G. A. Demeshko
Dialogue with Bach: On New Commenting Compositions of the 20th Century
“New commenting compositions represent” a specific phenomenon of modern music. They are widely spread in the art of the 20th century as a response to countless innovations and self-justification of author’s creativity. This explains the urge to have a reference, a standard, to reconceive own genetic roots, the most important of which are related to spiritual monody and the experience of old masters working with it.
The concept of sacral and commenting planes appeared to be vital for modern art. The prototypes of source-oriented works are the Latin (motets, masses of the 12nd–16th centuries), the Protestant (Bach’s choral adaptations), and other models. Meanwhile, the latest opuses show reconceiving of both the sacral source and the commenting method itself.
The article examines three Bach-inspired compositions, which were created at the end of the 20th century and show a new type of author’s comments. Mediation on Bach’s Chorale by S. Gubaidulina is an experience of “returning to the origin” by determining the Bach’s numerical layout and adding her own numerical concept to it. In Jesu, deine tiefen Wunden choral prelude, V. Tarnopolsky pays a tribute to the Protestant tradition of Gospel interpretation (theatrical component connected to the instrumental theatre). As opposed to the choral neo-canonisation showed by his colleagues, E. Denisov builds his variations of Bach’s Es ist genug chorale as a dialogue between the author and the Bach’s model. At the same time, he emphasizes the transforming interaction of the two sources and the destiny of the author’s materials that shows reintoning of the choral adaptation as a genre.
Regardless of the diversity of commenting implementations, all authors tend to reach the lofty style of the reference at the same time keeping both the discourse of modern musical statement and the aesthetics of uniqueness of their opus.
Keywords: commenting on the composition, the iconic monody, sacred source, “the new review”, the choral arrangement, Gregorian chant, Protestant chant.
M. T. Agibaeva, E. V. Pankina
Compositional organization cantatas by Andre Campra
The article is devoted to the structure of secular cantatas by Andrй Сampra (1660–1744), published in three volumes (1708, 1714, 1728) and became a relatively new phenomenon in the French music of its time. Considered as the most traditional structure, based on a small stage “recitative – aria (ensemble)”, and its change by expanding and reducing the components of the composition of the cantata, namely the introduction of recitatives, truncation of arias, inversion of recitative and Aria, expanding the scene instrumental introduction. The non-normative structure is considered on the example of the sixth cantata of the first volume “Les femmes” (“Women”) and the fourth cantata of the third volume “Les Plaisirs de la Campagne” (“Rural pleasures”). The form of da capo was revealed as the most applicable form of arias, samples of a single-part aria were noted, various types of recitative accompanied by basso continuo, accompanied. Essayist music of Jean de La Bruyиre was discovered the closeness of the content and organization of the cantata and the traditions of lyrical pastoral, stage genres. In musical and stylistic plans, the cantatas of Campra are characterized by the combination of features of Italian and French musical thinking recognized by their author.
Keywords: André Campra, French music, cantata, recitative, aria, musical form.
A. A. Maltseva, A. V. Polonova
Translated research literature on Baroque music in Russian musicology
The relevance of this article is due to the increasing interest in foreign research literature on Baroque music in Russian musicology. In this regard, special attention should be paid to the importance of the activities of translators who make available foreign literature to a wide range of readers. The authors “ attention is focused on outlining the panorama of the works of foreign authors translated into Russian ( J. Quantz, F. Geminiani, A. Schweitzer, N. Forkel, R. Rolland, D. Westrup, J. Malignon, H. Meister, W. Emery, C. Haustein and other). However, the authors of this article do not claim to provide comprehensive information on this issue. In the process of consideration of translated literature there are several types of primary sources: publications XVII – the first half of the XVIII century (treatises on the performing arts, biographical essays, Preface), articles, including in periodicals, and monographs of researchers XX and XXI centuries. The review outlined the main vectors of the thematic of the translation of Baroque music (instrumental performance, biographies of the composers, the history of the development of operatic genres, the ratio of music and speech, musical theatre, literature about Bach); brief information about the authors of the translations.
Keywords: musicology, musical historiography, Baroque, translation activity, music research.
A. Y. Seibert
“Totentanz” by Franz Liszt and “The Triumph of Death” by Bounamico Buffalmacco in the interaction of musical and visual arts
Recently, science has gone beyond its narrow field of study, using the terminology and the methodology of related sciences, which allows us to discover new facets of the object to be studied. The author found the touchpoint of the visual and musical arts in Franz Liszt’s concert fantasy “Totentanz”. The composer is known to have written his program work under the impression of the fresco “The Triumph of Death” by Buonamiko Buffalmacсo, painted on the walls of the cemetery Camposanto. However, until recently, researchers have not been proned to notice specific pictorial examples in the composition of the Hungarian pianist. In this article, the author uses the comparative historical method of analysis to establish the parallels, subject-figurative and compositional analogies between two works of art belonging to different types of arts. The author concludes that the Liszt’s “Totentanz” was influenced by the monumental painting, which is reflected in the subject-associative connections and features of the musical drama. This is confirmed by the borrowing of the medieval sequence dies irae and using the form of variations. In addition, in the subject reading of the visual series and the progressive development of musical material the author discovers the principle of movement in a circle typical of the dance, which is one of the most important characteristics of the dance macabre genre in world art.
Keywords: F. Liszt, B. Buffalmacco, music, painting, dance macabre, fresco, Dies irae, subject-associative connections.
S. G. Voitkevich
“So what am I?!…”: Rodion Raskolnikov characterised in “Crime and punishment”, the opera by E. Artemyev, in the light of V. P. Bobrovsky’s functional theory
The opera by Eduard Artemyev composed after the novel by F. M. Dostoyevsky, “Crime and Punishment”, is regarded in relation with theoretical ideas of V. P. Bobrovsky and intermedial analysis. There is a description of the opera structure, and a brief summary of its origin, from a rock opera conceived in 1978 to a big drama completed in 2002. The opera by our contemporary is a synthesis of various styles, genres and trends. It is based on the literary source and on the authors’ intention to reconstruct Dostoyevsky’s philosophic ideas on the musical stage, taking into consideration the main principles of the opera genre. The article gives special attention to the dramaturgy of Rodion Raskolnikov’s character, which embodies «the story of the might-have-been Napoleon». The rock style chosen as essential for characterizing the main hero becomes clear after considering the context of culturology and E. Artemyev’s reference points in art. Observations about Raskolnikov’s solos and scenes demonstrate “the intonational implementation process” of one of the opera’s main ideas. Conversion of the main character from his arrogance to repentance is performed with intonational and genre transformations. There is an explanation why allusions made to Beethoven’s “Moonlight Sonata” are appropriate. There are music illustrations that give an idea of the main Raskolnikov’s performances.
Keywords: F. M. Dostoyevsky, V. P. Bobrovsky, E. Artemyev, “Crime and Punishment”, contemporary opera, character dramaturgy.
A. P. Mentyukov
From intonation to internai activities in music
The statement that music is a “product of human activity” (Yu. N. Tyulin) is prompted by the musical practice itself, the main participant of which is the subject operating with sound matter. Science has long been occupied with the question of what is the essence of this activity and whether there is an immanent core in it. B. V. Asafiev saw this rod in the intonation and intonation structure.
Keeping continuity in the article the thesis about internai activities (see formulation), where the intonation is included as a derived element. The natural ability of the subject to intonation is considered to be the main condition that translates music from the state of possible to the state of real existence. No musical instrument has this ability.
Interna activities in music can be arranged according to the same principles as the “speech activity” (A. N. Leontev), but with some significant differences. It can take: a) a representative form of sound text reproduction (performer), b) a latent form in the process of perception (listener), c) a combined form (in the work of composer, researcher, sound engineer). Is also the question of typology internai activities.
Keywords: music, intonation, intonation activities, subject, psychophysiology, representative and latent form, hearing, ability, typology.
J. S. Magomedova, N. V. Sannikova
Piano trio no. 1 by A. Grechaninov: historical and meaningful contexts
The article is devoted to the chamber-instrumental composition by A. T. Grechaninov – Piano trio no. 1, which is currently significant both in Russian music and in the ensemble repertoire, and is distinguished by original theme, inventive instrumentation, interesting textural solutions, etc. The authors draw special attention to the historical and cultural context of the emergence of the Trio – shows the attitude of the composer to the Russian revolution of 1905, as well as the relationship of biographical facts with the nature of the musical material.
The article shows the content-style look, features of the form and dramaturgy of the Piano Trio, and also gives the image-thematic and compositional characteristics of the cycle. Grechaninov’s writing, thus, appears inscribed in the course of composer’s searches, and broader – in the stylistic context of Russian music at the beginning of the 20th century. The authors trace the line of succession: Riismky-Korsakov – Tchaikovsky – Rachmaninov – Arensky – Katuar – Goedicke – Grechaninov – Taneyev. It is revealed that in compositional terms Grechaninov’s work is no different to innovation. However, some signs make it possible to see expressionist trends in music. So, especially for the extreme parts of the Trio, there are sharp dynamic contrasts, wide intervals in the melody, climax bursts, and “wound up” syncopated rhythm. It is concluded that there are more traditional features than innovative in the Grechaninov’s Piano trio.
Keywords: piano trio, Grechaninov, interpretation, style, content, context.
S. N. Loseva
Synesthetic microchromatics in the works of I. Vyshnegradsky
The article is devoted to the synesthetic aspect of microchromatic research in the work of I. Vyshnegradsky. It identifies the role of I.Vyshnegradsky in the formation of microchromatics. On the basis of the biographical data presented, the importance of family learning and enthusiasm for music by Scriabin are noted. It is shown that the composer devotes a large part of his life to the grandiose poem “The Day of Being” for the narrator and the symphonic orchestra. “The Day of Being” brings young Ivan Vyshnegradsky to the problem of expanding the scale by crushing it into microintervals. At the beginning of his creative path, he sets the task: to establish the philosophical and theoretical foundations of microtransitions in the continuum of ultrachromatism. The development of the Vyshnegradsky chromatic method of notation, according to which, each of the 12 semitones takes a certain place on the musical notation, which allows you to write a chromatic scale without sharps and flat, belongs to the same period. In parallel, Vyshnegradsky worked on the first project of a quarter-tone piano with a 1/12 tone chromatic four-tier keyboard, later came up with the idea of three keyboards with a difference in tuning, and later on the implementation of a two-instrument project.
The article shows that in order to substantiate microchromatics, the composer proposed the theory of “sputtering” the sound matter of music. On the basis of inter-sensory synthesis of sound, color and light, he translated the polychromatic musical fragment into a color row of a rainbow, creating a “sound mosaic” – a symbol of a new sound space – a sound continuum filled with cosmic reflections of microchromatics.
On the basis of the synesthetic projective model of creative consciousness proposed by N. Kolyadenko, the features of the participation of sound-color correspondences in various Vyshnegradsky designs are revealed. The role of synesthetics in the formation of microchromatics and its participation in the integration of different levels of the projective model of the musical and artistic consciousness of the composer are traced.
Keywords: I. Vyshnegradsky, synesthetics, “projective model of consciousness”, sound continuum, microchromatics.
G. A. Zhidyaeva
I. Heifet’s Symphonic macrocycle
The article is devoted to the symphonic work of Ilya Heifetz, a Russian composer, now living in Israel. The author considers his four symphonies as a single macrocycle, distinguishing two mini-cycles within it. The First and the Second Symphonies are tied by the theme of the city (Jaffa, where the composer lives today, and Omsk, where he was born). The Third and the Fourth ones are united by the author’s turn to the images and ideas of the Scripture. Analytical examining of I. Heifetz’s symphonies resulted in the author’s conclusion that the composer had embodied in them traditions of several types of symphony. The First and the Fourth Symphonies continue the line of conflict and dramatic symphony, in the Second and the Third ones, the domination of the epic beginning is evident, in interaction with the lyric nature (Omsk, Symphony No. 2) and the drama (Isaiah, Symphony No. 3).
Due to the belonging of the compositions to different types, there is a different system of connections within the macrocycle, where two central symphonies are framed by the First and the Fourth ones.
But the main unifying principle of all four compositions is the personality of the composer, his active civic consciousness, his desire to comprehend, within the framework of the symphonic genre, both universal categories of good and evil, and the most topical problems of the modern world. Thus, he is the disciple of D. Shostakovich’s symphony.
Keywords: contemporary composers’ creative work, symphony, Ilya Heifetz, macrocycle, conflict and dramatic symphony, epic symphony, Jaffa, Omsk, the prophet Isaiah.
M. N. Drozhzhina
School in canonical music and modernity (for example, the activities of the Academy of Maqom in Tajikistan)
School in the canonical musical art is considered through the prism of one of the described relay, in which the tradition is transmitted through the description of the activity or instructions for its implementation on the basis of the concept of social relays by the outstanding Novosibirsk scientist M. A. Rozov. The article emphasizes that the proposed projection of the relay on musical creativity allows to determine the «trouble zones» in which falls a particular genre or tradition as a whole (as a result of the trend to replace the original relay) and, accordingly, to prevent negative consequences.
On the example of functioning of the brightest phenomenon of oral professional creativity of Tajiks and Uzbeks – Shashmakom, the activity of the musicians who provided full functioning of this tradition in modern Tajikistan is shown. Makom Academy, founded in 2003 in Dushanbe by a graduate of the Tashkent Conservatory, people’s artist of the Republic of Tajikistan Abduvali Abdurashidov, is represented as a team aimed at the creative and active implementation of the laws of performance within the school “ustod-shogird”. Based on the publications of the team leader and interviews with him, the process of training a musician is characterized – not just a performer and the artist-creator, able in the process of execution to create their own versions of the traditional composition.
Thus, the transmission of tradition through its inherent relay is revived. This is facilitated by the principles of the educational process, and the results achieved, laying the foundation for the formation of new performing schools.
Keywords: school in canonical art, the concept of social relay by M. A. Rozov, Shashmakom, Tajikistan, Makom Academy.
A. S. Larionova, A. D. Khaltanova
Yakut song tradition of Megino-Kangalassky district
The article studies the song traditions of the Megino-Kangalassky Ulus of Yakutia. Music interpretations of folk songs of this local tradition began to be published from the end of the 30s. XX century. When N. I. Peiko and I. A. Steinman conducted an expedition in this ulus. 12 tunes are presented in S. A. Kondratieff (1963) and 2 in the collection Sakha Narodnay Yryalara (1975). According to published collections and articles during the Soviet period we can see that various genres of traditional Yakut songs prevailed in the Megino-Kangalassky district. In addition to the djierethy yrya and degeren yrya there were satirical songs, and endangered genres hongsuo yrya and enelgen yrya etc. the authors of the four-volume collection “Sakha Narodny Yryialara” (“Yakut folk songs”) revealed modern songs, dyeretii yry and degeren yrya. We also propose to supplement ethnomusicological terms with the genres of otchyt yryata (song of a mower), tuoyuyu yryata (chanting of the beloved), sykter kyys yryata (song of the girl who marries), kyryys yryata (song-curse) based on this four-volume collection. According to the local historian Innocent M. Sosin, the folklore traditions of the Megino-Kangalassky ulus were located along the rivers and on the large alaas. The article also analyzes the Yakut folk songs by the poems of P. A. Ojunsky. This songs performed I. N. Kolosov. All analyzations songs based on the one melody and on the rhythm of the yacut circular dance ohuokhay.
Keywords: Yakut songs, local tradition, style, field recordings, archival materials, genres of Yakut folk songs, degeren yrya, toyuk.
L. F. Ivonina
Generative poetics in a performer’s text (based on the research works by N. Melnikova)
The objective of this article is to investigate the prospectives of further studies of the sounding text of a music piece. The article provides an analysis of the “performer’s text” category that was explored in the works by N. Melnikova. It is suggested to use the concept of a model as the main instrument in this analysis. The performer’s text is seen as a theoretical model of the performer’s interpretation of a piece of music. Structurally, the performer’s text is a score consisting of dynamic (developing) voices that interact in the performer’s imagination. The notion of generative poetics, borrowed from linguistics, is used in the analysis to create a model of how the performer’s text is being generated. The key idea of generative poetics is related to finding and exploring principles of creating, “generating” the performer’s text that can actually be heard. The art of performing music, in this aspect, can be presented as an activity based on creating texts, works of art by the means of sound. When we analyze this activity, we study the process of how the performer’s texts appear and then exist, representing a musical score that has been acoustically deciphered. We have addressed the aspect of imagery and meaning in the art of performing music following a trend in studies that are aimed at exploring and further developing the theory of musical content.
Keywords: аrt of performing music, performer’s text, generative poetics, music score approach, a piece of music, interpretation.
M. G. Karpychev
About some features of effective independent work
of a pianist
A lot of works describe how we must play piano, only few – how to study piano playing. Effective piano work at home is very important: during his life pianist works approximately eleven years! Main features of working: 1. The rule to play definite hours a day is wrong. The rule is to get a result. It must be verified after long interval in playing. 2. There are four principal ways of working: playing piano from music, without piano from music, playing piano by heart, playing by heart without piano. 3. A pianist must listen to himself every second of work. To hear and to listen – two stages of the process. 4. The absolute necessity of analytic, not mechanic work. 5. There are three phases of home work: “acquaintance” with the piece, the work in details, final “polishing”. First point is doubtful. Automatic movements, definite fingers, transformation of conditional reflects to unconditional, fingers identification – the main features of the second stage. 6. Compulsory control over shoulders during playing: lowered, free. Importance to throw off the strain. 7. To repeat the piece at home a little slower than you want – and the right speed at concert. 8. Special efforts to overcome technical mistakes and forgetting text. 9. Numerous hours at piano during last week before concert are absolutely absurd. Any changes of interpretation (fingers, for example) we may compare with “suicide”. The aim of the week – to take care of quiet soul, to overcome fear before leaving artistic room and going to the piano on the stage.
Keywords: independent pianist’s work, result, listening, analysis, shoulders, home tempos.S. A. Yaroshevskiy
Bernard Molik’s Concerto for flute and orchestra: analysis of the 1824 and 1863 editions
This article is devoted to Concerto for flute and orchestra d-moll op. 69 by german violin player and composer of first half of XIX century Bernhard Molique existing in two editions of 1824 and 1863. This Concerto is very popular and always used by flutists at different performances and competitions as in Russia as in all around the world. he article explores the causes of the two variants of the work, as well as the soloists for whom these variants were written. This article answer the questions about reasons of this difference and about flute players of that time, who this concerto has written to. There is detailed analyses of this concerto in the article and description the differences of editions, also as an orchestration. There are some great flute players, using these different editions at the end of the article, also as some conclusions about the same and the different parts of editions. The books by J. Wion, N. Toff and V. Kholopova are methodological basis of this article, also as the music scorres by Billaudot and Kunzelmann editions.
Keywords: Bernhard Molique, flute concerto, different editions, romantic era.
L. L. Pylneva
The state of musical culture of Siberia according to the results of the work with a database
Work on filling the content of the information base “Мusical culture of Siberia” allowed to draw a number of conclusions about the state of the Siberian cultural field and the direction of further scientific activity. Due to the increased intercultural contacts, it was necessary to comprehend the Siberian art not as a series of separate musical phenomena, but as elements existing in a single system of interrelations. The periods of relative stability of the state of musical culture of the region, as well as the boundaries that led to the emergence of innovations in this field of human activity were identified. It is noted that the musical culture of Siberia is heterogeneous in structure, it combines layers of folklore of indigenous peoples and immigrants, secular art, religious traditions. The time of occurrence of these layers of culture is different. There is an increase in the types and forms of existence of musical art in the region over time (for example, the emergence of urban cultural diasporas), as well as the loss of the musical Fund (for example, the loss of folk traditions of indigenous Siberians). The restriction of the existence of religious and confessional music in the 1920s-1990s and its rehabilitation within the post-Soviet cultural space were recorded. In General, Siberia has now developed a unique composition and structure of the system of musical culture.
Keywords: musical culture of Siberia, information system, musicology, musical Ethnography, academic music, confessional music.
I. V. Belonosova
Specificity of audiovisual text analysis (by the example of photonovels by Yu. Yukechev)
The present article deals with approaches to audiovisual text analysis in photonovels written by Novosibirsk composer Yu. Yukechev. Work in the sphere of electronic and computer music, as well as means of musical idea visualization are in line with the tendencies towards the attraction of computer technologies as a tool for creative tasks solution common for modern musical art. The article studies specificities of the photonovels and identifies their main features – the availability of a text unusual for musicological analysis and based on a combination of different means of imaginative information conveyance.
Photonovels by Yu. Yukechev are indicative of composer’s creative approach to the formation of a literary text. Synthetic works, in terms of conception embodiment, imply another approach to their perception. Color, form and changes of visual imagery perfectly combine with the dramatic composition of a musical layer of the photonovels.
The author concludes that the photonovels are polycode texts, the integrity of which is ensured by creative enthusiasm of the composer fulfilling the functions of an artist, a musician and a sound producer all in one. All the photonovels belong to descriptive music, and each their name heads listener’s perception towards a direction necessary for adequate text interpretation.
Key words: Yury Yukechev, photonovella, visual imagery, auditory imagery, polycode text.
M. V. Gurbanova
From the history of electronic keyboard instruments
The scientific and technological progress has affected many spheres of human life, including musical art, and provided impetus for a new approach to sound generation. There are new musical instruments: telharmonium, electric bells, electric piano, termenvox, emiritone, electric guitar, synthesizer, etc. This article deals with electronic keyboard instruments and their inventors from a historical point of view. Its primary focus is on the history of the synthesizer in the musical culture.
The article considers the issue of sound generation: from electric to digital methods (sampling). The intermediate stage of sound generation included frequency modulation synthesizers that were used to generate synthetic sounds. The next stage was associated with wavetable synthesizers where the digitization of acoustic and electronic musical instruments and noises was used to approach a real sound. By the beginning of the 21st century, these instruments were inseparably connected with electronic and computer musical technologies.
In the article special attention is paid to the role of certain musicians who have introduced the sounds of these devices in classical, pop and rock concerts. It also briefly describes the meaning of electronic keyboard instruments in supplementary music education at the current stage.
Keywords: scientific and technological progress, electronic keyboard instruments, synthesizer, sampling, digital technologies, frequency modulation synthesis, wavetable synthesizers.
S. E. Shevtsov, V. V. Olefirenko, E. A. Somenkov
Restoration of acoustic parameters of the hall lost wooden theater in Tobolsk
The study presents the restoration results of the acoustic parameters of the hall of the lost wooden drama theater in Tobolsk city which was built in 1889. To assess the sound absorption of wooden, plastered surfaces of the theater, it was necessary to have a room that has identical walls. This room was found in Surgut. It is a Museum house of the merchant Klepikov. The house was built with authentic technology of logs and plastered and whitewashed from the inside. An experiment was conducted to identify the sound absorption coefficient of these walls. For this purpose, the reverberation time was initially measured, from the indicators of which the sound absorption coefficient was calculated by the Eyring formula. The obtained characteristics are included in the computer acoustic model of the theater hall. The model is three-dimensional and is based on the preserved drawing and photographs. Some parts of the interior are built approximately, as the available drawing is incomplete. As a result of calculation in the specialized program, the characteristic of time of reverberation which is compared to the modern standard for acoustics of theaters (BC&R 23-03-2003) is presented. A match is found. This study conclusion is that wood as a building material is preferable to provide positive characteristics of the sound field of the theater, especially during performances of modern genres, where electroacoustic sound amplification is used. For further development of this topic, in particular to achieve greater accuracy of the results, measurements in rooms with log walls and the corresponding calculation of their sound absorption coefficients are necessary.
Keywords: architectural acoustics, acoustic research, sound field of the hall.
M. L. Zaytseva, R. R. Budagyan
Synthesis of academic and variety execution receptions in the creativity of modern rock-violiner by Jerry Hudman and Eddie Jobson
The article is devoted to the analysis of the work of outstanding modern violinists of the turn of the XX–XXI centuries (J. Goodman, E. Jobson). It is shown that mastering the professional skills of the classical school of performance allowed the graduates of the University of Illinois Jerry Goodman and the University of Durham Eddie Jobson to achieve heights of skill and further approve the violin as a full member of the rock ensemble. The virtuosity of the musicians performing style in many respects determined the dominant character of the violin in the performed compositions. The principle of leittembroism in the analyzed compositions is revealed, which allows to conclude that the role of violin sound in the musical dramaturgy is increasing. It is substantiated that the dynamism and brutality of the electro-bass sound of the bass guitar becomes a model for the search for expanding the timbre possibilities of the violin in the activities of E. Jobson and J. Goodman. It was concluded that J. Goodman’s compositions are characterized by a polylexical variety (the use of expressive phrases characteristic of rock music, covering a huge range, polyrhythms, etc.). It is proved that E. Jobson in particular completeness revealed the unique timbre characteristics of the violin as a tool of the rock ensemble, including by introducing the sound effect of the electronic device block effect. It is revealed that characteristic for rock music is the use of original violins of aggressive and cutting-edge design, typifiedness of the stage image of musicians.
Keywords: modern violin performing art, rock music, rock violin, Jerry Goodman, Eddie Jobson.
D. A. Ushakova
Features of the phenomenological approach to the interpretation of musical works
The article proposes a review of the phenomenological approach with a preliminary reference to the history of the emergence of phenomenology as a direction in the philosophy of the 20th century. The ideas of E. Husserl, which played an important role in the philosophy and interpretation of music, are characterized. Namely – a new way of viewing music was not theoretical, but a phenomenological analysis aimed not at the musical work itself, but at acts of musical thinking constituting its artistic meaning. The importance of the phenomenological study of music by A. F. Losev, aimed at finding eidetic content in the phenomena of consciousness, to comprehend the very essence of music. According to the research of A. F. Losev, the essence of music can not be expressed, expressed in the concept, it is revealed in the process of direct sound and in the act of perception.
The article also reveals the role and tasks of the phenomenological method in interpreting musical works, examines the concept of time as an internal property of music, which is not an abstract duration, but a living and pulsating field for the actual intonation process to unfold. The main idea of the article is that the phenomenological method is not universal, but allows you to solve a number of performing problems related to understanding the meaning of the musical text, as well as to get closer to the meaning through the phenomena of perception, to know the sensations and feelings born in the mind based on musical experiences. This is the advantage of a phenomenological approach to the interpretation of musical works.
Keywords: phenomenology, musical phenomenology, phenomenological approach, interpretation.
