DEVELOPMENT TRENDS OF RUSSIAN SONGWRITING IN THE 19TH CENTURY: ART PERSPECTIVE
M.A. Burmatov
Annotation. The article presents an analysis of songwriting in Russia during the 19th century. The significant contribution of such composers as A.A. Alyabyev, M.I. Glinka, A.L. Gurilev, M.A. Balakirev, A.P. Borodin, M.P. Mussorgsky, N.A. Rimsky-Korsakov, S.V. Rachmaninov, P.I. Tchaikovsky and others who created in those distant years, works that became masterpieces of Russian musical art. The author records the influence of the ideas of romanticism on the formation of the national song tradition. The place and role of the romance as the most important genre of chamber music is designated. The importance of the creative heritage of the composer O.A. Kozlovsky, who laid the foundations of this genre in the domestic musical art, is emphasized. The appreciable contribution of “poetry and songwriters” G.R. Derzhavin, A.F. Merzlyakov, I.I. Dmitriev, M.M. Kheraskov, V.A. Zhukovsky, Yu.A. Neledinsky-Meletsky, A.A. Delvig, N.G. Tsyganov, A.V. Koltsov and others in the creation of examples of chamber art. Various forms of romance lyrics are revealed (romance song, romance ballad, romance elegy, etc.). The main directions of domestic song culture in the 19th century are analyzed, when the main genres of songwriting are outlined, the main forms of song existence in Russian society are determined. It is a question of the influence of the folklore component in the domestic song culture. It writes about the growing popularity of propaganda and revolutionary songs among the population. The lines of development of universally significant phenomena in musical life are shown through the prism of aesthetic and socio-political processes that took place in the state. The conclusion is drawn about the need to use the original creative experience of past years in modern musical cultural practice.
Keywords: song, romance, songwriting, 19th century, musical art, Russia.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Burmatov, M.A. (2020), “Development trends of Russian songwriting in the 19th century: art perspective”. Journal of Musical Science, vol. 8, no. 1, pp. 5–11.
DOI: 10.24411/2308-1031-2020-10001 (in Russ.)
ROMANTIC TRENDS IN RUSSIAN MUSIC OF THE LAST THIRD OF THE XX CENTURY
Z.M. Denisova
Annotation. The object of this study is the process of the revival of romantic trends in the music of domestic composers of the last third of the 20th century. The subject of the study is the music of domestic composers of this period. It is emphasized in the work that, despite the prevalence of avant-garde in the music of the noted period, the masters unexpectedly and extremely change their style orientation. In the work of composers, there is an increase in the philosophical and conceptual beginning. This process is associated with the search for the spiritual component, with the world experience of creators, their reaction to the realities of the modern world. The work emphasizes that neo-romanticism does not fully renew the aesthetics of romanticism, which includes both ideological and technical aspects. An important observation of this work also seems to be the interaction of neo-romanticism of the last third of the 20th century with various stylistic tendencies of the time. The main conclusions of the study are that romantic trends were clearly manifested in the works of domestic composers of the last third of the 20th century. Based on a consistent analysis, the author of the article identifies their characteristic features, among which the striving for beauty as an aesthetic category, for comprehending the inner world of a person in all its complexity, for a lyrically-penetrating tone of utterance, as well as reflection, synthetic nature, preference for small forms. These and other observations make it possible to raise the question of the formation of neo-romanticism as an independent and integral artistic phenomenon in musical art.
Keywords: music, text, trends, reflection, self-immersion, meditation, intonation, genre, silence, lyrics.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Denisova, Z.M. (2020), “Romantic trends in Russian music of the last third of the XX century”. Journal of Musical Science, vol. 8, no. 4, pp. 12–21.
DOI: 10.24411/2308-1031-2020-10002 (in Russ.)
FUNCTIONING OF THE RACHMANINOFF SOCIETY IN THE XXI CENTURY
A.A. Maltseva, N.V. Khorobrykh
Annotation. This article is devoted to the consideration of the activities of societies named after S.V. Rakhmaninov in the 21st century. This topic is relevant for modern music science, because in the changed digital space the musical community as significant cultural institutions acquire new forms of functioning. As a result of the review of the ways of formation of diverse musical societies, leading from the XVI century, the processes of development and change of musical societies are observed, their role increases from century to century. The article examines the creation history, composition, main activities of the societies named after S.V. Rachmaninov, which are located in Russia (Moscow and St. Petersburg), Ukraine (Odessa), Germany (Darmstadt), Great Britain (London), Austria (Vienna); their features are identified taking into account the objectives, location, level of resource provision and other factors. Relying on such categories as “digitalization”, “interactivity” and “communication man”, the issue of the inclusion of music societies named after S.V. Rakhmaninov into the informational reality of the 21st century is examined: functioning societies named after S. Rakhmaninov. The authors come to the conclusion that this example shows the tendency of embedding the musical world in the technological and information environment, consolidating new forms of communication in order to actualize the work of composers of the past.
Keywords: Sergey Vasilyevich Rakhmaninov, musical society, digital reality, interactivity, XXI century.
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Maltseva, A.A., Khorobrykh, N.V. (2020), “Functioning of the Rachmaninoff society in the XXI century”. Journal of Musical Science, vol. 8, no. 1, pp. 22–30.
DOI: 10.24411/2308-1031-2020-10003 (in Russ.)
E.S. LEBEDEVA: THE CONCEPT OF PUSHKIN’S BIOGRAPHY
N.S. Seregina
Annotation. Eleonora Sergeevna Lebedeva is the author of lectures and methodological developments of survey and thematic excursions of the all-Union Pushkin Museum, the founder and editor of the seria: “Pushkin epoch. Christian culture”. Her research and lecture courses have developed into a single concept, in which the evolution of Pushkin’s work is considered in the context of the history of Orthodox Russia. She asked a question and managed to trace the history of the celebration of the day of the Baptism of Russia, to draw attention to the attitude of Pushkin to the dates of the Church calendar, to the images of Ancient Russia in St. Petersburg. Pushkin’s biography is also considered in connection with the biographies of A.S. Griboyedov and M.Yu. Lermontov, which are also interpreted in the coordinates of Christianity. Lebedeva managed to expand the range of sources about Pushkin’s musical informants – Ludwig-Wilhelm Tepper de Ferguson, Caroline Sobanskaya – on the subject of Mozart and Salieri, the French revolution of 1789, – who influenceda number of the poet’s works (in E.S. Lebedeva’s articles “Mozart, Pushkin and the poor musician” and “Dear Ellenora...”, etc.).
Keywords: Pushkin, Mozart, Tepper de Ferguson, Karolina Sobanskaya, Griboyedov, Lermontov.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Seregina, N.S. (2020), “E.S. Lebedeva: the concept of Pushkin’s biography”. Journal of Musical Science, vol. 8, no. 1, pp. 31–43.
DOI: 10.24411/2308-1031-2020-10004 (in Russ.)
RECEPTION OF OLD TESTAMENT TEXTS IN THE RUSSIAN CLASSICAL ROMANCE ON THE WORDS OF A.S. PUSHKIN
I.M. Krivoshei
Abstract. This article is about the reception of the Old Testament texts and their role in the formation of the semantic space of Russian chamber vocal music into the words of A.S. Pushkin. The reception (from the Latin. receptio – acceptance) in the work refers to the borrowing of the Old Testament ideas, symbols, images and plots by Russian culture. The indicated receptive process cannot be called spontaneous, it is due to the entire course of development of Russian culture. Among the many factors that played a significant role in the formation of Russian culture, we note two meaning-forming constructs: Scripture and Pushkin’s work. With the advent of the Bible in Russia, the formation of the Slavic literary language is associated, Pushkin laid the foundations of the Russian modern literary language. Giving these factors special significance in the article is due to the fact that the basis of the vocal work is the verbal text. The word actualizes in the language the national features of the perception and experience of the world and most adequately translates the culture. The creators of the Russian classical romance could not but experience the «pressure» of culture, since any artist cannot create outside the mental field to which he belongs. The analysis showed that the biblical reception in the Russian romance is subordinated to the comprehension of the key concepts of Russian culture, the love and creativity of the poet. The manifestation of the ideas of deification of the poet and the love state of the world in the Russian romance to the words of Pushkin testifies to the reception of the Book of Job, the Book of the Prophet Isaiah and the Book of Song of Solomon. Numerous variations of the musical versions of Pushkin’s biblical paraphrases confirm the continuity of the reception process. In this context, the conclusion is made: the reception of the Old Testament texts in the «Pushkin romances» is a reflection of the mental traditions of Russian culture, biblical in its essence.
Keywords: Russian romance, Pushkin, Bible, Old Testament, reception, love, poetry.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Krivoshei, I.M. (2020), “Reception of Old Testament texts in the Russian classical romance on the words of A.S. Pushkin”. Journal of Musical Science, vol. 8, no. 1, pp. 44–52.
DOI: 10.24411/2308-1031-2020-10005 (in Russ.)
PUSHKIN, GLINKA, LENNROT AND THE MUSICAL «KALEVALA» OF KARELIAN COMPOSERS
T.V. Kraskovskaia
Abstract. The celebration of the 150th anniversary of the first edition of the epic «Kalevala» was the main cultural event for Soviet Karelia in 1985. In these years, in the works of composers of Soviet Karelia there is a special interest in the genre of vocal and symphonic poems. Karelian composers – A. Beloborodov, B. Napreev, R. Zelinsky, V. Ugryumov and V. Shinov – are represented by a number of poems in the Kalevala theme. All poems to a greater or lesser extent inherit the features of the «great» socialist realist cantata-oratorical style. They demonstrate the search for a new musical style associated with the metrorhythmic features of the Kalevala octosyllabic and the ladoharmonic basis of the runic chant. Most of the «Kalevala» poems use the translation of L. Belsky as a literary basis, which became the most authoritative translation of «Kalevala» during the Soviet era. It is known that the literary style of the translator was influenced by Pushkin. Pushkin’s style of translation of the folk KareloFinnish epic was a standard of harmony of «high» poetic art and folk wisdom. The article also draws parallels between the compositional methods of the authors «Kalevalsky» poems and the great contemporaries of Pushkin – Glinka and Lennrot.
Keywords: Pushkin, Glinka, Lennrot, Kalevala, professional music of Karelia.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Kraskovskaia, T.V. (2020), “Pushkin, Glinka, Lennrot and the musical «Kalevala» of Karelian composers”. Journal of Musical Science, vol. 8, no. 1, pp. 53–60.
DOI: 10.24411/2308-1031-2020-10006 (in Russ).
«THE FEAST DURING THE PLAGUE» A.S. PUSHKIN IN THE RUSSIAN MUSIC OF XX–XXI CENTURIES
M.V. Kholodova, E.D. Sementsova
Abstract. The article first presents the historiography of musical incarnations of A.S. Pushkin’s play «The Feast During the Plague», which is the ending of the writer‘s Boldinsky cycle, where A.S. Pushkin reflects on the moral problems of a human beings. Along with other «little tragedies», «The Feast During the Plague» found stage life in the opera genre. The history of the national music of the 20th century included the operas bearing the same name by Ts.A. Kyi and S.S. Prokofiev. At the same time, the panorama of artistic interpretations of the Pushkin’s play is much wider. The work carried out on reconstruction of the chronograph of musical recipes «The Feast during the Plague» revealed a wide range of Russian composers of the XX–XXI centuries, who used the Pushkin’s text as a literary basis. The article presents a big list works of different genres – opera, rock opera, music for performance and film, symphony, vocal opuses. The authors of the research claim that the play of A.S. Pushkin has an interesting fate in the national music, continuing to inspire modern authors to create new works proving the enduring relevance of the semantic ideas of «The Feast during the Plague».
Keywords: Pushkin, The Feast during the Plague, Russian musical culture, musical theatre of XX–XXI centuries, artistic interpretation.
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Kholodova, M.V., Sementsova, E.D. (2020), “«The feast during the plague» A.S. Pushkin in the Russian music of XX–XXI centuries”. Journal of Musical Science, vol. 8, no. 1, pp. 61–67.
DOI: 10.24411/2308-1031-2020-10007 (in Russ.)
MICHAEL NYMAN’S PIANO СONCERT IN A-MOLL – SAMPLE OF “MINIMAL MINIMALISM”
A.P. Nedospasova, M.S. Kopaeva
Abstract. The article considers the little-known in Russia piano concert of modern British composer Michael Nyman a-moll (1993). Noted that the composer, taking as a basis the music for the film “The Piano” created an independent work of a large form, the integrity of which does not depend on whether the listener is familiar with the film. Analysis of methods, form of concert and ways of development of musical material shows its eclectic essence. M. Nyman appears in concert by a composer who knows modern methods of working with thematic material, and, at the same time, is prone to romantic deployment of cyclic form. Concert is result of use of both static, and dynamic methods of development of a form, semantic and expressive potential of subjects. Intonation motifs-models, which can be on the first plan, and can mix with each other, create a difficult-to-organize sound mass moving simultaneously in different directions. It seems that composer’s task is to find a balance between the tastes of a wide listening audience and experts, between mass music and complex elements of academic art. As a result, a complex synthesis of the phenomena of musical art of the past and present is formed, in which prospects and strategies for further development of academic music are seen.
Keywords: Michael Nyman, The Piano, film music, contemporary piano concerto, minimalism, eclectic.
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Nedospasova, A.P., Kopaeva, M.S. (2020), “Michael Nyman’s piano сoncert in a-moll – sample of «minimal minimalism»”. Journal of Musical Science, vol. 8, no. 1, pp. 68–78.
DOI: 10.24411/2308-1031-2020-10008 (in Russ.)
Keywords: types of musical semantics, intertextual connections, lyric-philosophical style, images of reflection, prelude and Fugue, polyphonic methods.
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Ovsyankina, G.P., Yakovleva, E.N. (2020), “The role of musical semantics in Sonata for piano ensemble Maurice Bonfeld”. Journal of Musical Science, vol. 8, no. 1, pp. 79–88.
DOI: 10.24411/2308-1031-2020-10009 (in Russ.)
CHAMBER OPERA “ER-TOSTIK” BY A. MANOTSKOV: ON THE ISSUE OF INTERACTION OF CULTURES
M.T. Kokisheva, Zh.A. Safiyeva
Abstract. The commitment of composers to synthesize elements, genres, traditions of different cultures led to the appeal to the analytical understanding of this issue. In this work, the task is to consider the ways of interaction of cultural texts on the example of the Kazakh chamber opera “Er-Tostik” by the Russian contemporary composer Alexander Manotskov, staged at the theater “ARTiShOK”. The uniqueness of the work lies in the fact that the nomadic worldview, meaningful within the framework of the Kazakh folk tale, is interpreted through the «language» of new compositional techniques characteristic of the authors of the modern and postmodern era. Given the polytextual specificity of the work, which involves the text of ethnic archaic, elements of traditional musical thinking, modern methods of composition, the most appropriate methodology in its analysis, understanding, evaluation, we find in the theory of semiotics. In this sense, “Er-Tostik” manifests itself as a text with all the qualities inherent in the text of culture. The conducted semiotic analysis showed that Manotskov’s work reinforces the current global trend of modern theater, when the creative search of the composer, his individuality and the concept that allows him to operate freely within a given genre are put to the fore. At the same time, this phenomenon is unique for the Kazakh musical theater, where for the first time the work of the archaic layer of the archaic layer is interpreted by the techniques of the postmodern era, giving rise to an organic synthesis of ancient and modern cultures.
Keywords: Er-Tostik, chamber opera, Alexander Manotskov, modern theater, synthesis of cultures.
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Kokisheva, M.T., Safiyeva, Z.A. (2020), “Chamber opera «Er-Tostik» by A. Manotskov: on the issue of interaction of cultures”. Journal of Musical Science, vol. 8, no. 1, pp. 89–98.
DOI: 10.24411/2308-1031-2020-10010 (in Russ.)
MANIFESTATIONS OF SYNESTHETIC MUSICAL TALENT IN THE WORK OF M. CIURLIONIS
N.P. Kolyadenko, S.N. Loseva
Abstract. The article considers the close connection of visual and auditory principles in the musical talent of M.-K. Čiurlionis, who created one of the variants of “musical painting” initiated by the music. Based on the synopsia (color hearing) of the composer-artist, the synesthetic nature of his musical and pictorial work is revealed. The parallelism is established in music and fine art, manifested in the polyphonic nature of his thinking, the coincidence of the compositional structure and language means of creating images. In terms of inter-sensory associations, the pictorial triptych “The Sonata of the Sea” and the three-part cycle of the piano “landscapes” “The Sea” are analyzed. The synaesthetic nature of the painting cycle “Sonata of the Sea” is revealed by creating “gestalt sounding pictures” based on the relationship of visual and acoustic images and taking into account their acoustic parameters. The results of the analysis provide an opportunity to expand the understanding of Čiurlionis’ musical painting and the specifics of his musical talent.
Keywords: synesthetic, musical talent, musical painting, auditory-visual synesthesia.
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Kolyadenko, N.P., Loseva, S.N. (2020), “Manifestations of synesthetic musical talent in the work of M. Čiurlionis”. Journal of Musical Science, vol. 8, no. 1, pp. 99–106.
DOI: 10.24411/2308-1031-2020-10011 (in Russ.)
REGIONAL FEATURES OF FORMATION OF PROFESSIONAL COMPOSING CREATIVITY AND EDUCATION IN KRASNOYARSK
L.V. Gavrilova
Abstract. The article is devoted to the revelation of regional features of the formation of professional composing creativity and education in Krasnoyarsk. In recent decades, the intensification of research interest in the history of the development of musical culture of Siberian cities puts forward a regional approach as one of the leading principles of its study. The article highlights both general factors, which influence the formation of musical life in remote areas of Siberia, and specific factors, which define regional features of its functioning 108 ВЕСТНИК МУЗЫКАЛЬНОЙ НАУКИ. 2020. Т. 8, № 1 on the specific example of Krasnoyarsk. Attention is focused on the composing creativity and education, the stages of their formation. The author identified and formulated a list of conditions that are necessary for the development of composing creativity and the nascence of professional education in this field. It is emphasized that the formation of these conditions is a long process and to single out its stages, a chronological comparison of the periods of development of musical culture, musical education and events associated with the development of composing creativity and education is required. The comparative table presented in the article and its analysis made it possible to conclude that the whole complex of conditions, required for the nascence of professional composing education in Krasnoyarsk, was formed only by 1996: initially, the composition class was opened, three years later the department of music theory and composition appeared.
Keywords: professional composing creativity, education, Krasnoyarsk, regional culture.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Gavrilova, L.V. (2020), “Regional features of formation of professional composing creativity and education in Krasnoyarsk”. Journal of Musical Science, vol. 8, no. 1, pp. 107–115.
DOI: 10.24411/2308-1031-2020-10012 (in Russ.)
PRIMA DONNA OF THE NOVOSIBIRSK OPERA NADEZHDA PERVOZVANSKAYA: THE RETURNED NAME
М.N. Drozhzhina, V.V. Ditenbir
Abstract. The present article is devoted to the wonderful Novosibirsk singer, the graduate of the Leningrad conservatory Nadezhda Ivanovna Pervozvanskaya, during lifetime of unfairly bypassed by ranks and awards, and after death – almost removed out of limits of information space. It was embellishment of troupe of the Novosibirsk opera, in that first cast opening collective history. Many parts of both a drama, and coloratura soprano sounded for the first time on the Novosibirsk stage in her performance. During the tours of outstanding singers, quite often, solo parts were commited to her for singing. What occurred why the bright talent, more than twenty years given to the Novosibirsk theatre, is almost erased from memory of contemporaries? In spite of the fact that authors of article (on the basis of conversations with eyewitnesses of events, studying of the archival documents and audio recordings which are not introduced earlier for scientific use) managed to answer this question, search is not complete. The Nadezhda Ivanovna Pervozvanskaya’s return to history of the Novosibirsk opera is only the beginning of studying of her artistic identity. Further work in this direction will let not only restore historical justice, but also comprehend the process of formation and development of opera performance in Novosibirsk more authentically.
Keywords: Nadezhda Pervozvanskaya, singer, Leningrad conservatory, Novosibirsk opera theatre, archival documents.
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Drozhzhina, М.N., Ditenbir, V.V. (2020), “Prima donna of the Novosibirsk opera Nadezhda Pervozvanskaya: the returned name”. Journal of Musical Science, vol. 8, no. 1, pp. 116–123.
DOI: 10.24411/2308-1031-2020-10013 (in Russ.)
DIAGNOSIS OF MUSICALITY IN THE STRUCTURE OF MUSICAL GIFTEDNESS
D.K. Kirnarskaya
Abstract. The consideration of the problem is based on the analysis of diverse data devoted to the description of the study of musicality (analytical and intonational hearing) in the structure of musical giftedness. The natural possibilities of verifying the analytical and intonational hearing, which are actually performed in the living process of musical perception, are described, that is, testing the analytical and intonational hearing, which includes determining the degree of identity and contrast of what was heard previously with the sounding one now. The article presents a diagnostic task of analytical hearing, which is based on a comparison of relatively finished fragments of musical works: various parameters of similarity and differences of fragments with each other are determined – they differ in timbre (piano or orchestra), tempo (fast and slow), general character (calm focused and stormy, passionate); after the fourth fragment is heard, the subjects must compare the previous three. For the diagnosis of intonation hearing, six completely heterogeneous works are presented, belonging not only to different musical eras, styles and genres, but even to different types of music: some of them belong to classical music, while others relate to pop, jazz and folk music. The diagnostic technique (test) is based on three pairs; each pair belonged to one of the communicative archetypes. An assessment of the diagnostic results of the subjects is presented.
Keywords: musicality, analytical hearing, intonation hearing, musical talent, diagnostics.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Kirnarskaya, D.K. (2020), “Diagnosis of musicality in the structure of musical giftedness”. Journal of Musical Science, vol. 8, no. 1, pp. 124–132.
DOI: 10.24411/2308-1031-2020-10014 (in Russ.)
INTELLECTUAL GAMES ON THE THEME “A.S. PUSHKIN AND RUSSIAN MUSIC”: ТO THE QUESTION OF MODERN APPROACHES TO THE TEACHING OF MUSICAL AND HISTORICAL DISCIPLINES
I.R. Chereshniuk
Abstract. The article describes the intellectual game as a modern and relevant technology for teaching the history of music. The literature on various aspects of the use of intellectual games in the learning process is analyzed. The practice of using intellectual games in professional music education is substantiated. Scientific and methodological studies on the development of professionally significant qualities of future musicians by means of intellectual games are very few. The aim of the article is to address a number of issues in the development and application of intellectual games in the process of teaching musical and historical disciplines. The features of the methodology for the application of various types of games, respectively, the stages and content of training are disclosed. The material for the study were games that reveal the significance of A.S. Pushkin for the history of domestic musical art. The typology of intellectual questions for the game “What? Where? When?” taking into account the specifics of the theory and history of musical art. The possibilities of alternative forms of playing games, including those based on BYOD-technology, are examined. The findings note that cross-cutting themes similar to A.S. Pushkin in Russian music, unite the various stages of musical history, allow you to consider musical works from various angles and have a significant educational resource.
Keywords: musical and historical disciplines, Pushkin, intellectual game, quiz, technique.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Chereshniuk, I.R. (2020), “Intellectual games on the theme «A.S. Pushkin and Russian music»: Тo the question of modern approaches to the teaching of musical and historical disciplines”. Journal of Musical Science, vol. 8, no. 1, pp. 133–140.
DOI: 10.24411/2308-1031-2020-10015 (in Russ.)
PRINCIPLES OF EDUCATIONAL TEACHING IN RUSSIAN PIANO PERFORMANCE
N.N. Osipenko
Abstract. The article deals with the problem of educating the creative personality of a performing musician (pianist), his influence on creating an artistic interpretation of music. The necessity of the practice of education in the formation of the creative potential of the musician-performer personality, his cultural and spiritual and moral foundations is proved. Nowadays the urgency of upbringing education is caused by the leading tend in the development of the cultural paradigm of modern education, where the appeal to personality, its improvement and attitude to man as a subject of creative activity bring to the fore. This article briefly outlines the crisis phenomena in culture and ways of their overcoming, including the idea of self-evolution of man through culture. The point of view of the hierarchs of the Russian Orthodox Church for the spiritual and moral crisis of mankind is indicated. The interpretation of the musical work is viewed as a creative process through the example of the performing and pedagogical activity of A.G. Rubinshtein on the upbringing of the creative artist in the personality of the performer. The key moment of the artist’s actualization of the cultural contexts of the author’s epoch is emphasized, that requires explanation while working on the musical work of art and the creation of artistic interpretation.
Keywords: musician-performer, up-brining, education, interpretation, musical work, cultural contexts.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Osipenko, N.N. (2020), “Principles of educational teaching in Russian piano performance”. Journal of Musical Science, vol. 8, no. 1, pp. 141–150.
DOI: 10.24411/2308-1031-2020-10016 (in Russ.)
PLAYING IN AN ENSEMBLE AS THE MOST IMPORTANT COMPONENT OF LEARNING TO PLAY WIND INSTRUMENTS
K.S. Serkov
Abstract. The relevance of the problems considered in this article is due to the fact that, due to a number of factors, the Russian system of training wind instrument performers over the past few decades has been characterized by a strong bias in the field of training for solo performers, while Western schools have developed almost in the opposite direction, with the main goal of education of high-class orchestra performer. In connection with the process of globalization, the domestic wind player school is currently developing a new aesthetics of spiritual performance in line with global trends. In this context, the ensemble both as an academic discipline and as one of the forms of work in the classroom by profession, often has no alternative in productivity in overcoming both purely technological and general musical problems. At all stages of training a performer on a wind instrument, there are tasks that can be most successfully solved precisely within the framework of ensemble music playing, from developing musical abilities and improving the skills of playing the instrument, to cultivating psychological flexibility in the process of reaching a compromise in performing decisions that contribute to a high artistic result. The article also actualizes the problem of preparing young musicians for professional orchestral activities through playing in mixed ensembles and studying orchestral parts. With a great deal of certainty, it can be argued that playing in an ensemble in the process of preparing modern wind instruments players is one of the most effective forms of work, with a systematic appeal to which can solve many, if not all, musical and pedagogical problems.
Keywords: wind instruments, ensemble, orchestral player, musical abilities, development, psychology of musical performance.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Serkov, K.S. (2020), “Playing in an ensemble as the most important component of learning to play wind instruments”. Journal of Musical Science, vol. 8, no. 1, pp. 151–157.
DOI: 10.24411/2308-1031-2020-10017 (in Russ.)
TEACHERS AND PEDAGOGICS OF FIRST MUSICOLOGICAL DEPARTMENTS OF THE NOVOSIBIRSK CONSERVATOIRE
L.P. Robustova
Abstract. At the beginning of the academic year 2019/20, first musicological departments of history of music and theory of music celebrated the 60th anniversary. N.F. Orlov, A.N. Kotlyarevsky, Yu.G. Kon, L.Ya. Khinchin, T.A. Romenskaya, and A.M. Aisenshtadt were top authorities and pioneers of the Siberian musicology. They left a mark in the history of Novosibirsk and elsewhere. Today, the Conservatoire is proud not only with the founders of the Siberian musicology but also their students and successors whose activity is a continuation and augmentation of educational and upbringing traditions laid down in the first 10-15 years of the higher school existence. The opening of musicological departments in the Novosibirsk Conservatoire was an innovative step in the training of musicological staff of the higher level of education. These achievements relied on the conceptually significant vision and ideas of the educational-and-upbringing process. Therefore, in this article, i formulate paradigms and postulates fundamental for the upbringing and education of professional musicians. They were crystallized due to the aggregate experience of representatives of musicological schools of different colleges and regions – the first instructors of the Novosibirsk Conservatoire, who implemented these ideas in their own educational activity. The ground-breaking ideas below were formulated by me on the basis of educational and interpersonal communication with the first musicologists of the Conservatoire. The fact that these and other similar ideas, tried by time and organically inherent to the musical pedagogics, were not declared by these people but they were present at the intuitional level and were always put into practice is worth noting. It is evident that these teachers-musicians were in advance of time when such progressive terms as “cutting-edge learning”, “activity-based approach”, and others appeared in general pedagogics. The presented ideas are of great importance because they contain timeless value-related meanings, preconditioning success of upbringing, education and development of professional musicians.
Keywords: professional musician, musicology, creative approach, developing education, individual approach, uniqueness, Novosibirsk Conservatoire.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Robustova, L.P. (2020), “Teachers and pedagogics of first musicological departments of the Novosibirsk Conservatoire”. Journal of Musical Science, vol. 8, no. 1, pp. 158–167.
DOI: 10.24411/2308-1031-2020-10018 (in Russ.)
THE FOURTH STAGE OF THE HISTORY OF SPEECH: FORMATION OF VERBAL COMMUNICATION HOMO SAPIENS NEANDERTHALENSIS On the role of the “speech” factor in human evolution
T.A. Strigotskaya (Romenskaya)
Abstract. In this work, the author continues to present his concept of the origin of language/ speech. In his reflections he draws on a number of achievements of archaeology, anthropology, history, physiology, history of musical culture related to the issue. The main idea of the author is that the origin of the verbal language was preceded by a period of sound phenomena of signal type (whistle) and later – utilitarian forms of vocal speech, to which the initial stage of formation of such phenomenon as solo singing two-voice. Traces of archaic vocal-speech intonation, according to the author, are preserved in folklore singing, which he confirms with note examples of melodies occurring in traditions of different peoples. Two articles published in this journal in 2018 presented information and facts that contributed to the development of the hypothesis on the history of speech formation, justified the principles of highlighting the stages of this process, as well as described the first three stages related to the era of avstralopithecus and archanthrops (Australopithecus, Homo habilis, Homo erectus). This article is devoted to the fourth stage, connected with the process of creation of verbal communication Homo sapiens neandertalensis and formation of initial techniques of organization of early melodic improvisations.
Keywords: musical archeology, the origin of speech, paleoanthropes, stages of development, the development of monophony, repetition and variability.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Strigotskaya (Romenskaya), T.A. (2020), “The fourth stage of the history of speech: formation of verbal communication Homo sapiens neanderthalensis: On the role of the «speech» factor in human evolution”. Journal of Musical Science, vol. 8, no. 1, pp. 168–181.
DOI: 10.24411/2308-1031-2020-10019 (in Russ.)
