TATYANA ARKADYEVNA ROMENSKAYA – SCIENTIST AND TEACHER (for the 100th anniversary)
N.V. Leonova, L.P. Robustova, O.A. Svetlova
Abstract. The article is dedicated to the activities of a musicologist, Doctor of Art Criticism, Candidate of Historical sciences, Professor Tatyana Arkadyevna Romenskaya, who will turn 100 years old in 2020. For 60 years she has been working at the Novosibirsk Conservatoire, where her scientific interests were formed, the pedagogical potential was fully realized. The authors identify features of the pedagogical and scientific activities of the Siberian musicologist. The main topic that made it possible to make a significant contribution to Russian musicology was for T.A. Romenskaya musical culture of Siberia. Based on collected archival and sometimes hard-to-reach published sources, she was able to write the history of the formation and development of regional musical culture over a long historical period – from the end of the 16th century to the early decades of the 20th century. The sphere of attention includes the musical life of various social groups of Siberians, education, concert, musical and theatrical, educational, scientific activities and a number of other components of the phenomena. A holistic description of the culture allowed for the periodization of the musicalhistorical process is made, the basic development trends, centers and a wide range of names of participants in musical life are identified. Pedagogical work T.A. Romenskaya was always connected with research interests and attitudes. Not only because the course “The History of Siberian Musical Culture” was developed and introduced into the educational process based on the material of many years of scientific research, but also because a large number of different lecture and practical courses were mastered during the work in two departments. A special place in this row belongs to classes with students-musicologists in their specialty and work with graduate students. Under the leadership of T.A. Romenskaya about forty qualification papers were written. Among them there are educational opuses devoted to topics traditional for musicologists – the creative heritage of foreign, Russian or Soviet composers. However, a significant part of the prepared works related to various aspects of the Siberian theme: folklore of indigenous peoples and various social and local groups of newsettlers, the work of Siberian composers, amateur performances and the reflection of musical life in periodicals. So, the scientific aspirations of the leader were continued in the work of students.
Keywords: Romenskaya Tatyana Arkadyevna, 100 years old, musical culture of Siberia, Novosibirsk Conservatoire.
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Leonova, N.V., Robustova, L.P., Svetlova, O.A. (2020), “Tatyana Arkadyevna Romenskaya – scientist and teacher (for the 100th anniversary)”. Journal of Musical Science, vol. 8, no. 2, pp. 5–19.
DOI: 10.24411/2308-1031-2020-10020. (in Russ.)
TATIANA ARKADYEVNA ROMENSKAYA – RESEARCHER OF SIBERIA: THE MAIN DIRECTIONS OF RESEARCH ACTIVITY
L.L. Pylneva
Abstract. The article analyzes the research work of Tatiana Arkadievna Romenskaya (1920) – Professor of the Glinka Novosibirsk State Conservatoire. The focus is on the directions of the scientist ‘s research related to the culture and history of the vast region of Siberia. Including the study of concert, musical-theatrical, musical-critical and pedagogical activities of representatives of the region from the period of its accession to Russia to the present day, the construction of temples, the formation of church art, the educational role of the church, the educational activity of exiles and educated settlers. T.A. Romenskaya analyzed the journalistic work of the Siberian, the formation of the regional press, the organization of the periodic press of the pre-Soviet period, as well as the press in Soviet times. The conclusions are drawn about the main directions of musicological work, which are reflected in the activities of followers. Assessed the achievements of a major Siberian scientist. This article considers the archives of the scientist, which have been formed for several decades and contain valuable documentation on the culture of Siberia. Including copies of these archival documents, articles from press, letters, note manuscripts, the most revealing and rare publications about the culture of the region and musical art. The scientists also collected materials on the activities of the Siberian branch of the Union of Composers, the work of the Philharmonic collectives, the works of outstanding Siberian musicologists, ethnographers, archeologists and historians.
Keywords: Romenskaya T.A., musical culture of Siberia, archives of Siberia, Siberian press, Glinka Novosibirsk Conservatoire, Siberian musicology, Siberian local history.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Pylneva, L.L. (2020), “Tatiana Arkadyevna Romenskaya – researcher of Siberia: the main directions of research activity”. Journal of Musical Science, vol. 8, no. 2, pp. 20–34.
DOI: 10.24411/2308-1031-2020-10021. (in Russ.)
THE DECEMBRISTS AT THE SOURCE OF PIANO CULTURE OF THE IRKUTSK PROVINCE
N.E. Morozova
Abstract. This paper presents principles for togetherness as well as spiritual and moral references and human pursuits of the Decembrists’ generation. Incentives of music-educational and teaching activites of the Decembrists in Irkutsk province have been analysed. Reveals the relation of artistic performing interpretations and music pedagogy of the Decembrists with the specific nature of inhome and military education in Russia in the early XIXth century. It is emphasised that aiming at professionalism in musical development, combining academic, folk and popular repertoire furnished out by artistic dances and entertainments, this all is still the mainstream in modern music education. The paper describes the social and cultural portrait of the pianist А.P. Yushnevsky as an exponent of the educational pursuits of the Decembrists’ generation. Emphasis is made on the experience of the Decembrists’ generation, which confirms the huge role of music for preservation of integrity of an individual. The fact that they created a model for a personal, intellectual and spiritual growth speaks of a trans-historic meaning, as there are no time or other limits for it.
Keywords: music culture of Siberia, Irkutsk province, piano culture, outreach music activities of Decembrists, psychosocial role of music, professionalism of musical development, integrative features of an individual, pianist А.P. Yushnevsky.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Morozova, N.E. (2020), “The Decembrists at the source of piano culture of the Irkutsk province”. Journal of Musical Science, vol. 8, no. 2, pp. 35–45.
DOI: 10.24411/2308-1031-2020-10022. (in Russ.)
UNEXPLORED PAGES OF IRKUTSK OPERA CRITIC BAYAN
D.V. Pavlikov, O.A. Svetlova
Abstract. This article is devoted to the study of previously unexplored musical-critical publications of the Irkutsk critic of the beginning of the XX century «Bayan». The authors consider his work, continuing to develop the theme laid down in the Siberian science by Professor T.A. Romenskaya, who was one of the first to raise questions about the history of music criticism in Siberia, including the discovery of the name of Bayan. His early publications are put into scientific use. Bayan’s reviews are characterized by an abundance of professional terminology, detailed analysis of Opera performances and knowledge of the context, combine information with a critical and analytical component, which allows you to present the Opera repertoire and leading soloists of the Irkutsk Theater of the turn of the century. The predominant parameters of criticism are evaluative and communicative. The study of Bayan’s articles allows us to clarify the time frame of his work in the newspaper «Eastern review», covering a three-year period, and prove that He is one of the first professional Siberian music critics. Bayan’s work became significant for the next generation of critics and had a huge influence on the development of music-critical thought in Siberia at the beginning of the XX century.
Keywords: musical culture of Siberia, music criticism, Romenskaya, Bayan, review.
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Pavlikov, D.V., Svetlova, O.A. (2020), “Unexplored pages of Irkutsk opera critic Bayan”. Journal of Musical Science, vol. 8, no. 2, pp. 46–55.
DOI: 10.24411/2308-1031-2020-10023. (in Russ.)
“TOBOLSKY SYMPHONY” A. MUROV: TO THE PROBLEM “CITY AS A METAPHOR”
A.V. Vanchugov
Abstract. In a large number of works about the City, created in the XX – early XXI centuries, allegorical meanings of urban themes are more clearly manifested, presenting metaphors of civilizational disasters, spiritual searches of mankind, labyrinths of consciousness, the focus of cultural layers. This article analyzes the Tobolsk Symphony of Novosibirsk author A. Murov from the perspective by the concept “City as a Metaphor”. Causing a wide resonance in the musicological environment and near-musical circles, it has become a fateful composition for the composer, who offered a peculiar interpretation of historical events for his time. Attraction of many textual sources in combination with innovative performing staff, involvement of oratorioal features into the symphony genre give the symphony its scope and great communicative capabilities. The bold development of the bell complex, the involvement of D. Shostakovich's monogram and a number of its modifications make it possible to discover generalizations of a supra-historical level in the symphony, to reveal new (connotative) possibilities of known complexes and their hidden meanings, which is important in revealing the metaphorical properties of the composition as a whole. The history of the annexation of Siberia, the fate of Tobolsk in such circumstances appears as a timeless and prophetic message: a kingdom built on pain and sufferings will have a fatal outcome and will come to ruin.
Keywords: City as a metaphor, Askold Murov, Dmitriy Shostakovich, monogram, kolokol’nost’, semantic complexes, Tobolsk Symphony.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Vanchugov, A.V. (2020), “«Tobolsky symphony» A. Murov: to the problem «City as a metaphor»”. Journal of Musical Science, vol. 8, no. 2, pp. 56–65.
DOI: 10.24411/2308-1031-2020-10024.
MODERN FORMS OF EXISTENCE OF ETHNO-MUSICAL TRADITIONS OF THE SIBERIAN TATARS
N.Kh. Nurgayanova
Abstract. Nowadays, Tatar ethnomusicology seeks to consider Tatar musical culture as a synthesis of regional dialects logical components of various ethnographic and local-territorial groups, which determines the need to perceive Tatar musical folklore as a heterogeneous phenomenon. Researcher are extremely interested in the traditional culture of the Siberian Tatars. The article discusses the results of a 2017 expedition covering three regions of the Novosibirsk region: Kolyvansky, Kargatsky, Barabinsky (villages Yurt-Ora, Yurt-Akbalyk, Kazanka, Musa, Terenino, Shibaki, Outpost-Kargat), including the habitats of Chat and Barabin Tatars. The research showed us that mass communication, radio and television have a great impact on the formation of musical representations of the modern population. Despite this fact, there are still existed the carriers of ethnomusical traditions in the Tatar villages of Siberia. During the expeditionary research, samples of village folklore, lyric and short songs, takmaks, ditties, wedding tunes, singing genres, bait and munajats, which are still preserved in the memory of older and middle-aged people, were recorded. An analysis of the tunes and texts showed us that among the samples there are quite well-known and widespread words and melodies with their elements of variations among different ethnographic groups of the Tatar people. It emphasizes the significant influence on the stylistic and genre diversity of the ethnomusical traditions of the Siberian Tatars of the cultures of the Volga-Ural Tatars-immigrants: Kazan Tatars, TatarMishars, Kryashen Tatars, etc. Studying and preserving of the musical folklore of Siberian Tatars, possessing inexhaustible wealth, will allow future generations to feel the original and universal foundations of the spirituality of the Tatar people and its traditional culture as a whole.
Keywords: ethnic musical traditions, Siberian Tatars, folklore, song.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Nurgayanova, N.Kh. (2020), “Modern forms of existence of ethno-musical traditions of the Siberian Tatars”. Journal of Musical Science, vol. 8, no. 2, pp. 66–75.
DOI:10.24411/2308-1031-2020-10025.
FEATURES OF THE DISSEMINATION OF MUSICAL-FOLKLORE TRADITIONS OF THE SIBERIAN CHUVASH IN COMPARISON WITH THE MAINLAND OF THEIR OCCURRENCE
E.I. Ismagilova
Abstract. The article is dedicated to one of the subject aspects of comparative studies of the mainland and migrant folklore traditions, occurring in the polyethnic Siberian region. It traces the links between the places of origin of the tradition bearers – districts of Chuvashia and other Volga territories, and Siberian areas of Chuvash settlement. The tasks of present work include the determination of which dialectal and musical-folklore mainland traditions are represented by the descendants of Chuvash migrants in Siberia. The study is based on the information obtained during the field work by means of the interview with bearers of the Chuvash traditional culture. For the visualization of presented information about the dialectal belonging of Chuvash migrants in Siberia the mapping method is being used. As the result of study, it becomes obvious that Chuvash had arrived in Siberia from almost all the districts of Chuvashia and other Volga territories (Tatarstan, Bashkortostan, Samara region). Quantitatively are dominating the migrants from districts of the occurrence of lower and middle-lower dialect. The settlement districts of Chuvash in Siberia are marked as monodialect and polydialect ones. In the monodialect districts, the process of tradition preservation had passed. In the polydialect districts, as a result of verbal features mixing, the Chuvash-Siberian dialects had evolved, in the base of which lays the lower Chuvash dialect (A.P. Dolgova). In the situations of cohabitation of Chuvash – bearers of the different local traditions, in some cases the common song repertoire and uniform performers manner are formed.
Keywords: Chuvash musical folklore, Siberian migrants folklore, areal folklore studies, dynamics of folklore traditions.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Ismagilova, E.I. (2020), “Features of the dissemination of musical-folklore traditions of the Siberian Chuvash in comparison with the mainland of their occurrence”. Journal of Musical Science, vol. 8, no. 2, pp. 76–86.
DOI: 10.24411/2308-1031-2020-10026.
TO THE STUDY OF LOCAL FOLKLORE TRADITIONS OF THE VOLGA REGION PEOPLES OF AUTOCHTHONOUS AND SIBERIAN EXISTENCE (about the project to create an interactive atlas of sounding texts)
P.S. Shakhov
Abstract. Folklorists researchers of the traditional culture of the Volga-Ural region, as well as Siberian specialists in the study of migration traditions (Slavic, Finno-Ugric, Turkic) over the past 50 years have collected an exceptional value and representativeness of folklore material, which still mostly does not have a complete description and publications. This article is devoted to the description of a new research project «Folklore of Autochtonous and Migratory Traditions of Volga Region Peoples in Modern Records and Historical Dynamics: An Interactive Atlas of Audio Texts», supported by the Russian scientific Foundation (no. 19-78-10113). The paper describes the sources and methods of research, presents the stages of work on the project in accordance with the tasks. The scientific novelty of the research consists in a consistent study of the folklore traditions of the Siberian diasporas of the Volga peoples (Mordvins, Udmurts and Chuvash) with a parallel study of local traditions of the autochthonous areas of the Siberian migrants exit. This methodological approach solves the problem of comparability of materials when comparing local traditions of Siberian diasporas with the “mother” culture. The study of each local tradition (autochthonous and migrant) using the General principles of structural and typological description will allow, on the one hand, to identify the General ethnic structureforming elements of folklore systems, on the other hand, will create prerequisites for the identification and study of inter-ethnic areas and communities of the peoples of the Volga region. The research team sees the solution of actual problems related to the typology and systematization of folklore materials, publication of archival folklore funds, preservation and revival of local folklore traditions in the creation of an open electronic resource of sounding folklore texts with analytical tools that allow conducting research on the platform.
Keywords: Volga peoples, Siberian diasporas, Mordovian folklore, Udmurt folklore, Chuvash folklore, autochthonous and migrant traditions, structural and typological analysis, musical and poetic system, interactive atlas, sounding folklore text.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Shakhov, P.S. (2020), “To the study of local folklore traditions of the Volga region peoples of autochthonous and Siberian existence (about the project to create an interactive atlas of sounding texts)”. Journal of Musical Science, vol. 8, no. 2, pp. 87–102.
DOI: 10.24411/2308-1031-2020-10027. (in Russ.)
PHONETIC CONSTRUCTION AND SUBJECT-LOGICAL MEANING OF A WORD IN A VOCAL WORK
E.A. Prikhodovskaya, A.A. Okisheva
Abstract. The article is devoted to the interaction in the vocal product of meaning and sound in the verbal component of the synthetic whole. In the article, meaning and sound appear as the subject-semantic meaning of the word and its phonetic construction. The thesis is affirmed, according to which the subject-logical meaning of a verbal text in a vocal work depends on non-verbal accents in the phonetic construction. As examples, illustrations, helping to reveal the proposed theses, are given a hot-sheet by A.S. Pushkin's “Don’t sing, beauty, with me...” and S.V. Rachmaninov. The article provides some biographical information about the great creators, considers the prerequisites for the creation of works. Variants of the interpretation of the work are modeled, depending on the variants of its sound embodiment – the only option available to the perceiving consciousness (recipient-listener). We can note the existence of some kind of connection, for example, a single line of a poem and a musical embodiment of this line. Recommendations are given for understanding and interpreting the romance in terms of its execution. Romance S.V. Rachmaninov “Don't sing, beauty, with me” is a repertoire that often sounds on stage. Actual, according to the authors, the model for transforming a verbal text into a vocal miniature is revealed by the example of this romance. The importance of understanding the phonetic structure of the text as a source of non-verbal signals of a synthetic work is emphasized - both for the process of studying the synthesis of arts and for specific performing work on the studied romance S.V. Rachmaninov.
Keywords: phonetic construction, objective logical meaning, poem, intonation, vocal composition.
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Prikhodovskaya, E.A., Okisheva, A.A. (2020), “Phonetic construction and subject-logical meaning of a word in a vocal work”. Journal of Musical Science, vol. 8, no. 2, pp. 102–106.
DOI: 10.24411/2308-1031-2020-10028. (in Russ.)
C. SAINT-SAENS’ DANSE MACABRE: FROM SONG TO SYMPHONIC POEM
A.Yu. Seibert
Abstract. The article is dedicated to the symphonic poem of C. Saint-Saens “Danse macabre”. It is a reconstruction of the oeuvre’s creation history, and also discovery of the reasons for addressing the theme of death in the composer's work, considering his philosophical and aesthetic views and introducing adjustments to the established notions of Saint-Saens as a harmonious person. The writing of a song of the same name precedes the emergence of a symphonic poem with verses by the decadent poet Henri Casalis. In this article, the comparison method is used for establishing of parallels and plot-like analogies between these two works. It is pointed out that the main impulses of their artistic content are concentrated in a poetic text. There is the principle of textual repetition embodying the idea of a round dance associated with movement in a circle already in the literary source. During analyze of the musical compositions, the author identifies a connection with the vocal and instrumental genres of Spain, traces the influence of the song on theme and some patterns of the formation of a symphonic poem. There is an emphasis of the role of the medieval sequence dies irae in the "visualization" of the image of the dancing Death. At the same time, the significance of the timbre-colorful side of the orchestra and the use of sound-visualizing techniques to recreate the ideological-figurative structure of the poem are noted.
Keywords: C. Saint-Saens, H. Cazalis, dance macabre, song, symphonic poem, dies irae.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Seibert, A.Yu. (2020), “C. Saint-Saens’ Danse Macabre: from song to symphonic poem”. Journal of Musical Science, vol. 8, no. 2, pp. 107–121.
DOI: 10.24411/2308-1031-2020-10029. (in Russ.)
CREATIVITY OF R. SHCHEDRIN IN THE CONTEXT OF EDITING
Z.M. Denisova
Abstract. The object of this study is editing as an artistic phenomenon in the domestic musical culture of the second half of the 20th century. The subject of research in this article is the work of the outstanding domestic composer R. Shchedrin. The analysis showed that in the music of R. Shchedrin, montage acquired fundamental significance and formed as a holistic artistic phenomenon. The main findings of the study are the following. Editing as a means of embodying an individual creative idea provides the composer with exceptional freedom, revealing to him all the achievements of musical art, allowing him to actively work with various cultural codes, freely remix them, recreating the most daring, artistically significant philosophical ideas of the composer. The analysis made it possible to identify the characteristic features of the master’s music in the context of montage: a meditative-conflict type of drama, a high degree of dissection of thematic material, sudden switching of genre-thematic lines, mosaic structure, politematic structures, a special “move” of time. The novelty of the study lies in the fact that for the first time the specifics of Shchedrin's composer's writing were revealed in the context of montage, in general, in the author of the article poses urgent issues that need scientific understanding and a new research interpretation.
Keywords: editing, musical text, dramaturgy, meditation, thematism, composition, genre, orchestral thinking.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Denisova, Z.M. (2020), “Creativity of R. Shchedrin in the context of editing”.Journal of Musical Science, vol. 8, no. 2, pp. 122–130.
DOI: 10.24411/2308-1031-2020-10030. (in Russ.)
GUBAIDULINA AND TANONOV: IN DIALOGUE WITH POP MUSIC
S.S. Korobeinikov
Abstract. The close interaction of pop-music and composer’s opus-music is greatly hampered by the opposite of ethics and aesthetics of these two types of creativity. Nevertheless, the attempts of dialogue undertaken in a number of works encouraged composers-symphonists to understand the disposition of these types of music in contemporary art. Comparison of the Concert for two orchestras by Sofia Gubaidulina and “Fusion-Concert” for viola with chamber orchestra by Anton Tanonov reveals both composers' understanding of the ontological split between the two types of music, as well as the possibilities of their creative contacts. In both works, the significant contrast between the pop and anti-pop components is significant. In Gubaidulina’s work, it is represented by two orchestras; the symphonic is based on the sonoristic style, the nonmelodic jazz-rock riff dominates in symphojazz. In the Tanonov’s concert stylistic antithesis arises between the tango of the 1st part and the rehearsal of the 2nd part. In both works, there is an opposition of two musical worlds in the form of antinomies “movement, game – reflection”, “energy outburst – dynamic introspection”. Conceptually, the world of pop music is ambiguous in both Gubaidulina and Tanonov, and his opposition to opus-music is not of a derogatory tone. Elastic dance rhythms represent the pop music as one of the manifestations of the festive and hedonistic facets of life. At the same time, in both works, the idea is being observed that, under appropriate conditions, the energy potential of pop music can lead to spiritual devastation and turn into a very energetic banality. Nevertheless, both composers represent a different image of household genres, which can be called reconciling-harmonizing. The dialogue between “serious” and “light” art under the conditions of a tangible crisis of both types of creativity can be quite promising – as one of the lines of music of the 21st century. This is evidenced by today's interest in the musical variety of representatives of Russian opusmusic of different generations.
Keywords: concerto, opus-music, polystylistics, conceptual analysis, tango, stylistic diffusion.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Korobeinikov, S.S. (2020), “Gubaidulina and Tanonov: in dialogue with pop music”. Journal of Musical Science, vol. 8, no. 2, pp. 131–143.
DOI: 10.24411/2308-1031-2020-10031. (in Russ.)
“PASSACAGLIA AND FUGUE” FOR LARGE SYMPHONY ORCHESTRA BY ZDRAVKO MANOLOV – A CONTRIBUTION TO THE EUROPEAN MUSICAL AND CREATIVE TRADITIONS OF THE XX CENTURY
S.V. Vrangova-Petkova
Abstract. This article is dedicated to one of the long lost and forgotten masterpieces of the Bulgarian musical culture in the middle of the 20th century, whose manuscript was found in 2012. This is the Passacaglia and fugue for a large symphonic orchestra by Zdravko Manolov, a composer, theoretician, performer and professor in polyphony. By its incorporation in the synchronic processes of neo classicism in the European music of the 20th century as seen in the works of composers such as Hindemith, Lutoslawski, Shostakovich, Britten, etc, and by manifesting through polyphony and its genres the trends in the Bulgarian composer school from the middle of the century, the work of Zdravko Manolov is a supreme synthesis of individual, regional and universal prerequisites. Re-creating the baroque tradition in composing and dramaturgy through the prism of its inherent contrapuntal technique and structural principles, Passacaglia and fugue is a demonstration of a brilliant polyphonic, more specifically, augmentation technique. Regional song and dance theme models make themselves evident in the composition and their evolvement defines the untypical of the passacaglia genre-and-characteristic profile of the variation processes and the free aspects in the form establishment. The variation cycle is a sequence of fifteen variations and a double fugue with a joint theme exposition – a brisk and genre-and-dance formula along with a reduced variant of the passacaglia theme in a new meter. As a supreme creative achievement, the Passacaglia and fugue adds a notable contribution to the European genre tradition of the 20th century.
Keywords: passacaglia and fugue, augmentation technique, counterpoint, polyphony of layers, Zdravko Manolov, variation form, Bulgarian musical culture, neo baroque.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Vrangova-Petkova, S.V. (2020), “«Passacaglia and Fugue» for large symphony orchestra by Zdravko Manolov – a contribution to the European musical and creative traditions of the XX century”. Journal of Musical Science, vol. 8, no. 2, pp. 144–156.
DOI: 10.24411/2308-1031-2020-10032. (in Russ.)
ON THE PROBLEM OF CORRELATION TRADITIONAL AND COMPOSER TEXTS IN YAMADA KOSAKU'S SYMPHONIC COMPOSITIONS
A.M. Maksimova
Abstract. The article is devoted to the problem of intertextuality in the symphonic works of the founder of the Japanese composer school Yamada Kosaku. The questions of studying the phenomenon of intertextuality in the field of the humanities – literary criticism, linguistics, cultural studies are considered. In musicology, the problem of the interaction of texts is usually interpreted in the context of studies of composer folklore, where the concept of intertextuality, as a property of a musical text, has found its application in the study of the definition of “composer – folklore”. According to the author, within the framework of the indicated problems of studying intertextual interactions in the works of Japanese composers, this is a promising area of the scientific knowledge. In the work of Yamada Kosaku, the process of forming his own composer style went in parallel with the search for adequate ways to reflect the national-characteristic through linguistic and figuratively-meaningful components. The result of this process was the creation of the Tsurukame Symphonic Nagauta, the most significant composition of Yamada Kosaku in the context of intertextual interactions. The article attempts to classify the type of intertextuality, which is reflected in the composition, by determining the quality of the correlation of texts. The principle of text interaction is designated as a transplantation method, the essence of which is to transfer an element of one system or the whole text to the conditions of another system with the maximum preservation of ontological qualities.
Keywords: Yamada Kosaku, intertextuality, Symphony Nagauta "Tsurukame", symphonic creativity, composer's folklore.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Maksimova, A.M. (2020), “On the problem of correlation traditional and composer texts in Yamada Kosaku's symphonic compositions”. Journal of Musical Science, vol. 8, no. 2, pp. 157–165.
DOI: 10.24411/2308-1031-2020-10033. (in Russ.)
STIHERON-OSMOGLASNIK “FOR KISSING” IN HONOR TO ST. ZOSIMA AND SAVVATIY OF SOLOVKI IN THE OLD RUSSIAN SINGING TRADITION OF THE XVI–XVII CENTURIES: RITE – TEXT – CHANTING
M.S. Egorova, A.N. Kruchinina
Abstract. The article is dedicated to the unique Old Russian chants in honor of St. Zosima and Savvatiy of Solovki, created in the second half of the XVI century and widespread in the medieval notated tradition. The stichera is a hymnographic text, which musical interpretation is formed by stereotyped formulas of all eight modes used in the eight-modes system of the ancient Russian monody. The peculiarities of the artistic structure of a musical-poetic text are due to its liturgical function associated with the special rite of worship of the festive icon or the shrine with the relics at the end of the all-night vigil. The historical and cultural context of the existence of a sticheron in the singing tradition of Ancient Russia, characterized in the article, determined the use of a new method of interpretation of medieval chants, in which attention is focused on the interaction of specific text pragmatics and musical means of chanting that realize this pragmatics. An analysis of the sticheron based on the material of the notated manuscripts of the 16th – 17th centuries showed that the semantic structure of the music-poetic text is due to the constant interactions of the verbal and musical codes, and the refined artistic form of the osmoglasnic is not a mechanical combination of mode formulas, which refutes the prevailing in musical medievistics idea of osmoglasnics as a traditional musical composition, not determined by the content of the poetic text. The new method of research of Old Russian chants, formulated in the article, allows not only to prove the mastery of the unknown Russian chant maker and reveal his musical logic, but also to determine the significance of liturgical forms of veneration of the saints in the Solovetsky monastery for an integral artistic image formed during the interaction of different types of art in space of the saints' tomb.
Keywords: Old Russian monody, genre of osmoglasnic, pragmatics of liturgical texts, saint’s tomb space.
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Egorova, M.S., Kruchinina, A.N. (2020), “Stiheron-osmoglasnik «for kissing» in honor to St. Zosima and Savvatiy of Solovki in the Old Russian singing tradition of the XVI–XVII centuries: rite – text – chanting”. Journal of Musical Science, vol. 8, no. 2, pp. 166–185.
DOI: 10.24411/2308-1031-2020-10034. (in Russ.)
ORAL-PROFESSIONAL MUSIC AS THE TRIPLE UNITY
M.G. Karpychev
Abstract. The article is devoted to the problems of canon and originality in oral-professional canon traditional music (semantic aspect). Semantic canon represents a task (first part of unity), semantic of the certain artefactum – result (second) of task’s solution. The task does not change, but a result of solution is always different. Originality represents solution (third). So, the triple unity-task, solution, result. We think that we may use the term “artefactum” in art. The word “artefactum” as an object of analysis. “Art” and “artificial” don’t oppose each other – they are connected. Art is artificial, because art is a creation of man’s activity, but not of nature: art is not natural (like sun or stone), but artificial, second. The words’ likeness is not accidental, they have common meaning root. The semantics of the artefactum includes semantic canon, but the artefactum is more significant, many-sided, including the process of task’s solution – originality. Improvisation (the only way of the canon music art’s being) is a natural initial form of originality. Improvisation may elevate to the “new” semantic interpretation – that is transformation of genre model, but without destruction of its principal characteristics. Transformation of the canon-task may be connected with society’s development, with changing in course of time feelings, emotions. In traditional music this process goes very slowly, but steady. Dialectical relations of canon and originality come from impossibility of these phenomenon’s’ being separately: the task needs a solution, original solution is the consequence of task’s existence. The principal historic way of functions’ differentiation in system “composer – player (singer) – listener”.
Keywords: canon, originality, oral-professional music, artefactum.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Karpychev, M.G. (2020), “Oral-professional music as the triple unity”. Journal of Musical Science, vol. 8, no. 2, pp. 186–195.
DOI: 10.24411/2308-1031-2020-10035. (in Russ.)
ON THE DEFINITION OF VARIETIES OF THE STRUCTURE TANBUR AND THEIR DESIGNATION
A.A. Abdurashidov1
Abstract. The article discusses the varieties of the tune system of tanbur, leading musical instrument in the performing practice of Shashmaqom, widespread in Central Asia – presentday Tajikistan and Uzbekistan, as well as the specific traditional terms used to designate them. It is established that two varieties of tune systems – Rost (fifth) and Buzurg (fourth) are the main ones, whereas the Navo (second) system is not used at the present time in practice and the Iroq system the second form of the fifth tune system is used as an supplementary one. It is pointed that Iroq tune system was not considered by researchers formerly and it is first time that it is brought into consideration at the present work.The terms mizrob, jur and soz are also considered, all of them were once used in the same meaning to define the tune system of the instrument. As a result of the analysis, it emerges that they have their own definition based on their function: mizrob as rhythm formula, jur as tune system of the instrument and soz as sound-row structure. Based on the two positions of tanbur’s tune systems, six sound-order structures called soz are also revealed, three of which, namely sozi Rost, sozi Buzurg and sozi Segoh, are the main components in the formation of the Shashmaqom fret system itself, and the other three, sozi Navo, sozi shikastai Navo (broken Navo) and the sozi Kalon, are only used in the formation of individual derivative maqom cycles and compositions.
Keywords: shashmaqom, maqom, tune system, tuning, definition, designation, mizrob, jur, soz.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Abdurashidov, A.A. (2020), “On the definition of varieties of the structure tanbur and their designation”. Journal of Musical Science, vol. 8, no. 2, pp. 196–206.
DOI:10.24411/2308-1031-2020-10036.
ROLE OF BRACING MOVEMENT IN THE TECHNIQUE OF THE HARPER'S GAME
N.N. Pokrovskaya
Abstract. It is difficult to refute the postulates accepted in any professional community. Among such established opinions is the idea that on the harp (as well as on the piano) the legato touch is fundamentally impossible, as this is due to the nature of the instruments themselves. However, pianists manage to a greater or lesser extent (depending on the skill and degree of talent of the performer) to overcome the staccato-percussion feature of the piano and achieve on it the melodious sound. There are examples in the history of the harp when, with the constantly fading sound of the instrument, they achieved its melodiousness, expressiveness and beauty. It is enough to recall the names of Nicholas Devitte, Wilhelm Posse and Alexander Slepushkin, who gained European fame. But from the theoretical heritage that they left – the Posse – Slepushkin method – domestic harpers perceive only part of its content. They accept the principle of finger articulation in the palm of its base, gradually depart from the principle of low setting of the thumb (first finger), do not converge in understanding the term “turn” of the hand and are silent about the movements of the hand that determine the execution of the legato stroke. In addition, they emphasize the importance of playing with the non legato touch, which the harp is not always needed. The author of the article considers it necessary to draw the attention of harpers to the possibility of playing the legato on the harp, a description of which is outlined in the work of N.G. Parfenova “Technique of playing the harp. Method prof. A.I. Slepushkina”. The author believes the connection of two or more sounds to the lateral movements of the brush, as a matter of course. Parfenov did not focus on the singing when playing melodies and the consequence of this was the loss by domestic harpists of one of the main virtues of the Russian performing arts,
Keywords: harp, Russian harp school, Posse–Slepushkin method, harpist wrist movements, legato stroke.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Pokrovskaya, N.N. (2020), “Role of bracing movement in the technique of the harper's game”. Journal of Musical Science, vol. 8, no. 2, pp. 207–217.
DOI: 10.24411/2308-1031-2020-10037. (in Russ.)
COMPUTER SCIENCE IN MUSIC IN MOSCOW CONSERVATORY: COMPOSER COURSE
A.N. Ananiev
Abstract. The article discusses the main stages and features of training, as well as the structure and methodological principles of teaching a two-semester course “Music Informatics” to studentscomposers of the Moscow State Conservatory. Forming the basic basis of musical and computer knowledge of a student-composer, this course has close links and coordination with other special disciplines of the professional cycle (instrumentation, harmony, polyphony, musical form, etc.), related to the practical application of musical computer programs. It is emphasized that the professional activity of a modern composer is often unthinkable without understanding the principles of working with standard programs and music editors, especially in cases when it is associated with theater and film music, advertising, and the need to prepare demo versions (presentations) of their compositions. The article substantiates the need to possess musical and computer knowledge and skills, such as computer sheet music, computer arrangement (“voicing”, “reviving” typed computer MIDI scores). The article analyzes the current software used in the educational process, both for stationary work and outside it (mobile applications and cloud software), the use of peripheral devices for input / output of music information (MIDI controllers, audio interfaces, audio recorders, microphones, amplifiers, digital-to-analog and analog-to-digital converters).
Keywords: composer, music education, computer science in music, computer technology in music, scorewriter, digital audio workstation, computer arrangement, multimedia composition.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Ananiev, A.N. (2020), “Computer science in music in Moscow conservatory: composer course”. Journal of Musical Science, vol. 8, no. 2, pp. 218–229.
DOI: 10.24411/2308-1031-2020-10038. (in Russ.)
ART IN THE CONTEXT OF WAR
P.V. Nevskaya, A.G. Luginina
Abstract. In the center of the article is a picture of the Kuban master, honored artist of the RSFSR Vasily Monastyrny (1946–2017) “Music Team «Tango of death»”, created in 1987. Рerforming the analysis of the picture, the authors focus their research interest on the topic of art in the context of the war. Recalling the works of Roman Polanski and Andrey Malyukov, Ricardo Ortiz and Valery Turakevich, the authors pay attention to the special technique used by them in their work. This refers to the oxymoron, through which artistic space appears marked by the unity of such incompatible phenomena as art and war. If the sphere of art is directly related to the multiplication of the essential forces of man, then war, on the contrary, is a soulless machine designed to question the very existence of man. From this point of view, art is a sign of immortality, just as war symbolizes death. This technique also appears in the title of the painting by Vasily Monastyrny. In one case, the “tango of death” exposes the fragility of human life, the possibility of its instant loss according to the characteristic rapid rhythm of tango. In another, – tango as a pair dance indicates the number of remaining musicians-the violinist and the performer on the tuba. Finally, the title of the painting draws the viewer's attention to the etymology of the tango lexeme, which originates from the Latin verb tangere (to touch), i.e. the touch of death. At the same time, in all cases, without exception, there is a combination of incongruous, which determines the emotional expressiveness of the artistic image.
Keywords: art, war, painting, life, death, immortality, tango.
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Nevskaya, P.V., Luginina A.G. (2020), “Art in the context of war”. Journal of Musical Science, vol. 8, no. 2, pp. 230–236.
DOI: 10.24411/2308-1031-2020-10039. (in Russ.)
