Ezhov V.
Esthetics of the Slavs’ patriotism
Deep changes happening in the culture leed to reflection on the past and the future to understand the present. Revival of new Russia aggravates research interest in wisdom of the past Slavic culture. It is necessary to create a new model of modern cultural functions, leaning on historical and cultural comparative knowledge methods. Author’s research opens esthetic integrity of a dialogue between traditional and modern cultures.
Keywords: spirituality, culture, value, education, aesthetics, patriotic education, personality, mentality, civic responsibility
Victor Ezhov – Dr. of Philosophy, Prof. of the Philosophy and History Department at the State University of Telecommunication and Information Sciences, Prof. of International Slavic Academy (Siberian branch).
Plavskaya E.
Music education and enlightenment of Russian Old Believers in the beginning of XX century
The art of znamenny chant of both the Old Russian and the Old Believers periods is of professional character, i.e. it has a system of special education. One of the major problems faced by the researcher of this culture is to study the issues of musical education.
The process of chant singing training in the Old Believers period essentially inherits the practice of ancient Russian period. Information about the organization of education in the Old Believers’ environment first appeared in the early XX century. Considerable attention to the educational sphere gradually becomes more widespread, causing the need, firstly, to discuss the problems of education in the pages of newspapers and magazines, secondly, the publication of textbooks; and, thirdly, establishing a system of educational institutions and the development of special programs for chant singing training.
Periodicals and printed music-theoretical tutorials of those years become sources that allow exploring of the state of musical and educational sectors of the Old Believers community. They have captured the process of forming new approaches to chant singing learning.
Of the total numbers of Old Believers periodicals only a small number of publications address the issue of musical culture. Firstly, we should note such magazines as «Church singing» and «Church». The mass appearance of printed music-theoretical tutorials belongs to the end of XIX – beginning of XX centuries. The ABCs of I. Fortov (1884), M.D. Ozornov (1901), F. Bornukov, L.F. Kalashnikov (1908, 1911), L.V. Bystrov (1911) were published one after another. With regard to the improvement of znamenny chant teaching methods, it was perceived not only as a means of improving the singers’ literacy in hook notation, but also as a way to revive this part of the original ancient Russian art.
Thus, the emergence of new teaching materials and the development of teaching methods, the creation of educational institutions have substantially raised the level of musical knowledge in the Old Believer environment.
Keywords: music education of old believers, pedagogics and enlightenment, the music-theoretical tutorials, the old believers’ periodicals.
Elena Plavskaya – PhD in Arts History, Associate Professor of the History and Political Science Department at the Novosibirsk State Technical University.
E-мail: plav@inbox.ru
Veretennikova D., Kazantseva T.
The Old Believers penitential verse «Cain and Abel»: musical and poetic structure
The article examines the musical and poetic organization of the penitential verse «Cain and Abel», an unaccounted in research literature version of a well-known text of the same subject. The text of this verse fixed in an Old Believers handwritten copy of the second half of the XIX century is analyzed. Analysis of the verbal and musical texts shows that their structures are sufficiently autonomous and have inherent qualities. The poetics of the verbal text demonstrates the features of the structures typical for Old Russian poetry — epic, psalms, eucologe verse. The musical structure represents a centon-composition consisting of melodic formulas, which are based on the melodic formula of znamenny chant of sixth modus. However, interaction between the two texts is observed. The musical architecture affects the verbal organization in a constructive manner, dividing the text into commensurate segments, clearly showing the signs of poetic structure in it. In turn, the poetical structure determines logic of the melody development and purposeful renovation of melodic formulas. These and other characteristics of the composite organization of the verse enable to refer it to author’s specimens of late tradition of penitential poetry.
Keywords: verse of repentance, znamennyi chant, melodic formula, liturgical poetry, centon-composition, the Old Believers.
Daria Veretennikova – Student at the Theoretical Composition Department of the Novosibirsk State Conservatoire named after M. I. Glinka.
Е-mail: dariaveretennikova@rambler.ru
Tatiana Kazantseva – PhD in Arts History, Associate Professor of the History of Music Department at the Novosibirsk State Conservatoire named after M. I. Glinka
Е-mail: kerzak2002@mail.ru
Miklukho E.
According to the system of Shakespeare
The article examines the historical parallels of development and interaction of the Russian and English musical cultures. In spite the geographical and political remoteness of Russia and England, they have a lot in common. The most important factor that brings them closer is love to singing and choral art. In Russia the art of singing has become the basis of professional music.
Contemporary English composer John Tavener (1944–2013), whose work was appreciated by Stravinsky and Benjamin Britten, wrote among others a huge number of pieces for chorus. In his works, the composer refers to the traditions of ancient Russian musical culture, to the Znamenny chant; he is also familiar with the early Russian polyphony, and encourages studying it. John Tavener emphasizes originality of the chants and music of ancient Russia, who has adopted a system of Byzantine music in the 10th century and transformed it.
Referencing to the music heritage of ancient Russia by the contemporary Western composers shows that the ancient Russian music culture is not a closed and incomprehensible field of musicology but a living tradition that underlies Russian musical art, which is loved in Russia and abroad.
Keywords: the Renaissance, polyphony, early Russian polyphony, choral music, John Tavener, Znamennyi chant
Elena Miklukho (St. Petersburg, Russia) candidate for PhD in Arts History, Russian Institute of Art History.
E-mail: emkl@mail.ru
Fidenko Ju.
Song liturgical hymn and a new communication situation in the modern Mass (on the example of the Catholic parishes in Siberia and the Far East)
The article studies chants used in modern religious practices of Catholic parishes of the Asian part of Russia – Siberia and the Far East. Modification of religious repertoire in several regions is caused by reforms of The Second Vatican Council, which allowed using the national language and various music during the service. Actuality of the article is due to absence of research of modern Russian hymnography.
The author notes how collective singing of hymns brings in specific energetics and includes each parishioner into the liturgical service. Active participation of parishioners in the service has caused the emergence of a new genre of chants. Due to the changes in hymns of the XX centuries, the author introduces the concept of а “song liturgical hymn”. This genre has a variety of individual features, however, it shows a close genetic relationship with a long tradition of hymn.
Analysis of the hymns «When you gather» and «Hark! The Herald Angels Sing» shows that the assimilation of song styles into the service leads to a significant reorganization of hymnography. The sublime poetic lexicon, literature versification, standard cadence formulas and couplet forms become the distinctive feature of the song liturgical hymn.
The author concludes that the reforms of Vatican and cult practice renovation in XX century increase dialogical potential of the service and form communicability, a new top quality of liturgical music.
Keywords: Mass, Second Vatican Council, Catholicism, church music, liturgical hymn, liturgical communication
Julia Fidenko – musicologist, PhD in Arts History, Associate Professor of the Music History Department at the Far East State Academy of Arts, Vladivostok; doctoral student of the Music History Department at the Glinka Novosibirsk State Conservatoire.
E-mail: jufid@mail.ru
Vavilov S.
Musical education by the Roman Catholic denomination in Tomsk at the turn of the XIX–XX century
The article is devoted to the music of the Roman Catholic Church in Tomsk. Participation of Polish Catholics in the development of musical education in the city was a feature of the city at the turn of the XIX century.
The author examines the activities of Polish musicians and provides information about the concert life of Tomsk featuring Polish touring musicians. The article provides previously unpublished information about representatives of Polish families of Tomaљinskih, Sobolevskih, Zaleskih, who made a significant contribution to the musical culture of the city.
Key words: denomination, confession, Catholic, Tomsk, touring musician, Catholic Church, pianist.
Stanislav Vavilov – PhD in Technology, Associate Professor at the Management Systems Optimization Dept. of the Computer Science Institute of the Tomsk National Polytechnic University.
Е-mail: baron@tpu.ru
Vavilov S., Tkalenko Ya.
Confessional traditions
and the opera stage of Tomsk in 1900–1920s
The article shows the results of analysis of the opera companies operated in Tomsk in the 1900–1920s. The repertoire of the leading opera enterprises is considered. The authors have concluded that the opera scene of Tomsk was an essential part of the town’s musical culture.
The collected data show an enormous influence of international opera music on interdenominational society of that time. The music by more than thirty opera composers could be heard in Tomsk. More than 60 opera performances were put on stage.
The aspects of different denominations representatives’ relation to opera performances are considered. Information on the work of Tomsk famous opera singers I. Bereznegovsky and V. Klopotovskaya is provided.
The article is illustrated with rare images from private collections.
Keywords: opera, orchestra, entrepreneur, conductor, Tomsk, denomenation.
Stanislav Vavilov – PhD in Technology, Associate Professor at the Management Systems Optimization Dept. of the Computer Science Institute of the Tomsk National Polytechnic University.
Е-mail: baron@tpu.ru
Yaroslav Tkalenko – Art Director and Chief Conductor of the Tomsk Academic Symphony Orchestra
Pylneva L.
Buddhism in the culture of Buryatia: current state
The article discusses the state of Buddhism in the modern culture of Buryatia. Contextual situation of different confessions existence, its interaction with other religions in the republic is marked. The geographic spread of the heterogeneity of culture is noted. The rituals in which the interaction between different religious systems quite noticeable are named. There are examples of a complex of beliefs, reflecting the current state of Buddhism in the country, in the academic art of music, painting, and literature. The negative impact of the policy of the 1920–1980s for religious concepts, as well as the opportunity to develop the architecture, painting, ornamentation, and sculpture defined by Datsan art are referenced. The boundary of the XX–XXI centuries is described as a period of old traditions revival and recovery of monuments (some of Datsan complexes, stupas, suburgans) with the construction of new ones. It is concluded that cultural processes in the designated area are of a common character and the Buddhist teachings are attractive for the general public.
Keywords: Buddhism, modern culture of Buryatia, buryat art.
Lada Pylneva – D.A., Associate Professor at the Department of Music Theory of the Glinka Novosibirsk State Conservatoire.
E-mail: pylneva@mail.ru
Karnauhova V.
Spiritual traditions in Max Reger’s choral music
The article is dedicated to the traditions put into the choral scores of Max Reger, German composer of the XIX-XX centuries. His choral creative work is almost unknown in Russia and of great importance from the point of view of following up the genre traditions of German choral music and their reconsideration in the ХХ century. The latter is particularly relevant when speaking about the genre of Requiem. First of all the article considers the composer’s choral scores written for the most prominent religious holidays of evangelical year that reflected traditions of Bach’s Choral cantatas. The article demonstrates that in these musical pieces Reger succeeded in foreseeing many discoveries of the ХХ century, in particular, the principle of style levels’ polyphony. The cantatas ‘The Hermit’ and Hebbel-requiem, the last two choral pieces written by Reger, are of great interest in the context of «genre memory» and implementation of spiritual traditions of German choral music. Both of these pieces were written for the lyrics of German romantic poets and follow the line of free construction cantatas that exists in Reger’s choral heritage. Special attention is paid to the last of the above mentioned scores – cantata ‘Requiem’ to Gebbel’s lyrics, where requiem mass traditions, began by Shutz, were reflected. Special connection of Reger’s score with Mozart’s ‘Requiem’ and Brams’ ‘German Requiem’ is noted in the text, and the allusions to the protestant chorales, acting as music symbols in Reger’s compositions, are also mentioned.
Key words: choral score, genre memory, chorale, tradition, romantic Bach tradition, symbolism, style.
Veronika Karnauhova – PhD in Arts History, Associate Professor at the Interfaculty Chair of Humanitarian Subjects of the University of Russian Academy of Education, Nizhniy Novgorod branch.
Е-mail: kevs@mts-nn.ru
Urvantseva O.
The incarnation of the spiritual theme in A. Murov’s music
The author of article considers the peculiarities of incarnation of the spiritual theme in Russian composers’ music of 1960-90s on the example of Murov’s work. The specific features of choosing and interpretation of spiritual texts, genres, the style’s allusion, musical language are noted. The article describes the author’s position actively revealed in the interpretation of spiritual genres.
Keywords: spiritual concert music, moral sermon, church music, New Trend, religious conception of symphony.
Olga Urvantseva – Doctor of Arts, Assistant Professor at the Department of Music History and Theory of the Magnitogorsk State Conservatory (Academy) named after M. I. Glinka, professor of MaSC,.
E-mail: postik2006@mail.ru
Pavlyuchik S.
“An Alpine Symphony” by Richard Strauss:
on the 100th anniversary of composition
This article is devoted to the characteristic of the last large symphonic work of R. Strauss which, unlike symphonic poems, didn’t receive its due assessment and analysis in domestic musicology. The author tries to prove that this symphony is the result of symphonic creativity of the composer and, more widely, all European symphonic style of the XIX century, including Beethoven, Berlioz, Liszt, Wagner and Brahms. The plot of the symphony is the ascension to mountain top and descent within one day. The structure of the symphony consists of 22 sections entitled by the composer. The single-movement symphony represents a sonatas form with the slow introduction and conclusion on which regularities of a four-movement symphonic cycle are imposed. The concrete type of program romantic symphonism caused brightness of images and alternation of picturesque and picture episodes. But behind the outside descriptive there is the accurate logic and symbolics of the stages of human life including the personal growth, overcoming of obstacles, achievement of tops, finding of wisdom and gradual fading. It allows to treat the symphony as the philosophical work connecting the Way of Life emblems to symbolics of times of days and four elements. The author of this article consistently characterizes sections of the symphony, analyses the intonational and timbre dramatic composition, the tonal plan and thematic communications.
Keywords: romantic symphonism, result, single-movement, stages of human life, symbolics, philosophical work.
Sergey Pavlyuchik – a teacher of the Novosibirsk Regional College of Culture and Arts.
E-mail: serj.pavlyuchik @ yandex. ru
Haverkamp M.
Visualization of auditory perception: relationships,
concepts, synesthesia. (Translated by E. Starikova)
This article discusses the features of the visualization on the example of «Giant Steps» by John Coltrane — Michel Levy and visual composition by Johannes Deutsch on Gustav Mahler’s Second Symphony. The author concludes that the true comprehension of the union of music and visualization is possible intuitively via a variety of methods. Combination of visualizations and auditory sensations is to be based on the feelings intersecting in the process of the elementary forms merging, iconic connections of objects and scenes, and symbolic content analogizing. The article also reveals the importance of visualization for multisensory artwork and multimedia compositions of the future.
Keywords: visualization, feelings intersection, synesthesia, elementary form, correlation.
Haverkamp M., Doctor of Technical Sciences, Cologne (Germany).
Elena Starikova – postgraduate student (II year) at the Glinka Novosibirsk State Conservatoire.
Е-mail: tosha.starickov@yandex.ru
