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PRE-CLASSICAL GENRES IN M. WEINBERGS' INSTRUMENTAL CYCLES
S.S. Goncharenko, M.N. Ostanina
Abstract. Turning to the multi-part instrumental cycles of Mieczyslaw Weinberg, the authors of the article find in them a modern implementation of the dramaturgy principles that developed during the periods of Baroque, classicism and romanticism. The second discovery of the M. Weinberg phenomena at the turn of the XX–XXI centuries as a creative figure on a global scale confirms the relevance of the stated research topic. Its novelty consists in the thesis about Weinberg's anticipation in the 1950s and 1960s of the trend towards the interaction of the instrumental dramaturgy principles in the concerto grosso genre, which has developed in the music of domestic and foreign composers in recent decades. The article combines comparative, linguistic and hermeneutical approaches that allow the authors to offer an interpretation of the semantics of pre-classical genres in modern musical dramaturgy. The research method consists in identifying subcycles – groups of several parts along the syntagmatic and paradigmatic axes in multi-part cycles. The program names of the parts serve as a reference point. The composer relies on generalized program, combining old and modern genres in the verbal text of the composition, as well as constructive techniques terms for working with musical material. The authors consider several opuses intended for solo instruments (piano, violin), and for performance by a chamber orchestra. The analysis оf the 10 symphony by M. Weinberg demonstrates the interaction of the principles of concertation that combine the genres of the Baroque concerto grosso, the German spiritual cantata, and the modern dramatic Symphony.
Keywords: M. Weinberg, program multi-part cycle, Baroque, Partita, Sonata, concerto grosso.
Conflict of interests. The authors declare the absence of conflict of interests.
For citation. Goncharenko, S.S., Ostanina, M.N. (2020), “Pre-classical genres in M. Weinbergs' instrumental cycles”, Journal of Musical Science, vol. 8, no. 4, pp. 5–13.
DOI: 10.24411/2308-1031-2020-10060. (in Russ.)
IN THE FIGHT AGAINST THE “OPPRESSIVE ROMANTICISM OF OLD OPERAS”: SERGEI PROKOFIEV AND VLADIMIR DRANISHNIKOV IN THE 20s AND EARLY 30s
N.P. Savkina
Abstract. Vladimir Aleksandrovich Dranishnikov was one the best conductors S.S. Prokofiev worked with. The article brings closer to us outstanding personality of the conductor who performed the best pieces of the contemporary theatre repertoire and symphony pieces, who was sensitive interpreter of Prokofiev`s music. The composer appreciated the talent of the musician who participated in the historical final Prokofiev`s exam at the St. Petersburg Conservatory and contributed to his success. Documentary materials give us a view of some events in the life of the largest European theater – former Mariinsky theater – during the Soviet era. Among the works staged during those years in the State Academic Theatre of Opera and Ballet were innovative, artistically outstanding performances (Berg’s Wozzek for example) as well as opportunistic, notoriously weak ones that the theater had to stage. Modern knowledge about the activities of the Mariinsky Theater are enriched with V. Dranishnikov`s observations and remarks which he shared with Prokofiev. Previously unknown documented sources renew existing information about The Love for Three Oranges stage history at the former Mariinsky theater. Twists and turns of the performance production are mainly centered on financial issues, but there are some other factors as well – not for nothing Prokofiev argued with the Russian Music Publishing House on the subject of wrong music pieces being sent to the wrong place. These letters show Prokofiev`s interest in music of the Soviet composers – his contemporaries. As it is well known, Prokofiev facilitated international interchange; he recommended works by the Soviet composers to the performers and music publishers.
Keywords: Prokofiev, Mariinsky theatre, Soviet opera in the 1920s, Prokofiev's operas, Love for three oranges, Dranishnikov.
Conflict of interests. The author declares the absence of conflict of interests.
For citation. Savkina, N.P. (2020), “In the fight against the «oppressive romanticism of old operas». Sergei Prokofiev and Vladimir Dranishnikov in the 20s and early 30s”, Journal of Musical Science, vol. 8, no. 4, pp. 14–23.
DOI: 10.24411/2308-1031-2020-10061. (in Russ.)
“THREE SISTERS” BY P. ETVESH AND A PROCESS OF CONCEPTUALIZATION OF CHEKHOV’S DRAMA IN MUSICAL THEATRE
I.G. Yaskevich
Abstract. The article raises the problem of creating works for musical theatre based on the serious drama of A. Chekhov. The opera by P. Etvesh “Three Sisters”, created in 1997 and recognized by the critics as the last grate opera of the 20th century, was taken as the main material. The author sees the main significance of the opera in the fact that it opens a new period in the assimilation of Chekhov's plays by the musical theatre: the score of Etvesh marks a departure from a simple retelling of the plot, illustrativeness or the creation of a special “chekhovian atmosphere” by musical means and directs the process of adaptation of Chekhov's drama in musical theater into the mainstream interpretation and conceptualization, which gives the key to its artistic code and leads to a successful result, creates certain traditions. The work suggests that the intensive stage history of Etvesh's opera is due to the stage director's interest in the score: they see it as material for their conceptual decisions, which continue and implement opera’s main ideas in different aspect. As examples two productions are analyzed – the first, performed at the Lyon Opera in 1998, and one of the last, at the Ural Opera Ballet in Yekaterinburg, 2019.
Keywords: A.P. Chekhov, Three Sisters, P. Eötvös, contemporary opera, conceptualization of Chekhov's drama, director's interpretations of the score.
Conflict of interests. The author declares the absence of conflict of interests.
For citation. Yaskevich, I.G. (2020), “«Three Sisters» by P. Etvesh and a process of conceptualization of Chekhov’s drama in musical theatre”, Journal of Musical Science, vol. 8, no. 4, pp. 24–34.
DOI: 10.24411/2308-1031-2020-10062. (in Russ.)
“ELIZABETH BAM” BY ROMAN STOLYAR: ABOUT THE EXPERIENCE OF STAGING A CHORAL BALLET WITH A PIANO AND OTHER RADIX
E.V. Rudzej, N.V. Sannikova
Abstract. The article describes the experience of the premiere production of a work in a new genre – choral ballet with piano and other radixes by Novosibirsk composer Roman Stolyar “Elizabeth Bam” based on the play by Daniil Kharms – within the framework of the international festival of contemporary music “Siberian seasons – 2014”. The work reflects the aesthetics of an absurdist, unrepresentative theater that is very relevant today. The text of the play by Daniil Kharms is reinterpreted by the composer in such a way that the characters, in fact, limited to two – Elizabeth Bam and all the others, embodied by the choir, change texts and, consequently, meanings. The composer “plays” Kharms' “Elizabeth Bam”, while the score of Roman Stolyar has unlimited potential for each time a new game of directors-producers in “Elizabeth Bam”. The composer, together with the director Oleg Zhukovsky, gave the choir exceptional functions, entrusting it with a remarkable load in expressing the postmodern meanings contained in the performance. The choral vocabulary of “Elizabeth Bam” includes both traditional vocal forms of choral sound, and modern techniques: recitative-recitation, Sprechstimme, imitation techniques and sound-imaginative rhythm-intonation formulas, etc. The rich arsenal of expressive means of the choir allows the author to achieve a stunning artistic effect and semantic content of the work.
Keywords: theater of the absurd, choral ballet, postmodernism, unrepresentative theater, Siberian seasons, R. Stolyar.
Conflict of interests. The authors declare the absence of conflict of interests.
For citation. Rudzej, E.V., Sannikova, N.V. (2020), “«Elizabeth Bam» by Roman Stolyar: about the experience of staging a choral ballet with a piano and other radix”, Journal of Musical Science, vol. 8, no. 4, pp. 35–44.
DOI: 10.24411/2308-1031-2020-10063. (in Russ.)
POLISH MODERN CHORAL MUSIC – FROM INSPIRATION TO INTERPRETATION
K. Sokołowska
Abstract. The essence of this article is to demonstrate the tendencies in the modern polish choral music. The author presents the trends of the latest compositions – the turn towards ancient Platonic ideas (truth, goodness and beauty), the aspect of religion inspirations, writings of the Bible, and Gregorian chants in the process of creating the music, as well as the search of the source in tradition and folklore. The author pays close attention to compositions based on different poetic writings of John Paul II – polish pope (May 18th 2020 was the 100th birthday anniversary of Karol Wojtyła, Holy Father John Paul II). Those particular pieces are an example of seeking depth, sense and meaning, the cause of human existence. The article contains also a synthetic presentation of a new phenomena in choral performance, that occurred during the COVID-19 lockdown and isolation. Year 2020 will always be remembered as a time of pandemic, isolation and a sickness that has changed everything – also the norms and rules present in traditional choral performance. The article takes up the subject of performance and interpretation. The presentation of creative activity of Polish modern composers and drawing attention to the support of cultural institutions, shows the realities of polish choral music.
Keywords: polish choral music, modernity, choral composition, pandemic, inspiration, interpretation.
Conflict of interests. The author declares the absence of conflict of interests.
For citation. Sokołowska, K. (2020), “Polish modern choral music – from inspiration to interpretation”, Journal of Musical Science, vol. 8, no. 4, pp. 45–54.
DOI: 10.24411/2308-1031-2020-10064. (in Russ.)
BELL AS A SOUND SOURCE IN THE ORTHODOX ZVONNITSA
S.G. Tosin
Abstract. In the zvonnitsa, the sources of sound are bells. But in organology, they were not specifically considered in this capacity. In the article, attempts to define the bell of the zvonnitsa are made. This is its novelty. For young science, as Russian campanology, the terminological aspect seems very important and relevant. The article classifies bells, considers acoustic features of the Russian bell, and formulates the definition of the bell as a sound source in the Orthodox zvonnitsa. The author's classification of bells is based on the results of a comparative analysis of various methods of bell ringing known to science today. It contains a lot of new information and fundamental changes that correct the Hornbostel-Sachs system table. The sound of the Russian bell differs from Western European and Asian sound standards. It is discussed in detail with specific examples. Their analysis leads to the conclusion that the Russian bell does not have a certain sound height and has a specific timbre. The definition of a zvonnitsa bell, formulated in the conclusions, summarizes the results of the study and is given in a short form, similar to the form of an encyclopedic article.
Keywords: bell, chime, bell bronze, acoustic of bell.
Conflict of interests. The author declares the absence of conflict of interests.
For citation. Tosin, S.G. (2020), “Bell as a sound source in the Orthodox zvonnitsa”, Journal of Musical Science, vol. 8, no. 4, pp. 55–63.
DOI: 10.24411/2308-1031-2020-10065. (in Russ.)
ON THE EMOTIONAL AND REFLEXIVE PERCEPTION OF MUSIC: METHODOLOGICAL ASPECT
E.S. Guseva
Abstract. The article is devoted to one of musical hermeneutics’ essential issues – the issue of perception and comprehending of the musical works content. Based on the classification of art perception’s ways (V.I. Kuzin), the stages of comprehension and comprehending of music (M.S. Bonfeld) and the model of the musical content structure (L.P. Kazantsev), it is shown how the perception and understanding of the emotional and spiritual plane of the works content correlates with the ways of its perception. Examples of the musicians and philosophers’ artistic reflection are put forward (T. Adorno, C. Debussy, S. Weil, Y. Druskin, I. Korol), related to the emotional and spiritual perception of music. Features of reflexive (conscious) perception of music are described. Methodological keys are offered that help to activate the reflexive perception of music, and reach the comprehension of the works content’s spiritual plane. The interpretation-analysis of Alfred Schnittke’s "Not a Midsummer Night's Dream" orchestral overture is effected, showing that the reflective (conscious) perception helps to get one to reading the work’s conceptual content, its ethical idea, and recognizing the music’s spiritual content. Observations are uttered that the emotional (conditioned-reflex) perception of music correlates with the understanding and experience of the works’ emotional content, and is more associated with emotional catharsis; reflexive perception predisposes to comprehension of the content’s spiritual plane, and conditions not only the emotional catharsis but also the aesthetic and spiritual catharsis.
Keywords: methods of music perception, emotional perception, reflexive perception, cathartic influence, spiritual plane of the musical work’s content, "Not a Midsummer Night's Dream" orchestral overture by A. Schnittke.
Conflict of interests. The author declares the absence of conflict of interests.
For citation. Guseva, E.S. (2020), “On the emotional and reflexive perception of music: methodological aspect”, Journal of Musical Science, vol. 8, no. 4, pp. 64–75.
DOI: 10.24411/2308-1031-2020-10066. (in Russ.)
PERSONALITY, IMPROVISATION, CREATIVITY OF THE COMPOSER (IN THE CONTEXT OF THE TEACHINGS OF A. MASLOW)
I.P. Kladova
Abstract.This article is devoted to the study of actual problems of the nature of personality, creativity, improvisation in the context of the ideas of humanistic, existential psychology, music psychology, psychology of artistic creativity, musicology. The psychological features of creative activity, personality and improvisation and the analysis of the literary and journalistic heritage of composers are considered on the base of the teachings of A. Maslow. The author analyzes the phenomenon of "self-actualizing creativity" in the aspect of composing activity, the primary and secondary stages of creativity, notes the peculiarities of the origin of the author's idea and the process of creating a musical composition from "peak–experience" and "peakknowledge", self-experience, self-perception, to "plateau-experience" and "plateau-knowledge", self-awareness, self-realization. The article presents the views and reflections of composers, writers, and musicians on the nature of creative development and improvisation, on the basis of which the process of reflection, self-expression, and the existential and imaginative nature of music composition are comprehended. The author studies the features of the conscious and unconscious perception of the creative process of the composer from the perspective of the personality of the musician, artist, focuses on individual moments of creativity, which fix the intuitive-irrational, deep and rational-logical aspects of musical thinking. The author examines the psychological mechanisms of meaning, of sense, analyzes the role of improvisation in creating musical works, the specifics of "inspirational" and "design" stages of the creative process of the composer.
Keywords: musician's personality, improvisation, perception and re-living of music, "peak- and plateau-experience", "peak- and plateau-cognition", psychology of the composer's creativity.
Conflict of interests. The author declares the absence of conflict of interests.
For citation. Kladova, I.P. (2020), “Personality, improvisation, creativity of the composer (in the context of the teachings of A. Maslow)”, Journal of Musical Science, vol. 8, no. 4, pp. 76–87.
DOI: 10.24411/2308-1031-2020-10067. (in Russ.)
PRIORITY FEATURES OF IMPROVING SYNESTHETIC ARTISTIC PERCEPTION: PSYCHOLOGICAL ASPECT
E.S. Tapilina, N.G. Tapilina
Abstract. The article considers the priority features of improving the synesthetic artistic perception of works of art in the field of modern socio-cultural educational practices, taking into account the interaction between basic cultural institutions, environmental influence and personal and individual creativity (reproduction). Socio-cultural and cognitive approaches to the study of the multidimensional possibilities of the integrative nature of synesthesia are becoming dominant, using examples of various related arts – music of the twentieth century, fine arts, literature and others, implemented in the framework of experimental work carried out for a number of years in Children's Art Schools of additional education in Ekaterinburg and at the level of secondary professional education – in the I.D. Shadr Sverdlovsk Art School. The research is based on interdisciplinary and synesthetic methodologies in the context of functional approaches, as well as a modern psychological approach to the study of the functioning of cultural artistic texts. This approach, confirming the process of interrelation, cultural and environmental determination and personal professional reproduction, allows us to study the functioning of culture as a whole. The features of an integrated approach to improving this process are defined. A system of levels of synesthetic perception was revealed. A significant result is the theoretical and methodological justification and development of methods for improving synesthetic perception in the context of educational and methodological manuals, integrative educational programs for teachers and students of additional pre-professional, secondary vocational education and other cultural and educational institutions.
Keywords: synesthetic perception, features, improvement, methodology, music of the twentieth century, fine art.
Conflict of interests. The author declares the absence of conflict of interests.
For citation. Tapilina, E.S., Tapilina, N.G. (2020), “Priority features of improving synesthetic artistic perception: psychological aspect”, Journal of Musical Science, vol. 8, no. 4, pp. 88–103.
DOI: 10.24411/2308-1031-2020-10068. (in Russ.)
FOLKLORE TRADITIONS OF RUSSIAN OLD-SETTLERS THE VILLAGE OF MARKOVO AND DISTRICTS OF PRILENE
A.S. Yakovleva
Abstract. The spiritually rich and ethnically diverse musical folklore of the Far North is an integral and very significant part of the intangible culture of Siberia and Russia as a whole. The folklore of Russian old-settlers is of particular value in it, along with the traditions of the indigenous ethnic groups of the region. In the North-East of Siberia, Russian old-settlers are represented by several island local groups: Prilenye, Russkoe Ustye, Kolyma, Markovo. This article is devoted to the musical folklore of two old-settlers groups: representatives of the first group live in the Prilenye regions – in Khangalass, Olekminsk and Lensk uluses, located along the banks of the middle reaches of the Lena River in the republic of Sakha (Yakutia). The second group includes residents of the village of Markovo, which is located on the banks of the middle reaches of the Anadyr River in the Chukotka autonomous region. The formation of both traditions dates back to approximately the same time period. However, collecting and research activities in relation to each local group are at a different level of their development, respectively, the degree of study of the musical folklore of Russian old-settlers of the Far North is presented unevenly. In the traditional repertoire of these local groups, a significant role is assigned to the genre of dance songs. Comparison of folklore samples with materials from the European part of Russia confirms the Russian basis of the repertoire of the people from Prilenye and Markovo. A specific feature common to the local groups represented is the ethnic influence manifested in the performing style and lyrics. Thus, despite the isolation from each other and the presence of local specific features that distinguish the culture of the groups under consideration, they reveal the general nature of the formation and development of folklore, which indicates the closeness of these traditions.
Keywords: Russian old-settlers, folklore of Markovo village, folklore of Prilenye, traditional song repertoire.
Conflict of interests. The author declares the absence of conflict of interests.
For citation. Yakovleva, A.S. (2020), “Folklore traditions of Russian old-settlers the village of Markovo and districts of Prilene”, Journal of Musical Science, vol. 8, no. 4, pp. 104–112.
DOI: 10.24411/2308-1031-2020-10069. (in Russ.)
ON THE DEFINITION OF TANBUR POSITIONS AND THEIR DESIGNATIONS IN MODERN PRACTICE
A.A. Abdurashidov
Abstract. The article is devoted to the musical instrument tanbur, which was the main one in the performing practice of Tajik classical music shashmakom, widespread in the territory of the modern republics of Tajikistan and Uzbekistan. The problem of performing positions on the tanbur neck and their designations in modern practice is considered for the first time. The tasks were to master the device of the tanbur sound system, determine the positions and their designations, identify the main ways of playing the tanbur and their positional capabilities. The following features of the layout of performing positions on the tanbur and their functions are determined: 1) the initial position on the tanbur neck does not begin with an open string, but with the third or fourth hand; 2) under the conditions of the diatonic structure of the tanbur, only seven positions are formed within the octave, two of which are the main ones. Performing positions are defined by the term roh, by which the main positions are designated – rohi Rost and rohi Buzurg. At the same time, two ways and styles of playing the tanbur are revealed: 1) the usual (odi), in which three fingers of the left hand are used, refers to the entire Central Asia region; 2) classic (shohona), in which only two fingers of the left hand are used. This style belongs to the Bukharian school of performance. The changes of positions on the tanbur that occur due to the movement of the left hand along the instrument's neck on the basis of each fret or at the level of the main steps are also determined. It is also performed by rearranging the strings of the instrument. The main positions of Rokhi Rost and Rokhi Buzurg, depending on the structure of the instrument, are able to change their altitude position in accordance with the main steps and sounds. The advantage of the main positions on the tanbur is also determined by the convenience of performing musical compositions by singers. Since they use the tanbur formation according to the capabilities of their voice.
Keywords: tanbur, neck, frets, position, formation, ways of playing, designation, Rokh, Rokhi Rost, Rokhi Buzurg.
Conflict of interests. The author declares the absence of conflict of interests.
For citation. Abdurashidov, A.A. (2020), “On the definition of tanbur positions and their designations in modern practice”, Journal of Musical Science, vol. 8, no. 4, pp. 113–123.
DOI: 10.24411/2308-1031-2020-10070. (in Russ.)
PHYSIOLOGICAL FEATURES OF THE HARPIST'S HANDS IN THE LIGHT OF THE POSSE–SLEPUSHKIN METHOD (the principle of “unscrew”)
N.N. Pokrovskaya
Abstract. The two largest harp schools – French and Russian – have different roots and development trends. The French school is distinguished by the desire for virtuosity and spectacular playing due to the expressiveness of the sound. The soulfulness, melodiousness, and richness of the sound palette that are inherent in Russian instrumentalists, along with the highest technical skill, were also characteristic of Russian harpists. At the turn of the 19th and 20th centuries the founder of the modern Russian harp school was A.I. Slepushkin. In addition to technical perfection, his listeners were impressed by the ability to "sing" on an instrument, i.e. play legato, which is considered fundamentally impossible on the harp. Slepushkin used a new method of playing that he developed together with Wilhelm Posse, a professor at the Berlin Higher school of music. After touring in Europe, Slepushkin refused to take a position as a professor at the Royal Academy of music in London and returned to Russia. Here he became a professor at the Moscow Conservatory and the founder of the Moscow school of harp playing. After Slepushkin's death, his student N.G. Parfenov published a pamphlet in 1927 entitled "Harp playing techniques. Method of Prof. A.I. Slepushkin", wrote on its basis and handed over to the publishing house in 1938 the manuscript of the school of harp playing. Due to the death of its author in the same year, the school was published only in 1960 in the editorial office of M. Mchedelov, who made a number of serious changes to its text. After this publication, different interpretations of some of the fundamental provisions of the new method arose among harpists, which led to the oblivion of such a feature of the Russian school as melodiousness. Due to the underestimation of the importance of physiological features in the structure of the harpist's hands, teachers and methodologists lost their understanding of the principle of "trust" of the hand at the time of playing and its necessity for performing the legato stroke. The author of this article tries to clarify the essence of the principle of "uncrew", as one of the fundamental provisions of the Posse–Slepushkin method and the entire modern Russian school of harp playing, based on the lifetime publication of N. Parfenov's pamphlet.
Keywords: harp, Moscow harp school, Posse–Slepushkin method, N.G. Parfenov, structure of the harpist's hands, "uncrew".
Conflict of interests. The author declares the absence of conflict of interests.
For citation. Pokrovskaya, N.N. (2020), “Physiological features of the harpist's hands in the light of the Posse–Slepushkin method (the principle of «unscrew»)”, Journal of Musical Science, vol. 8, no. 4, pp. 124–134.
DOI: 10.24411/2308-1031-2020-10071. (in Russ.)
MARCEL MULE AND HIS METHODOLOGICAL CONTRIBUTION TO THE FORMATION OF THE FRENCH ACADEMIC SAXOPHONE SCHOOL
E.M. Epova
Abstract. French academic saxophone school is recognized worldwide. Its founder is considered to be the outstanding musician Marcel Mule whose contribution to the formation and development of the national school was particularly significant. The information about this musician available in Russian-language sources is mainly indicative or generalized. Thus, the data provided in this paper are quite innovative in nature. They are taken from foreign sources and are introduced for the first time into Russian music science. The work provides an overview of various aspects of Marcel Mule’s activity, such as solo and ensemble performance, pedagogical work. It also contains information on the events, which influenced the formation of his unique performing style. Special attention is paid to the authorial methods that laid the foundation of one of the best European saxophone schools. Consequently, being a performance practitioner, the author of this paper focuses on the fundamental exercises “Scales and Arpeggios”. Three books of the fundamental exercises allow getting an idea of how the French educator worked with saxophone players at his lessons. The article systematizes Marcel Mule’s recommendation on the technical stage of learning how to play the instrument. In addition, his training methods are reviewed and their methodological importance is explained; sheet music examples showing the French educator and musician’s recommendation are presented.
Keywords: Marcel Mule, saxophone, teaching methodology, French saxophone school, scales, arpeggios, a saxophone player’s technical advancement.
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Epova, E.M. (2020), “Marcel Mule and his methodological contribution to the formation of the French academic saxophone school”, Journal of Musical Science, vol. 8, no. 4, pp. 135–143.
DOI: 10.24411/2308-1031-2020-10072. (in Russ.)
K. SZYMANOWSKI. CONCERTO FOR VIOLIN AND ORCHESTRA no. 1, op. 35: FEATURES OF STYLE AND PERFORMING INTERPRETATION
I.V. Polyakova, D.E. Shinkorenko
Abstract. This article is devoted to the stylistic features of the First Violin Concerto, op. 35 by K. Szymanowski presented in the historical and cultural context of the early twentieth century and to the actual problem of its performing interpretation. The key points are taken into account (particulary, the composer's co-creation with his compatriot, Pavel Kochanski, leading to the formation of a "new violin language"). The article also discusses questions of content, form, poetic programming and influence on the figurative world of the concert by the poem "May Night" written by T. Miciński. The influence of romantic ideas, poetics of impressionism, symbolism on the composer's work is noted as well as the question of the interpretation of a concert in the genre of “symphonic poem” with a solo violin as an expression of the late romantic style is raised, and some features of the composer's musical and artistic thinking are highlighted. In connection with the synthesis of the styles of late romanticism and impressionism, authors of the article consider the types of the performing interpretation by famous violinists (D. Oistrakh, J. Jansen, T. Little). The drawn conclusions are such facts, as that when addressing the problem of the peculiarities of style and performing interpretation, it is important to know not only the specifics of the content, the mythopoetic, romantic program of the concert, but also the aesthetic attitudes of romanticism, impressionism and, of course, the artistic ideals of the composer himself.
Keywords: Karol Szymanowski, concerto for violin and orchestra, style, performing interpretation, music content, violin art, program music.
Conflict of interests. The authors declare the absence of conflict of interests.
For citation. Polyakova, I.V., Shinkorenko, D.E. (2020), “K. Szymanowski. Concerto for violin and orchestra no. 1, op. 35: features of style and performing interpretation”, Journal of Musical Science, vol. 8, no. 4, pp. 144–153.
DOI: 10.24411/2308-1031-2020-10073. (in Russ.)
A.D. LAPKIN: FREEDOM IS AN ABSOLUTE VALUE
S.A. Ovchinnikov
Abstract. The article is devoted to the analysis of the pedagogical and creative activities of the outstanding performer, cellist, soloist of the Novosibirsk State Philharmonic Society, Associate Professor of the Novosibirsk State Conservatoire, Alexander Dmitrievich Lapkin. The main facts of the creative biography are given. The period of intense concert activity of the musician was the 80s – 90s of the XX century; performances with solo and chamber programs, as a soloist - with the Novosibirsk Academic Symphony Orchestra. The high "bar" of exactingness, to which Alexander Dmitrievich remained faithful all his life, he transferred to the game of students, raising the artistic level of not only performance, but also thinking. To achieve this goal, he built on in-depth work on the inductive method, revealing the strengths of the musician, highlighting his own creative style. A brief overview of the main methodological provisions of the A.D. Lapkin, confirmed by the latest research of the Scientific Research Institute of Human Physiology and Fundamental Medicine, where, over the past 20 years, research has been carried out to find neurobiological objective signs of successful performance. The article discusses some aspects of this problem, the solution of which is the scientific research of O.M. Bazanova, L.I. Aftanas, as well as A. Burzik's research on the performance of music in the “Flow-state”, which can be called “optimal functioning”, “peak of form”, “being in the zone” or even the word “flight”. The performer in this state experiences freedom of movement and concentration. Concentration of attention on one's own feelings, in contrast to the performing show and the requirement to follow it, allows the student to realize his own capabilities and feel the naturalness of the movement, enjoying playing the instrument.
Keywords: Alexander Lapkin, cellist, teacher, cello school, inductive method, neurofeedback–biofeedback, Flow-state.
Conflict of interests. The author declares the absence of conflict of interests.
For citation. Ovchinnikov, S.A. (2020), “A.D. Lapkin: Freedom is an absolute value”, Journal of Musical Science, vol. 8, no. 4, pp. 154–164.
DOI: 10.24411/2308-1031-2020-10074. (in Russ.)
USING ONTOLOGIES WORKING WITH FULL-TEXT DATABASES
N.S. Bazhanov
Abstract. The article deals with searching and working with full-text unstructured databases that are not prepared in advance for search, which are a collection of text documents in a single scientific field. The largest volume of the article's content reveals the technological context of full-text search, and examines and analyzes those interrelated structures in the search system that affect the result of information search. Ontological descriptions are chosen as a tool for organizing such a search. The concept of ontology is used in an applied, rather than in a philosophical sense, as a specification of the essence of things. An important aspect of ontologies is the "conceptualization" of subject knowledge, without which full-text search will always be limited. In fact, the task of searching in large full-text databases is to create an interaction between computer algorithms and the investigator's intelligence that would translate the search from simple, one-time, legitimate actions into a continuous filling of complex, composite knowledge about a scientific problem. The article analyzes the relationship between search meanings and language words used in the query. The separation of the concepts of meaning and word gives the search a more perfect form, bringing the search meanings to the first and leading place through the guided verbal forms. Important properties of the search are also considered: the concentration of the found meanings, the novelty of the sought knowledge, the closeness and openness of the results. Based on the study of the features of work and search in full-text databases, the author comes to the following conclusions. Search and fulltext database capabilities are never fully used. Improving the information retrieval system is always relevant. The more scientific meanings and one subject of a discipline are concentrated in a full-text database, the more opportunities it has for functioning as a knowledge base and expert system. Search in a full-text database is an open system: simultaneously removing some questions, it adds new ones, thereby making the search a continuous "intellectual-system" knowledge of a scientific problem.
Keywords: search in full-text databases, search ontologies, meaning and word, expert systems, knowledge bases.
Conflict of interests. The author declares the absence of conflict of interests.
For citation. Bazhanov, N.S. (2020), “Using ontologies working with full-text databases”, Journal of Musical Science, vol. 8, no. 4, pp. 165–174.
DOI: 10.24411/2308-1031-2020-10075. (in Russ.)
TRADITIONS OF MILITARY SONGS IN THE WORKS OF KUZBASS COMPOSERS
I.G. Umnova
Annotation. The object of this research is that part of the cultural and artistic life of the Kemerovo region, in which the musical provincial art develops. The subject of the study is the song work of Kuzbass composers, which reflects the reception of the phenomenon in Soviet art, which received its unofficial name as «war songs». This refers to the artistic achievements of musicians who captured the emotional experiences of tragic, heroic, lyrical and other events related mainly to the years of the great Patriotic war in the genre of mass songs. The article summarizes for the first time the creative experience of composers of the industrial region, acquired by them through the perception of mass songs about the war, created by major Russian masters in the war and post – war decade (1940–1950) and remaining popular in the new century. The theme, features of melody, texture and musical composition, as well as genre features are analyzed. The material was first published works included in the collection «No one is forgotten», which combined the works of Kuzbass Amateur and professional composers. This article offers a solution to the problem of determining the degree of influence of mass Soviet military songs on the contemporary work of provincial composers of the industrial region of Russia. The author focuses on the theme, genre and melodic features of songs that were created by the authors largely under the impression of the works of Soviet composers and poets they heard in their childhood and youth. The influence of the author's song and songs of the Cossacks associated with military service is considered. It is concluded that the revealed connections concretize the changes that are currently taking place in the genre of military songs in the compositions of provincial musicians. Some observations allow us to raise the question of the peculiar interaction of such phenomena as tradition and reception in the cultural and artistic activities of Kuzbass composers.
Keywords: songs of Kuzbass composers, mass genre, traditions of military song.
Conflict of interests. The author declares the absence of conflict of interest.
For citation. Umnova, I.G. (2020), “Traditions of military songs in the works of Kuzbass composers”, Journal of Musical Science, vol. 8, no. 4, pp. 175–186.
DOI: 10.24411/2308-1031-2020-10076. (in Russ.)
AGAIN CHOPIN IS NOT LOOKING FOR BENEFITS”: ABOUT ONE RUSSIAN IMAGE OF CHOPIN
A.V. Markov
Abstract. In Russian culture, in addition to the professional image of Chopin as a representative of romantic music, the image of a realistic Chopin was created, not in the sense of a social position, but in the sense of a spiritual attitude to the phenomena of current reality. The paper proves that Pasternak’s essay “Chopin” (1945) was not the only example of such a consistent approach that was required to see in Chopin not only mind-openness to the realities of his time, but also special childishness, holiness and spiritual work. Pasternak’s intuition was continued by Averintsev in his translation of the poem “Chopin” by Gottfried Benn, one of the most important poems of German expressionism, in which the composer's work was understood as expressionism before expressionism, as opposing the circumstances of everyday life through radical musical gestures. Averintsev translated the topic into the spiritual sphere, presenting the conflict of genius and common life as part of the conflict of the Creator and the evil spirits, identifying the ordinary with the forms of evil of the 20th century. In this case, Chopin is the triumphant over social evil, and his image is associated with the image of victory over evil. A detailed analysis of some biases and licences that Averintsev makes in Benn’s translation proves that Averintsev sees a saint in Chopin, and the motives introduced in the translation coincide with the motives of Averintsev’s essay on St. Sergius of Radonezh. Thus, Chopin is a symbol of victory, and a critical understanding of the life of Sergius of Radonezh and Benn’s poem allowed him to clarify how the proper traces of the musical form express the social effect of holiness.
Keywords: Chopin, Benn, Averintsev, Sergius of Radonezh, holiness, romanticism in music, realism in music.
Conflict of interests. The author declares the absence of conflict of interests.
For citation. Markov, A.V. (2020), “«Again Chopin is not looking for benefits»: about one Russian image of Chopin”, Journal of Musical Science, vol. 8, no. 4, pp. 187–197.
DOI: 10.24411/2308-1031-2020-10077. (in Russ.)
VASNETSOV AND MUSIC: ON THE STATEMENT OF THE PROBLEM
P.S. Volkova, E.N. Shcherbakova
Abstract. The article examines the role of music in the life of the Vasnetsov family, represented by famous artists Viktor and Apollinarius, as well as their younger brother Alexander Vasnetsov. Revealing the origins of the brothers' musical talent, the authors turn to the history of the ancient Vyatka branch of the famous surname – Nikolai Fedorovich Vasnetsov, Maria Nikolaevna Vasnetsova (Kuznetsova) and their descendants currently living in Russia (Moscow, Krasnodar). The authors touch upon the issues of musical predilections of the famous dynasty, reveal a circle of acquaintances with representatives of creative professions, dwell on the work of the Vasnetsov brothers, who took part in opera and theatrical productions as decorators, costume designers, and sometimes also actors. The authors give examples of the fact that representatives of the Vasnetsov family studied not only singing, but also playing the harmonium, and later – the piano. Special attention is paid to the canvases of Viktor Mikhailovich Vasnetsov, which depict guslars, Bayan, as well as the gusli themselves, we are talking about the paintings “Guslyars”, “Bayan” (1910), “Heroes”. In addition, the authors touch upon the issue of illustrations by V.M. Vasnetsov, working on “The Song of the Prophetic Oleg” by A.S. Pushkin, and the cantata of the same name by N.A. Rimsky-Korsakov. The authors note that in the twentieth century, the impetus for AL Larin's writing of the oratorio “Russian Passions” was the frescoes of the Vladimir Cathedral, among the creators of which was V.M. Vasnetsov.
Keywords: Vasnetsov, culture, music, singing, family, priest.
Conflict of interests. The authors declare the absence of conflict of interests.
For citation. Volkova, P.S., Shcherbakova, E.N. (2020), “Vasnetsov and music: on the statement of the problem”, Journal of Musical Science, vol. 8, no. 4, pp. 198–205.
DOI: 10.24411/2308-1031-2020-10078. (in Russ.)
MUSICALITY OF ORNAMENT AS A FACTOR THE FORMATION OF THE CULTURAL LANDSCAPE (on the example of bell ornaments of cathedrals and churches of Barnaul)
N.A. Priydukha
Abstract. The article presents the musicality of a work of fine art as a new factor in the formation of the cultural landscape of the city, in its associative part. Musicality is interpreted as a universal property of a work of art that goes far beyond music, but complements the work of art with musical characteristics. Using the property of a work of art as a factor in the formation of the cultural landscape of the city, allows you to enrich its environment with artistic characteristics, which qualitatively changes its perception. The use of inter-sensory connections in the process of interpreting a person's place of residence stimulates the activity and freedom of creativity of the interpreter, which, in the end, can lead to the formation of his regional identity. The development of regional identity is becoming an important tool in the fight against extreme forms of globalization and cosmopolitanism that have their manifestations in modern times. Analysis of the bells of four churches in Barnaul confirmed that the ornamental forms of bell decoration contain obvious and hidden manifestations of musical characteristics that make them as attractive as possible for the study of the synthesis of arts and the formation of a cultural landscape based on it. The author's use of alloy methods of music and art tests of bell decor led to a significant enrichment of its associative parts and noticeable changes in the associative areas, which the bells are closely related.
Keywords: musicality, ornamental forms, cultural landscape, city, territory, sound.
Conflict of interests. The author declares the absence of conflict of interests.
For citation. Priydukha, N.A. (2020), “Musicality of ornament as a factor the formation of the cultural landscape (on the example of bell ornaments of cathedrals and churches of Barnaul)”, Journal of Musical Science, vol. 8, no. 4, pp. 206–214.
DOI: 10.24411/2308-1031-2020-10079. (in Russ.)
