FROM THE SOUND TO THE CHORD. AVANT-GARDE STRATEGIES IN THE MUSIC OF NOVOSIBIRSK COMPOSERS OF THE SECOND HALF OF THE XX CENTURY
A.S. Molchanov
Abstract. The article is devoted to the study of avant-garde strategies of musical art in the works of Novosibirsk composers of the second half of the XXth century. In the article, on the example of the works of A. Murov and S. Tosin, quite rare types of sound avant-garde forms: compositions for one sound and one chord are studied, its appearance is associated with the search for new «sound ways», the emancipation of individual means of musical language. In the course of the analysis, the author of the article notes the peculiarities of the interpretation of the idea of one-tone compositions in the music of Murov, the enrichment of the timbre palette of sound with the genre-style model of a military march, the multi-composition of the general sound continuum under the domination of one leading pitch. In the Variations-interludes on the triad of D major by Tosin, the author of the article shows the originality of the composer’s approach in implementing the idea of variations on one chord, which is provided by: the mobility of the overall structure of the composition, the selected use of electronic amplification and sound processing, stylistic ambiguity associated with the ability to break up the sections of the composition designed by the composer by including works of any other authors, as well as the increased role of the performer himself in building the drama of the whole. In General, the author notes the limitation of a sound resource and its compensation from other means of expressiveness, the use of techniques for breaking the inertia of movement, the predominance of sonoristic interpretation of sound, the positioning of sound (chord) either as a single structure, or as a dispersed spectrum with many variations. Separately, in compositions of this type, an increased predisposition to the repetition of text elements is emphasized. In conclusion, it is noted that his interest in advanced musical trends of Western European music of the twentieth century, the Murov and Tosin contributed to the spread of avant-garde sound ideas into Russian culture, potential multidimensional understanding of the individual elements of the musical language and overall enrichment of the sound palette professional Siberian music of the ХХth century.
Keywords: compositions for one sound, compositions for one chord, musical avant-garde, sonoristics, Siberian composers.
Conflict of interest. The author declares the absence of conflict of interest.
For citation: Molchanov, A.S. (2021), “From the sound to the chord. Avant-garde strategies in the music of Novosibirsk composers of the second half of the XX century”, Journal of Musical Science, vol. 9, no. 1, pp. 5–16.
DOI: 10.24412/2308-1031-2021-1-5-16.
REFORMATION SYMPHONY: ABOUT MYTHOS AGAIN OR “REFORMER SYMPHONY WITH CHOIR FINAL, WROTE BY 8 YEARS OLD BOY, DEDICATED TO CELEBRATE OF 300 YEARS OF REFORMATION IN 1830”
E.I. Porizko
Abstract. This article is devoted to the review some facts from Russian national musicology facts about Reformation Symphony. And to show some mistakes true an analysis of manuscripts and other documents from Mendelssohn time. So, the article describes the history of the creation of the symphony, the reason for writing it. With the help of fragments from Mendelssohn’s letters, we give an answer to the question about the date of creation and possible reasons for the complex stage life of the symphony. We trace the connections of the Reformation Symphony with other works of Mendelssohn’s contemporaries (Wagner and Meyerbeer), using thematic elements of the symphony. We give a brief overview of the dramatic development of this symphonic cycle. And we also ask the scientific community to reconsider the look at the familiar name for us the “Reformational” (in Russian we have tradition, what it is not a noun but an adverb) Symphony and bring the translation closer to the original: The Reformation Symphony.
Keywords: Mendelssohn, sonata form, Symphony, Reformation, Augsburg Confession, Meyerbeer, Felix Mendelssohn Bartholdy, Luther, Choral.
Conflict of interest. The author declares the absence of conflict of interest.
For citation: Porizko, E.I. (2021), “Reformation symphony: about mythos again or «Reformer symphony with choir final, wrote by 8 years old boy, dedicated to celebrate of 300 years of Reformation in 1830»”, Journal of Musical Science, vol. 9, no. 1, pp. 17–30.
DOI: 10.24412/2308-1031-2021-1-17-30.
CHINA IN RUSSIAN MUSIC OF THE SECOND HALF OF THE 19TH – EARLY 20TH CENTURIES
Yu.P. Medvedeva
Abstract. The article examines the consistent change in the image of China in domestic music of the second half of the 19th – early 20th centuries. The relevance of the study is determined by the active recent development in cultural relationships between Russia and China and the obvious need to comprehensively comprehend the dynamics of the processes of intercultural interaction. The aim of the work is to reveal the peculiarities of the musical interpretation of China in the most significant works of Russian authors: the opera "Son of a Mandarin" by Cui, "Chinese Dance" ("Tea") by P.I. Tchaikovsky, opera "Nightingale" by I. Stravinsky, ballet "Red Poppy" by R.M. Glier. To achieve this goal, cultural-historical, sociological, comparativehistorical and musical-analytical methods are used. As the article proves, the image of China in Russian musical art has undergone a clear evolution, which was caused not only by the change in the artistic paradigm at the turn of the century, but also by the reaction to the political and social processes of its time. At first, China was viewed as a generalized and almost fabulous East (Cui), then it acquired more and more real and reliable features (Tchaikovsky, Stravinsky). The most obvious transformation of ideas about China arose under the influence of the emerging Soviet ideology (Gliere). Thus, the evolution of musical incarnations of the "Chinese" is directed from romantic exoticism to proletarian internationalism.
Keywords: China in Russian music, chinoiserie, orientalism, exoticism, romantic East, internationalism, "Mandarin's Son", "Nightingale", "Red Poppy", Tao Hoa.
Conflict of interest. The author declares the absence of conflict of interest.
For citation: Medvedeva, Yu.P. (2021), “China in Russian music of the second half of the 19th – early 20th centuries”, Journal of Musical Science, vol. 9, no. 1, pp. 31–40.
DOI: 10.24412/2308-1031-2021-1-41-54.
FEATURES OF THE LITERARY OPERA IN THE WORK OF G.N. IVANOV “THE INSPECTOR”
E.S. Gulyaeva
Abstract. The object of research in this work is the opera “Inspector” by the Siberian composer G.N. Ivanov. The purpose of the article is to identify the features of literary opera in this work. An important task is to analyze the relationship between the musical and textual aspects of the performance. The topic becomes particularly relevant, since this work has not yet been studied by researchers. The work is distinguished by the novelty of the musical language in the context of the composer's work (recitative opera), as well as by its appeal to the story of life to this day. Based on literary works, the article highlights the criteria of literary opera, the main one of which is accurate and multidimensional following of the literary text. The opera “Inspector” reveals the features of the desired genre at the level of language, semantic and aesthetic structure. From the point of view of the verbal component, we state full compliance: the composer does not deviate from Gogol's text, except for the reduction of minor details, as well as the inclusion of small repetitions due to the specifics of musical forms. From a semantic point of view, the composer follows writer: he does not update the plot and the actions of the actors. This allows you to preserve the theatrical component of the performance. From an aesthetic point of view, the composer follows N.V. Gogol, comparing in his work two pairs of aesthetic categories – tragic / comic, beautiful / ugly in the same proportions as the writer himself.
Keywords: Georgy Nikolaevich Ivanov, literary opera, opera “Inspector”, Siberian opera, musical culture of Novosibirsk, Siberian composers.
Conflict of interest. The author declares the absence of conflict of interest.
For citation: Gulyaeva, E.S. (2021), “Features of the literary opera in the work of G.N. Ivanov «The Inspector»”, Journal of Musical Science, vol. 9, no. 1, pp. 41–54.
DOI: 10.24411/2308-1031-2021-10004.
D.D. SHOSTAKOVICH`S VIOLA SONATA, op. 147 IN THE CONTEXT OF THE COMPOSER`S CHAMBER-INSTRUMENTAL CREATIVITY
I.V. Tarasenko, T.V. Shevchenko
Abstract. Shostakovich's work is universal and comprehensive - he created masterpieces in all areas of musical art. The steady interest in Shostakovich's chamber and instrumental works, which was equally evident both by professional musicologists and performers, is due to many factors, the main of which, in the opinion of the authors of this work, is the inexhaustible depth and multidimensional content of the composer's works. Analysing the experience already gained, expressed in articles and books close in content to the stated theme, the authors' attention was drawn to the phenomenon of evolution of the artistic significance of the viola timbre in Shostakovich's chamber ensembles, the natural result of which was the creation of his Alto Sonata by op. 147. Some important observations on this issue contain the studies of L. Skvirsky, V. Bobrovsky, S. Khentova and others. They served as the main material for the study, which was an attempt by the authors to summarize the different aspects of the chamber genre in Shostakovich's work through the prism of the composer's interest in the technical and artistic possibilities of the viola. The practical interest of the study is due to the direct participation of the authors of the work in the performance of most ensemble works by Shostakovich and the experience of joint chamber music.
Keywords: Shostakovich, chamber music, viola sonata, quartet, chamber instrumental genre, viola art, sonata form.
Conflict of interest. The authors declare the absence of conflict of interest.
For citation: Tarasenko, I.V., Shevchenko, T.V. (2021), “D.D. Shostakovich`s viola sonata, op. 147 in the context of the composer`s chamber-instrumental creativity”, Journal of Musical Science, vol. 9, no. 1, pp. 55–64.
DOI: 10.24412/2308-1031-2021-1-55-64.
POSTCULTURAL CARNIVAL AESTHETICS IN THE ALBUM "MEIN LIEBER TANZ" BY THE GROUP "NESCHASTNYI SLUCHAI"
Yu.V. Antipova
Abstract. The relevance of the topic of the article is caused by acute problems facing modern researchers and concerning the degradation in many phenomena of mass musical culture. The problem of copying texts, incessant "deja vu", and the loss of meanings indicates, on the one hand, the advent of an era of anti-culture and dangerous haphazardness. On the other hand, the quirkiness of the forms of using the dictionaries of past "musics", not devoid of the properties of intellectual game and irony, can be pleasing and attractive by the lack the conservatism and liveliness of ideas. The purpose of the study is to identify the specifics of creating, in essence, intertextual compositions in which the "alien" word is distorted and participates in the formation of a new quasi-artistic integrity. Its meaning is the rejection of search for a single truth and for asserting of former values. The identification of game techniques in the work of the Russian group "Neschastnyi sluchai" (such as the mobility of musical action, the personification of thematism, the involvement of quoted or quasi-quoted material referring to the theatrical phenomena of academic and mass art, the abundance of speech intonations and their musical equivalents, the use of exaggeration techniques; vivid manifestation of the techniques of the director-guided theater, etc.) allows to draw conclusions about the proclamation of a new – postcultural – format of theatricality in art which now serves to creation of acutely parodic effect, demonstration of artistic foolishness, pathological thirst for buffoonery and striving to creative chaos.
Keywords: aesthetics, post-culture, mass music, "Neschastnyi sluchai", theatricality, intertext.
Conflict of interest. The author declares the absence of conflict of interest.
For citation: Antipova, Yu.V. (2021), “Postcultural carnival aesthetics in the album «Mein Lieber Tanz» by the group «Neschastnyi sluchai»”, Journal of Musical Science, vol. 9, no. 1, pp. 65–75.
DOI: 10.24412/2308-1031-2021-1-65-75.
COMMUNICATING THROUGH MUSIC – A BAROQUE COMPOSER SPEAKS
J. Boysen
Abstract. The article is concerned with the function of music in the 17th and 18th centuries as a means of communication. Since his youth, the author has immersed himself in historical sources on the art of composition and has acquired the ability to compose in various baroque styles. He takes care to follow the working method of a baroque composer as consistently as possible. First, he gives a brief outline of where his interest in composing in historical styles originated. The main section of the article discusses the various compositional means that composers used to write music that expressed the particular affections of the underlying texts and let the listeners feel them for themselves. The composers used the art of rhetoric as a model when approaching the compositional process. Finally, on the basis of two of his own works, the author provides insights into his working methods. An Entrée in the French style serves as an example for the composition of instrumental music. With the help of a recitative from a completion of Bach's lost score of the St. Mark Passion, the author explains various aspects of vocal composition; the difficulties in dealing with prose texts; and his own possible solutions to them.
Keywords: musical poetics, historical composition, baroque music, communication with music, recitative, Bach, St. Mark Passion, BWV 247.
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Boysen, J. (2021), “Communicating through music – A baroque composer speaks”, Journal of Musical Science, vol. 9, no. 1, pp. 76–91.
DOI: 10.24412/2308-1031-2021-1-76-91. (in Eng.)
THE ORIGIN OF MODERN CHINESE OPERA (GEJU): LI JINHUI AND HIS CHILDREN'S OPERAS
Xu YinChen
Abstract. The article focuses on the activities of the musician and teacher Li Jinhui (1891–1967). In recent decades, there has been a significant increase in research interest in Chinese opera, but little attention has been paid to opera for children. However, the history of modern Chinese opera (geju) begins with the genre of children's opera, the development of which was initiated by Li Jinhui in the 1920s. It is a completely new musical and dramatic genre for China, which has become widespread in the country. The purpose of the article is to identify the role of Li Jinhui in the formation of Chinese children's opera. It is noted that all of his works were influenced by the Western European musical tradition, but the absorption of the European experience does not mean the destruction of Chinese traditional identity. In this regard, Li Jinhui's children's operas are an organic synthesis of Eastern and Western cultures. This scientific article uses biographical and historical research methods to analyze the activities of Li Jinhui on the path of creating children's operas. Attention is focused on the stages of the formation of his personality in the context of the musical life of China at that time, the peculiarities of creativity and pedagogical principles. He has created 12 children's operas, which have had an invaluable influence on the development of modern Chinese opera. Drawing attention to the role of Li Jinhui in the creation of the genre of children's opera will help to understand the distinctive tendencies in the development of Chinese contemporary opera and fill one of the lacunae in domestic ideas about the history of world opera art.
Keywords: Li Jinhui, modern Chinese opera, children's opera, Western European musical tradition.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Xu YinChen (2021), “The origin of modern Chinese opera (geju): li Jinhua and his children's operas”, Journal of Musical Science, vol. 9, no. 1, pp. 92–99.
DOI: 10.24412/2308-1031-2021-1-92-99.
LIU SANJIE: THE IMAGE OF A WOMAN IN THE TRADITIONAL FOLK DRAMA OF GUANGXI "CAI DIAO"
Xiong Yingwen, S.A. Mozgot
Abstract. On the example of the traditions of the folk drama "Cai Diao" in the south of China in the Guangxi region, the musical art of the twentieth century examines the preservation of various forms of folklore, which are the basis of this kind of theatrical art. The solution to the main problem of the research - the preservation of the folk drama "Cai Diao" in the contemporary art of China led to the appeal to one of its peak incarnations in the art of the twentieth century – the opera "Liu Sanjie", written by a group of authors in 1959. The aim of the research is to reveal the forms of folklore implementation in the opera "Liu Sanjie", which create the uniqueness of the musical characterization of the main character's image. Research methods – phenomenological approach, historical and stylistic, cultural, hermeneutic methods, intonation analysis. As a result of the research, the methods of processing folk melodies are systematized, the technique of creating melodies "in the folk spirit" is explained, the preservation of the traditional content and form of impromptu couplets, used both in solo and duet and ensemble numbers in opera, is shown. On the example of the analysis of individual numbers of the opera, the prospects for the development of the drama "Cai Diao" for modern society as a way of broadcasting traditional family attitudes and historical and cultural values of the people in musical art are proved.
Keywords: folk drama "Cai Diao", opera "Liu Sanjie", Guangxi, folk melodies, impromptu couplets, solos, duets, ensembles.
Conflict of interest. The authors declare the absence of conflict of interest.
For citation: Xiong Yingwen, Mozgot, S.A. (2021), “Liu Sanjie: the image of a woman in the traditional folk drama of Guangxi «Cai Diao»”, Journal of Musical Science, vol. 9, no. 1, pp. 100–107.
DOI: 10.24412/2308-1031-2021-1-100-107.
MA SHUHAO'S CREATIVITY IN CONTEXT MODERN PIANO CULTURE IN CHINA
Zhuang Junjie
Abstract. The piano works of modern Chinese composers have recently become the object of close attention of Russian and foreign researchers. This article provides a brief overview of the composer Ma Shuhao's work in the context of modern Chinese piano culture. Before the meeting with the composer, the text of the work contains an excursion into the history of professional piano performance and the school of composition. The article briefly describes the main periods of development of the piano school in China, the impetus for the formation of which was the work of Professor Boris Zakharov of the St. Petersburg Conservatory. An overview of the first piano works created in the second decade of the twentieth century is given, and the main centers of music education in China, represented by the conservatories of Shenyang, Shanghai, Central Conservatory, Tianjin, Xinghai, XI'an, Hangzhou, Harbin, Sichuan, are considered. Ma Shuhao (麻书豪) (1983) stands out among the contemporary composers of China, whose work falls on the first quarter of the XXI century. His work dates back to the turn of the Millennium, and currently the composer himself defines two different periods in his work: the first period of creativity is based on the European tradition and samples of romantic music. The second period of creativity is a combination of national Chinese themes with Western European traditions.
Keywords: Chinese piano music, Chinese composers, mA Shuhao's creative work, young composer schools, Boris Zakharov's activity.
Conflict of interest. The author declares the absence of conflict of interest.
For citation: Junjie Zhuang (2021), “Ma Shuhao's creativity in context modern piano culture in China”, Journal of Musical Science, vol. 9, no. 1, pp. 108–118.
DOI: 10.24412/2308-1031-2021-1-108-118.
ARTISTIC SYNESTHESIA AND ITS INTERPRETATION IN FOREIGN AND DOMESTIC SCIENCE
N.P. Kolyadenko
Abstract. The article shows that the understanding of the phenomenon of synesthesia (intersensory connections) and its practical implementation in the field of art is carried out in parallel in foreign and domestic studies. It is noted that the universality of the manifestations of synesthesia and its interdisciplinary breadth provoke a discrepancy between the interpretations of the term and the phenomena covered by it. In particular, attention is drawn to the psychophysiological and sociocultural interpretation of synesthesia, which is a priority for English-speaking scientists and is accepted in Russian science. To solve the question of the validity of the sociocultural interpretation of artistic synesthesia, the article analyzes the answers of scientists to the interview questions in the collection "Synesthesia: opinions and perspectives", which served as a confirmation of its effectiveness. There are a number of problems that are solved in parallel in foreign and domestic studies of artistic synesthesia. The role of such types of inter-sensory connections in art as cognitive, conceptual synesthesia, ideasthesia; mirror touch synesthesia; sequence localization synesthesia; digital (technosynesthesia) is considered. It is concluded that with seemingly different names in foreign and domestic science, there are obvious roll calls and intersections of spheres in which inter-sensory connections are involved. Acquired as a resultof artistic experience, socio-cultural synesthesia as a property of nonverbal thinking opens up space for their inclusion in almost all spheres of artistic creativity and perception.
Keywords: artistic synesthesia, psychophysiological and socio-cultural interpretations, foreign and domestic science, intersections.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Kolyadenko, N.P. (2021), “Artistic synesthesia and its interpretation in foreign and domestic science”, Journal of Musical Science, vol. 9, no. 1, pp. 119–128.
DOI: 10.24412/2308-1031-2021-1-119-128.
ABOUT THE TETRASPHERE OF MUSICAL LANGUAGE
A.S. Klujev
Abstract. The article proposes the interpretation of musical language as a tetrasphere. It is noted that the sequential (in centripetal motion) spheres of musical language are: music as an art form; the unity of genera, genres and styles of musical art; a musical work; the sound matter of a musical work. The sound matter of a musical work is considered. It is indicated that the sound matter of a musical work is represented by three sound layers: the first layer is determined by rhythm, meter, tempo, timbre, dynamics; the second – by intonation; the third – by mood, tonality, melody and harmony. In this case, the listed sound layers, in the order of their enumeration, are interpreted as successive stages of identifying the center of a musical composition and, accordingly, the individual elements that define these layers – as successive elements that identify this center. It is stated that the element that ultimately clarifies the center of a musical work is harmony. The author believes that the center of a musical work opened by harmony is Spirit, Spiritual energy. Therefore, according to the author, it is the Spirit that turns out to be the center of a musical work, and at the same time – of a musical language.
Keywords: tetrasphere, musical language, music, unity of genera, genres and styles of musical art, musical work, sound matter of a musical work, sound layers of a musical work, harmony, Spirit.
Conflict of interests. The author declares that there is no conflict of interest.
For citation: Klujev, A.S. (2021), “About the tetrasphere of musical language”, Journal of Musical Science, vol. 9, no. 1, pp. 129–135.
DOI: 10.24412/2308-1031-2021-1-129-135.
FUNDAMENTAL ACADEMIC PRINCIPLES OF LEOPOLD AUER AND THE INFLUENCES OF RUSSIAN VIOLIN SCHOOL ON VIOLIN TRAINING IN VIETNAM
Bui Cong Duy
Abstract. This article focuses on the key teaching principles of Leopold Auer, a Hungarian violinist, who is considered the founder of Russian Violin School. The author enumerates some of Leopold Auer’s students and followers who have brought fame to their outstanding tutor all over the world, including Vietnam, thus greatly influencing the local teachers and performers. The author highlights the difference between music and science, and the corresponding peculiarities of teaching this kind of exquisite art. Taking into account the academic principles described in Leopold Auer’s book “My Violin School”, the author comes to the conclusion that the teacher should not just share their knowledge with their student, but also instill their character, develop their creative potential, be persuasive and sympathetic, thus forming and developing students' harmonious personality. In conclusion, the author points out that a good teacher should not necessarily be a good performer as well because he has a more important and worthwhile goal – to help their student open up their potential and outperform their tutor.
Keywords: Leopold Auer, teacher’s role, violin training, violin performing in Vietnam.
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Bui Cong Duy (2021), “Fundamental academic principles of Leopold Auer and the influences of Russian violin school on violon training in Vietnam”, Journal of Musical Science, vol. 9, no. 1, pp. 136–139.
DOI: 10.24412/2308-1031-2021-1-136-139. (in Eng.)
BELCANTO AS A SOURCE OF RUSSIAN SCHOOL
T.V. Ershukova
Abstract. The article is devoted to the history of Russian and foreign vocal pedagogy. The author refers to the origins of Italian bel canto specifying the particular features of the methodology which up to now have great influence on vocal education. Furthermore, the article describes the nascent stage of academic vocal methodology in Russia, and focuses on the intersection with the belcanto technique. The issues of cooperation between two vocal cultures have not been under special consideration before what defines the relevance of the topic. The novelty lies in the fact that the contribution of Russian musicians to the academic vocal development is traditionally emphasized in domestic authoritative sources. In the meantime, it is proved by historical records and facts that European teachers, composers and singers have had a significant impact on the formation of Russian school. This determines the main idea and the purpose of the article: to analyse the characteristic features of Italian bel canto and its influence on the domestic system of vocal education. To achieve this goal a number of tasks must be solved, such as: 1) to describe the specifics of Italian belcanto emergence in XVII–XVIII centuries; 2) to present the main features of belcanto masters teaching methodology; 3) to state the peculiarities of the impact that Italian belcanto methodology has had on the domestic system of vocal education. The solution of these tasks will give a fresh look at the origins of Russian vocal school.
Keywords: vocals, belcanto, vocal technique, vocal history.
Conflict of interests. The author declares that there is no conflict of interest.
For citation: Ershukova, T.V. (2021), “Belcanto as a source of Russian school”, Journal of Musical Science, vol. 9, no. 1, pp. 140–147.
DOI: 10.24412/2308-1031-2021-1-140-147.
THE ROLE OF EDUCATION IN THE FORMATION OF THE SYSTEM OF ACADEMIC MUSICAL TRADITIONS IN THE YENISEI PROVINCE: A NEW VIEW THROUGH THE PRISM OF THE FRACTAL CONCEPT
E.S. Tsareva
Abstract. This article examines the role of music education in the formation of a local version of the system of academic musical traditions in the Yenisei province (1822–1925) in the context of a new methodological approach for local history studies – fractal. Its relevance is dictated by the need to emphasize the special anthropological emphasis of regional musical life, often devoid of outstanding leaders and created mainly by collective efforts (where each participant is important), as well as the desire for a one-time combination of diachronic and synchronic analysis, procedural and structural aspects in the study. The implementation of this approach is demonstrated on a musical and historical material of the Yenisei province through a conceptual number: man as the bearer of the academic music traditions and fundamental principle of music is fractal, human relations fractal chains, cultural diffusion, which is based on replication of the self-similarity of the reference formula of academic art (invariant) in a wide range of spatio-temporal parameters leading to a fractal process. Through the prism of the fractal concept, some conclusions of Yu.M. Lotman about the stadium division of dialogue are extrapolated, which more fully reveal its connection with the formation of a regional system of academic traditions and directly demonstrate the role of music education. In the end, building a dialogical personal interaction is a key mechanism of evolution of interrelated stages fractal modeling of musical life: essential addition of human relations as a fractal chains, the development of cultural diffusion, the formation of complex social functioning academic music traditions in the locus of multifractal and its inclusion in the global fractal structure.
Keywords: academic musical traditions, regional musical system, musical education, fractal concept, dialogue, Yenisei province.
Conflict of interests. The author declares that there is no conflict of interest.
For citation: Tsareva, E.S. (2021), “The role of education in the formation of the system of academic musical traditions in the Yenisei Province: a new view through the prism of the fractal concept”, Journal of Musical Science, vol. 9, no. 1, pp. 148–161.
DOI: 10.24412/2308-1031-2021-1-148-161.
THE KRASNOYARSK ORGANIZATION OF RUSSIAN UNION OF COMPOSERS: HISTORY, PROBLEMS AND PROSPECTS
L.V. Gavrilova
Abstract. The article is devoted to one of the essential issues of local lore related to the study of the history of the Krasnoyarsk regional organization of composers and the analysis of its activities in modern political and economic conditions. Based on the systematization of available information, the author identifies two periods in its history: 1983–1999 and 2000–2020. Along with this within each of these periods there are several years marked by a bright creative ascent: at the turn of the 80–90-ies of the XX century and at the cusp of the first two decades of the XXI century. It is concluded that in both cases the successful years of the organization's activity coincide with favorable social conditions for the development of musical culture in the region and are due to productive dialogue and interaction with the state authorities. When these conditions change, a descent begins, which has been observed in recent years. The mechanism of interaction between the state authorities, the creative union, and society that manages these processes, revealed as a result of the study, allowed to recreate the overall picture of the Krasnoyarsk regional organization of composers at the present phase and identify problem areas. They indicate an obvious violation of the links between the personal creative interests of composers and the social and artistic needs of society. Prospects for the development of the organization are seen in the need to overcome its social passivity.
Keywords: the Krasnoyarsk regional organization of composers, state authorities, creative union, social request, musical and artistic environment.
Conflict of interests. The author declares that there is no conflict of interest.
For citation: Gavrilova, L.V. (2021), “The Krasnoyarsk organization of Russian Union of composers: history, problems and prospects”, Journal of Musical Science, vol. 9, no. 1, pp. 162–172.
DOI: 10.24412/2308-1031-2021-1-162-172.
PROFESSIONAL MUSIC EDUCATION IN KRASNOYARSK: THE BEGINNING OF HISTORY
N.M. Naiko
Abstract. This article uses such KSIA archival documents and materials as orders, state exam / creativity competition brochures and answers to the questionnaire for graduates and students specialising in music composition. These materials allowed us to consider in sufficient detail the circumstances associated with the opening of music composition courses and the establishment of the Department of Music Theory and Composition at the Krasnoyarsk State Institute of Arts. The article gives a brief description of teachers leading music composition courses, including their personalities and diverse talents. It also presents trends in graduate programmes at state exams, specifies the creation of large instrumental and vocal-instrumental forms as a regularity and lists the chairmen of qualification committees in the field of music composition for a twenty-year period. The history of young composers competitions organised at the initiative of the Department of Music Theory and Composition and their positive contribution to the development of professional music education are observed. Leading composers and teachers from Novosibirsk, Yekaterinburg and Moscow attach special importance to meet-the-artist events and masterclasses held in Krasnoyarsk. In order to make a creative environment, it is important to provide performing students with an opportunity to practise music composition on an optional basis. Some of them are professionally-oriented. Almost all graduates are admitted to the Russian Union of Composers and continue their composition practices. As a specific regional moment that positively affects the creation of a creative atmosphere, there is a close relationship between the institute, the Regional Centre of Arts and music composition organisation.
Keywords: professional music education in Krasnoyarsk, O.L. Prostitov, V.V. Ponomarev, V.N. Senegin, I.V. Yudin.
Conflict of interests. The author declares that there is no conflict of interest.
For citation: Naiko, N.M. (2021), “Professional music education in Krasnoyarsk: the beginning of history”, Journal of Musical Science, vol. 9, no. 1, pp. 173–185.
DOI: 10.24412/2308-1031-2021-1-173-185.
PROBLEMS OF CULTURAL DIALOGUE IN THE PROCESS OF TEACHING MUSIC TO STUDENTS FROM PRC
I.A. Trzhetsiak, V.A. Karnaukhova
Abstract. The relevance of the study is due to the strengthening of cultural and educational contacts with the People's Republic of China and the "educational migration" that sociologists have noted in the last decade. The need for Chinese students to learn both the Russian language and music prompts the problem of understanding the methodology and strategy of building such an educational process. The purpose of this research is to search for possible methods and approaches to solving problems of communication and cultural dialogue between Chinese students and Russian-speaking teachers. Attention is focused on the interpretation of specific categories, concepts and terms that exist in music theory and performing practice. Comparing the musicological traditions of interpretation of such concepts as "fret", "Tonality", "intonation" and others, the authors of the article come to conclusions about the cardinal differences that exist in the musical theory of China and Europe (which is also based on domestic musicology). As a possible solution, the authors suggest creating a terminology dictionary for international students with parallel translation of terms used in educational practice into public English and possible translation into Chinese. In conclusion, the article suggests the feasibility of using visual tools in classes where certain terms and concepts are discussed.
Keywords: music education, cultural dialogue, terminology, music theory, sinicization, methodology.
Сonflict of interests. The authors report no conflict of interest.
For citation: Trzhetsyak, I.A., Karnaukhova, V.A. (2021), “Problems of cultural dialogue in the process of teaching music to students from PRC”, Journal of Musical Science, vol. 9, no. 1, pp. 186–196.
DOI: 10.24412/2308-1031-2021-1-186-196.
FULL-TEXT SEARCH ONTOLOGIES DATABASE “MUSICOLOGY”
N.S. Bazhanov
Abstract. The problem of the article is the answer to a seemingly simple question – that it is necessary to take into account the research musician by organizing the search for information in full-text unstructured Databases (hereinafter, PBBs). Ontological descriptions are selected as the tool organizing the search. The general ontology of search is presented as the interaction of the components of ontologies, including: Technological, Linguistic, Logical, Functional, Subject (musicology). In combination and interaction of parts, on the principle of each with each, the named ontologies form the information content of the search, influencing its qualities – completeness, relevance, multiplicity, openness, meaningful sequels. In fact, the task of searching in large Full-Text Databases, to create such an interaction of computer algorithms and researcher intelligence that would translate the search from one-time completed actions into a continuous filling of complex, sought-after meaning and knowledge. The main task of the article is to present the subject ontology of musicology, which organizes the disciplinaryspecification of search. The subject ontology of musicology used in the search is based on several classes, among which is the widely known triad composer-performer-listener and work. These main instances multiply in subclasses, properties, relationships forming a wide disciplinary semantic context for formulating search requests. The article concludes with a brief practical test of ontological search in a musical full-text database. Based on the search for the semantic relationship of the terms "language" and "style," the problem of their synonymity in the scientific literature is confirmed. It is impossible to show the difference of these categories through the elements of a musical work.
Keywords: search ontologies, search in full-text databases, expert systems, knowledge bases, the structure of musicology.
Conflict of interests. The author declares that there is no conflict of interest.
For citation: Bazhanov, N.S. (2021), “Full-Text Search Ontologies database «Musicology»”, Journal of Musical Science, vol. 9, no. 1, pp. 197–208.
DOI: 10.24412/2308-1031-2021-1-197-208.
THE IMAGE OF THE THINKER IN THE CONTEXT OF CONTEMPORARY ART: THE EXPERIENCE OF ANALYST
Huang Zehuan
Abstract. The article raises the question of the embodiment of the image of the thinker in artistic creation, regardless of whether it is a question of a woman or a man. As an example, the author dwells on the material of E. Satie's symphonic drama “Socrates”, initiated by women – singer Jeanne Bathory and art patron Winnaretta de Polignac – a musician, artist, public figure. Responding to the intention of Princess de Polignac to “decorate” her aristocratic salon with the premiere, in which her favorites shone, as well as the bohemian habitues of the salon – poets, writers, composers, painters, Eric Satie created his creation counting on female voices, including two soprano and two mezzo-sopranos. The author of the article focuses on the production of Socrates, which was presented in 2016 at the Elma Music Center (Zichron Yaakov, Israel) “Ta Opera Zuta”. The director was M. Grover-Friedlander, the duties of the production designer were performed by E. Friedlander, the piano part was performed by D. Chervinsky. Remarkable in this context is the fact that instead of the four female voices, which the composer counted on while working on the symphonic drama, all parts are performed by countertenor Doron Schleifer. In addition to Shleifer, there are professional dancers on the stage: two women (Noam Sander, Batel Dotan) and a man (Re Takenoshita). The latter personifies pure thought, the birth of which is accompanied by bodily agony and convulsions.
Keywords: the personality of a philosopher, E. Sati, Socrates, a woman thinker, opera, symphonic drama.
Сonflict of interests. The author reports no conflict of interest.
For citation: Huang Zehuan (2021), “The image of the thinker in the context of contemporary art: the experience of analyst”, Journal of Musical Science, vol. 9, no. 1, pp. 209–220.
DOI: 10.24412/2308-1031-2021-1-209-220.
