Gotz Tamara Anatolyevna
About the role of metrorhythm in the early works of A. Schoenberg (on the example of Three Pieces for Piano op. 11)
In the article the features of metrorhythm functioning in interrelation with phonic qualities of a musical material are considered on an example of Three pieces for piano op. 11 A. Schoenberg. Observations over the rhythmic characteristics are carried out in the context of a complex unstable pitch system – atonality, the parameters of which contribute to highlighting of the phonic properties of various structural elements of musical tissue.
In the process of studying the Pieces, detailed individual rhythmic patterns, including a large number of small and disproportionately divisible durations, dotted lines, pauses, and syncopation, were revealed. The predominance of short durations, their unification into groups in an atonal context, contribute to a greater “frequency”, an internal speed of the movement. The informative nature of the sound environment, the “number” and the density of musical moments/events increase; musical time acquires qualities of special concentration, “conciseness”.
Simultaneously with the development of a differentiated rhythmic line, the finest oscillations of phonism arise, revealing the process-dynamic possibilities of sounding at the micro level. The use of various types of complex syncopation, detentions and a number of other techniques contribute to the distortion of the system of regular metrics and the promotion of bright single phonic effects as “substituting” the metric accent and often reinforcing the structural points of the form. Uneven irregular accents deternines only the fragmentary detection of metric supports; the motion of a free textured-phonetic flow predominates under conditions of phonemic variability. In connection with the modification of metrorhythmic processes, specific for the conditions of atonality, there are changes in the musical-temporal parameter. Interpretation of metrorhythm and phonism in their interaction is given a new significance as system-forming factors of musical formation.
Keywords: atonality, metrorhythm, phonism, phonemic variability, irregular accent.
Maltseva Anastasiya Aleksandrovna
Arnold Schering and musical rhetoric of the Baroque
Arnold Schering’s article “Teaching on Musical Figures” (1908), a sentinel one for the musicology of the 20th – the 21st centuries, where the scholar again reveals the four theories developed by the authors of the 17th – the first half of the 18th centuries (Johannes Nucius, Christoph Caldenbach, Mauritius Vogt, Johann Adolf Scheibe) and forgotten during the Romantic period, was created within the context of various Bach-interpreting musical-semantic trends, manifested in particular in studies of A. Schweizer (1905) and A. Pirro (1907). Initially Arnold Schering in article ‘Teaching on Musical Figures’ tended towards reconstruction of the theoretical Baroque knowledge of musical figures and proved his ideas by the concept of figures and explanations given by the theorists of that period, however, later he went deeper into the development of the musical symbol theory. Mixed A. Shering’s early and late concepts of the theory of figures and musical semantics were represented in Russian and foreign research essays. Still, in his article dated 1908 he gives a boost to several generations of music scholars towards the research of musical rhetoric. This article dwells on the historical significance of A. Schering’s ideas and their later unfolding in musicology.
Keywords: Arnold Schering, musical rhetoric, Baroque, musical-rhetorical figures, musical historiography.
Arnold Schering
The doctrine of musical-rhetorical figures
(translation from German A. A. Maltseva)
In the early article (1908) of professor Arnold Schering (1877–1941), a German music scholar, which was called a reference point in the research of musical rhetoric in the foreign musicology of the 20th – 21st centuries, in the early 20th century the public discovered teachings on musical figures developed by the four authors of the 17th – the first half of the 18th century (Johannes Nucius, Christoph Caldenbach, Mauritius Vogt, Johann Adolf Scheibe) and forgotten during the Romantic period. A. Schering dwells on the idea of close relationships between music and rhetoric, considering the concept of a “musical figure”, its correlation with understanding of musical “manners” and decorations. He also detects terminological and conceptual similarity of some musical figures and poetical figures. While speaking about the existence of the so-called purely musical figures (Syncopatio, Transitus, Fuga, Homioteleuton, Hyperbaton), the author, however, comes to the conclusion on diversity and dissimilarity of the lists of figures in the analyzed essays. A. Schering’s ideas on the historical nature of the teaching on musical figures and the necessity to analyze these ideas and apply them to the composition practice boosted the subsequent research, which later turned to a separate research area, where A. Schering is considered to be an initiator of the musical rhetoric. This is the first publication of this article in the Russian language.
Keywords: Baroque, musical rhetoric, musical-rhetorical figures, Arnold Schering, Johannes Nucius, Christoph Caldenbach, Mauritius Vogt, Johann Adolf Scheibe.
Liu Zhe
Echoes of the 24 Preludes and Fugues by D. D. Shostakovich in the Works of Russian Composers of the Second Half of the ХХ Century
The article attempts to prove that the 24 Preludes and Fugues, оp. 87 by D. D. Shostakovich, created at the turn of 1950–1951, became an active creative impulse for appearance of a large number of works in the genre of the polyphonic cycle, especially preludes and fugues. To identify the scope of this process, references are made to dozens of polyphonic works created by Russian composers: A. S. Karamanov, R. K. Shchedrin, I. M. Elcheva, V. K. So-rokin, G. A. Mushel, V. A. Poltoratsky, V. S. Bibik, A. I. Khachaturyan, K. A. Ka-raev, G. M. Chebotaryan, A. G. Flyarkovsky, A. I. Pirumov, D. A. Tolstoy, Yu. N. Shi-shakov, I. V. Rehin, S. M. Slonimsky and other authors for almost fifty years. For comparative analysis with op. 87 by D. D. Shostakovich are selected Twenty-Four Preludes and Fugues for Piano by R. C. Shchedrin, Thirty-Four Preludes and Fugues for Piano by V. S. Bibik, Twenty-Four Preludes and Fugues for Piano by S. M. Slonimsky and Twenty-Four Preludes and Fugues for guitar by I. V. Rekhin. It was established that all composers relied upon the style constants of the Shostakovich cycle, selecting the features closest to their creative thinking. A common feature of all was the reintroduction of genres of the Baroque era as a whole and Bach’s Well-Tempered Clavier, in particular, intertextual roll calls with various aspects of Russian music, as well as introducing compositional and expressive innovations of its time. It is revealed that the Baroque polyphonic cycles are relevant for culture of the second half of XX century – beginning of XXI century, embodying the tragic and multi-vector figurative panorama of the era.
Keywords: D. D. Shostakovich, Prelude and Fugue, polyphonic genre, Baroque epoch, Bach’s “Well-Tempered Clavier”, textured drawing, thema, polyphony.
Pokrovskaya Nadezhda Nikolaevna
Cycle of pieces for harp “Russian encyclopedia” by Yuri Ashchepkov
Academic forms of creativity in the musical component of the culture of Siberia began to develop only since the beginning of the XX century. The priority of professional Siberian composers was the music of small forms for piano or violin, vocal music and arrangements of Russian folk songs. The harp attracted their attention in the second half of the last century, but it began to be used only in the orchestra (symphonic or theatrical) or as an accompanying instrument. It was not works of major virtuoso forms for the harp solo. They appeared only in recent decades on the wave of great interest to the music of the Middle ages, the Renaissance, Baroque and authentic (historical) performance. Avant-garde composers also turned to the harp, the open strings of which were available for any experiment with sound.
In Siberia the first of composers began to write music for harp solo Yuri Ashchepkov. In his early works for the harp of the 70’s – 80’s were already heard intonations characteristic of all his future work: enthusiasm for the music of the XII–XVII centuries, the harsh sound of the avant-garde, the melody, based on the intonations of the Russian songs. Since February 2018, he has been creating a major work for harp solo, which reveals these best aspects of his talent – the cycle «Russian encyclopedia». It contains dances and songs of the Middle ages, Renaissance and Baroque of Western Europe: Spain, Italy, France, Germany, England. It is noteworthy that in 23 plays of the cycle the author managed to organically combine the typical national intonation and rhythmic features of the dances of each country with Russian melos, creating a truly Russian music.
Keywords: Siberia, music, harp, Yu. E. Ashchepkov, new opus.
Umnova Irina Gennadievna
Creative activity of the composer Vladimir Pipekin
The article is devoted to 50-anniversary of creative activities of Vladimir Mikhailovich Pipekin, Chairman of the Kemerovo regional branch of the Union of composers of Russian Federation, Chairman of the “Creative Union of composers of Kuzbass”, Professor of the Kemerovo state Institute of culture. A graduate of the Novosibirsk state Conservatory, concert performer by profession and by vocation, devoted to the genre of the song, Pipekin for many years contributes to the development of compositional creativity and functioning at the turn of XX–XXI centuries various forms of musical life as essential components of the living space of the industrial cities of the Kemerovo region. The activity of the musician was covered quite fragmentary, besides quite monotonous: as an Amateur composer, whose songs are performed by famous artists, and as performing his own vocal and instrumental compositions. But peculiar Pipekin conjugacy performing, creator and pedagogical practices was not considered. In this connection there was a necessity to analyze the situation based on some of the creative activities of Pipekin from the cultural and stylistic aspects of the Russian social space of the last decades of the twentieth – first decades of the twenty-first century it is Important to correlate it with those proposed by A. L. Malygina types of creative behavior as “performing composer”, “composer-performer”, “a «only» a composer (writing for artists)”. Also in the article is the first attempt to identify the characteristics of the accumulated experience of the musician in the genre of songs that have influenced the evolution of individual traits of his style. The first deals with the main milestones of the creative ways V. M. Pipekin.
Keywords: V. Pipekin, creative activity of the composer, composer-performer, composer-dabbler.
Galitskaya Savolina Paisievna
Dmitry Dmitrievich Shostakovich in Uzbekistan
The present article offers preliminary considerations on the outstanding role of D. D. Shostakovich’s composer and – more broadly – artistic and cultural activity in the formation and development of the musical culture of that republic, first of all, the culture of the composer. He came to Uzbekistan twice, participated in a variety of musical and cultural events. The direct presence of Dmitry Dmitrievich, of course, gave them a special weight, contributed to a significant increase in the creative activity of composers and musicologists of the republic, as well as a kind of “intensification” of the audience. Undoubtedly, the artistic creativity of the composer had the most serious impact on the formation and development of the so-called young national composer schools (YNCS) in the republics of the former Soviet Union, including Central Asia. This fully applies to Uzbekistan. The article presents and comprehends specific examples and facts that testify to the comprehensive influence of the personality and creativity of D. D. Shostakovich on the development of academic musical culture of Uzbekistan. The proposed considerations appear on a broader background, coupled with the knowledge of the genius composer in the context of domestic and world music. I think it – these considerations – can and should be expanded and deepened in the future.
Keywords: photo of D. D. Shostakovich, Tashkent, national composer schools, musical culture of Uzbekistan, monodic system.
Davlatova Sitora Davlatovna
Sufi theme in the suite “The Conversation of Birds” by T. Shahidi: the search for the meaning of life and the struggle with oneself
In the following article, we explore the influence of Sufism on the music of Tolib Shakhidi, a Tajik composer. For this purpose, we analyze The Conference of Birds, a suite for three flutes (created on the basis of Farоd ud-Dоn, or Attar of Nishapur’s medieval Sufi poem by the same name), according to how the core concepts of Sufism are reflected in it. The poem deals with the basic Sufi doctrine of wahdat ul wujud, unity of being. It features an allegorical description of a Sufi journey in search of God and the state of a human soul on this path.
Using the binary Sufi principle zohir – botin (the apparent and the hidden), we reveal the relationship between the apparent (poetic) and the hidden (conceptual) in Attar’s poem, drawing the parallel with musical and hidden symbolism in T. Shakhidi’s suite for three flutes. This method allows the composer to reflect the Sufi idea represented by Attar’s poem.
As we see, the composer’s knowledge of Sufi symbolism results in the recreation of the hidden (botin) level of the poem. It is reflected in timbre and numerical proportions of the suite, in the composer’s ability to show the moments of spiritual enlightenment and ascent by the means of instrumental music, the presence of polyphonic episodes reminding one of Sufi conversations (suhbat), the goal of which is the search for truth. As a result, the instrumental suite serves as a musical representation of deep philosophical Sufi ideas.
Keywords: Sufism, composer’s creativity, T. Shahidi, F. Attar, the principle of “zohir – botin”.
Lysenko Svetlana Yurievna
Budnikov Vladimir Viktorovich
“Melodious” manner of execution on the piano as a tembral illusion: synesthetic aspect
Article investigates sinestetic’s communication of a melodious manner of playing a piano and of tembral properties of the texture. Genesis of a concept of a “melodious” piano sound clears up through the analysis of associative deep communications of the mechanism of “ideomotorny introjection” of motility of a singing voice in motive process of the pianist. The “singing” expressed in plasticity of a brush and hands is a propriotseptive sinesteziya (reception of three-dimensional motion). Imitation of naturalness of a vocal phrase appeals to internal opportunities of interoceptive communications. They unite intrinsic mental forces of the performer and the intonational process generated by it in one feeling. The naturalness of a phrase submits to rules of an agogics which follow from performing existential feeling of decay of time and from ability of the performer to correlate the intonational process to a musical form of the work and the harmonious inclinations put in it. The feeling of performing time has the irrational source rooting in a concept of sound creative will (schöpferischer Klangwille, by Martinsen). It corresponds to a protopatic’s component of a tactile and acoustical interoceptive sinesteziya. The pianist, solving a problem of “melodious” execution, uses a stroke of legato and a special “unaccented” manner of sound extraction which is provided with the softest blow of a royalny hammer. For creation of illusion of “singing” of these means of expression it is not enough therefore the performer intuitively involves the sinestetic’s mechanism which connects an agogics of free natural intoning with “vocalization” of a phrase. Thus illusion of a “melodious” manner of playing a piano is formed. “Melodiousness» as timbre illusion, is the private example showing tembral’s opportunities of the piano texture. Existence of similar illusion proves sinestetic’s communication at the protopatic’s level between an artistic image and performing process.
Keywords: tembral illusion of “melodiousness”, sinestetic mechanism of execution, protopatic’s component, proprioception, interoception, agogics of execution, performing time.
Gorbunova Tatyana Valerievna
Features of performance of D. Shostakovich’s suite “Six poems by Marina Tsvetaeva”
Chamber-vocal creativity of the XX century put forward before the singers a number of new tasks, the solution of which was relatively difficult due to the complexity of the composer’s musical language, the general trend towards the intellectualization of the artistic space and the lack of clear in the practice of modern performance style guidelines. One of the most famous examples of such intellectuality in the genre is Dmitry Shostakovich’s suite for voice and piano “Six poems by Marina Tsvetaeva”. The cyclical structure of the suite makes it possible to perform this work only at the later stages of vocal training, and also represents a certain professional challenge for already formed singers. Despite the fact that Shostakovich’s chamber-vocal work has been repeatedly covered in various monographs and dissertations, practical recommendations and emphasis on certain aspects of performance proposed in the article remain relevant. Special attention is paid to specific vocal objectives of the third song of the Suite “Dialogue of hamlet with his conscience”, which is a highly original example of the implementation of a procedural music. The most striking characteristic of this issue is the narrowing of the volume of the sounding material to the monody realized between the soloist and the accompaniment.
Keywords: chamber-vocal creativity, Shostakovich, vocal performance, Marina Tsvetaeva.
Muedinov Dilyaver Memetovych
Multiphones technique of sound production on wind instruments: aspects of history and contemporary search of new timbral patterns
Extended performance techniques on wind instruments, their ways of mastering in last years are widely discussed not only in performer’s and composer’s surroundings, but appear to be an object of scientific studies. In this way multiphones technique is far from being exclusion, being one of the complicated activity in the instrumental performance. In the article various sources of multiphones technique’s appearance on folk wind instruments are depicted – such as Bashkir quray, Tuva shoor, Komi Perm pan flute. The peculiarities of polyphonic sound production in academic performance are separately described. The instrumental vocal way of chord sound production is discovered by the example of Concertino for horn and orchestra C.M. Weber, and by the performers who used it. The evolution of extended chord performance techniques on wind instruments and search for the new timbral patterns in the music of 20th and 21st centuries are reflected. It is analysed the modern multiphones technique of J. Hassell’s performance on trumpet and its influence on creating “the music of the fourth world”. The folk sources of polyphonic sound production on wind instruments that were described, allowed to reveal the evolutionary process of multiphones technique performance development on the way from folk to academic performance.
Keywords: wind instruments, extended performance techniques, multiphones, timbral patterns, sound production, J. Hassell.
Belonosova Irina Vladimirovna
Svetlana Sergeevna Goncharenko – a musician, a teacher and a scientist
The article is devoted to Svetlana Sergeevna Goncharenko, a regionally recognized music expert, doctor of art history and professor. The article emphasizes organic relations between S. S. Goncharenko’s creative biography and Siberian music culture and gives examples of her active participation in life of the professional community both within and outside of the region. Symbiotic relationship between the main vectors of S. S. Goncharenko’s activity enriching and facilitating uninterrupted professional growth of S. S. Goncharenko herself and people coming in direct scientific, creative and pedagogical contacts with her is underlined.
Conclusions on the factors of success of S. S. Goncharenko are made based on the analysis of main facts of her biography, study of her scientific and methodical works, impressions from personal meetings and opinions of her colleagues from Krasnoyarsk Institute of Arts complying with the principal priorities of the Russian musical pedagogy at the highest level of music education. The article also studies her achievements in the sphere of pedagogical activity at M. I. Glinka Novosibirsk State Conservatoire, which mostly consists of disciplines belonging to a theoretical cycle. Emphasis is made on the role and importance of S. S. Goncharenko’s researches in the sphere of study of the Western European musical heritage and works of the Siberian composers.
Keywords: professional music education, musical art, pedagogy, musical science, Siberian composers.
Gavrilova Liudmila Vladimirovna
Ananij Efimovich Schwarzburg: fate of the musician
The article focuses on the personality of A. E. Schwarzburg, one of the brightest representatives of the Siberian intelligentsia, whose life reflected the most difficult events in the twentieth century history of our country and its musical culture. As a second-year student of the Leningrad Conservatoire, a talented pianist, he got into the “millstones” of Stalin’s repressions. He was arrested twice (1938, 1949), spent 19 years in camps and in the settlement. Despite the difficulties of these years, he was actively involved in large enlightening, educational activities first at the Magadan Theater, then in Yeniseisk. The last 20 years (since 1954), A. Schwarzburg was connected with Krasnoyarsk, with the Regional Philharmonic, where he served as Artistic Director (since 1960). During this time, he managed to create the necessary atmosphere for creative activities of Krasnoyarsk professional musicians, to make the city attractive for the visits of the leading bands and performers from all over the country, to bring up the level of musical taste of the Krasnoyarsk public. All this resulted in the opening of the Krasnoyarsk State Opera and Ballet Theatre, the Symphony Orchestra, Institute of Arts, Choreographic School, theater and concert halls in the second half of the 70-s of the XX century, which has turned the city into one of the musical capitals of Russia.
Keywords: A. E. Schwarzburg, pianist, musical culture of Siberia, repression, philharmonic.
Zaozerskikh Alyona Vladimirovna
Chikhachyova Mariya Mikhailovna
Music of “memory” in the works of Siberian composers
The article discusses the embodiment of the phenomenon of memorialism in the works of Siberian composers. Memorial is one of the significant thematic areas of modern domestic music, including noted and research attention. However, only a few works cover the thematic area of memory in the works of Siberian authors. This study presents a chronological review of memorial writings, covering the period from the late 1950s to the present. Such an excursion makes it possible to reveal a steady trend of the appeal of Siberian authors to memorial music. Typology allows us to outline the range of genres that form the sphere of memorial Siberian music. The phenomenon of memoriality in music is associated with different types of dedications that pay tribute to the memory of certain events, phenomena, figures. The article systematizes the thematic groups of memorial dedications, which are found in the works of Siberian authors. The main revealed features of memoriality in the music of Siberia reflect the all-Russian trends, which are shown in the examples of memorial works. A specific feature in the embodiment of the phenomenon of musical memorialy in regional conditions is a tribute to the memory of not only important figures of the all-Russian (world) level and historical events, but also the preservation of the memory of culture in the region.
Keywords: memorial music, contemporary Russian composers, creativity of Siberian composers, memory in art.
Vavilov Stanislav Platonovich
Tkalenko Yaroslav Vladimirovich
Tomsk state academic symphony orchestra: the beginning of the way
In the early years of the Tomsk academic Symphony Orchestra, one of the first symphonic orchestras in Western Siberia, was created in the year 1946. Symphonic performance in Tomsk began in the last quarter of the 19th century, when there were semi-professional and amateur orchestras that played at the theatre, at mass festivities, in the gardens of rest. Orchestras had a membership of 30–40 musicians and they were quite on forces available orchestral works: symphonies, overtures, suites.
In May 1946, was established Tomsk oblast Philharmonic Hall, which was the team’s first major Symphony Orchestra. In 2016, the team observed the seventieth. Over the years the Orchestra has deservedly gained credibility and fame as one of the best symphony orchestras. The work provides information about the first leaders of the Orchestra. Significant contribution to the formation and development of the Symphony Orchestra made gorgeous conductors M. I. Malomet, M. I. Rivkin, A. M. Katz.
Describes the conditions under which the team had to work with the Orchestra. The work contains little known facts of the concert life of Tomsk in the end of 1940 and early 1950’s, is an orchestra’s repertoire. Learn about participating in the activities of the Orchestra Music University of culture, which has become a significant event in the life of the city.
In the work of the noted that the staff Orchestra overcame numerous difficulties in the postwar years and has earned the right to a full artistic life.
Keywords: Tomsk, Orchestra, conductor, Symphony, concert, Philharmonic Hall.
Tsareva Evgenya Sergeevna
Stages of the formation of academic musical culture in the Yenisei guberniya: the issues of periodization
The article is devoted to the key problem of the genesis of the academic musical culture of the Yenisei guberniya – the periodization of this process. To date, no scientific work has been created that specifically and comprehensively illuminates the history of musical culture of Krasnoyarsk during the years of the Yenisei guberniya (1825–1922) and offers a single periodization of the development of academic art in the territory of this largest domestic region. Certainly, the formation of academic musical traditions on the banks of the Yenisei was in the general field of the cultural development of Russia, however, it was already initially distinguished by its specificity. It is important to add that epochal events in national history (wars, revolutions) entailed changes in the musical life of the whole country, however, their influence on the situation in the metropolis and in Siberia was often different. In addition, they often acted not as a frontier, but as an impulse for further explicit processes, therefore, one should take into account that the frames (boundaries) of periods can be conditional and flexible. On the basis of archival sources, the corpus of published works and taking into account the historical and local lore and cultural studies, it is proposed to isolate the following stages, which are essentially evolutionary stages, in the process of origin and formation of academic musical traditions in the Yenisei guberniya: pre-Gubernia (1607–1822); 1822–1870s; 1880s–1914; 1914–1925. Each of them is distinguished by the domination of a specific phenomenon or more broadly – a trend, which acts as a “locomotive” of development within the stage, and at the same time marks a certain milestone and a new level.
Keywords: academic musical traditions, regional musical culture, periodization, Krasnoyarsk, Yenisei guberniya.
Robustova Lyudmila Pavlovna
Vocational musical education: perpetual value meanings and tasks of the modern time
Questions of professional music education do not often become the subject of major scientific forums, which further emphasize the importance and relevance of the problems – cultural, historical, creative, musical, educational, practical, theoretical, etc.
In recent years, the Novosibirsk Conservatoire has seen an increased interest in discussing a wide range of musical and pedagogical issues. One of these events was the all-Russian conference “Professional music education: history, theory, practice”, held in December 2018. It attracted attention of a number of experts from Moscow, St. Petersburg, Magnitogorsk, Krasnoyarsk, Irkutsk, Yakutsk, Barnaul and Kemerovo and so on.
Socially valuable projects of the Novosibirsk Conservatoire have a long history and established traditions whose strong side is their practical orientation to implementation. In 1980s, there were a few such projects. “The target program of developing succession in staff training within the musical educational system (school – college – higher school)” was the first socially valuable project related to the training of professional musicians. Other projects pertained to the mass musical upbringing and education (part of art education) and helped improve the cultural image of the population of various regions of our country.
In the last years, the faculty of the musical education and enlightenment of the Novosibirsk Conservatoire strengthened extensive cooperation with cultural and educational institutions to solve many social tasks. Research and practical conferences “Interaction of institutions of culture and education in children musical development” of 2017 and 2018 became most important events of principal cultural and historical significance. They indicate the beginning and mark and mark the first stages of close interagency cooperation. The conservatoire’s work fully complies with the State Program of the Russian Federation “The Development of Culture and Tourism” for 2013–2020.
Keywords: vocational musical education, mass-culture musical education, integrative connections, interagency and intradepartmental interaction, professional community, academic musical art, perpetual value meanings, faculty of musical education and enlightenment, Novosibirsk Conservatoire.
Eremenko Galina Anatolievna
Updating of the educational complex of the profession “Musicologist” (on the content and organization of the discipline “Methodology of musicology”)
The article discusses the issues of updating University music education at the present stage. Updating the content of educational material is combined with strengthening the practical aspects of training graduates. Attention is drawn to the importance of maintaining a solid base of professional knowledge during the transition period. This contributes (in addition to the main subjects) a number of introduced disciplines of historical and theoretical profile. The article describes the basic principles of the new training course “Methodology of musicology” on the basis of personal experience of its teaching. The project of the author’s program on the section of discipline is presented. Characterized by the installation of selection, systematization and presentation of educational material. The importance of studying universal (historical, cultural and analytical approaches) in comparison with new interdisciplinary methods of music research is shown. The allocation of musical-historical and musical-theoretical approaches to the musical work and their interaction in independent sections of the course is substantiated. The characteristic of the basic principles of modeling of the methodological procedure necessary for the study of the phenomenon of musical creativity is given. The connection of the new course with the basic educational complex in the specialty “musicologist” is revealed. The proposal for the organization of activity of students in mastering of educational material of the discipline.
Keywords: music education, history and theory of music, methodology of musicology, curriculum, music analysis, musical work, methodological approach, modeling.
Titova Elena Victorovna
“To develop the practice of teaching harmony!”: forms of work in the musical texture in the contemporary academic publications
The science of harmony in modern music theory is one of the special areas of knowledge that have their own traditions of study. Significant changes in understanding the study of harmony as a phenomenon occurred in the second half of the 20th century, which is associated with the general processes of the evolution of the musical system and the restructuring of musical thinking. In 1961, the discussion of contemporary harmony was widely spread in the pages of the magazine “Sovetskaya Muzyka” and was opened by A. G. Schnittke’s letter “Develop Harmony Science”, in which famous musicians, composers, researchers and teachers participated.
In the 1980s, two decades later, the musicians again turned to harmony, but from a different angle – the perspective of teaching methods. T. S. Bershadskaya, Z. A. Viesel, B. V. Mozhevelov spoke on this issue. Musicologists have focused their efforts on the question of what should be the forms of learning harmony. Many of the existing practical forms of teaching harmony, used in today’s teaching practice, have found such a wide circulation precisely thanks to the efforts of teachers who have joined their efforts in improving the methods of teaching harmony.
The article discusses a number of issues that are relevant to the study of ways to master the skills of harmonic technology. These include the three-line harmonization technique, playing piano exercises in texture. The textbooks of the last decades of domestic authors are indicated, containing different forms of practical tasks in musical texture.
Keywords: music, theory, texture, harmony, three-line harmonization, sequence.
Eltsova Natalia Vladimirovna
Ways to improve learning and develop creative imagination of children in the course “Listening to music”
This article discusses possible ways to optimize the learning process in the course “Listening to music”, based on the development of cognitive psy-chology and the methodology “Theories of solving inventive problems”. The study of the psychology of cognitive processes helps to choose certain ways of working with modern musical material to include it in the course. The percep-tion of the fact that processes of knowledge are manageable deliberately, and the most important thing is to optimize them, as the choice of effective and ef-ficient means of the mastering needed area of knowledge provides such an es-sential “informational hygiene” in our modern time, in the age of IT. The ex-cuses towards laziness non-understanding, absent-mindedness of the young students in such an approach to the study implementing are not proved from now on, as non-understanding of the matters by children and the lacks of skills of the independent seatwork with the matters are often the results of the non-efficient “routine” means of teaching. The shown patterns for the conscious solving of the creative tasks in the course “Listening of the music” help put to-gether in teaching the characteristic peculiarities of perception at the primary school ages with the complexity of the traditional and modern sound solutions in the composes’ creative work. This theme of the article might be relevant to schoolmasters as the both musical and creative education of children demands the knowledge’s mastering effective techniques, together with the independent participation of children in this process.
The presented models for the conscious solution of creative tasks help to combine in the learning processthe primary school age children’s perception specifics with the complexity of traditional and new sound solutions in the work of composers.
Keywords: musical pedagogy, musical psychology, cognitive science, teaching techniques, training, imagination.
