Leibnits and Bach: universality of thinking in understanding the idea of Absolute
A.A. Mitrofanova
Abstract. In the chosen perspective, the themes of the article compare the common features in the worldview of G.V. Leibniz and I.S. Bach, reflecting the philosophical positions of their generation. Their views are based on theological judgments within the framework of the Lutheran religion, and also find the intersection in the propensity to exact calculus. The author of the article sees the connection between the views of G.V. Leibniz and J.S. Bach in the embodiment of the idea of the Absolute as the basis of general logical principles, as a result, of mathematical proportions. The report contains information about the literary sources of J.S. Bach’s motets in the aspect of G. Leibniz’s philosophy, as proof, examples are given in the form of citing choral texts in comparison with the theses presented in G. Leibniz’s philosophical works. In the course of the study, the author comes to the conclusion that, despite the different spheres of activity, the philosophical positions of Leibniz and Bach find intersection points in the search for general logical principles of the Universe, the essence of which is in the law of the Absolute, understood as unity in plurality and plurality in unity.
Keywords: G.V. Leibniz, I.S. Bach, Lutheranism, Monadology, Absolute, General Logical Principle, Mathematical Proportions, J. S. Bach’s Motets, Baroque Musical Symbols.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Mitrofanova, A.A. (2019), “Leibnits and Bach: universality of thinking in understanding the idea of Absolute”, Journal of Musical Science, no. 4, pp. 5–13.
DOI: 10.24411/2308-1031-2019-10021. (in Russ).
Prisoner of the Caucasus, the opera by César Cui: from oblivion to rebirth?
L.V. Gavrilova
Abstract. The article is devoted to the opera by César Cui Prisoner of the Caucasus, which has returned to the stage thanks to the premiere at the Krasnoyarsk State Opera and Ballet Theater (2017) more than a hundred years after its last performance at the Bolshoi Theatre. The author focuses on several aspects: the history of creation and staging of the opera in the XIX – early XX centuries, the metamorphoses of Pushkin’s plot in different versions (ballet, theater performances, works of literature), the reasons for its popularity. The attitude of contemporaries and researchers to the opera Prisoner of the Caucasus is considered separately, what helps to reveal the reasons for its oblivion in the XX century. At the same time it explains why the directors V. Rylov and S. Bobrov offered today’s audience a new version of the opera by Cui, where they tried to join in the plot formation the three main motives of literary source materials: The prisoner of the Caucasus by A. Pushkin, M. Lermontov and L. Tolstoy. The main changes made to the Krasnoyarsk version were reflected in the composition of the opera, the introduction of the libretto into the text basis, the increase in the plot of the dramaturgic burden of the ballet scenes, as well as the decision of the finale.
Keywords: opera, C. Cui, A. Pushkin, “Prisoner of the Caucasus”, new edition, drama.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Gavrilova, L.V. (2019), “Prisoner of the Caucasus, the opera by César Cui: from oblivion to rebirth?”. Journal of Musical Science, no. 4, pp. 14–22.
DOI: 10.24411/2308-1031-2019-10022. (in Russ).
THE RUSSIAN BALLAD OF THE END XIX – AND EARLY
XX CENTURIES IN REVIEWS OF FOREIGN SCIENTISTSO.V. Begicheva
Abstract. The paper discusses the scientific works of foreign scientists-Sidney Norcott («Ballad without words») and James Parakilas («Ballads without words: Chopin and the tradition of instrumental ballads») in the translation of the author of this article, devoted to the historical dynamics of musical ballads. The aim is to familiarize the domestic reader with the position of Western-English and American-art criticism regarding the concept of the genre archetype of the ballad, its relevant features, as well as the place of the Russian musical ballad in European culture. The article highlights some issues of theoretical reflection of Western musicology, provides interesting facts from the history of creation, publication, interpretation of program sources of Russian orchestral ballads contained in the two works of foreign colleagues. This expands, clarifies and corrects the existing idea of the traditional musical science about such works as «Voivode» by P. Tchaikovsky, «Tamara» by M. Balakirev, «Alyosha Popovich» by A. Taneyev, Ballads by S. Lyapunov and A. Glazunov. A polemical position is expressed, indicating a different point of view on the typical features of a romantic ballad in accordance with the scientific ideas of the author of the article, who puts forward the thesis about the existence in romanticism of two typological varieties of the genre-taboo and national-historical.
Keywords: Russian ballad, romantic culture, J. Parakilas, S. Norkott.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Begicheva, O.V. (2019), “The Russian ballad of the end XIX – and early XX centuries in reviews of foreign scientists”, Journal of Musical Science, no. 4, pp. 23–29.
DOI: 10.24411/2308-1031-2019-10023. (in Russ).
Theatricality in the art of piano
D.A. Ivacheva
Abstract. The article is devoted to the study of the penetration of theatricality into the piano art from the point of view of the text and performing angles. The General grounds of relevance of the chosen research topic are indicated. The main theatrical attributes through which there is an interaction of theatrical and musical arts are revealed, and also grouped on the principle of external and internal manifestation of theatricality. Based on the study of literature, as well as samples of performing arts, it is established that the main external factor of theatricality in the piano performing arts is the gesture of the game apparatus and facial expressions. The main content of the research is the analysis of piano literature from the position of the internal factor of theatrical attributes. It is shown that these are the figurative components coming from the special construction of the musical material in terms of melody, rhythm, stroke, agogics, shaping, as well as the principle of development. Considerable attention is paid to the study of F. Liszt’s piano paraphrases, as a direct transfer of theatrical attributes to the non-theatrical piano genre. Special attention is paid to the symphonic interpretation of the piano by F. Liszt, as a model of an Opera orchestra, which contains two principles of expressiveness: orchestral power and coloristic possibilities. Theatrical attributes are also revealed from the point of view of the vocal nature of the primary source, the principles of dramatic development, and the features of the musical characteristics of the characters. In conclusion, further development of the studied topic with an extended approach in the analysis of piano literature is proposed.
Keywords: piano art, theatrical, foreign theatrical, domestic theatricality, theatrical attributes.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Ivacheva, D.A. (2019), “Theatricality in the art of piano”, Journal of Musical Science, no. 4, pp. 30–35. DOI: 10.24411/2308-1031-2019-10024. (in Russ).
M.B. Pitkus – Violinist-Virtuoso, Teacher, Scientist
A.V. Gvozdev
Abstract. The paper is devoted to the analysis of the multifaceted creative activity of a violinist virtuoso, a wonderful teacher and a scientist M.B. Pitkus – professor of Moscow State Tchaikovsky Conservatory, a student and an assistant of great A.I. Yampolskiy. Brief presentation of his life and creative journey is described. The period of 1930–1940-th years of previous century was the time of the most intensive concert activity of the musician: he performed solo and chamber programs, and as a soloist – with Moscow symphony orchestras. In his pedagogical activity, professor Pitkus also always strictly followed his principles of greatest creative perfectionism. In his pedagogical activity, professor Pitkus also always strictly followed his principles of greatest creative perfectionism. Its purpose was the upbringing of personality, which possesses spacious art mind of virtuoso violinist, who can convincingly bring creative ideas to interpretation. The method of reaching this goal was based on strengthened work in two main trends: strengthening the borderlines of proficiency, which lag in development; concentrating on development of musician’s strong points, which let him become the outstanding violinist among the other good violinists in future. The article considers the scientific methodological work of M.B. Pitkus «24 caprices for violin solo by N. Paganini: Study and performance», where the author compact analyses: 1) substantive sphere, closeness of some caprices to certain genres; 2) the structure of form, discovery of its “evolution” in terms of the whole cycle; 3) the peculiarities of thematic invention of composer’s harmonic pattern, the moments of polyphony; 4) the instrumental techniques and means of expression, especially those, which got the development exactly in Paganini’s creative work; 5) different versions of finger notation and strokes. The author also offers: the variants, effective for overcoming various difficulties; recommendations of technological, technical, art character for solving multivarious creative problems.
Keywords: M.B Pitkus, life and creative journey, performance and scientific activity, pedagogics.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Gvozdev, A.V. (2019), “M.B. Pitkus – Violinist-Virtuoso, Teacher, Scientist”, Journal of Musical Science, no. 4, pp. 36–44. DOI: 10.24411/2308-1031-2019-10026. (in Russ).
Regarding the history of the «After reading Viktor Astafyev» symphony by Oleg Meremkulov
N.M. Naiko
Abstract. This article considers internal and external factors that played an important role in the process of creation and realization of Symphony No. 3 titled «After Reading Viktor Astafyev» and written by famous Krasnoyarsk composer O. Meremkulov for the Russian folk orchestra. First of all, the article discusses a creative atmosphere among professional musicians and commitment demonstrated by performers. It reveals some similar aspects of the writer’s and composer’s biographies, narrowing the distance between their moral qualities and personal characteristics: delicacy, vulnerability, internal rod, awareness of their own missions at a mature age, manifestation of their musical and literary talents. The imaginary world of the works by V. Astafyev, the depth and vibrancy of his prose of the 1970s, strengthened with its musicality, aroused in O. Meremkulov intimate memories and a strong emotional response, resulted in the need to convert the composer’s feelings and impressions into a musical form. While O. Meremkulov tried to convey his general and complete perception of the literary works by the outstanding contemporary, each part of his symphony titled «After Reading Viktor Astafyev» has its own heading directly or indirectly related to Astafyev’s narratives and is preceded by an epigraph, i.e. some lines from their texts that were elaborated up to 2018, which confirms the composer’s strong and long-term commitment to this symphony plan and the ongoing creative process.
Keywords: O. Meremkulov, symphony, V. Astafyev, Russian folk orchestra, musical life in Krasnoyarsk.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Naiko, N.M. (2019), “Regarding the history of the «After reading Viktor Astafyev» symphony by Oleg Meremkulov”, Journal of Musical Science, no. 4, pp. 45–54.
DOI: 10.24411/2308-1031-2019-10025. (in Russ).
On the refraction of the principles of abstract painting and sculpture in the work of Earle Brown
S.A. Kozlovskaya
Abstract. The article is devoted to aspects of the embodiment of abstract ideas in sound. Examples are the works of one of the prominent representative of the American musical avant-garde of the second wave – Earl Brown, whose composition are inextricably linked with the work of his contemporaries, namely, American painters and sculptors: Alexander Calder, Robert Rushenberg and Jackson Pollock. In the analysis of such compositions as “Calder Piece”, “Cross Sections and Color Fields”, “Tracer” the author shows the principles of organizing the musical composition of the aleatoric type using free and mobile sections (open form in Brown’s terminology), realized by the artist’s will during the performance. Also in the pieces, the author of the article notes the presence of collage elements, coloristic possibilities of musical means, the introduction of special mobile constructions into the performing environment, leading to the “Liberation of music” from metric and all other shackles in the direction of the spontaneous timbre-colorful combination of its elements. As a result, the conceptual affinity of works of various art forms is discovered, allowing improvisational forms of creativity related to the search for new criteria of sound expressiveness, non-determinism of musical writing, which actively developed in the second half of the 20th century.
Keywords: open (mobile) form, aleatorics, musical avant-garde, graphic and temporary (proportional) notation.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Kozlovskaya, S.A. (2019), “On the refraction of the principles of abstract painting and sculpture in the work of Earle Brown”, Journal of Musical Science, no. 4, pp. 55–64.
DOI: 10.24411/2308-1031-2019-10027. (in Russ).
THE ROLE OF TIMBRE AND THE USE OF ORCHESTRAL COLORS IN THE WORKS OF A. BAKSHI
O.A. Putecheva
Abstract. The problems of the phonic side of the work become the most important in the study of musical creativity of the early XXI century, increasingly attracting the attention of musicologists. The article presents some features of orchestral thinking and the role of timbre in the work of the Moscow composer A. Bakshi, whose uniqueness is formed by acquiring new colorful means. Meticulous work on testing combinations of timbres that give colorful «harmony» or dissonance creates subtle coloristic vibrations. The timbre is endowed with
a huge impact energy with the joint participation of various techniques of sound, rhythmic work, tessitura, which becomes an indicator of originality and innovation. The discovery of avant-garde sonorous expressiveness allows not only to convey a new imagery, but also to attract non-standard principles of shaping, drama. Timbre often plays such an important role that under its influence all musical parameters are transformed, obeying the requirement of phonism. Searching in the sound palette, sound-effects opens a new level of inclusiveness. The change of timbres is perceived as a meaningful message about the world. As a result of the analysis of the composer’s works, the conclusion is made about the determining role of timbre in the creation of sound organization, formation, drama, which leads to the emergence of a new artistic phenomenon – the «Theater of sound», developing in line with the aesthetics of experimentalism.
Keywords: timbre, sonor-acoustic effects, color, phonism, timbre individualization, sound organization.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Putecheva, O.A. (2019), “The role of timbre and the use of orchestral colors in the works of A. Bakshi”, Journal of Musical Science, no. 4, pp. 65–76.
DOI: 10.24411/2308-1031-2019-10028. (in Russ).
Performing folklorism of Russian Old-settlers in Prilenye
N.V. Leonova, A.S. Yakovleva
Abstract. In the northeast of Siberia, starting from the middle of the 17th century, several places of Russian folk traditions were formed. One of them covers the Russian settlements of the Prilenye regions of the Republic of Sakha. Throughout the 20th century, a number of collectors (including G.V. Ksenofontov in the 1920s, the most systematic of them by O.I. Charina in the 1980s–2000s) recorded and published materials on folklore of the inhab-itants of Prilenye. The genre system of local folklore contains a small number of ritual and epic samples, in it was occupied by song-dance folklore (round dance songs, game songs, dance-plyasovye songs) and lyric folklore of different historical-style strata (traditional lyric, soldier, prison songs, urban romances and songs of literary origin). In the last decades (from the 1970s), the folklore traditions of Russian old-settlers in Prilenye are supported mainly due to the activities of amateur art groups. The article discusses some of them: ensembles «Rechenka» (village of Sinsk), «Vecherka» (village of Edyai), «Yamshchitsky perezvon» (city of Pokrovsk) of the Khangalassky district, «Yamskie bubentcy» (city of Yakutsk) and others. The genre system of the repertoire of amateur ensembles demonstrates the disappearance of calendar-ritual and epic samples from modern everyday life, the main part of it is round dance songs, game songs, dance (plyasovye) songs and lyric songs. Since the 1970s, ensemble members have been the main carriers of folklore. Comparison with previously published materials shows that the song repertoire of contemporary ensembles has preserved a large number of old, actually local songs, although new samples of the all-Russian and Ukrainian repertoire are also included in it. The groups directly transfer the traditional repertoire from adult ensembles to children’s and youth ensembles, this fact gives hope for the continuation of the life of the folk tradition of Russian old-settlers in Prilenye.
Keywords: Russian old-settlers of Yakutia, folklore of Prilenye, performing folklorism, traditional song repertoire.
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Leonova, N.V., Yakovleva A.S. (2019), “Performing folklorism of Russian Old-settlers in Prilenye”, Journal of Musical Science, no. 4, pp. 77–88.
DOI: 10.24411/2308-1031-2019-10029 (in Russ).
TELEUTs FUNERAL LAMENTATIONS SYGYTTAR FROM AUDIO RECORDS OF NOVOSIBIRSK CONSERVATOIRE TRADITIONAL MUSIC ARCHIVE
N.M. Kondrat’eva
Abstract. The paper describes for the first time the archive audio records, giving an idea about the genre of singing funeral lamentations in the culture of Teleuts. Few samples of sygyt are given, recorded by Z.C. Kazagacheva, T.M. Sadalova, Yu.I. Shakin in 1988 and by N.S. Urtegeshev in 1999 from two performers – E.P. Shadeeva and N.N. Manina, 1923 and 1927 years of birth, who knew well the folk traditions. For the first time, the notations of two versions of the polytext tune of the genre sygyt presented together with the verbal texts and their poetic Russian translations. Basing on all decrypted array of the lamentations, the architectonic and rhythmic regularities of the poetic and musical texts established, together with their mutual correlations. The syllabic rhythms of the syntagmas, of the lamentations described. The similarities and the differences in their internal structure established as well as the rules of syntagmas joining in the tune. Using the universal grammar approach by V.V. Masepus, the sound pitch regularities were revealed, related first of all to functionality of the degrees of an invariant pitch scale d – g – a – b – c1 – d1 – es-e1 – f1 – g1, underling all the versions of the lamentation tunes. The pitch scale of the sygyt presents the mixed grammar, where the signs of paradigmatic and confinal organizations combined. In this system, in aggregate of functional possibilities the first, second and fifth pitches stand out. The strongest functionality has the second pitch degree. Basing on the given analysis, and ac-counting for revealed connections between the lamentations and lullabies we conclude about distinctiveness and traditionalism of the recorded patterns.
Keywords: Teleuts, family ritual folklore, funeral lamentation sygyt, archive audio records, grammar, distribution analysis.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Kondrat’eva, N.M. (2019), “Teleut funeral lamentations sygyttar from audio records of Novosibirsk Conservatoire Traditional Music Archive”, Journal of Musical Science, no. 4, pp. 89–98. DOI: 10.24411/2308-1031-2019-10030. (in Russ).
THE CONTRIBUTION OF RUSSIAN MUSICIANS
TO THE FORMATION OF CHINESE MUSICAL CULTURE AND MODERN INFORMATION POLICY OF THE PRCS.A. Aizenshtadt
Abstract. The article focuses on the cultural and ideological assessment of the contribution made by Russian musicians to the development of Chinese musical art of the first half of the
XX century in modern China. It is noted that scientific papers published in China, usually give a fair assessment of the exceptional role of Russian musicians in the exploration of Western heritage by Chinese art. However, in papers targeted to a wider audience, this role is frequently underestimated while the independence of national pioneers of modern Chinese art is, on the contrary, exaggerated. This notion is supported by the provided analysis of a number of publications from the online encyclopedia Baidu, Renmin Ribao newspaper and official websites of some leading musical institutions in China. The author concludes, that such information policy is determined by the general strategy of strengthening national identity implemented by the Chinese current government and related to a rather reasonable goal of overcoming an “apprenticeship complex” towards the West established in past. Nevertheless, the author argues that this underestimation of the contribution made by Russian musicians does not reflect the historical reality and fails to meet the ideological task as the Chinese audience well remembers the dedicated work of Russian musicians that in many respects predetermined the exceptional success of the Chinese musical culture today.
Keywords: Russian musicians, Russian emigrants, Boris Zakharov, Chinese musical culture, Baidu, Renmin Ribao, Shanghai Conservatory of Music, Shanghai Symphony Orchestra.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Aizenshtadt, S.A. (2019), “The contribution of Russian musicians to the formation of Chinese musical culture and modern information policy of the PRC”, Journal of Musical Science, no. 4, pp. 107–116. DOI: 10.24411/2308-1031-2019-10031. (in Russ).
Sufi music of Hidayat Inayat Khan in Novosibirsk
S.A. Ovchinnikov
Abstract. The article is devoted to creativity of the composer Hidayat Inayat Khan, the son of the great Sufi musician and mystic Hazrat Inayat Khan who in the early twentieth century to the West on a cultural mission to open the Western civilization the treasures of ancient Indian ragas and Sufi wisdom, add a dimension of the soul to modern life. The paper analyzes the historical parallels of cultural events in Russia at the beginning of the XX century and the present: the production in Russia of the symbolic sketch «Shakuntala» by Inayat Khan, begun in Moscow in 1913, is carried out in Novosibirsk a hundred years later. Much attention is paid to the role of music as a universal way of aesthetic approach to the spiritual perception of life. The article gives a brief overview of the works of the composer Hidayat Inayat Khan and characterizes his work as an attempt to synthesize the Eastern Indian raga and Western harmonic systems. The idea of a non-accidental choice of Russia for the development of art synthesizing the wisdom of the East and the rationalism of the West is traced. Russian Russians have a Western mind and an Eastern soul, Hidayat Inayat Khan wrote that his dream is to have his music performed in Russia, and no one can play music as well as Russians.
Keywords: Hazrat Inayat Khan, Khidayyat Inayat Khan, Shakuntala ballet, Sufi music, Gandhi symphony, Sufi message on freedom of spirit, love, harmony and beauty, Novosibirsk string quintet.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Ovchinnikov, S.A. (2019), “Sufi music of Hidayat Inayat Khan in Novosibirsk”, Journal of Musical Science, no. 4, pp. 109–116. DOI: 10.24411/2308-1031-2019-10032. (in Russ).
NEW FORMS OF REPRESENTATION
OF CLASSICAL ART
IN THE MASS CULTURAL SPACE OF THE METROPOLIS (ON THE EXAMPLE OF THE NOVOSIBIRSK CONSERVATOIRE)Yu.V. Antipova, K.K. Telegina
Abstract. The problem of deacademicizing classical music and enhancing its openness to the general public is one of the cornerstones in modern culture. Many representatives of «fine» art are persistently looking for ways to bridge the gap between the tastes of the average man and the attitudes of serious art. Creative associations of academic musicians and figures of mass culture are becoming ubiquitous, along with increasingily active mixing of linguistic means of popular music and classical heritage. The example of the activities of student groups in M.I. Glinka Novosibirsk State Conservatoire is demonstrating, on the one hand, the possibility of incorporating elitist art into the everyday urban environment and, on the other, the ways for urban people c to come out of everyday life through the experience of contact with “high” art. Flash mobs, the performance of academic music in outdoor (square) conditions, including the involvment of pop-stage stars, – all this testifies to the desire to popularize and commercialize classical music, to elevate and spiritualize, using its resources and expressive capabilities, mass art. In addition, the article discusses the problem of changes in the usual acoustic conditions for the performance of academic music in open space and non-concert venues, which makes significant adjustments to the sound of music.
Keywords: Novosibirsk State Conservatoire, mass culture, mass culture, flash mob.
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Antipova, Yu.V., Telegina, K.K. (2019), “New forms of representation of classical art in the mass cultural space of the metropolis (on the example of the Novosibirsk Conservatoire)”, Journal of Musical Science, no. 4, pp. 117–126.
DOI: 10.24411/2308-1031-2019-10033. (in Russ).
THEORETICAL FOUNDATIONS
OF THE MUSICAL-PEDAGOGICAL TRAINING
(AT THE EXAMPLE OF DIPLOMA ESSAYS
OF STUDENTS OF THE NOVOSIBIRSK CONSERVATOIRE)
L.P. Robustova
Abstract. Problems of pedagogics of higher musical education, its conceptual basics and peculiarities have gained the increasing attention in scientific discussions. In these processes, the multiplicity of viewpoints, thinking and rethinking of the experience of the past and present, search of ways and methods of achieving optimal results in the situation of strict economy and even the deficit of time resources prevail. Motivation related to vital goals and values realized by students in the learning process should be added to the above, with the account for objectives of the state policy in the field of the musical culture, art and education. Graduates should be prepared to follow academic attitudes of the musical art in the world of permanent scientific-and-technical revolutions, the technological rise and computerization of all spheres of activity as well as pluralism of ideas, opinions and areas. Creation of the learning and methodological facilities and requirements which are adequate to the modern era and relate to the process of the students’ research is of special importance from the pedagogical angle. This discipline is aimed at generalizing and integrating all earlier obtained knowledge, abilities, skills and competences. It also stimulates the processes of search intellectual-creative activity when students write diploma essays and prepare to defend them at the state examination in musical performance and pedagogics. During last two years, diploma essays have had the status of the graduate qualification work. The conceptual basis of the academic discipline is related to actualization and activation of the processes of self-cognition and self-preparation, as well as professional self-determination of the graduate both at present and in the long run. Learning and methodological facilities and algorithms of the essentially integrative discipline connected with the composition of the written essay are common for all students of the Novosibirsk Conservatoire. However, this article accentuates training peculiarities of students of the brass and percussion chair, the guidance of which (just as in the whole higher school) is provided by instructors of the chair of musical education and enlightenment.
Keywords: musical performance and pedagogics, diploma essay, graduate qualification work, R&D, self-preparation, self-education, self-determination.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Robustova, L.P. (2019), “Theoretical foundations of the musical-pedagogical training (at the example of diploma essays of students of the Novosibirsk Conservatoire)”, Journal of Musical Science, no. 4, pp. 127–136. DOI: 10.24411/2308-1031-2019-10034.
(in Russ).
COMPETENCY MODEL OF EDUCATING
STUDENTS FROM ASIA-PACIFIC REGION
IN FOLK MUSICAL CULTURE
Yu.L. Fidenko
Abstract. The article is dedicated to specifics of learning of the academic discipline “Folk musical culture” by students from the Asia-Pacific region. The relevance of this work is caused by lack of studies on teaching musical folklore to foreign students in context of requirements of state educational standards about competency approach. The author notes, that education of musical college students occurs without any substantive knowledge in Russian language and culture. In this regard searching and implementing new approaches to educational process have the central importance. It assures the development of professional competence for students for forming system knowledge about Russian national musical traditions. Creative rethinking of pedagogical experience and own work let the author of the article formulate organizational and methodical tool for embodiment of competency model in teaching musicians and performers of different areas of training. The author believes that an educational base allows to master the skills of intercultural communication. It has been created for optimization of foreign students integration in educational process in Far Eastern Institute of Arts (Vladivostok city). Learning of common and professional competence in the context of discipline “Folk musical culture” unlocks the great potential for learning detailed studies other subjects of training cycle. Mastering of Russian folk legacy contributes to integration of the person in system of world and national cultures. Keywords: Higher education, educational methods, competency approach, folk musical culture, foreign students.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Fidenko, Yu.L. (2019), “Competency model of educating students from Asia-Pacific region in folk musical culture”, Journal of Musical Science, no. 4, pp. 137–144.
DOI: 10.24411/2308-1031-2019-10035. (in Russ).
MUSIC EDUCATION IN OMSK IN THE 1920s
L.V. Smeshko
Abstract. This article discusses the history of the music education system in the city of Omsk. The process of establishment can be divided into three periods. I period (1920–1921) – Three music schools were established, and music education was free for everybody. Educational institutions were sponsored by the State budget. II period (1921–1927) – This period is divided into two phases. 1st phase (before the year 1923) is in the beginning of NEP. These were years of financial crisis in the system of education. The cessation of governmental subsides and imposition of tuition payments for education caused closure of the music schools. In 1922 Sibgosopera moved to Novonikolayevsk. The music college was the only functioning hotbed of culture in Omsk. 2nd phase (1923–1927) is characterized as gradual stabilization of the financial situation of the music college (resumption of subsides and increase of scholarships). The music school is again separated from college. III period (1928–1929) – This period shows an expansion of the music education network and opening of a new music school. A common curriculum was widely introduced. In addition, this article provides an observation of the concert and educational activity of teachers and students of music educational institutions. The diversity of the repertoire formed better musical impressions and enhanced the knowledge of the audience. Many outstanding musicians contributed to the development of music education and concert life of Omsk: director of the Music College M.I. Nevitov; pianists
M.A. Apehtina, A.A. Medvedev, S.I. Bronstein, O.D. Semenova, M.K. Peters,
L.N. Shcherbakova, O.P. Ignatovich, A.E. Bonomorskaya, E.A. Belevich, O.I. Kadysh, L.N. Umnova, V.G. Petrova; conductor of the orchestra N.P. Smagin; violinists A.A. Berlin, A.B. Buzdyhanov; vocalists A.P. Bonachich, V.S. Klopotovskaya, D. Pantofel-Nechetskaya.
Keywords: music education, the1920s, Omsk, music college, concert and educational work.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Smeshko, L.V. (2019), “Music education in Omsk in the 1920s”, Journal of Musical Science, no. 4, pp. 145–155. DOI: 10.24411/2308-1031-2019-10036. (in Russ).
Eastern Siberia and Russian Harbin
in the history of Russian music of the XX century
V.V. Ponomarev
Abstract. The article is about the role of Church singing in the formation of professional composed music in the region, on the example of cities of Western Siberia. In the introduction, the thesis about the unconditional importance of regional processes taking place in the culture of Siberian cities for the entire national culture as a whole is stated. The priority of the genre sphere of Church singing in comparison with other genres and forms of professional music, in particular – with the activities of military orchestras, is emphasized. A brief historical digression is made, immersing in the history of the issue. Important facts of the history of Siberian Church singing of modern times are given. It is also said about the potential for the emergence of the school of composition, which failed to materialize for ideological reasons. Reasoned examples of the activity of the creative life of one particular city – Krasnoyarsk are given, the results of this activity that influenced the all-Russian cultural processes are analyzed. An essay on the social structure and cultural life of Harbin with an emphasis on the spiritual component is made. Listed Harbin musicians. The article describes the fate of individual representatives of the Russian Diaspora in Harbin from among the musicians, after their move to the Soviet Union and their role in the development of professional composer’s work in the region. At the end of the article there is a correlation between the rise of creative activity in one genre – and the strengthening of the General cultural background that affects the activity in all musical genres on the example of Krasnoyarsk.
Keywords: church singing, Harbin, Western Siberia, professional composed music.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Ponomarev, V.V. (2019), “Eastern Siberia and Russian Harbin in the history of Russian music of the XX century”, Journal of Musical Science, no. 4, pp. 156–166.
DOI: 10.24411/2308-1031-2019-10037. (in Russ).
Fractal approach
to the analysis of the system of regional academic musical tradition
M.N. Drozhzhina, E.S. Tsareva
Abstract. This article proposes a new approach to the methodology of music and local lore research. Its relevance is dictated by the need to constructively and simultaneously involve structural and procedural aspects in the study of the processes of musical life. Starting from the special anthropological emphasis inherent in musical local lore, focusing on fixing the role and importance of each participant in regional history, taking into account the specifics of regional life (often deprived of the constant presence of outstanding leaders, «closing» the cultural processes), the authors focused on the search for opportunities for systematization and understanding of seemingly chaotic processes, driven mainly by the collective efforts of participants. It is shown that the proposed fractal approach (which is based on the author’s concept of mathematician B. Mandelbrot), which has been confidently applied in the scientific and humanitarian sphere for the last decades, can be extrapolated to the field of musical local lore. First time here, it involved the conceptual framework tested in the Humanities and helps to introduce the system of academic musical traditions as a spatial-temporal model, where people (the carrier of academic musical traditions) are fractals social connections and relations are interpreted as fractal chains, cultural diffusion (due to which there is an expansion of the area of functioning of the pan – European academic musical model) acts as a fractal process, a synchronous slice of local musical life – a pattern, a regional musical system (a culture where the basic elements are «crystallized», formed, functioning and capable of self-reproduction) is a multifractal. This allows us to demonstrate the similarity and importance of multi-level phenomena, processes and structures, without detracting from their role in the scale of the whole. Interdisciplinary fractal approach serves as the desired «optics» necessary for the analysis of the emerging «anthropological pattern» of regional musical life (where each participant is indispensable), understanding in all the diversity of its dynamic, event-process manifestations and system modeling.
Keywords: academic musical traditions, regional musical system, anthropological turn, fractal approach.
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Drozhzhina, M.N., Tsareva, E.S. (2019), “Fractal approach to the analysis of the system of regional academic musical traditions”, Journal of Musical Science, no. 4, pp. 167–180.
DOI: 10.24411/2308-1031-2019-10038. (in Russ).
“BOLERO” OF MORIS RAWEL IN THE SPACE
OF A SYNTHETIC ARTISTIC TEXT: THINKING EXPERIENCE
P.S. Volkova, E.V. Vybyvanets
Abstract. The article presents the experience of comprehending the music of “Bolero” by M. Ravel, included in a synthetic literary text. This refers to a fragment of the full-length film “Allegro non troppo” (Italy, 1976), combining animation and feature films in its space; animation “March of the Dinosaurs” (GrebogTV, 2015) as well as the animation “Sinfonia” (Universidade Federal de Minas Gerais UFMG, 1984). The purpose of the work is to carry out a correlation analysis of the available artistic samples in order to find out what is the role of music of the immortal creation of M. Ravel in the space of a synthetic artistic whole based on the interaction of musical and visual series. Moreover, in one case we are talking about the dramatic function of music, in the second – about the illustrative function. The central task of the undertaken art analysis of synthetic literary texts was the disclosure of conceptual information initiated by music, updated by visual means of expression. As a result, the authors come to the following conclusion. If the first two works serve to reveal new facets in comprehending the meaning of “Bolero”, which allows us to talk about the dramatic function of music, identified both in the fragment of the film “Allegro non troppo” and in the work “March of the Dinosaurs”, then the third animation is obvious demonstrates an illustrative function. Unlike the dramatic function, which provides a generalization of the visual range proposed by the director, the illustrative function is designed to combine visual fragments, creating a certain mood, a certain atmosphere when perceiving a holistic synthetic text. At the same time, each of the analyzed samples testifies not only to the semantic ambiguity of the musical work created by M. Ravel, but also to the creative potential of the synthetic literary text itself.
Keywords: synthetic literary text, visual and musical range, dramatic and illustrative function of music.
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Volkova P.S., Vybyvanets E.V. (2019), “«Bolero» of Moris Rawel in the space of a synthetic artistic text: thinking experience”, Journal of Musical Science, no. 4, pp. 181–190.
DOI: 10.24411/2308-1031-2019-10039. (in Russ).
The beginning of the formation of Russian antiquities in the context of enlightenment and translation: XVIII century – from Peter I to Catherine II
L.V. Aleksandrova
Abstract. This article – the third of the series «From the history of Russian antiquities» – covers the era of early enlightenment in Russia, which is limited to the transformative activities of Peter I and the reign of Elizabeth. The aim of this article is to show the first steps of antiquity in the context of translation activities and to highlight the issues of ancient languages in the educational process. Petrine transformations («Europeanization») were not only all state structures, but also the Orthodox Church, which previously concentrated all educational processes. The «Spiritual Regulations» – the legislative act defining the legal status of the Church in Russia-defined all stages of religious behavior, education and upbringing. In the field of language studies in Academies, seminaries, as well as gymnasiums, universities, the Latin language was preferred. The most important achievement of the XVIII century was the formation of a written literary language, which is directly related to orthography, in which there were no uniform rules of spelling. Simultaneously with the development of grammar, literary language, improvement of the art of translation, a new kind of translation appeared – a poetic translation by A. Cantemir, «the initiator of Russian literary classicism», in a new manner-Syllabics. V.K. Trediakovsky undertook a reform of Russian versification, developed syllabic-tonic versification. He was the first to translate a French novel not into the Church Slavonic language, then generally accepted in literature, but into Russian colloquial. The first research works on classical antiquity, which marked the beginning of the formation of Russian antiquity, belong to Trediakovsky. M.V. Lomonosov continued to improve the system of versification. Based on the peculiarities of the Russian language, he expanded the possibilities of using classical poetic dimensions, including the traditional ancient hexameter. Lomonosov’s main work on the Russian language was «Russian grammar» (1775). The most important achievement of the Enlightenment was the scientific approach to the study of history, Philology, natural history and other Sciences, which was carried out since the establishment of the Academy of Sciences in St. Petersburg in 1724. It formed a «center» of professional translators («Russian Assembly», 1735–1743, then «Historical Assembly» from 1748). The work of Trediakovsky and Lomonosov, translators and scientists, elevated translation to the rank aimed at solving scientific, artistic and cultural problems.
Keywords: antique, antiquity, translation and educational activities, transformation of Peter I, education, Academy of Sciences, historiography, Philology, Kantemir, Trediakovsky, Lomonosov.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Aleksandrova, L.V. (2019), “The beginning of the formation of Russian antiquities in the context of enlightenment and translation: XVIII century – from Peter I to Catherine II”, Journal of Musical Science, no. 4, pp. 191–211. DOI: 10.24411/2308-1031-2019-10040.(in Russ).
