O. Büsing
Modest Musorgskij as a Signpost into the 20th Century
(translation from German A. A. Maltseva)
As is generally known, the music of the 20th and 21st centuries is characterized by pluralism. Its manifold threads of development can largely be traced back to situations of upheaval and renewal that arose around and prior to 1900.
Among the composers from whom impulses towards elementary transformations issued forth at this time are Claude Debussy, Erik Satie, Aleksandr Scriabin, Charles Ives, Arnold Schцnberg, and Igor Stravinskij – but the earliest one was Modest Musorgskij, whose trail-blazing work is often accorded no more than a mere side glance. In his works A Night on Bare Mountain (1867), Boris Godunov (first version dating from 1869), and Pictures at an Exhibition (1874), Musorgskij executed, at a very early moment in musical history, elementary turning points in the art of composing which comprise two categories leading into the future: focusing on isolated sounds (for instance Night, Boris, Pictures) and deviations from ideas considered categorically inviolable since the 15th century such as departing from the use of independent lines (Realstimmigkeit) by utilizing parallel octaves and fifths, for instance, and/or broad usage of paraphony, as in «Promenade», «Ballet of Unhatched Chicks» and «The Gnome» from Pictures at an Exhibition. In these works, Musorgskij gave rise to developments which were to have a history of lengthy continuation.
Keywords: Modest Musorgskij, sound, “A Night on Bare Mountain”, “Boris Godunov”, “Pictures at an Exhibition”, the 20th and 21st centuries.
G. N. Peshkova
Ballet in the creative heritage of A. Alyabyev
The article develops the idea of the meaning of A. Alyabyev’s artistic ideas, associated with his understanding expressive possibilities of music in ballet – that is the leading genre of Russian musical theater of the first decades in the nineteenth century. Musical score of «The Magic Drum or the Consequence of the Magic Flute «– the only one created in this genre, stands out among a variety of creative interests of the composer and is regarded as highly professional artistic text. Independence of figurative content features of musical drama, principles of working with orchestra extend the traditional understanding of ballet music and raise it to the genre level of instrumental works. Inclusion of ballet to the context of Alyabyev’s work allowed to reveal the diversity of creative incentives that go before everything from the instrumental vision of his work. In the analysis of music the text becomes the determining fact of the breaking traditions of Western European music and specific style landmarks, inspiring the creative imagination of the composer, on the prototypes of his musical language, as well as the origins of instrumental thinking and treatment of the cyclical form of ballet. The pattern of the implementation in the ballet of classical sonata-symphonic performances are emphazised, that are characteristic for Alyabiev as the author of chamber-instrumental ensembles and symphonies, as well as the refraction of general classical norms in musical thinking in a number of his compositional and dramatic principles. The study results in the conclusions about Alyabyev as a unique creative phenomenon of his time, of his ballet music as a truely new stage in becoming one of the important, along with the opera genre lines of national musical theater in the XIX century, and of the composer’s exceptional role in the formation of the national musical and theatrical traditions.
Keywords: history of Russian music, A. Alyabyev, ballet, instrumental genres, style origins.
G. A. Demeshko
From Bach’s the well-tempered clavier to large polyphonic cycles of the 20th century (by the example of recitatives and fugues composed by Aram Khachaturian)
The 20th century was the time of intense interest in large polyphonic cycles which originated from The Well-Tempered Clavier (WTC) composed by Bach. Numerous reconstructions were created by various composers including the three famous reconstructions by Hindemith, Shostakovich, and Shchedrin. The author analyses the reasons of the surprising and rapid renaissance of this “giant” of the genre and uses Khachaturian’s Seven Recitatives and Fugues as its modern version.
The article is based on the following statements: a) cycle is a genre of a peculiar conceptual content; b) cycles refer not only to a compound object, but to a certain way of artistic cognition; c) Bach’s model of WTC recreated a Universe of spiritual life combining infinite planes of emotions (prelude) and reasons (fugue); d) it is based on a catalogue structure of its parts achieved by using chromatically equal keys in small cycles.
The author emphasizes a known likeness of this model to the polycentric and multipolar model of the modern world. In the 20th century, however, it was not taken for granted, but more often “discussed” from new angles by composers of various statuses and schools, including national ones. The analysis shows that Khachaturian’s cycle has the following peculiarities: 1) the ambivalence of meanings in a small cycle is overcome by the rising intensity of the emotional component (recitative as the author’s Word; first-person narrative); 2) Khachaturian changes the chromatic order of Bach’s WTC to a modern version of diatonicism with a fixed number – “7” (the number of small cycles included into a large one); 3) the metaphysic character of a baroque cycle is complemented with dialectics of new cyclic relations.
Keywords: Well-Tempered Clavier, large polyphonic cycle, small polyphonic cycle, cycle formation principles, catalogue structure, semantics of genre, genre “clichйs”, pitch structure in cycle, diatonics.
S. S. Goncharenko
Three Sonata forms in B: F. Chopin, S. Rachmaninoff, S. Prokofiev (etude on the fate of the main party)
The article studies the dramatic Sonata and its structural-semantic model in the post-Beethoven period. The object of study are the three piano works: F. Chopin Sonata No. 2 op. 35 S. Rachmaninov Sonata № 2 op 36 and the Prokofiev Sonata No. 7 op. 83. Sonatas have a common tonality. The composes embody dramaturgy logic «from darkness to light» by tonal moving from b-moll to the same key B-dur in the form of Sonata Allegro or in the scale of the cycle.
The research relevance is the problem of modeling in European music in XIX – the first half of XX century. Its novelty lies in the choice of the paradigm by tonal semantics as the basis of the method of the Sonata form compositional modeling and its cyclic functions.
The author focuses attention on the Sonata-Allegro form, which differs substantially from the classical examples: the main party is absent in the Reprise. The author of the article calls it incomplete or reduced Sonata form. In the first parts of the Sonata cycle by Chopin and Prokofiev it reflects the incompleteness of the initial stage of the drama. In the finale of the Sonata S. Rachmaninoff it plays a decisive role in the approval of its outcome. The four-part or three-part structure of the cycle acquires a special dynamics and internal tension.
The article compares the thematic material of the three sonatas, reveals the internal arguments of intonation-thematic process in the exposition and development, causing the loss of the main part in the Reprise.
Keywords: music dramaturgy, compositional modeling, structural-semantic model, reduced Sonata form, the main party.
M. Y. Reznikova, A. A. Mitrofanova
«Four songs for voice and piano», op. 27 R. Strauss in the aspect of the artistic, literary destinations Germany of the turn of XIX–XX centuries
The Article is devoted to the consideration of the vocal cycle op. 27 R. Strauss in the aspect of the literary directions of Germany, created at a turn of the XIX–XX centuries. The Interaction of art currents of this period defined specifics of literary space of Germany and reflected socio-political views of the society. Sweeping changes of an art system had an impact on formation of the esthetic ideas in Karl Friedrich Henkel, Heinrich Garth and John Henry Mackay’s poetry – authors of literary texts the op. 27.
The complexity of the figurative plan of a literary basis of a cycle sated with conflictness ideal and real is noted. The principles of poetics of denial of the ordinary demonstrate manifestation of neo-romanticism and a decadence and find the embodiment in musical registration the op. 27 R. Strauss thanks to a combination of artistic and esthetic innovations to the rethought experience of last eras. The analysis of sources of literary texts of a vocal cycle is provided as examples, the translations into Russian of original poetry are given.
Conclusions about realization in op. 27 of decadent attitude implemented by the composer, the characteristic features of neo-romanticism put in the poetry used as a literary basis of a cycle and also about emergence of new creative consciousness which felt the necessity for search of the new art means adequate to a spirit of the age, to the changing representations in the conditions of extreme individualism belong to the main results of a research.
Keywords: Richard Strauss, Karl Friedrich Henkel, Heinrich Garth, John Henry Mackay, German poetry.
E. N. Piryazeva
Notation in contemporary music: evolution of ways of fixing
There are radical changes in the musical art of the twentieth century. They lead to a rethinking of the phenomena of artistic and aesthetic culture, enriched by the interaction of different styles and genres created on the basis of the new musical system. The trends of the XXI century are intensifying in the twentieth century. This is due to the increasing influence of scientific and technological progress in all spheres of human life. Contemporary music, experiencing a significant impact of information technology, changes the attitude to the concept of musical and creative consciousness, revises the aesthetic, syntactic and linguistic aspects of the compositional principles, developing new mechanisms for the creation and perception of the artistic and imaginative world of composition. The concepts of sound and a detailed study of its microstructure are acquiring particular importance. The trends described above to determine the changes that occur in music notation. They affect the ongoing individualization of musical notation, increasing its graphic and semantic resources.
The search for ways to notate electronic music is conducted in parallel with the experiments conducted in this field of art. Written fixation of electronic works is constantly transformed, depending on the ongoing technological progress. In addition to sonograms, spectrograms are developed computer programs that record electronic music. Interactive compositions are increasingly being developed, the recording methods of which can be the most unexpected and can be transmitted using the iPad.
Keywords: notation, electronic music, algorithmic composition, contemporary art, musical style, composition.
Y. V. Antipova
Wind instruments in modern mass music: some aspects of the study
The article presents a number of basic styles of mass music – jazz, jazz-rock, various ethnic formations (including Balkan style), ska-punk, in which the role of wind instruments is quite significant and even paramount, which has historical cultural, social background. It is proved that the Dionysian (democratic, anti-glamorous) essence of wind instruments most convincingly reveals itself in military (army brass bands) and entertainment music (street, pop ensembles and brass bands). Wind instruments are of particular importance in Russian rock music (the so-called “Russian rock”), where the symbiosis of a thieves’ songs, punk, Balkan beat creates a special anarchic attitude. At the same time, the musicians of the legendary Russian group “DDT” demonstrate a serious sense of brass, where a number of compositions include a wide range of sounds (archaic cries, sacred trumpet sounds, buffoon, etc.). The active use of wind instruments, as a rule, points to the “unformatted” – in the context of modern show business – status of a collective that preaches the ideology of resistance to world music mainstream (pop music), marginal views (the cult of anti-establishment and intangible values), a turn to the primordial, root tenets of the common life, to living, inspired sound of music.
Keywords: street orchestras, jazz, rock music, Balkan style, breaststroke, the group «DDT».
S. N. Loseva
The relationship of synesthetics in the structure of musical talent and musical text
The article discusses the phenomenon of musical endowments and its relationship with the synesthetic understanding of the musical text in the composer’s work. The study of musical talent conducted by the author revealed a structure consisting of four main components – musical, intellectual, creative and spiritual. Synesthetics is an established property of musical thinking and can be recognized as a characteristic component of musical talent as a quality of creative composing activity. It functions as a central holistic line of intersensual associations in musical talent, actively integrating the structural components of musical talent. For the formation of a model of the relationship of synesthetics in the structure of musical talent and musical text, the basis of the study was the chosen “map of consciousness”, first considered in musicology by N. P. Ko-lyadenko. In the article, synaesthetics is defined as the psychological quality in the structure of musical talent in the interaction of a specific area of the most productive application of the final product of the composers’ creation – the musical text. In the complex holistic system of musical text, with various levels of meaning generated by intersecting and exchanging energy, there are three scale-time levels: timbre-phonic, intonational-dramatic, structural-compositional. In the structure of musical talent of composers, musical text serves as one of the components of the model of musical talent, and synesthetics participates in the integration of mental processes in the structural components of musical talent.
Keywords: synaesthetics, musical talent, levels of musical text, musicality, spirituality, creativity, intellect.
E. O. Predvechnova
To a question about the performing style of N. K. Medtner-pianist
The article is devoted to piano creativity of N. K. Medtner in the context of Russian musical culture of the XIX–XX centuries. On the basis of the works by E. B. Dolinskaya, D. V. Zhytomirsky, I. Z. Zetel about the composer’s personality and creativity, the works of A. D. Alekseev, N. S. Bazhanov, E. G. Gurenko, about piano performance revealed the features of style of N. K. Medtner-pianist. The axiological perspective of the research is revealed through the artistic and aesthetic views of the composer on contemporary art, presented in dialogues with I. A. Ilyin and S. V. Rachmaninoff, the book «Muse and fashion». The features of the performing style N. K. Medtner – philosophical, symbolism, graphic, declamation, due to the influence of Russian and German cultures. Revealed specificity of performing repertoire of N. K. Medtner, in which a special place is the work of russian (A. G. Rubinstein, S. V. Rachmaninov) and german (L. Beethoven, R. Schumann) composers, and his own works. Differences of performing styles of N. K. Medtner, S. V. Rachmaninoff and A. N. Scriabin. Considered performing H. K. Medtner presented in book «The daily work of the pianist and composer».
Keywords: N. K. Medtner, piano creativity, performing style, piano art, piano repertoire.
O. A. Svetlova, I. R. Khananov
Some features of the piano writing of Frederick Chopin (experience the phenomenological characteristics)
In the present article an attempt is made to characterize some features of Frederic Chopin’s piano writing within the framework of the phenom-nological concept. The method of characterization is based on the conceptual apparatus of the philosophical school of Edmund Husserl, which defines phenomenology as eidetic (as opposed to experimental) science and as the doctrine of the structures of pure consciousness. Accordingly the musical text is understood as a concentrate of intentional efforts of the author and the performer aimed at musical formation. In Russian musicology this method was successfully applied earlier by M. A. Arkadiev, and the main phenomenological distinction between «sounding» and «non-sounding» fundamentals of music has a decisive character in the context of characteristics. Along with the creation of a multi-level expressive-pulsating continuum and the efforts of the will aimed at musical time-formation (embodied in the «principle of multi-order organization of sounding matter»), the article denotes a different kind of intention of consciousness associated with the motor, tactile aspect of interaction with the instrument (in turn, embodied as the «principle of absolute cantilena»). The fundamental difference between the melodic contours of Chopin’s constructions and the works of contemporaries and predecessors allows us to speak about the «Chopin’s manner» and makes possible the use, applicable to music, of the Husserlian concept of the discretion of essence. Based on the analysis of a fragment of Larghetto from the Piano concerto e-moll, op. 11 the authors draw conclusions about the need for the presence, in the performance of Chopin, the intention of consciousness of a special level, significantly different from that required for the work of the artist on the works of the pre-romantic tradition.
Keywords: F. Chopin, the phenomenological method, M. A. Arkadiev, cantilena, piano letter, chrono-articulation process, expressive pulsating continuum.
A. V. Gvozdev
Some psychophysiological factors of the performance technique of a violinist
The article investigates the combination of sensations of a musician as one of the components of the psychophysiological basis of his performance technique. The sensations, considered in the article, are revealed effectively and productively not only in the interpretation area, where they influence the formation and realization of a creative concept. Their influence on technical components of proficiency is just as important. The following problems are analyzed: 1) hearing sensations, perceptions and images; 2) performance tone of a violinist; 3) motorial sensations, related to the organization and functioning of the motor area; 4) «sound» sensations or “sense of sound”.
Rationally schooled performing tone makes sustainable “material” preconditions for successful solving of various professional tasks. Motorial sensations –are the foundation, where the violin technique rests on. The “Sense of sound” makes substantial influence on the artistic result of implied instrumental techniques and skills. The hearing sphere of the musician provides realization of creative and performing activity not only in the wide, conventional layout, but also in the sphere of its technical realization. The article justifies the thesis of a coherent interaction of those performance sensations as the components of an indivisible mechanism.
Keywords: violin technique, hearing sensations (perceptions, images), performance tone, motorial and «sound» sensations, association of sensations.
O. N. Gudozhnikova
Creative collaboration of composers and performers
in sonatas for violoncello and piano
The presented article examines the role of the creative collaboration of composers and performers in the evolution of the genre of sonata for the cello and piano. The author points out that appearance of the great quantity of diverse samples of the genre was connected with the golden age and achievements of performing art, appearance of the outstanding musicians of their epoch, as well as with co-creative leaning upon their activities. The forms and character of the collaboration in the process of composing works have been analyzed. The composers’ and performers’ creative work comprised both direct initiative of making sonatas in this genre and further work at the text taking into consideration the cello specific features. It is stressed that Mstislav Rostropovich played a particular role not only in the history of the genre but the whole cello art in XX century. The author considers some moments of his collaborated work with S. Prokofiyev, D. Kabalevsky, E. Mirzoyan in the process of creating cello sonatas. It is stated that the peculiarities of the works were influenced by M. Rostropovich’s style.
The results of the co-ordinate work of performers and composers were displayed in the following: the performing manner of the outstanding violoncello players influenced the style of numerous compositions; at the same time the artistic searches of the composers initiated revealing of the virtuous possibilities of the academic instruments performance and further development of the sonata genre for the cello and piano on the whole.
Keywords: collaboration of composers and performers, sonata for the cello and piano, genre evolution, M. Rostropovich, performing style.
N. N. Pokrovskaya
Setting the hands of the harpist as a process of sound production
The article is devoted to the methods of teaching the harp. This is not only due to the extreme scarcity of the methodological base of the tool, which has only about 10 works on the methodology published in Russian. In the works by N. G. Parfenov (1927), M. P. Mchedelov (1960 and 1973), K. A. Erdelyi (1967), M. A. Rubin (1973), V. G. Dulova (1975), K. K. Sarajev (2001), N. N. Pokrovskaya (2012) highlight the features of the Russian harp school, created by the method of A. I. Slepushkin in the early XX century. Of these, only the publications of Parfenov, Rubin and Pokrovskaya are purely methodical. In the works of other authors, along with the history of the instrument, general musical issues and memoirs, a place and methodology is given.
The author was concerned about the inconsistency in the interpretation of the some leading harp teachers of the main provisions of staging principles in the Russian harp school for the first time in 1927 made clear in the publication by disciple of the great Russian harpist N. G. Parfenov «The technique of playing the harp. The method by Prof. I. I. Slepushkin». This contradiction has already appeared in the editorial office of M. P. Mchedelov released his school under the name of N. D. Parfenov in 1960 and in 1973. In addition, the key segments of training related to the understanding of the term «statement in the broad sense of the word», with movements in the chain «shoulder – arm – forearm – elbow – wrist – hand – finger» in the transitional moments of the game, are still not developed. These are also questions about the emergence of tension in different parts of the game apparatus of students, issues of prevention and correction of staged errors, etc.
Within one article, the problem is named it can not be solved. Therefore, the author’s tasks were to encourage harpists-teachers to take a critical view of some methodological publications and draw their attention to the independent methodological development of «painful» issues of learning to play the harp.
Keywords: harp, A. I. Slepushkin, Russian harp school, teaching methods, methodical publications, sound production.
A. M. Maksimova
Composers-Karaites in the history of Russian music
of the late XIX – first half of XX century
The article is dedicated to Karaite composers of the XIX–XXI centuries – S. M. Maykapar, A. M. Ayvaz, V. G. Ivanov-Kapon. Against the background of published biographical materials, their compositional work is still left without research attention. At the same time, by their creative activity, the named authors formed the original branch of the Russian school of composition. This seems to be the relevance of the article – the need for a comprehensive study of the life and work of these Karaite composers. The article traces the threads of continuity in the works of designated composers at the level of the subject of their compositions – the themes of the Small Homeland and the theme of childhood become the leading ones. In the work of Maykapar the theme of the small Motherland is not very pronounced, but is vividly represented in the works of Ayvaz. In his compositions, the traditions of the Petersburg composer school with its quest in the field of folk music and the ideas about the music of the east that have developed in the works of composers from the Mighty handful are strong. In Ivanov-Kapon, this theme is embodied by referring to the folklore fundamentals of the Karaite musical culture, which makes his work in harmony with the stylistic movement of the new folklore wave. The theme of childhood, clearly expressed in the work of Maykapar and Aivaz, was embodied in Ivanov-Kapon in a peculiar way – in his work as a composer for the children’s and youth ensemble «Fidan».
Keywords: Karaites, S. M. Maikapar, A. M. Aivaz, V. G. Ivanov-Kapon, continuity, the theme of a small homeland, the theme of childhood.
M. Y. Dubrovskaya
To the study of provincial musical life in the сounty towns of the Crimean Peninsula (by the example of Yalta and Evpatoria)
The article for the first time presents some comparative study results of the phenomena of the academic musical life and education formation in the last quarter of the XIX – early XX centuries in two provincial сounty towns of the South Taurida province: Yalta and Evpatoria. Based on the approaches of Russian humanitarian knowledge, research and publications by Crimean authors and the author’s own research, the author identifies striking differences in the basic elements for the development of academic musical culture in Yalta and Evpatoria. Among them: the presence in Yalta branch of the Imperial Russian music society and the lack of such in Evpatoria, different quantitative and ethnic composition of the population of the two cities, priority and, accordingly, the well-being of the resort area of Yalta in comparison with Evpatoria, quantitative and qualitative prevalence in Yalta of guest performers – luminaries of the capital’s musical life. However, these differences do not detract from the achievements of musical culture of Evpatoria, which developed in a different plane: the development of academic musical culture by representatives of the indigenous peoples of the Crimea. The consideration of two phenomena of the County musical culture of the South of pre-revolutionary Russia in the historical perspective allowed to draw a conclusion about the importance of Yalta and Evpatoria in the formation of professional composer’s creativity in Crimea not only Russian, but also other national genesis owing to domination in Evpatoria of ethnic traditions of indigenous peoples of the Crimea, in particular, Karaites and Greeks.
Keywords: provincial musical life of the South of Taurida province, the last quarter of the XIX – early XX centuries, county towns of Crimea, Yalta, Evpatoria, Imperial Russian musical society, indigenous peoples, differences in the initial positions of the formation of academic musical culture.
D. V. Kazantseva
Gymnographic complex Saint Philip the Metropolitan of Moscow
This article discusses a hymnographic complex dedicated to Metropolitan of Moscow and All Russia Philip, the establishment of hagiography, which still leaves many questions. In this regard, issues related to the date of canonization of the saint, the time of the addition of his life and compilation of the service, as well as its singing incarnation. To date, researchers have found that the singing lists of the service to Metropolitan Philip appear in the middle of the 17th century. A sufficient number of variants of the musical text of the service to the saint allows for their systematization through finding out the exact number of actually existing singing versions and their correlation among themselves. Based on the earliest and most representative lists of services that did not cross the borders of the 18th century, two categories of hymnographic texts were found, including texts that are performed in a similar manner and have an independent tune. The main material of the article is devoted to identifying the repertoire of chants of the service of Metropolitan Philip of Moscow. The analysis showed that the complex of hymns to the saint in the selected lists is presented in a different volume. Their comparison made it possible to single out five editions of the composition of the service, differing in the number of incoming chants – basic, brief, extended, full, redundant.
Keywords: Metrapolitan of Moscow and All Russia Philip, zmameny chant, gymnographic complex, edition.
S. G. Tosin
Issues of modern education and training of Orthodox bell-ringers
In Soviet Russia the tradition of bell-ringing was lost in many respects, but from the 1990s its restoration began. In the country there appeared schools of bell-ringers which in traditional culture were not. The practice of teaching in them was not subject to scientific understanding. In the article the first steps in this direction are taken.
In the research three problems are solved: 1) reconstruction of model of ancient training in bell-ringing; 2) classification of bell-ringing schools; 3) coverage of the basic educational and methodical provisions which are necessary for modern training of bell-ringers.
In the old times there was an oral method of training of bell-ringers. Еxperience was passed from teacher to student, individually, on a complex basis. The apprentice mastered the technique of ringing, joined the Orthodox ceremony and sacred secrets of the bell art. Now classes are given at schools of bell-ringers to groups of students. In the article four main types of modern schools of bell-ringers are described.
Observations of the author of the research indicate expediency of correction of the training system of bell-ringers. The need to reanimate the foundations of the Russian traditional school of learning and the scientific and methodical approach to the development of the concept of school is noted.
Keywords: bell, chime, bell-ringer, school of bell-ringers.
K. N. Fedorova
Musical and pedagogical knowledge: hermeneutical approach
The article actualizes the hermeneutic approach in the context of pedagogy of music education as an attempt to overcome the depersonalization of musical and pedagogical knowledge in the process of its interpretation. Attention is fixed on the limits of application of the normative approach based on cause-and-effect relations, behavior theory, summing up the obvious facts under generalizations. It is emphasized that we are not talking about the denying the installation of an objective study of the phenomenon of human development in the musical pedagogically organized environment, but only about a deeper personal understanding of the musical and pedagogical knowledge and unacceptable absolutization of the scientist approach. Shows the importance of the interaction between the processes of interpretation as explanation and interpretation as understanding. The process understanding includes rational and intuitive-sensual aspects of the knowledge of pedagogical reality, is positioned as a personal creative development of objective musical and pedagogical knowledge, serving as the basis for modeling the pedagogical process in a particular situation, taking into account the socio-cultural context. A special role from the standpoint of pedagogical hermeneutics acquires the need to overcome the standardization of musical and pedagogical activity, the boundaries of unambiguous concepts. In particular, through such emotional and spiritual mechanisms of human comprehension as intuition, faith, age-old wisdom. Methodological reflection, interpretative thinking, pedagogical empathy become important musical and pedagogical qualities here.
Keywords: musical pedagogy, musical and pedagogical knowledge, musical and pedagogical reality, interpretation of musical and pedagogical knowledge.
L. L. Zenina
V. I. Slonim’s pedagogical principles
The article deals with the piano-pedagogical principles of one of the outstanding teachers of the Glinka Novosibirsk State Conservatoire, pianist Vissarion Isaakovich Slonim (1921–2005). Training in his class allowed the author to draw conclusions about the basics of his pedagogy, representing a coherent system of teaching piano art. The biographical information includes the initial period of home schooling with S. S. Lyahovichi, then in the Group of gifted children at the Leningrad order of Lenin state Conservatory with O. K. Kalantarova. Studies at the Conservatory coincided with the period of the great Patriotic war, the years of evacuation took place in Tashkent, then – again Leningrad and work at the Department of special piano, performing activities, defending his thesis. However, the struggle against cosmopolitanism that began in the country forced him to move back to Tashkent, where he became head of the piano Department. In 1961 at the invitation of the rector A. N. Kotlyarevsky he headed the Department of special piano at the Glinka Novosibirsk State Conservatoire, works until 1989. Leaving for Jerusalem, where he worked as a Professor of the Conservatory until the end of his days, it turned out to be a significant loss for Glinka Novosibirsk State Conservatoire since his performing activities were widely developed here, he traveled to Western and Eastern Siberia with concerts, lectures and master classes, providing methodological assistance to teachers and students of music colleges. If to cover the whole of his performing activity, then there will be a single of style and genre, which V. I. Slonim has not touched. His pedagogy was based on the following principles: accuracy of transmission of the author’s text, sincere enthusiasm and psychological richness of performance, comprehensive analysis as the most important way to interpretation, intonation and speech expressiveness, freedom, sound and stroke culture, technical refinement, the study of all creativity of the performed author and the historical era in which he lived, as well as the constant cultural and personal development of each student.
Keywords: сonservatory, students, pedagogical system, continuity, piano, repertoire.
L. V. Aleksandrova
Educational and translation activities in Russia
at the end of XVI–XVII centuries: at the origins of Russian antiquities
The problems of education development and related issues of translation activity in Russia at the end of XVI–XVII centuries, served as the basis for the emergence of the science of antiquity, are considered in the context of the formation and strengthening of the Russian centralized state – Muscovy. Kievan Rus was subjected to Roman Catholic influence. In the second half of the XVI century centers of opposition to «Catholicism» of the population are Orthodox Brotherhood and their Fraternal school, called Greco-Slavic, open in Lviv, Kiev and other cities. A new and defining phase is associated with the activities of Petro Mohyla, the transformation of the Kyiv brotherhood school in Kiev-Bratsk College (1632), which actually became the highest educational institution (with 1701 the Kyiv-Mohyla Academy). Together with the formation and strengthening of state institutions in Moscow Russia, there was a need to increase the level of education of Russian society. For these purposes the Slavic-Greek-Latin Academy was established in Moscow, the opening of which took place in connection with the arrival of the Likhud brothers in Moscow in 1685. In spite of the fact that they were carriers of the European education, the philosophical and religious direction of their activity was based on Orthodox-Greek tradition.
Translation literature in XVI–XVII centuries were represented by translations, theological treatises, patristic literature, liturgical books. In XVI–XVII centuries increased cultural ties with Western Europe led to the appearance of translated books of Western origin. The works of Roman classics, medieval and modern Germans, French, English and others were published in Dutch editions and came to Russia in Polish translations. The best Western European works that appeared at the end of XVI–XVII centuries were published: on history, geography, astronomy, military and political history, Economics, literary works – ancient and Western European. So, the period of the second half of the XVI–XVII centuries, associated with the expansion and improvement of translation activities based on the knowledge of ancient and Western European languages.
Keywords: Fraternal schools, Kyiv-Mohyla College, Slavic-Greek-Latin Academy, Likhud brothers, ancient sources, translations, F. M. Rtischev, Rtischev brotherhood.
