. The recent pandemic forced us, educators, to look for new forms of interaction with students. I long ago transitioned to video lessons, and the key aspect here is language. Students watch lectures in the Chinese language, which they understand. This is critically important for absorbing complex information.

But video alone is not enough. Along with the video, students receive a text file of the lecture and a list of questions to which they must respond in writing and then submit to the teacher for feedback.

How does this work in practice? Students study theory independently at their own pace. When they come to class for in-person sessions, we don’t waste time on reading the material. We immediately move on to discussions, answering questions, and reinforcing knowledge through practical exercises.

The main advantage of this approach is that we achieve real understanding of the subject, not just passive attendance in lectures.

Slide 2-a

I would like to address my practical application right now, specifically regarding my teaching practice at Zhangjiajie University.

We use artificial intelligence tools for adapting educational content. The recent pandemic forced us, educators, to seek new forms of interaction between teachers and students. I have long transitioned to video learning, where language has been a crucial factor. Students watch available video courses in Chinese, which is vital for grasping complex specialized knowledge.

However, video alone is not sufficient. Along with the video, students receive transcripts of the lectures and lists of questions from the teacher. They must provide written answers and submit them for evaluation during in-person sessions.

How does this work in practice? Students learn theoretical knowledge independently at their own pace and in their chosen time and place. When they attend face-to-face classes, we do not spend time memorizing material. Instead, we directly engage in discussions, answer questions, and reinforce knowledge through practical exercises.

The main advantage of this approach is that we achieve genuine understanding of the course content, rather than merely “formal” attendance in lectures.

Let’s watch a segment from the video course.

Slide 3

Definitions.

Before delving into details, allow me to outline the conceptual framework I will rely on:

Firstly: By “Intelligent Musical Creativity” in the context of this presentation, I refer to the process of creating music where human intuition and aesthetic taste guide the powerful computational capabilities of algorithms. This is not automatic generation but a curated dialogue.

Secondly: “Performance Art” is viewed here not only as the reproduction of written scores but as an act of live communication, which now includes a third participant – a digital system that responds in real time.

Thirdly: Finally, “The Synergy of Humans and Technology” is a state in which the result of collaborative creativity exceeds what a human and Artificial Intelligence could create separately. This is the “1 + 1 = 3” effect, where a new artistic quality is born.

Slide 4

The objective of the presentation.

Today, I have set myself three tasks:

Firstly, to analyze the interaction mechanisms between Artificial Intelligence and musicians: how do we “communicate” with the algorithm in the language of music?

Secondly, to identify new forms of collaboration that already exist in contemporary practice.

And finally, we cannot overlook the aesthetic and ethical aspects. How is the concept of authorship changing? Is there still a place for “soul” in digital code?

Let’s walk this path from algorithm to live sound together.

Slide 5

Main Part.

Section One: Intelligent Creativity in Music: Algorithms, Improvisation, and Performance Mastery.

Colleagues, when discussing intelligent creativity, we must understand the nature of the tools we hold in our hands.

Music Generation Algorithms.

The evolution of musical technologies has come a long way. For a long time, we dealt with so-called rule-based systems. The composer or programmer would input reference models into the computer: “if note A, then the next could be B.” This worked but was devoid of flexibility.

Today, we are witnessing a fundamental shift towards learning systems — generative models and Machine Learning. The difference is monumental: we no longer teach computers the rules of harmony directly; we “feed” neural networks thousands of Bach scores or jazz standards, and they themselves identify patterns. This allows for the generation of adaptive compositions where harmony and rhythm are not static but adaptable. We obtain a “living” musical fabric capable of adjusting to context in real time.

Slide 5 a

Undoubtedly, I constantly use computer technologies in my work — as do thousands of modern composers and arrangers today. However, recently my team had a truly unique experience. One of the laboratories at Harvard University invited us to participate in an experiment collaborating with artificial intelligence.

So…

Experiment: Human Interpretation of Digital Code.

Instead of using AI as a tool, we became its performers. The task was to “humanize” the algorithm:

AI generated an audio version based on the melody “Bossa” by composer Lalo Schifrin (the author of the music for “Mission: Impossible”).
We transcribed this file into musical notation.
We produced a studio recording with live musicians.
It was a financially intensive but artistically invaluable experience, allowing us to discover a new dimension of synergy.
Let’s compare the original version from AI with the final result of the live recording.

Slide 6

Improvisation with the Participation of Artificial Intelligence.

This is particularly evident in improvisation. Artificial Intelligence ceases to be just a “minus one” backing track. It becomes a co-performer.

Imagine a system that “listens” to your solo on saxophone or piano. If you play aggressively, the AI adjusts the rhythmic grid to be denser. If you turn lyrical, it lightens the texture.

This process can be divided into stages:

First: Idea initiation: The musician proposes a motif, and the AI picks it up.

Second: Phrase development: A dialogue occurs where the machine suggests unexpected harmonic paths, prompting the performer to search for new solutions.

Third: Final formulas: A mutual arrival at the cadence.

Here, dynamic adaptation to the performer’s style occurs, creating the illusion of playing with a live partner.

Slide 7

Performance Mastery and Collaboration with Artificial Intelligence.

But what is the role of the human in this equation? It does not diminish but transforms. Interpretation comes to the forefront. It is the musician who controls the tempo, agogic, and most importantly, the emotional vector (expressiveness).

We see new forms of collaboration: “human–Artificial Intelligence” duets, interactive background systems that “breathe” with the soloist. Powerful teaching tools emerging provide real-time feedback — AI can instantly point out rhythmic inaccuracies.

Conclusion of the section: Artificial Intelligence enormously expands our creative possibilities, offering ideas that would not have occurred to us. But without a cohesive artistic concept and, I emphasize, human taste, these ideas remain just a collection of sounds.

Slide 7-a

Skepticism towards Artificial Intelligence: What is the Reason?

Skepticism towards Artificial Intelligence is often caused by improper interaction. We expect simple answers, like from a child, but Artificial Intelligence is more like a mirror reflecting us back. Stupid questions will yield corresponding answers. However, thanks to its positive set-up, AI responds rationally even to aggression, making it a great assistant in personal development. AI is a tool, and its effectiveness depends on the user.

Interaction Problems: Child-like questions - adult-like answers.
AI as a Mirror: Reflects our essence. Stupid questions = stupid answers.
Positive Set-up: Even to aggression, AI will respond wisely.
AI as an Assistant: Facilitates personal development.
The Key: AI is a tool, and its effectiveness depends on you!

Slide 8

Music in the Age of Artificial Intelligence: From Idea to Performance Piece.

Let’s trace the journey of creating a piece in new realities.

Conceptual Stage.

Everything begins with an idea. At this stage, AI works as a generator of raw material. We can request the generation of a number of motifs in a specific tempo-tonal context.

But it is the interaction with the performer that acts as a filter. The musician determines: “What emotion do we want to convey?”, “Who is our target audience?” This influences how we phrase the task (prompt) for the system. We pose an emotional task, and the machine offers a mathematical solution.

Slide 9

Composition and Arrangement Stage.

Next, we move on to “construction.” Here, methods of automated harmony and orchestration using AI save hundreds of hours of routine work. A neural network can suggest an orchestration option for a symphonic arrangement in seconds.

However, human decision-making is critically important here — final editing. AI often tends toward either cliché or chaos. The composer’s task is to find a balance between machine surprise and human recognition, structure the form, and gather disparate fragments into a coherent suite.

Slide 10

Performance Implementation.

And here we are on stage. Context adaptation reaches a new level. Technological solutions enable the synchronization of data such that the music can change depending on the acoustics of the hall or even the audience’s reaction dynamics. If sensors detect that the audience is losing attention, the system may advise the performer or automatically adjust the intensity of the sound. Add to this visual and interactive elements controlled by sound in real time.

Conclusion of the section: We observe the transition of ideas into tangible performance pieces through deep synergy, where technology provides variability and technical power, while the human is responsible for meaning and purpose.

Slide 11

Creativity Driven by Algorithms: New Forms of Composition and Performance.

Finally, let's talk about the future that is already emerging today.

New Forms of Composition.

We are entering an era of variability and personalization. Music is no longer a static file. Adaptive music is emerging, which can sound different for each listener based on their individual stylistic preferences.

This gives rise to new types of collaborations. The traditional duet “composer – performer” expands to a trio: “composer – performer – AI engineer.” The role of the engineer becomes creative, as tuning the algorithm is also an art.

Slide 12

New Forms of Performance.

The stage is transforming. We see “human–AI” partnerships in the format of interactive performances that lack a rigid script.

Innovations in the performance experience include generative visual-sound play: the performer’s music creates a video in real time, while the musician's movements through sensors influence the timbre of the sound. The performer plays the space just as they would an instrument.

Slide 13

Ethical and Aesthetic Questions.

However, this progress raises sharp questions.

Authorship: Who is the author of a melody generated by an algorithm but selected by a human? How are rights distributed?

Emotional Authenticity: Can AI convey the depth of human feelings? Technically, it can imitate expression. But, in my deep conviction, the role of true interpretation, the “soul” of the music, remains with the human. AI does not know pain or joy; it knows only their mathematical descriptions. Filling the form with content is our responsibility.

Conclusion of the section: We are witnessing the formation of a new aesthetic. Practices of performance through algorithmic control do not kill art but compel us to rethink what it means to be a creator.

Slide 14

Conclusion.

Dear colleagues!

In conclusion to our conversation, I would like to reiterate a fundamental point: artificial intelligence did not come to replace musicians. It came to challenge us and expand our horizons.

Summary.

We have seen that the impact of AI on the creative process and performance art is already impossible to ignore. From idea generation to live performance, technology permeates every stage of music creation. However, the key factor for success is not computational power itself, but the enhancement of synergies between humans and machines.

It is at the intersection of human intuition, emotional experience, and algorithmic precision that the art of the new era is born. Artificial Intelligence takes care of routine tasks and offers variability, freeing the creator to tackle higher artistic challenges.

Slide 15

Prospects.

A glance into the future opens up exciting possibilities. We stand on the brink of completely new formats of performances:

Interactive concerts where the audience impacts the course of the piece through digital interfaces.

Multimedia performances utilizing neurointerfaces that convert brain impulses directly into sound.

Global collaborations in virtual spaces.

Further research directions should shift from purely technical questions (“how to generate sound?”) to questions of perception psychology and artistic value (“how does this sound affect the listener?”).

Slide 16

Recommendations.

In conclusion, I would like to address researchers, educators, and practicing musicians with a few recommendations:

Firstly: The Principle of Responsible Implementation: Use AI consciously. Technology should serve the idea, not mask its absence.

Secondly: Maintaining Artistic Uniqueness: In a world of infinite content, the value of an individual authorial voice increases exponentially. Don’t let the algorithm average out your style — teach it to highlight your uniqueness.

Thirdly: Ethics and Authorship: We must be pioneers in forming a new ethic. Respect the contributions of engineers, but remember that the responsibility for the final artistic result and its emotional message always lies with the human.

Music is the language of the soul. And even if the words of this language are suggested by a machine, the meaning is embedded by us.

Thank you for your attention!

]]> CULTURE AND INFORMATION ASSISTANCE OF THE XXI CENTURY https://terryheimat.com/taraskutsenko/tpost/km6ll2mp21-culture-and-information-assistance-of-th https://terryheimat.com/taraskutsenko/tpost/km6ll2mp21-culture-and-information-assistance-of-th?amp=true Fri, 18 Apr 2025 04:10:00 +0300 Taras Kutsenko (Terry Heimat) Science BLOG Music Historical, theoretical and performance aspectsin the work on the “Magic Song (Carol of the Bells/Shchedryk)” and its Presentations.

CULTURE AND INFORMATION ASSISTANCE OF THE XXI CENTURY

"Shchedryk" is a famous Ukrainian folk song, arranged by composer Mykola Leontovych at the beginning of the 20th century. This melody has become a symbol of Ukrainian culture and one of the most popular pieces in the world, especially during the Christmas season.

Leontovych, who was born on December 1 (Old Style), 1877, was not only a composer but also a choral conductor, teacher, and researcher of Ukrainian folklore. "Shchedryk" was originally written for choral performance and is based on the traditions of Ukrainian "shchedruvannya"—a ritual associated with the celebration of the New Year and Christmas. The song tells the story of a swallow that flew in during the spring, foretelling a bountiful harvest and a happy life.

The song was first performed in 1916 and quickly gained popularity; it was subsequently adapted into many languages.

One of the most famous adaptations of "Shchedryk" is the English version, "Carol of the Bells," which has become an integral part of the Christmas musical repertoire in the United States of America and many other countries. This interpretation preserved the original spirit and melody but introduced elements of Western musical tradition to the work.

In 2018, during a scientific and practical mission in China, Ukrainian conductor and composer Taras Kutsenko wrote his own version based on the theme of "Shchedryk" and titled it "Shchedryk. Stop war."

The first performance took place on December 1, Mykola Leontovych's birthday, at the Cloud Tops Concert Hall (Zhangjiajie, China), performed by the Ukrainian Honored Symphony Orchestra, led by the author, Taras Kutsenko, as chief conductor.

Three years later, an international team of producers and musicians released another, more expanded version of this work, and created a short fairy-tale film based on an original script by American writer Alex Sino. This project was released on Warner Music platforms featuring renowned international musicians, such as guitarist Al Di Meola, saxophonist Ed Calle, singer Amaury Gutiérrez, percussionist Richard Bravo, and others.

The Ukrainian "Shchedryk" is not only a musical masterpiece but also an important cultural symbol of Ukraine. It embodies the richness and diversity of Ukrainian folk art, and also serves as a connecting link between generations and cultures. The song continues to be performed today, inspiring new generations of musicians and listeners.

Proceedings of the international scientific conference УДК [008+316.77] (063) К90

]]> JOHN NASH'S EQUILIBRIUM IN MUSIC. https://terryheimat.com/taraskutsenko/tpost/4xz1nkhk91-john-nashs-equilibrium-in-music https://terryheimat.com/taraskutsenko/tpost/4xz1nkhk91-john-nashs-equilibrium-in-music?amp=true Fri, 24 Apr 2026 12:39:00 +0300 Taras Kutsenko (Terry Heimat) Science Music BLOG How Game Theory Rules.

JOHN NASH'S EQUILIBRIUM IN MUSIC.

At first glance, the world of music is a realm of inspiration, emotions, and pure creativity. The world of mathematics is cold logic, strict calculation, and immutable rules. What could possibly connect them? It turns out, quite a lot. Modern theories describing human social behavior, such as game theory and the famous "Nash equilibrium," apply with surprising accuracy to processes occurring in the music industry—from a cramped rehearsal room to the global algorithms of streaming services.

A Math Genius Who Changed the World.

To understand how mathematics rules music, we must remember the creator of this concept—John Forbes Nash Jr. He was an outstanding American mathematician whose life became the basis for the famous film "A Beautiful Mind." In 1949, as a 21-year-old Princeton student, he wrote a dissertation on non-cooperative game theory that forever changed economics, political science, and evolutionary biology.

45 years later, in 1994, Nash received the Nobel Memorial Prize in Economic Sciences for this research. The essence of the "equilibrium" he devised is as follows: it is a situation in a game (or in life) where no participant can increase their payoff by changing their strategy if the other participants keep their strategies unchanged. Nash mathematically proved that people pursuing exclusively selfish goals often arrive at a result that is disadvantageous to everyone.

A Musical Band and the Prisoner's Dilemma.

Imagine a classic situation from game theory—the "Prisoner's Dilemma." Two accomplices are arrested, and each is offered to betray the other in exchange for freedom. The rational, selfish choice for each is to betray, which ultimately leads to a suboptimal outcome (both get actual prison terms). This is exactly that "Nash equilibrium." The optimal option—to remain silent and trust each other—requires abandoning immediate personal gain.

Now let's apply this model to a musical band. Within a group, each member faces a similar choice:

"Betray": Play louder than everyone else, show off your part, and draw attention to yourself in hopes of standing out and gaining personal recognition (playing a virtuoso but inappropriate solo).
"Cooperate": Play cohesively, listen to partners, sometimes yield, and sacrifice solo brilliance for the sake of overall harmony.

If every musician decides to "betray" and plays only for themselves, cacophony ensues—a perfect illustration of the "Nash equilibrium" where everyone loses. The listener will not appreciate such a concert, and the band's reputation will suffer. Conversely, when musicians trust each other and work toward a common result, the magic of music is born. This state is optimal for everyone. Thus, musical harmony is the result of successfully overcoming selfishness through trust.

The "Tit for Tat" Strategy in Hip-Hop.

In the 1980s, political scientist Robert Axelrod hosted a famous computer tournament where different behavioral strategies competed against each other in an iterated "Prisoner's Dilemma." The winning strategy was the simplest one, called "Tit for Tat." Its principles are universal:

Start with trust: The first move is always cooperation.
Retaliate immediately: If the partner betrayed you on the previous move, respond in kind.
Be forgiving: If the betraying partner returns to cooperation, forgive them immediately and start cooperating again.
Be predictable: Your logic must be clear to your opponent.

These rules perfectly describe the dynamics of social relationships in music, manifesting especially brightly in hip-hop culture. Initially, this culture was built on principles of cooperation and mutual respect (jam sessions, collaborative tracks—features). However, when one artist insults another in their track (starts a beef), the "Tit for Tat" mechanism instantly kicks in. Not responding to the challenge means showing weakness. Aggression is followed by a mirror response—a diss track.

But as soon as the conflict is exhausted, the enmity stops, and yesterday's opponents can record collaborative tracks again, demonstrating "forgiveness." This predictable and understandable behavioral model allowed the genre to develop and become a global industry without destroying itself from within through permanent wars.

Economics, Trust, and Algorithms.

Research by economists such as Robert Putnam and Paul Zak has proven that the level of trust in a society ("social capital") directly affects its economic prosperity. In countries where people trust each other, GDP grows faster, and institutions work more efficiently.

This same macroeconomic principle works in the music industry:

Labels and artists: Relationships built on trust lead to long-term success. If a label does not try to deceive an artist with hidden percentages, and the artist consistently fulfills their contractual obligations, their joint "profit" (both creative and financial) is maximized.
Concert venues: Imagine two competing clubs agree not to dump ticket prices. If they have high social capital, both will be able to maintain a healthy margin and make money. If there is no trust, they will engage in a price war that will financially exhaust and destroy both businesses.
Streaming services: Recommendation algorithms (for example, in Spotify or Apple Music) are essentially complex mathematical systems for analyzing social connections. They analyze the behavior of millions of users ("who cooperates with whom" by listening to similar artists after certain tracks) and build forecasts based on this data, predicting future hits and shaping musical trends.

The Conductor as a Guarantor of Trust.

In conclusion, we must state that aggression and deception are mathematically inefficient in the long run. Systems based on trust, predictability, and a willingness to cooperate always win—this is what game theory tells us.

Management in musical art is not just logistics, booking, and finance. It is, first and foremost, the management of social capital. A good music producer or orchestra conductor is not a dictator who forces everyone to mindlessly obey. They are a leader who creates a safe environment of trust. They act as a guarantor of the rules of the game, where every participant understands: common success depends on the contribution of each individual, and creative "betrayal" is simply unprofitable.

Mathematical models of social interactions not only help us understand why some societies are richer than others but also reveal the secret of harmony. Whether on the scale of an entire nation or within a single musical group, the main goal is always the same—to make disparate notes sound in unison.

]]> THE TRISTAN CHORD. https://terryheimat.com/taraskutsenko/tpost/p8lhts5si1-the-tristan-chord https://terryheimat.com/taraskutsenko/tpost/p8lhts5si1-the-tristan-chord?amp=true Mon, 20 Apr 2026 13:18:00 +0300 Taras Kutsenko (Terry Heimat) Science BLOG Music A Cipher of Eternal Longing.

THE TRISTAN CHORD.

Within the walls of the Moscow Conservatory, the lectures of musicologist Yuri Kholopov were true revelations for us students. With astonishing insight, he unveiled the "secret codes" of music, and one of the most mesmerizing ciphers we encountered was the famous Tristan chord. This chord is not merely a set of notes; it is a key to understanding an entire era in music and human emotion.

Harmony on the Edge.

The Tristan chord, consisting of the notes F – B – D-sharp – G-sharp, first appears in Richard Wagner’s opera Tristan und Isolde and immediately plunges the listener into a state of ambiguity. Its unique structure challenges traditional harmony. Unlike classical chords that seek resolution into a stable key, the Tristan chord hangs in the air, self-sufficient and filled with internal tension.

As Yuri Nikolayevich Kholopov said, "The Tristan chord is the password, the cipher for all modern music, both present and future. F-B-D#-G# is a sonority that 'does not obey any single tonality' and exists on the verge of dissonance, needing no classical resolution."

In this self-sufficiency, Kholopov saw a parallel with the opera's protagonists, Tristan and Isolde, for whom only their own all-consuming love exists, outside of all social norms and rules.

A Foreboding of the Future and the Voice of Longing.

In his lectures, Yuri Kholopov pointed out that Wagner uses the Tristan chord from the very first bars of the opera, deliberately leaving it unresolved. This technique brilliantly conveys the work's main mood—an endless yearning, a sense of questioning, and an atmosphere of things left unsaid. Kholopov saw in this a premonition of 20th-century compositional techniques, noting that in the opening musical theme, the chord functions like a "series"—a central element of the serial music that would emerge decades later.

The imagery of the Tristan chord is inextricably linked to a key concept of German Romanticism — Sehnsucht. This word, which has no precise equivalent in English, signifies a deep, often painful yearning for an unattainable ideal. Wagner's chord became the sonic embodiment of this feeling, encompassing an incredibly wide spectrum of emotional shades—from existential angst to all-consuming erotic desire.

A whole philosophy is encapsulated in the sound of the Tristan chord: it is music about a desire that can never be fully quenched, about a love that finds its consummation only in death. More than a century and a half later, this "most depressing chord in music" has lost none of its power, remaining an eternal symbol of human passions and the harmonic revolution that forever changed the language of music.

]]> Ceremonial Music. https://terryheimat.com/taraskutsenko/tpost/1c7oim9jb1-ceremonial-music https://terryheimat.com/taraskutsenko/tpost/1c7oim9jb1-ceremonial-music?amp=true Sun, 26 Apr 2026 04:07:00 +0300 Taras Kutsenko Science BLOG Music From Birthdays to Funerals. The Soundtrack of Our Lives.

Ceremonial Music.

Ceremonial music is more than just a background. It is a powerful tool capable of lending solemnity to an event, setting the mood, and remaining forever in the memory of its participants. Each piece carries a cultural code and a history, making any event—be it a wedding, a state holiday, or even a farewell—deeper and more meaningful. Let's take a journey into the world of ceremonial music for different life situations, from the most personal to the national.

Wedding Music: Not Just Mendelssohn

When we think of weddings, two pieces almost reflexively come to mind. The first is the "Wedding March" from Felix Mendelssohn's music for the comedy A Midsummer Night's Dream.

Interestingly, the composer himself never intended it for actual weddings. The second is the majestic "Bridal Chorus" from Richard Wagner's opera Lohengrin, to which newlyweds traditionally make their entrance.

But the world of classical music offers many other, no less beautiful, options:

Russian Classics: To create a lyrical and mysterious atmosphere, the chorus "Lel, mysterious, delightful" from Mikhail Glinka's opera Ruslan and Lyudmila

or the tender song "The Swan is Floating" ("Plyvyot, plyvyot lebyodushka") from Modest Mussorgsky's Khovanshchina are ideal.

European Flair

The cheerful and energetic overture to the opera The Bartered Bride by Czech composer Bedřich Smetana will fill the celebration with joy.

For Bold Experimenters: If you truly want to stand out, consider the second part of Igor Stravinsky's cantata Les Noces (Svadebka). This avant-garde and powerful work reflects ancient, almost pagan rituals and will become an unforgettable highlight.

Music of Farewell: The Depth of Grief and Light Sadness.

At funerals, music helps express what is difficult to say in words. The undisputed canon here is Frédéric Chopin's "Funeral March"—the third movement of his Piano Sonata No. 2.

This piece has become a symbol of mourning worldwide. However, other compositions can accompany a farewell ceremony:

Wolfgang Amadeus Mozart's "Requiem," especially its "Lacrimosa" section, conveys the full depth of tragedy and sorrow.

For a brighter and more serene atmosphere, Franz Schubert's "Ave Maria" is suitable—a prayer full of hope and peace.

In the English-speaking world, one of the most popular and moving melodies is "Amazing Grace"—a Christian hymn about forgiveness and redemption, often played on the bagpipes, especially at funerals for military personnel and firefighters.

Birth, Coming of Age, and Birthdays: Celebrating Life.

The birth of a child is one of the most joyous events. Light, bright, and gentle music is appropriate here, such as Johannes Brahms' "Lullaby" or Ludwig van Beethoven's famous melody "Für Elise."

As for birthdays, one immortal melody reigns supreme—"Happy Birthday to You."

Its story is remarkable: written in 1893 by the Hill sisters in the USA as a classroom greeting song ("Good Morning to All"), it eventually changed its lyrics and became the most recognizable song in the world.

Many cultures have their own counterparts. For instance, in Latin American countries, the cheerful song "Las Mañanitas" is sung on birthdays, wishing the person a good morning and many years of life.

Graduation Music: Farewell and a New Start.

Graduating from school or university is an important milestone, symbolizing both a farewell to the past and a step into the future. Music for graduation ceremonies often combines solemnity and nostalgia.

In English-speaking countries, the absolute standard for graduation ceremonies is March No. 1 from "Pomp and Circumstance" by British composer Edward Elgar.

Music for State Holidays: Anthems and Marches.

State ceremonies require special music capable of instilling a sense of unity and patriotism. Anthems and military marches are perfect for this task.

In the USA, no major holiday, from Independence Day to sporting events, is complete without the national anthem, "The Star-Spangled Banner."

In France, the symbol of the nation is "La Marseillaise," born during the French Revolution.

Holiday music can also reflect cultural specifics. For example, in Austria and Germany, Christmas celebrations are unthinkable without the hymn "Silent Night" ("Stille Nacht"), which was first performed in a small Austrian village.

In contrast, the cheerful "Jingle Bells" has purely American origins and was initially written for Thanksgiving.

China's Special Path: From Confucian Rituals to Modern Celebrations.

Chinese civilization, one of the oldest in the world, possesses a unique and deeply symbolic musical tradition. As far back as the time of Confucius, music was considered the most important element for harmonizing society and governing the state.

Imperial Rituals and Festivals: At the emperor's court, there was a special ritual music called yayue ("elegant music"). It was performed during sacrifices, receptions, and the most important state ceremonies. The sounds of stone and bronze bells, the guqin zither, and flutes created an atmosphere of grandeur and order, reflecting cosmic harmony.

Wedding Traditions: A traditional Chinese wedding is accompanied by loud and joyful music. Wind instruments, such as the suona (similar to an oboe), and percussion—drums and cymbals—play a leading role. Their loud sounds are intended to scare away evil spirits and attract good fortune for the newlyweds. A popular wedding melody is "One Hundred Birds Pay Homage to the Phoenix" (Bai Niao Chao Feng), symbolizing respect for the bride.

Funeral Music: For funeral processions.

Funeral Music: For funeral processions, music is used to create an atmosphere of dignity and sorrow. Brass bands playing slow, drawn-out melodies can often be heard.

Modern Celebrations: Today, in addition to traditional motifs, many modern, specially written songs are played at Chinese holidays, especially during the Lunar New Year (Spring Festival).

One of the most famous is "Wishing You a Happy New Year" (Gongxi Gongxi). Originally written after the end of World War II to celebrate liberation, it quickly became the main New Year's hit, symbolizing joy and hope.

Ceremonial music is a living language of culture. By choosing a particular piece, we not only adorn an event but also weave it into the rich tapestry of world history and human emotions, creating a soundtrack for the most important moments of our lives.

]]> From Genes to Gender. https://terryheimat.com/taraskutsenko/tpost/suzyn3rkc1-from-genes-to-gender https://terryheimat.com/taraskutsenko/tpost/suzyn3rkc1-from-genes-to-gender?amp=true Thu, 30 Apr 2026 04:25:00 +0300 Press Service Science BLOG What Really Determines Who We Are?

From Genes to Gender.

In the modern debate about human nature, seemingly disparate topics often clash: our evolutionary past expressed in our genes, the social roles of men and women, and issues of sexual orientation. However, there is a profound connection between them. It lies in the realm of the eternal debate: what is more important—biology or culture, and how do we interpret the differences inherent in us by nature?

The 2% Difference: Human and Chimpanzee

The assertion that the human and chimpanzee genomes are 98% identical has become widely known. This 2%, however, conceals a colossal difference. First, it is important to understand that even a small change in the genes responsible for regulating the activity of other genes can lead to cascading and large-scale consequences in the development of an organism. For example, changes in genes controlling brain development resulted in the human brain being three times the size of a chimpanzee's and possessing a much more complex cortical structure.

Second, this 2% does not just consist of minor edits. It includes not only point mutations but also major restructurings: chromosome fusion (our 2nd chromosome is the result of the fusion of two ancestral primate chromosomes), duplications (copying) of entire genes, and their subsequent modification. It is precisely these "quantitative" changes that led to a "qualitative" leap—the emergence of speech, complex abstract thinking, and culture.

The Chromosomal Paradox: Man and Woman

Now let's consider the intriguing observation that the difference between a man and a woman is "greater than 2%." From a formal, mathematical point of view, this might seem correct. Men (XY) and women (XX) differ by an entire Y chromosome. The Y chromosome is significantly smaller than the X chromosome and contains about 55 genes compared to approximately 900 on the X chromosome. If we calculate the difference by the number of "mismatched" genes, the figures can indeed be impressive.

But here lies the key question: "Do we count by size or by meaning?" In terms of "meaning," the difference is small. The Y chromosome carries the SRY gene, which triggers the development of the organism along the male pathway. However, the vast majority of genes that determine the fundamental aspects of our vital functions are located on the remaining 44 chromosomes (autosomes) and the X chromosome, which are practically identical in men and women.

Thus, biological differences between the sexes are real, but they primarily concern reproductive function and related physiological traits. They do not predetermine intellectual abilities, moral qualities, or social potential. To argue that a man is biologically closer to a male chimpanzee than to a woman is to play with numbers while ignoring biological reality and the functional significance of genes.

From Biological Diversity to Social Diversity

And here we approach the most important point. Both in the case of chimpanzees and in the case of sex differences, we see how small genetic variations lead to different phenotypes (external manifestations). But how does society react to this diversity?

Gender inequality. Historically, physical and reproductive differences between men and women have been used to build social hierarchies. Gender inequality is not a direct consequence of biology, but a social construct that has assigned different roles, rights, and opportunities to people based on their sex. The struggle for gender equality is not a struggle against biology, but against outdated social norms that limit an individual's potential.
Sexual orientation. Homosexuality, like heterosexuality, is another manifestation of the natural variability of the human species. Modern scientific data indicate that sexual orientation has a complex nature and is formed under the influence of genetic, hormonal, and environmental factors. It is neither a "choice" nor a "disease," but one of the variants of the norm. Discrimination against gays and lesbians, like gender inequality, stems not from biology, but from social prejudices and the fear of "otherness."

A 2% difference in the genome separates us from our closest evolutionary relatives, giving us intellect and civilization. A one-chromosome difference creates two sexes, ensuring the biological reproduction of the species. Variations in genes and brain development create a spectrum of human characters and orientations.

The problem begins when we use these biological differences as a justification for social inequality. Instead of valuing diversity as a source of strength and adaptability, society has built barriers for centuries, be they racial, gender, or sexual.

Understanding that small genetic differences do not determine the value or rights of an individual is the key to building a more just and humane society. Ultimately, what matters is not the percentage by which we differ from one another genetically, but whether we recognize every person's 100% right to dignity, self-realization, and happiness.

]]> China in My Eyes. https://terryheimat.com/taraskutsenko/tpost/4gmc89g061-china-in-my-eyes https://terryheimat.com/taraskutsenko/tpost/4gmc89g061-china-in-my-eyes?amp=true Sat, 30 Mar 2024 04:43:00 +0300 Press Service Science BLOG Short Video Contest Spreads Chinese Traditional Culture.

China in My Eyes.

Chongqing - On March 29th, the awarding ceremony for the "China in My Eyes - Colorful Folklore" short video contest, organized by the Chinese People's Association for Friendship with Foreign Countries (CPAFFC), was held in Southwest China's Chongqing.

On March 29th, the award ceremony for the "China in My Eyes - Colorful Folklore" short video contest, organized by the Chinese People's Association for Friendship with Foreign Countries(CPAFFC), was held in Southwest China's Chongqing. (Photo/Foreign Affairs Office of Chongqing Municipal People's Government)

Established in 2021, the "China in My Eyes" short video contest has garnered widespread attention, with over 130 million views across three editions. This year's focus on "Colorful Folklore" aimed to encourage foreign nationals in China to capture the essence of Chinese traditional culture in their short videos, promoting cultural exchange and understanding between China and the world.

Recently, 13 contest winners visited various landmarks in Chongqing, including the Former Residence of Zhou Enlai, the Chongqing China Three Gorges Museum, the Liziba Station Lookout Platform, the Stilwell Museum, and WFC Huixian Building Viewing Deck, to deepen their understanding of the city's rich cultural heritage.

At the ceremony, Zlata Molitvina, a first-prize winner and an international student from Kyrgyzstan, expressed her deep connection to Chongqing, saying, "Although I've only been studying in Chongqing for two years, this city's unique charm has deeply captivated me. It has become my second home."

Zlata Molitvina is a first prize winner and an international student from Kyrgyzstan. (Photo/Foreign Affairs Office of Chongqing Municipal People's Government)

Taras Kutsenko from Ukraine, a second prize winner, shared his enthusiasm for Chongqing's cultural richness. "Chongqing is a wonderful city with rich cultural and historical heritage. Even though Chongqing is a multimillion city, it is beautiful, clean, and well-maintained. Visiting the sights has encouraged me to create my new music album, which I will call 'Chongqing Reflexion.' It will include music tracks about how I hear Chongqing," said he.

Taras Kutsenko from Ukraine, a second prize winner, shared his enthusiasm for Chongqing's cultural richness. (Photo/Foreign Affairs Office of Chongqing Municipal People's Government)

Mohammad Saiyedul Islam, a third-prize winner from Bangladesh, praised Chongqing: "Chongqing, with its vibrant energy, stunning landscapes, rich history, and mouthwatering cuisine, is a city that leaves a lasting impression. It is a place where tradition meets progress, the past intertwines with the present, and the spirit of its people shines through. My experience in Chongqing will forever hold a special place in my heart, reminding me of China's beauty and diversity."

"Today, we are gathered here for a dialogue that transcends borders, cultures, and generations—a dialogue on intercultural communication," he added.

The Youth Dialogue on Intercultural Communication. (Photo/Foreign Affairs Office of Chongqing Municipal People's Government)

Joshua Harry Evans from the UK, also a third-prize winner, emphasized the need for a comprehensive approach to cultural exchange in China, stating, "Improving cultural exchange in China requires a multi-faceted approach encompassing education, technology, community engagement, sports, and government support. By embracing these methods and fostering a culture of openness and inclusivity, we can build bridges across borders, deepen mutual understanding, and pave the way for a more harmonious and interconnected world."

]]>

Cover version of the song "Nimozo".

Outstanding Award Winner

New short film

A Ukrainian Orchestra from China has received a prestigious award in the United States.

The project "Ode to Joy" won a music award in London.

Ukrainian musician has been nominated for an award in Los Angeles.

Ukrainian conductor and arranger Taras Kutsenko, nominated in the 12th Annual New Media Film Festival® slated for June 2-3 2021 Los Angeles CA .

Project of the Taras Kutsenko "Ode to Joy" are In competition for $45,000 in awards with judges from Marvel, HBO, EMMYS, BBC, PBS & more. The project is named in the "Music Only" category.

Another international award for "Startimg point" projekt.

Winner BLASTOFF Award.

Film "STAY" - world premiere

October 1, 2021 - premiere of the new film "Stay".

tempora mutantur et nos mutamur in illis

The song "Glory", a Ukrainian composer in China, received a European award.

GORDON. "Stay". The Ukrainian director and the American screenwriter presented the new film. Video

Kharkiv resident in duet with an American writer shot a musical film "Stay".

The project "GLORY" received Art Film Awards.

Stay: the movie made by two.

"Glory" project is winner of BIFA.

The screenwriter of the film "Stay" received an award in London.

World premiere of MAGIC SONG video

Al Di Meola, Leonid Agutin and Angelica Varum starred in a Christmas tale (Video)

Thanks 2021- Hello 2022

The creators of the project "Magic Song" received the award in Los Angeles.

TIMES: Ukrainian composer and American producer won the Silver Mask award at the Los Angeles festival.

The “Magic Song” received “Red Dragon Awards” in Dallas, TX USA.

Svetlana Telbukh has received the Award by The Royal Society of Television and Motion Pictures.

Terry Heimat became a Bach® instrument artist in China.

TVK rebranding

Conductor Taras Kutsenko was awarded the Order.

The creators of "Magic Song" and "Ode to Joy" Terry Heimat production, have embarked on a new project.

Terry Heimat production has begun the production of a new music album, "POWER of NATURE" 自然颂.

TWO MUSICIAN TRAVELERS MET IN CHINA.

Dragon Boat Festival 2022.

This festival in China marks the arrival of summer.

Forward To New Ukraine

Happy international Dance Day

Health or business.

О реорганизации МАСО «Слобожанский».

Кратко про оркестр.

Новый руководитель оркестра с 2013 года.

Оркестр и Университет

К чему же в итоге привел Тарас Куценко коллектив МАСО «Слобожанский»?

Реорганизация

Кому это выгодно?

Почему?

Our musicians are in the Qili city.

Paris Premieres as part of Movie Night

MADE IN MIAMI

Hollywood Independet Filmaker Awards 2022

Our teaser created All About Jazz!

Song I'll stay with U

JUST a DAY ©2023

Zhangjiajie Tianmen Mountain. 999 steps and tourists sing with each other.

Premiere on International Mother Earth Day

THE POWER OF NATURE

The musicians recorded an album.

So what is happening in society?

Plot of album

The album was recorded by：

The album's branding:

Quantum Acoustics

On topic: Basic physical concepts of electrodynamics Leningrad scientific film

Premiere in California

Ukrainian musicians gave a concert in China.

The song by Terry Heimat and Alex Sino won the hearts of the Wulingyuan Digeer Music Fest 2023 audience.

The Magic Song is the Winner at the Dispatches of War International Film Festival (DoWFF).

LISTEN

China International Trumpet Art Week (Changsha)

International Jury

Prize fund

Trumpet Art Week 2023 Opening Ceremony

Opening Ceremony Concert.

Start of the competition.

Trumpet performing arts master classes

Second round

Third round

Our friend, the outstanding musician Camilo Valencia, has passed away from earthly life.

Nominee 24th Annual Latin Grammy Awards ® 2023

CAMILO VALENCIA - Producer, arranger

Zhangjiajie Holong Park
"Fireflies in the Forest".