Vershinin Aleksandr Aleksandrovich
“Symphonic Dances” by Sergei Rachmaninov: author’s interpretation as a style guide for performers
The article refers to the last work of Sergei Vasilyevich Rachmaninov, one of his most mysterious creations – “Symphonic Dances”. Thanks to the surprising discovery of the last year – the audio recordings on which the author performs his opus (on the piano) – at the moment, the musicians have the opportunity to get acquainted with the imprinted composer’s plan. The performance of Sergei Vasilievich helps to clarify not only the tempo and dynamic features (including agogic ones), but, above all, the nature of a particular topic, its intonational logic, and phrasing. The study of this audio document is necessary and useful for conductors and orchestra players (when preparing the performance of “Symphonic Dances”), as well as, of course, pianists-performers. The recording was made by Eugene Ormandy in 1940, when the composer invited the conductor to a villa in Long Island to work on a new composition. Ormandy brought a portable recording device. The composer plays, in some moments sings, the recording sometimes ends (due to the end and replacement of the magnetic tape), voices are heard (when Sergey Vasilyevich explains something to a colleague). Unfortunately, the author did not explain the exact decoding of the program of each of the parts. In this regard, it is worth referring to the creation history and the content side of the essay, to consider the central themes-images.
Keywords: Rachmaninov, Symphonic Dances, piano, interpretation, performer, style.
Karpychev Mikhail Georgievich
Speech and piano
The article is devoted to the connections between speech and piano playing. Many characteristics are equal (language, sentence, intonation…). Intonation is “word” in music (piano art). It has three forms: two sounds, one sound, pause. Classic form – two sounds (interval). A sound becomes an intonation, when it is separated in music “stream”. Pause – if it is long. If piano playing is a speech, it must be, first, distinct. Second – it must be coherent. Legato is a mental category, uniting some intonations by performer’s consciousness. Logic of intonations’ connection is a safe guarantee of the coherent playing. Logic mentality is the feature of system organization. Third – it must be sensible. Sensibility is close to coherentness. But there are some special peculiarities: to find and to understand successive legalities (chromatic sounds, organ point, sequences…). They help to make music “breath” longer. Besides, music-speakable figures of Barocco, which have constant meaning without dependence upon music context (ordinary intonations depend), are very important. Further, we may speak also about intonations of recitation, narration, epos, lyric, drama, monologue, dialogue… One more parallel – articulation phenomenon, expressed by piano touches. The author offers his own new name of one of them – non staccato. Speech and music (piano) intonations are two branches of a tree: a music intonation, expressing emotion, separated from speech intonation, expressing notional emotional sense. This relationship is a reason of the correlation between two arts and the basement of program-music existence.
Keywords: speech, word, piano, intonation, connection.
Ovchinnikov Stanislav Aleksandrovich
Mstislav Rostropovich as the interpreter of the Suites for solo cello by J. S. Bach
The article is devoted to the performance interpretation of cello suites by I.S. Bach Mstislav Rostropovich. The interpretation of six suites for cello solo as a single, in terms of intensity and cycle, from the ingeniously-contemplative first suite to the full, deeply philosophical symphonism of the sixth is innovative and expresses the scale of Rostropovich’s personality. The striving for symphony of Bach’s suites, the feeling of a cycle as a grandiose six-part symphony determines the priority of a continuous statement of musical content, a single process of image development over the display of features of a suite form. The perception of the immortal music of Bach in the context of the modern world and a deep understanding of the stylistics, principles of development and intonation distinguishes Mstislav Leopoldovich’s interpretation. The article presents a performance analysis of parts of suites with a brief historical excursion on the formation of the genre, analyzes the method of building motivational links that allow Bach to combine rare historical traditions to achieve a rare stylistic unity. In his search for new timbre and expressive possibilities, Bach was ahead of the music of his own time for two centuries, going beyond the framework of his cello performance and having guessed the individuality of the instrument. The relevance of the topic is to reveal the universal principles of the development of Bach’s music and develop their own interpretation of suites by modern performers based on them.
Keywords: Bach’s cello suites, interpretation, Mstislav Rostropovich, cello suites symphonization, inexhaustible spring of inspiration.
Mikhno Vladimir Aleksandrovich
Magomedova Julia Stanislavovna
Transcriptions of cello suites by J. S. Bach for saxophone: methods and performance recommendations
The urgency of the problem touched upon in the article is determined by the significant expansion of the solo repertoire for the academic saxophone and the increased attention to baroque music. Thus, many saxophonist include Bach’s suites for cello solo in concert programs and record it’s on CDs. A lot of questions arise regarding the legitimacy of the transcription of suites for the saxophone, its specifics and interpretations. This article presents an analysis of the sources and methods of work on the transcription. The authors recommend the performers to apply with the manuscript of Anna Magdalene Bach, but taking into account that even her copy has an “editor’s” hand, especially in the articulation. The article lists the sources of restoring urtext, as well as various versions of cello suites. It is revealed that they are mainly differ in the touch symbols. Some principles of suites transposition and certain performing decisions for the use of expressive means application are formulated. So, the problem of unity and continuity of melody is solved with the help of various breathing techniques and vibrato. In agogik one should adhere to the principle of the so-called “stolen time”. Ornamentika should be played natural and in accordance with the notation. Trills are “emotional vibrato” or a specific accent in suites, we recommend to perform it with the top notes, smoothing its end. The authors note that the transcription for a baritone saxophone avoids the transformation of the register, in contrast to the arrangements for the alto and soprano saxophone.
Keywords: J. S. Bach, baroque music, transcription, saxophone, cello suites, methods, performance.
Sokolvyak Natalia Leonidovna
About innovations in domestic string quartets the last third XX – the beginning of the XXI
This article is devoted to the quartet creativity of native composers of the last third of XX and early XXI centuries, which, due to a number of circumstances, is not fully represented in Russian musicology and performing practice. For example, works for string quartet by S. Slonimsky and S. Gubaidulina, A. Schnitke and A. Eshpay, A. Vustin and V. Yakimovski discusses the most striking features of the evolution of the string quartet genre at the present stage, identifies some of the features of the musical language and the performance of quartet music of the new time. Despite the originality of the figurative and artistic content of each of the opuses, they are united by the desire of the authors to create a new original sound of the classical string ensemble.
Searches and experiments in the field of writing technique and instrumental expressiveness, the use of non-specific for string-bow instruments of the game techniques and methods of sound extraction, the attraction of additional timbres and verbal component to the ensemble resulted in the renewal of the traditional quartet phonosphere. As a result of such composer’s research, the performing functions have also changed, the orbit of which included not only the performers’ ability to deeply understand and understand the author’s intention, but also their readiness to master non-traditional quartet skills and skills. Since it is performing mobility and openness to various innovations, along with competent reading of the musical text and a high level of technological apparatus can be the basis for creating bright and convincing performing interpretations of music for the string quartet of modern domestic composers to attract close attention of a wide audience of listeners.
Keywords: string quartet, native composers, quartet performance, performer.
Zhaleeva Renata Railievna
Music in the early eclogues of Juan del Encina
The work of Juan del Encina shows a close connection between Castilian poetry, theater and court songs. Numerous samples of Encina’s lyrical poetry became the basis of his polyphonic songs, some of which he introduces in the end or in the middle part of his pastoral eclogues, which are one of the first examples of the Spanish secular theater. Four villiancico, whose music was saved in Cancionero Musical de Palacio (3 songs by Encina) and in Cancionero Musical de Segovia (1 song by an anonymous author) became the material of this article. The information about Encina’s early eclogues, created during his service at the court of the second Duke of Alba, about the music of his «theatrical» villancicos preserved in the songbooks, the analysis of their poetic and musical style in the context of his song heritage, the characteristic of their theatrical specifics which is manifested mainly in the poetic texts are given in the article. The main results of the analysis of the Encina’s «theatrical» villancicos help to identify their specific features, both distinctive and inherent to his song creativity in general. The high significance of introducing the songs into the theatrical plays is noted at the end of the article.
Keywords: villancico, eclogue, spanish theater, song poetry.
Ajmakanova Anastasia
To the issue of evolution of pitch systems
Wagner–Liszt–Reger
The process of the romantic musical vocabulary transformation towards the cardinal demolition of the pitch coordination, which took place at the beginning of the XX century, attracts interest of scientists-musicologists more than one generation. It covers a long historical and cultural period throughout which creative work of several composers such as: F. Liszt, R. Wagner, M. Reger can be identified as leading milestones. The modes of work with the musical and expressive vocabulary of an era differ in identity in heritage of the authors mentioned above and at the same time they are not deprived of continuity which is shown in a support of the general element for their harmonious style, – functional reconsideration of gray-scale inclination.
The individuality of the composer approach reveals due to various metro-rhythmic and impressive conditions where the modulating opportunities of inclination are implemented. So, the most difficult harmonious progressions are tied up in Wagner’s creation, on the one hand, with moderate tempo-rhythm expansion, while on the other hand, they are bound up with functional reorientation refers not as much of the tone, having introduction properties, but as for combination of tones that is a chord where each sound is considered by the composer as an element of the separate melodic line.
In contrast, the peculiarity of harmonious Liszt’s work refers to tempo-rhythm acceleration of the musical movement to a possible limit, while Reger’s relation to elliptic and modulation potentialities of inclinations can be considered accumulative.
Keywords: evolution of pitch systems, inclination, tonality, Liszt, Wagner, Reger.
Seregina Natalia Semenovna
Verses by Smerdyakov from the novel by Dostoevsky “Brothers of Karamazov” in the оpera by D. Shostakovich “Nose”
There are the first two verses of Smerdyakov from the novel by F. M. Dostoevsky “Brothers Karamazov” in the libretto of D. Shostakovich’s opera “The Nose”. The article explores the origins of the image of Ivan in the light of the semantics and philosophical image of Smerdyakov, as well as other characters of N. V. Gogol, as well as the image of Gogol in the perception of Dostoevsky. The use of Smerdyakov’s verses in opera on Gogol’s theme appears extremely organic: Gogol and Dostoevsky are brought together in the evolution of artistic ideas, Smerdyakov in Dostoevsky’s novel between these verses expounds his historical maxims, which became the main markers of this image, in Shostakovich’s opera the footman Ivan is depicted as an adherent of the same ideas, pointedly expressed in the intonational sphere of brutality embodied by musical means. The stylistic origins оf Smerdyakov’s couplets are found in song genres of the XVIII–XIX centuries, containing elements of Smerdyakov’s “romance”. But in any fragment they do not coincide with the “romance” textually. The comic absurdity of the оpera “Nose” grotesquely thickens the fantastic comism of Gogol’s story, bringing our perception to a new level of evaluation of its artistic content in comparison with the level of fantastic realism.
Keywords: D. Shostakovich, opera “Nose”, N. V. Gogol, “Nose”, F. M. Dostoevsky, “Brothers Karamazov”, Smerdyakov.
Pokrovskaya Nadezhda Nikolaevna
Three pieces for harp by S. S. Prokofiev
The attention of musicologists is rarely attracted by works of small forms, especially if they are written not for piano, but for other instruments. Most often drop out of sight miniatures for harp, although some of them may be true musical masterpieces. This phenomenon can be explained by the similarity (on formal grounds) of the presentation of the musical material in the harp and piano. Therefore, harp works are often considered to be piano works, as it was, for example, with M. I. Glinka’s harp opuses. Something similar happened with three plays for the harp of S. S. Prokofiev and it was an occasion to learn the history of their music, the names of the first performers and the dates of the premiere performances.
When writing the article the author uses information from archives, rare unknown publications, scientific and memoirs literature, new publications and electronic resource. When comparing data from different sources, it is established, that works of S. S. Prokofiev – Prelude № 7, op. 12, “Fleeting” № 7, op. 22 and the unknown nameless Play was written by him for the harp, and is associated with the name of the talented artist Eleanora Alexandrovna Damskaya.
Its great role in the composer’s life is confirmed by their 40-year-old (from 1913 to 1953) correspondence and reliable facts of Prokofiev’s biography contained in his Diaries from 1907 to 1933.
Keywords: S. Prokofiev, E. Damskaya, harp, unknown play, unknown edition.
Bushueva Lubov Ivanovna
Musical and theatrical art of Chuvashia: some aspects of the study
The article presents a brief overview of the historical development of a vast and at the same time little-studied layer of artistic culture of one of the republics of the Volga-Ural region, associated with the musical design of performances in professional drama theaters of Chuvashia. Features of origin and formation of the Chuvash theatrical art are considered in a complex, in the context of theatrical and musical culture.
The first performances held on the Amateur stage, folk rites described by ethnographers, historians, literary critics, which served as the basis for the formation of theatrical art and the main directions of development of the musical and theatrical process are characterized. Special attention is paid to the first performances, from which the activity of professional theaters began. The most famous performances and creators of music are mentioned, highlights of performances, their characteristic features are highlighted, the history of the most significant productions for theater groups, repeatedly renewed on the stage, their musical arrangement is analyzed in detail. The existing materials are systematized in chronological order by theatres, composers and genres.
At the present stage of development, the indicative trends are identified, the significant phenomena of recent years are analyzed, the leading directors and theater composers, music designers and their works are named. The article touches upon the topics relevant to the understanding of the history and the modern period of the development of theatrical art, the solution of which can affect both the activities of each theater and the theatrical music of the Chuvash Republic as a whole.
Keywords: dramatical theaters of Chuvashia, performance’s musical design, musical and theatrical art, chuvash composers.
Ivanova Maria Gennadievna
Spiritual verse about Boris and Gleb in Old Believers chant manuscripts Pomorskoy tradition with notation
The spiritual verse about Boris and Glebe was widespread in the Old Believers’ culture and is known both in the oral and in the written tradition. The most commonly studied oral traditions existence of the spiritual verse. It was included in collections of the Archaeographic expeditions. The melodies of the verse was published and shown many variant of local traditions. Old Believers – bespopovtsy steadily fixed verse about Boris and Gleb in collections of spiritual verses. The article deals Old Believers manuscripts Pomorskoy tradition with notation kept at the collection The Library of the Russian Academy of Sciences, and The National Library of Russia, in which consist a spiritual verse about the honorable princes. The plot of the spiritual verse is murder of brothers by his own elder brother Svyatopolk the Accursed. The text consist the main toposes from literary monuments, hagiography, hymnography and byliny. To explain inconsistencies in the development of the plot in the spiritual verse and in the “The Tale of Passion and Praise to the Holy Martyrs Boris and Gleb”, for the first time to study the composition of the text of the verse, butt methodology developed by V. Propp for analyzing the structure of the fairy tale. Fully written of poetic text in the collections, accompanied by a hook line allows you to identify methods of changing the formation of melodies.
Keywords: spiritual verses, princes Boris and Gleb, Bespopovtsy Old-Believer, manuscripts with notation.
Svetlova Olga Aleksandrovna
The services collection of the old believers by the holy bishop Innokentii (Usov)
The article is devoted to the unique monument of the first quarter of the XX century – the collection of services of the Old Believer Holy, by the famous preacher and spiritual writer, Bishop Innokenty (Ivan Grigorievich Usov, 1870–1942) – Bishop of Kostroma and Nizhny Novgorod, Kishinev, Tulchin, Metropolitan Belokrinitskij. The material for the analysis was a list from the collection, made in the 1990s, including thirty services, located on the principle of the annual liturgical singing circle. The author defines four groups of services in accordance with the eortologikal degrees of holidays, each of which includes a number of mandatory compositional-genre elements: the only service with all-night vigil – to the Holy martyrs and confessors of the Archpriest Avvakum, priest Lazar, deacon Fedor and the monk Epiphanius; three polyeleos cycle – Solovki martyrs, the Martyr and the Confessor, Bishop Paul of Kolomna, martyrs Theodosia (Theodora), her sister Eudoxia, the nun Maria and Justina; eight six-eighteen and Quaternary services. It is noted that the collection is not tinted, but the musical aspect of hymn creation is incorporated in the prescription of the genres of services of a specific singing model and voice, which predetermines the intonation and melodic profile of chants. In the article available in the collection singing of the model, identifies fifteen podobny for stichera of microcycles, podobny to performance sedalny on kafizmakh, canon and kondaks, which are based on troparn voice samples, and similar svetilny. Attention acrosternum the principle of composing songs of Canon («creganna»), characteristic for the nine services collection. Attention is paid to the acrosternum principle of composing songs of Canon («craegranesie»), characteristic for the nine services collection. Analytical observations allow the conclusion to evaluate the collection services of Bishop Innokenty as the largest hymnographic work of the first quarter of the XX century and to identify the prospects of his research.
Keywords: Old Believers, Bishop Innokenty (Usov), services to saints, canonization, hymnology, podobny.
Lapin Viktor Arkadieich
Phenomenon of master in traditional culture
Starting from the triad known in our ethnoinstrumentology as a “instrument-performer-music”, the author suggests his own formula, which does not reject this triad, but broadens the horizons of studying traditional instrumental music. In other words, we should consider a musician-creator (not a “performer”!) who chooses a favorite instrument and masters not only the common everyday repertoire, but actively develops the dominant form (or forms) of instrumental or instrumental vocal music in this tradition. Such a musician becomes the leader of the tradition. And our triad formula will look like: “musician – instrument – tradition”.
It is not an alternative to that adopted by our ethno-instrumentalists: organologic and ethnophonic analyzes are preserved as mandatory, but only the first two stages of the entire volume of the proposed research. In continuation and development of this idea, the problem of the status of a master leader in traditional culture is posed, and the concept of “actual context” (AC) is introduced as a working tool.
Identifying the AC set in the tradition determines the status of the master. Using the example of a harmonist from Belozersk district, the author demonstrates how the proposed analytical tool “works”. In addition, the alleged AK plots in relation to the bell ringer figure.
Keywords: triad “musician – instrument – tradition”, dominant instrumental form, vocal-instrumental form, set of actual contexts, master in tradition.
Sychenko Galina Borisovna
On the problem of notation and analysis of musical and poetic texts with a high degree of continuality (on the example of shamanistic kamlanie by A. K. Kandarakova)
The article is devoted to the problem of notation and analysis of the earliest form of shamanic intonation, represented by the text of the invocation of the spirits, recorded from A. K. Kandarakova in 1985.The author defines this kind of texts as texts with a high degree of continuity. In these texts the main features of so-called “early folk intonation” (E. Е. Alekseev) are presented: a diffusion of pitch and timbre parameters (-melodic), continuous glissando (-melodic) and instability of the scales, which we perceive in a continuously changing sound stream (-melodic). Continuity of the sound space is compensated by regularity of temporal organization. This makes a fairly simple task of fixing the composite and rhythmic structure of the text, however, does not facilitate the task of an adequate representation of its pitch and timbre parameters. The aim of this article is to develop adequate methods of analysis of the pitch and the principles of notation this kind of material.
The use of computer programs, such as Adobe Audition 3.0 and Speech Analyzer 3.0.1, is crucial in performing these tasks. Using previously developed approaches, in particular, the N. M. Kondratyeva’s works, the author offers her own version of the analysis of early folklore melos. Important role belongs to statistically notable pitches – centers of wide zones. As a result the real existence of scale-like structures in the texts with a high degree of continuity is approved.
Keywords: Siberian music, early folk intonation, shamanism, chalkans, notation, transcription, analysis, computer musicology.
Dubrovskaya Marina Yuzefovna
Japanese music culture of the Meiji era through
the prism of the latest research
The interest of Russian-speaking authors – culturologists and art critics – to the dynamic processes of transformation in the field of Japanese musical culture of the Meiji era (1868–1912) clearly activated in recent years, is recorded and evaluated by the author as a landmark direction of development of modern Japanese studies in Russia and Ukraine. Сandidates thesis E. L. Suda (Kiev, 2017), A. M. Maksimova (Novosibirsk, 2018) and N. F. Klobukova (Moscow, 2018), devoted to various aspects of the massive Western influences on the national musical heritage of Japan of the late XIX – early XX century, are considered in the context of the interaction of the canonical (traditional) and dynamic (composer) systems of music education, creativity and performance. The authors analyze the internal springs of fundamental changes that occurred in all the structures of the musical life of Japan and gave this culture, while maintaining its identity, a completely different appearance. The comprehension of Meiji innovations, the success, holistic and systemic nature of which were the result of state support of modernization processes, is carried out by scientists with the involvement of new scientific information of international Japanese studies. At the same time, the methodology and analytical approaches used by these authors demonstrate the reliance on Soviet and Russian studies, including those carried out in the Glinka Novosibirsk State Conservatoire in the 2000s, which actualizes the activities of the Novosibirsk school of Japanese music.
Keywords: Japan, Meiji, Western influences, studies of the modernization of musical culture, military bands, Orthodox chants, the emergence of national composing.
Vogralik Nataliya Aleksandrovna
Playing the piano as a necessary component
of musical education
The article is devoted to the problem of teaching piano to the students of different specialties. The unique qualities of the piano allow you to perform any music on it. The professional education of the musician is inseparable from his introduction to piano performance. Complex multi-dimensional texture of the piano works require the performer the ability to grasp different layers of sound, contribute to the development of harmonic and polyphonic hearing for musicians of any specialty. The objectives of the piano course are to teach the student how to play the piano, and to expand the musical horizons of the student. Students’ piano courses cover many styles, contributing to a deeper study of the history of music. Knowledge is reinforced by their own performance practice. The expansion of students’ musical horizons largely depends on their ability to read from a sheet of paper, therefore, the program of the piano course must include reading from a sheet. The program of the piano course also includes ensemble playing – performance of symphonies in four hands, piano ensembles, accompaniments. The piano course is necessary for students of any musical specialty. The better a student of the faculty of theory and composition is given a piano game, the more deeply he analyzes the music in all its diversity and complexity. Playing the piano is also important for the conductors. The principles of performance of polyphonic choral writing are similar to the principles of performance of piano polyphony. It is difficult to overestimate the importance of piano for the vocalists. Vocalists come to the Conservatory often without proper musical training. The musical education of the students-instrumentalists of various specialties (strings, brass, folk) is also impossible to imagine without learning to play the piano. This applies to communication skills with multi-voice text, professional skills to understand the piano part of the concertmaster. Thus, the piano is a necessary instrument of musical education in all specialties.
Keywords: musical education, general piano, ensemble play, game practice.
Korobeinikov Sergej Savelievich
Musical in the drama school theatre
The article focuses on the performances in the genre of musical that have been produced in the students’ theatre of Novosibirsk state theatre institute (drama school) for the last several years. The problem of new musical works appropriate for the drama school theatre stays topical, and therefore new titles are normally difficult for presentation by students who are being trained for acting in musicals. The author of the article analyses the three new works by contemporary composers which were produced in the students’ school theatre of Novosibirsk state theatre institute (drama school). The performances were featuring three different genres requiring different types of interplaying of music, text, sets, plasticity and acting. “Candide”, “Cucumbers and other cakes”, and “And the dawns here are quiet” present different proportion and correlation of speech and music in each of the performances. In “Candide” speech of the characters is prevailing over music to make the narrative more distinct – for that reason the performance was suitable for the students who study acting in drama theatre. “Cucumbers and other cakes” as well as “And the dawns here are quiet” both use the resources of musical dramatism and thus these two works could only be performed by the students who are mastering vocals. “Cucumbers and other cakes” gives us the example of the musical for children where musical and narrative parts are brought to balance. “And the dawns here are quiet” is an opus where the musical development goes through the story coherently and dominates it. All the three musicals were methodically and artistically adequate to the tasks of complex development of the students’ acting abilities. The performances enjoyed the long-lasting success with the public and media.
Keywords: musical, drama school theatre, speech of the characters, continuous musical development, set design.
Auns Margarita Vladimirovna
The development of the repertoire for clarinet
The material is a translation into Russian of the article “Development of the repertoire for clarinet” by the British performer, clarinet teacher, clarinet librarian of the Society of clarinet and saxophone of great Britain J. Rees-Davis. This article was published in a collection of articles dedicated to the clarinet, published at Cambridge University. Previously, her work for the Russian language is not translated. The relevance of this work lies in the valuable information about the evolution of the repertoire for clarinet. It reveals the historical facts of the creation of works for several centuries, comprehensively examines their genre and stylistic development. J. Rees-Davis takes as a basis the book of K. F. Whistling, published in the XIX century for a detailed description of the composers who wrote for clarinet, opening thereby new names of foreign composers and little-known works for domestic musicologists and performers on a clarinet. The text of the article can serve as a source of primary information for a detailed scientific review of the foreign history of clarinet performance in different countries and time periods. The author of the translation sets an important task – to make available systematic information about the development of the repertoire for students and professional performers-clarinetists.
Keywords: clarinet, repertoire, J. Rees-Davis, performing, composing.
Lipaeva Darya Evgenievna
The phenomenon of revenge in Japanese culture
In the center of the article – revenge as a socio-cultural phenomenon, due to the rules and regulations enshrined in the traditional culture of the Japanese. Focusing on a number of examples characteristic of such samples of the visual culture of the country of the Rising Sun as the anime and the genre of fiction, the author focuses his scientific interest on the problem of translating the phenomenon of revenge with musical means of expression. Having carried out an art history analysis of music as an integral part of a synthetic artistic text, such as anime and film text, the author comes to the following conclusion. The most commonly used instruments designed to uncover the musical specifics of revenge as a sociocultural phenomenon are traditional musical instruments such as Taiko, chitriki, shakuhachi and shamisen. Significant in this context is the fact that the instruments, which largely correspond to the specifics of marching music, nevertheless do not make the march the main genre for composers working in anime and cinema, since it is this genre that bears the sign of violence associated with alien culture. Along with a synthesizer that provides a special flavor to the sound of traditional Japanese instruments, Taiko, chitriki, shakuhachi and shamisen are designed to demonstrate to the audience the unreality of such mythological creatures as yurey, demon, ghost.
Keywords: revenge, yuray, ghost, taiko, shakuhachi, shamisen, ghost woman, anime.
Efremenko Oxana Sergeevna
The idea of cultural transition in the theatrical interpretations of the play “Children of the sun” by M. Gorky (based on the performances of the
K. S. Stanislavsky and T. A. Kulyabin)
The article analyzes the creative potential of the idea of breaking cultures in theatrical interpretations. The material of analysis are two productions of the play “Children of the sun” by M. Gorky that reflects the mindset of the specified cultural manifestations with a difference in a hundred years, namely: by K. S. Stanislavsky at The Moscow Art Theatre in 1905 and T.А. Kulyabin in Novosibirsk state academic theatre “The Red torch” in 2018. The Author indicates that in this play of M. Gorky inherits Chekhov’s new understanding of the comic with the dominant ironic modality, which creates the need for theatrical genre search. In the Moscow perfarmance, the Director attempts to read the play in accordance with the positivist philosophical views and methods of the realistic method, which in the domestic cultural situation of 1905 creates the effect of non-artistic perception of the theatrical work by the viewer. Search in the play. Kulyabin, based on the experience of culture of the twentieth century, who mastered the ironic discourse, predetermined by the idea of relativity view of the genre, the philosophical content of the era, the ways of artistic representation of life. This, according to the researcher, brings together the position of the playwright of the twentieth century and the Director of the XXI century.
Keywords: irony, theatrical interpretation, K. Stanislavsky, T. A. Kulyabin, break of cultures, category of time in culture.
Aleksandrova Lyudmila Viktorovna
The origins of Russian antiquity in the X–XVII centuries: on the history of translations of ancient authors
The article deals with the problems of the origin of translation activity in Russia, features of interaction with ancient sources, which is naturally due to the issues of culture, education and education during the X–XVII centuries. Attention is drawn to the first handwritten translations made «protokirillic» letter. In connection with the adoption of Christianity and Byzantine influence increases interest in translated works, the so-called world Chronicles, a kind of encyclopedia, including information about religion, philosophy, history, geography, astronomy, etc., from the content of which it follows that the drafters and translators drew information from ancient sources. In this way, the first fairly reliable information about the ancient world could get into the Russian literature. The role of translators by additions, insertions, emotional comments contributed creativity. In the XV–XVI centuries, beco
