CANON IN THE CONTEXT OF RATIONALISTIC TENDENCIES OF THE 20th CENTURY
G.A. Demeshko
Abstract. The article analyses the phenomenon of the global musical appeal to canon in the 20th century and pays attention to the variety of technical, functional, and semantic aspects of its use. The most important trend of the new and the latest implementation of canon is represented by technically precise and rigorous definition of canon, which becomes the main object of the author’s studies. The article underlines that the trend resonates with rational and constructive tendencies in culture of the 20th century as well as with canon works of the old masters. The author studies a certain selection of canons in works of A. Webern, R. Shchedrin, G. Garayev, and A. Schnittke to reveal similarities in their technique with contrapuntal secrets of Netherlandian masters and masters of rhythmic polyphony of the 14th–beginning of the 15th century. Special attention is paid to the tradition of so-called hidden (mysterious) canons. The author emphasizes their underlying relations to certain examples of constructionally precise modern canons. With that in mind, the “shortened” single-voiced record of old mysterious canon played in the form of a two- or multi-voiced canon corresponds to a mirror form in canons of the 20th century. A multi-voiced (“extended”) canon record in this mirror form can be easily hidden (or shortened). Yu. Kholopov calls it “re-canonisation” and illustrates by example of Webern’s Part II of Variations for Piano, оp. 27. The art of creation of mathematically precise compositions that is so evidently impressed in canon technique is both a cultural fact of the past century and the corresponding style of musical thinking.
Keywords: canon, canon technique, mysterious canon, contrapuntal technique, Netherlandish School, Second Viennese School, re-canonisation, form structuralisation, serialism, non-linear configuration of voices.
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Demeshko, G.A. (2021), “Canon in the context of rationalistic tendencies of the 20th century”, Journal of Musical Science, vol. 9, no. 2, pp. 5–15.
DOI: 10.24412/2308-1031-2021-2-5-15.
THE PHENOMENON OF CODE THROUGH THE PRISM OF MUSICAL SCIENCE
O.A. Yuferova
Abstract. The phenomenon of the code is a very actual and unexplored problem in musicology. The code exist at the musical art since its genesis. This phenomenon began to attract the attention of researchers only in the twentieth century. The code was discovered by researchers in connection with the weakening, and in some cases – the lossing of communicative functions at the musical art. For example, the work of art cannot convey the information, the «message» from the composer to the listener, it is often untenable at the communication. The author of article noted, that in the modern music arise a separation between the composer’s content and the information that the listener understand from it. The loss of communication links is interpreted by us as the absence of a code – a necessary condition for any type of communication, including musical. The purpose of this article is to study various opinions about the musical code in the scientific literature, to try somehow to understand this phenomenon. The author studies the code by the semiotic research method. At the result of study a musicological works reveals ambiguous, sometimes contradictory interpretations of the code. They are not deprive of metaphor. The author consider the phenomenon of code with links such concepts as sign, language, content, information. At this article the author make the conclusion that the learning of the code in musical art has unquestionable scientific potential. The author notes that the concept of a musical code has some advantages over the term musical "language". The research of the code can provide a deeper understanding of the mechanisms and methods of communication processes in music. It makes possible to solve an issues about the perception and understanding of a musical work, about balance of normative and specialized information in it, the relationship of meaning and significance in the process of generating and functioning of musical texts.
Keywords: code, semiotics, communication, message, sign, language.
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Yuferova, O.A. (2021), “The phenomenon of code through the prism of musical science”, Journal of Musical Science, vol. 9, no. 2, pp. 16–27.
DOI: 10.24412/2308-1031-2021-2-16-27.
MOTETS OF J.S. BACH: THE SPECIFICITY OF THE FORM OF MUSIC “FOR A SPECIAL OCCASION”
A.A. Mitrofanova
Abstract. Motets by J.S. Bach, representing the most complex compositions of their kind, at all times were considered the pinnacle of Western European baroque art. Traits of traditions of the past and religious understanding of the genre goes beyond the conditionality of musical traditions. At the same time, based on the understanding of the genre, it follows that the motets created by Bach are consistent with the traditions of the era, as well as the conscious use of the term. However, each of the motets is a unique piece with an individual compositional form. On the one hand, this is due to the genre variety of the Baroque era in the tendency of the time “in mixto genere”, on the other, their belonging to sacred music “for a special occasion”. In connection with the loss of many manuscripts of motets, questions remain related to the attribution and history of creation, to some extent their resolution is facilitated by the study of the stylistic qualities and properties of the genre. In the course of considering the possible categories of the motet of the XVII–XVIII centuries the author's concept of J.S. Bach was brought to light. In keeping with the characteristic features of the old motet style, the composer's motets retained a connection with the canons of counterpoint imitations and textual traditions, combining them with new structural and stylistic elements. The manifestation of the German genre origins of motet writing interacts with key aspects of Lutheran doctrine. The form of the works was influenced by unregulated text compositions. Each of the motets became an example of the author's personal reading of the sources embodied in music “for a special occasion”.
Keywords: motets by J.S. Bach, German motet, motet style, motet genre, Doppelchörigkeit Motette, Evangelien motette, Madrigalische Motette, Kirchenliedmotette, Thüringische Motette, German sacred music.
Conflict of interests. The authors declare no conflict of interest.
For citation: Mitrofanova, A.A. (2021), “Motets of J.S. Bach: the specificity of the form of music «for a special occasion»”, Journal of Musical Science, vol. 9, no. 2, pp. 28–39.
DOI: 10.24412/2308-1031-2021-2-28-39.
“PLAYING WITH STYLE” IN BEETHOVEN’S EIGHTH SYMPHONY: INSIGHTS INTO THE TWENTIETH CENTURY
G.A. Eremenko
Abstract. The article presents some features of the style of L. van Beethoven's Eighth Symphony: features of the cycle's interpretation, techniques for developing thematic material, and its orchestral solution. The chamber scale, the divertimental nature of the music, and the reliance on the norms of Viennese classicism are combined with bold discoveries in the field of harmonic language, instrumentation, and metrorhythmic transformation of musical themes. The high mastery of the compositional technique of writing is significantly ahead (according to the analytical observations of musicologists) of the generally accepted laws of the era, which allows us to recognize Beethoven's Eighth Symphony (along with the Seventh Symphony) as the highest achievement of the composer's genre thinking, anticipating the innovative principles of concert symphonism of the twentieth century. Beethoven's contemporaries and most of the listeners of the XIX century could not appreciate the music of the penultimate symphony of the great Viennese classic because of the ironic play in the gallant style, the witty stylization of the features of the early classical style – the generalized nature of the musical themes, the deliberate "old-fashioned" of some harmonic turns, the use of instrumentation techniques in the spirit of the sound of ceremonial military or garden orchestras. Beethoven carried out an experiment of his own, offering a combination of the musical norms of the past with a demonstration of the virtuoso possibilities of music making based on the effective principles of the symphonic method of thinking. This approach of the composer is dictated by the search for a "late style" and anticipates the technique of "working with the model" of composers of the twentieth century.
Keywords: Beethoven's Eighth Symphony, genre symphonism, gallant style, innovative techniques, rhythmic variation, harmonic language, instrumentation, stylization, concert symphonism.
Conflict of interests. The author declares no conflict of interest.
For citation: Eremenko, G.A. (2021), “«Playing with style» in Beethoven's Eighth Symphony: insights into the twentieth century”, Journal of Musical Science, vol. 9, no. 2, pp. 40–47.
DOI: 10.24412/2308-1031-2021-2-40-47.
FERRUCCIO BUSONI – BEETHOVEN'S INTERPRETER
B.B. Borodin
Abstract. The musician and thinker Ferruccio Busoni (1866–1924) is one of the key figures in piano performance at the turn of the 19th and 20th centuries. Therefore, the study of his approach to Beethoven seems relevant to the history and theory of the performing arts. Beethoven's works occupied a prominent place in the performing repertoire and editorial activities of the pianist, and became the subject of analysis and reflection in his published works. Busoni's view of Beethoven's work is based on a general aesthetic theory, which he outlined in the treatise Sketch of a New Aesthetics of Musical Art (1907). Music is considered in the treatise as a united, young and free from material conditions art, close to natural phenomena. Its spirit is constant, and its forms and means of expression depend on time. The future of music belongs to the “youthful classicism” (junge Klaßizität), designed to combine the achievements of previous eras in strong and beautiful forms; its prototype is the music by Mozart. In Beethoven's works, the most important for the future are moments of approaching “absolute music”, free from extra-musical content, conventional forms and features of instruments. Based on these attitudes, Busoni prefers the later works by Beethoven and criticizes his middle period, in which he sees the exploitation of previously found techniques.
Keywords: history of piano art, Ferruccio Busoni, literary heritage, Ludwig van Beethoven, “junge Klaßizität”, absolute music.
Conflict of interests. The author declares no conflict of interest.
For citation: Borodin, B.B. (2021), “Ferruccio Busoni – Beethoven's interpreter”, Journal of Musical Science, vol. 9, no. 2, pp. 48–61.
DOI: 10.24412/2308-1031-2021-2-48-61.
I.V. Kalatai, A.P. Nedospasova
Abstract. This article analyzes the key moments of collaboration between the soloist, conductor and orchestra using the example of the 5th Piano concerto by L. van Beethoven. The significance of this work in the historical development of the genre is emphasized; its innovative compositional features and ideological and figurative content contributed to the establishment of the conductor's profession and the emergence of a new perspective – the figure of the conductor-interpreter. The article highlights the issues of creating a holistic interpretation of this concert in an equal creative union of soloist, conductor and orchestra. Based on the performance experience of the author of this article, the problems that arise in the practical work on the score are identified: from the ensemble, articulation, and psychological points of view. The differentiation of the types of problems allows us to comment on their causes, identify similar types of difficulties in their principle, and suggest ways to successfully implement these fragments of the concerto score.
Keywords. Beethoven, collaboration soloist and orchestra, hammerklavier, piano concerts, Daniel Barenboim.
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Kalatai, I.V., Nedospasova, A.P. (2021), “Collaboration aspects of soloist with an orchestra using the example of the 5th Piano Concerto by L. van Beethoven”, Journal of Musical Science, vol. 9, no. 2, pp. 62–71.
DOI: 10.24412/2308-1031-2021-2-62-71.
ПЕРОТИН ВЕЛИКИЙ И МОДЕСТ МУСОРГСКИЙ – НЕОБЫЧНОЕ СОПОСТАВЛЕНИЕ
О. Бюзинг, Мальцева А.А. (пер.)
Abstract. С середины XV до последней трети XIX столетия в композиционной практике Европы был востребован принцип реального многоголосия, который предполагал достаточно четкую дифференциацию голосов в музыкальной фактуре (без парафонического движения параллельными интервалами, такими как прима, октава или квинта). Для того, чтобы подход к расмотрению перехода от ранней григорианской монодии к развитой контрапунктической полифонии XV в. был максимально дифференцированным, вводится понятие мелодического следа (melodische Spur), которое позволяет детально отличать друг от друга григорианскую монодию, образованную одним следом-линией, парафонию, образованную несколькими следами, но еще не являющуюся собственно многоголосной композиционной техникой, и контрапунктическую технику, предполагающую несколько следов-линий, фактически выраженных в реальном многоголосии. Однако до и после упомянутого периода реального многоголосия с его строгой регламентацией, балансирование между парафонией (расширившей одноголосие посредством параллельного движения следов-линий) и контрастной полифонией выступало в качестве художественного принципа. Так обнаруживаются точки соприкосновения кондукта окружения Перотина с начальной пьесой «Прогулка» из «Картинок с выставки» Мусоргского, поскольку в обоих произведениях присутствует названное выше чередование: этот художественный принцип, который используется, в том числе и в традиционной русской литургической музыке, может быть назван осцилляцией правил (Regeloszillation). Так пробрасывается мост сквозь почти 650 лет истории музыки, обнаруживая – при понимании всех отличий – общности в принципах организации.
Ключевые слова: парафония, мелодический след, реальное многоголосие, осцилляция правил как художественный принцип.
Конфликт интересов. Автор заявляет об отсутствии конфликта интересов.
Для цитирования: Бюзинг, О. Перотин Великий и Модест Мусоргский – необычное сопоставление / пер. А.А. Мальцевой // Вестник музыкальной науки. 2021. Т. 9, № 2. С. 72–90.
DOI: 10.24412/2308-1031-2021-2-72-90.
PIANO IMAGE IN THE WORK OF SERGEI OSKOLKOV
G.P. Ovsyankina
Abstract. The article is devoted to the characterization of the piano work of the modern St. Petersburg composer S.A. Oskolkov (1952). It is noted that it contains two figurative and genre lines: a lyrical philosophical miniature and a large-scale virtuoso composition, in the center of which there are eight sonatas. One of the central themes of the piano work by S.A. Oskolkov is due to the reflexion of the art of the Silver Age. This is confirmed by the analysis of the cycles Five Postludes, Four "ReMiniscences" "Comprehension of Truth" and Five Preludes. Among the traditions that have become a creative impulse are romance and symbolism. From Schumann and Liszt comes a tendency to dedication, subtle allusions of the musical language of highly revered composers - the lyrical heroes of Oskolkov, hidden programs. In Oskolkov's sonatas, connections with Scriabin's work are especially convincing. Parallels are drawn on aesthetic, compositional and expressive levels. The conclusion of the article concluded: through all the work by Oskolkov was the image of a romantic piano with elements of Scriabin symbolism. But Oskolkov does not turn to open romantic allusions, to quotation. These are hidden connections, veiled by the textural innovations of the last third of the twentieth century, nostalgia for the great sense of the past, as an unattainable dream.
Keywords: piano romanticism, Scriabin traditions, sonata interpretation, postlude, introverted thinking, controlled aleatorics, modern texture organization.
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Ovsyankina, G.P. (2021), “Piano image in the work of Sergei Oskolkov”, Journal of Musical Science, vol. 9, no. 2, pp. 91–98.
DOI: 10.24412/2308-1031-2021-2-91-98.
FEATURES OF GENRE INTERACTION IN MONO-OPERA ARTEM ANANYEV “SQUARING THE CIRCLE” (2013)
T.A. Belyaeva
Abstract. The active development of mono-opera today convincingly proves the relevance and vitality of the genre, and the emerging of new models and traditions that distinguish it from the samples of the so-called Soviet mono-opera of the 1960s–1970s determine the relevance of the research. Peculiarities of the development of the opera genre in musical art based on the works of A.V. Denisov and E.A. Prikhodovskaya at the present stage are considered. And the reference to the articles and statements of the author of the mono-opera under discussion by A. Ananyev allows to substantiate its dramatic and stylistic features, but most importantly – the nature of numerous mixed processes. The purpose of the study is to substantiate the aspiration of mono-opera, which leads to close interaction with other genres and increasingly leads it away from opera in the generally accepted understanding. The composers’ striving to realize the “attitudes” of mono-operas that have become classical (maximum concentration on the hero's personality, bringing subconscious reactions to the fore, studying clouded consciousness) leads them to new forms of expressing ideas: to the means of polygenre synthesis. All these lead to a mobile, but sophisticated use of means that influence the growth of meanings. A holistic analysis of opera as a research method allows us to state the fact that mono-opera convincingly proves its worth and draw conclusions about the significant potential of the genre.
Keywords: mono-opera, contemporary Russian mono-opera, genre interaction, polygenre synthesis, “Squaring the circle”, Artem Ananiev.
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Belyaeva, T.A. (2021), “Features of genre interaction in mono-opera Artem Ananyev «Squaring the circle» (2013)”, Journal of Musical Science, vol. 9, no. 2, pp. 99–112.
DOI: 10.24412/2308-1031-2021-2-99-112.
RHAPSODY K. DEBUSSY FOR SAXOPHONE WITH ORCHESTRA IN LIGHT OF THE EPISTOLARY HERITAGE OF THE COMPOSER
M.V. Kholodova, V.V. Chkourenko
Abstract. The article is devoted to one of the repertoire compositions of the 20th century french master K. Debussy – Rhapsody for saxophone and orchestra, which has not yet received a comprehensive understanding in russian musicology. Based on the analysis of the composer's epistolary heritage, with the involvement of a number of foreign sources, the history of the creation and further fate of the only saxophone opus K. Debussy is reconstructed. It was found out that this fate is largely dramatic – the amateur saxophonist E. Hall patiently waited for a long 17 years for her commissioned play, and for various reasons not fully known today, Rhapsody was in a “draft” form until the death of the master. The study concludes that despite the peripheries of a personal nature, the composition corresponds with the “surrounding” opuses on a figurative, intonation-thematic level (in particular, with the “Sea” cycle), represents the artistic and style dominants of the composer's work. It is assumed that the materials of the work will form a more complete idea of the page of the creative biography of K. Debussy, associated with Rhapsody, most popular among saxophonists around the world in the 20th-21st centuries.
Keywords: Claude Debussy, Elizabeth Hall, works for saxophone, French music of the 20th century.
Conflict of interests. The authors declare the absence of conflict of interests.
For citation: Kholodova, M.V., Chkourenko,V.V. (2021), “Rhapsody K. Debussy for saxophone with orchestra in light of the epistolary heritage of the composer”, Journal of Musical Science, vol. 9, no. 2, pp. 113–121.
DOI: 10.24412/2308-1031-2021-2-113-121.
THE RHAPSODY FOR ORCHESTRA AND SAXOPHONE BY CLAUDE DEBUSSY EDITED BY VINCENT DAVID
V.A. Mikhno
Abstract. The Rhapsody for orchestra and saxophone commissioned by the American saxophonist Elise Hall to Claude Debussy was presented as a score's sketch to the publisher Jacques Durand in 1904 and was completed by Debussy’s friend Jean Roger-Ducasse in 1918. The incompleteness of the piece, the moderate use of the saxophone and the technical complexity of the piano part of the Durand's edition became the reason for its unpopularity with performers. The version of Ernest Ansermet with an extended role of the saxophone which appeared in the first third of the 20th century received mixed reviews and criticism, and now orchestras are more likely perform the Roger-Ducasse’s version. In cases of performing the Rhapsody with piano, transcriptions in which the saxophone plays a large role in the presentation of musical material are popular. They have been actively created since the last third of the 20th century. The material of the article was an edition of the French saxophonist Vincent David (Editions Henry Lemoine, Paris, 2001). The article provides information about the history of the Rhapsody’s creation, a comparative analysis of the orchestral score and arrangements for saxophone and piano by Jean Roger-Ducasse, the edition of Jacques Durand, arrangement for saxophone and piano by Vincent David. As a result of the analysis of the editions, the methods of work that David uses to increase the role of the saxophone in the presentation of musical material are revealed.
Keywords: rhapsody, edition, arrangement, saxophone.
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Mikhno,V.A. (2021), “The Rhapsody for orchestra and saxophone by Claude Debussy edited by Vincent David”, Journal of Musical Science, vol. 9, no. 2, pp. 122–132.
DOI: 10.24412/2308-1031-2021-2-122-132.
FRENCH HARP MUSIC IN THE REPERTOIRE OF RUSSIAN HARPISTS
N.N. Pokrovskaya
Abstract. For 300 years, the peculiarities of the development of the art of playing the harp in France were reflected in the manner of playing and the repertoire of Russian harpists. Since the middle of the XVIII century, in the era of classicism and the formation of the aesthetics of romanticism, there was a rapid rise in the harp art of France, which by the beginning of the XIX century had become a leader in this field of music. Russian harpists, recognizing the role of the Paris school, managed to overcome their dependence on its influence by creating an original style of playing the harp. The changes in the production principles did not affect the fate of the repertoire written for the harp of the Gochbrucker system. It was created by the great French harpists J.K. Krumpholtz, J.B. Cardon, F.J. Naderman, R.N.S. Boks, and has retained its artistic value to this day. The crisis of the Paris school of the mid-19th century affected the harp art of both Europe and Russia. The harp has descended to the role of a salon, female instrument, and the music for it – to the level of amateur accompaniment. From a solo, virtuosic instrument, it became an orchestral instrument, an orchestral paint to imitate the sound of a guitar, lute, or mandolin. Overcoming the crisis is associated with the name of A. Hasselman, the creator of the modern Parisian harp school. He brought up a galaxy of virtuoso harpists and composers – G. Rainier, M. Tournier, L. Laskin, P. Zhame. Salcedo. Their skill became the standard of performance on the harp of the S. Erara system, and their compositions were included in the golden fund of the concert repertoire of harpists. Their creative achievements helped to arouse interest in the harp among professional composers: C. Saint-Saens, G. Faure, C. Debussy, M. Ravel, "Six", whose opuses are constantly heard at concert venues around the world (including in Russia) and are included in the programs of International harp competitions.
Keywords: France, Parisian harp school, J.K. Krumpholtz, R.N.S. Boks, Russia, Moscow harp school, Lenten Seasons repertoire, musical Impressionism, "Six", modern harp repertoire.
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Pokrovskaya, N.N. (2021), “French harp music in the repertoire of Russian harpists”, Journal of Musical Science, vol. 9, no. 2, pp. 133–141.
DOI: 10.24412/2308-1031-2021-2-133-141.
D.V. Kazantseva
Abstract. The hymnographic complex dedicated to St. Philip, Metropolitan of Moscow and All Russia, is a rather complex system due to the variety of existing lists of services. This article examines the notated lists of hymns of the service to St. Philip, found in the funds of the State Archives in Tobolsk and SPSTL SB RAS (collection of M.N. Tikhomirov), gives a brief archaeographic description of the manuscripts that include them. The main section of the article is devoted to the question of the number of musical editions of the service to St. Philip on the basis of a musical and textological analysis of six early copies from the above Siberian collections, as well as from the funds of the NLR (collections of the Solovetsky and Kirillo-Belozersky monasteries, Capella) and the RSL (collection of D.V. Razumovsky), dating from the second half of the 17th – early 18th centuries. The material for the musical analysis was the four chants available in all the lists - the slavs stichera on "Gospodi vozzvah", on the verse and litia of the Great Vespers and the stichera on the 50th Psalm of Matins. In the course of the study, two independent musical works were identified – conditionally "Moscow Service" and "Solovetskaya Service", each of which has singing editions and / or variants, as well as two special editions.
Keywords: Saint Philip Metropolitan of Moscow, znamenny chant, hymnographic complex, hymns, singing editions.
Conflict of interest. The author declares the absence of conflict of interest.
For citation: Kazantseva, D.V. (2021), “«Siberian» lists of the service to St. Philip, Metropolitan of Moscow and the question of the number of its musical editions”, Journal of Musical Science, vol. 9, no. 2, pp. 142–154.
DOI: 10.24412/2308-1031-2021-2-142-154.
P.I. TCHAIKOVSKY. “ALL-NIGHT VIGIL”: CONTEXTS OF PERCEPTION OF SYMBOLS AND ARCHETYPES OF SACRED TIME
I.P. Kladova
Abstract. This article is devoted to the study of the actual problems of Russian Orthodox sacred music on the basis of psychological, archetypal analysis of the musical liturgical text and the historical and cultural context. The peculiarities of the embodiment and perception of symbols and archetypes of the sacred time of Russian spiritual chants are examined in the article on the example of the cycle of “All-night Vigil” by P.I. Tchaikovsky. The concepts of archetype and symbol are considered in a complex way, from the point of view of the analysis of philosophy, theological works, the epicenter heritage of the composer, psychology, musicology, the application of the archetypal method in the context of the study of liturgical choral creativity is justified. On the example of the composer's work, the sacred conceptual archetype and the symbol of “infinite time” – eternity, expressing the Orthodox ideas of “angelic”, Godinspired singing, are highlighted. The role of conceptual archetypes as the basis of Orthodox liturgical thinking, participating in the formation of the liturgical canonical cycle, which influenced the work of P.I. Tchaikovsky, is noted. The spiritual, transcendent, and immanent character of perception-thinking is particularly distinguished (according to V.V. Medushevsky), which manifests itself at different levels of the embodiment of the sacred, continuous “timeextension”, reflecting the divine archetype of “infinite time” - eternity. The author analyzes the sacred images-standards, “ethos of voices”, the main metrorhythmic properties of the archetype of “infinite time-eternity” in the spiritual chants of the composer (O. Spengler, P. Florensky).
Keywords: Russian spiritual music, Orthodox culture, liturgical creativity, P.I. Tchaikovsky, All-night vigil, music perception, archetypal analysis of the text and context, conceptual archetype, symbol of time-eternity, musical-semantic content.
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Kladova, I.P. (2021), “P.I. Tchaikovsky. «All-night vigil»: contexts of perception of symbols and archetypes of sacred time”, Journal of Musical Science, vol. 9, no. 2, pp. 155–168. DOI: 10.24412/2308-1031-2021-2-155-168.
ASPECTS OF DIEGESIS IN UNDERSTANDING THE STRUCTURE OF MUSICAL CONTENT MODERN VIDEO GAMES
A.A. Nekrasov
Abstract. Despite the associations that the word "video games" evokes, this type of art has the properties of both a visual object and a sound object. This article examines the relationship between the structure of the musical content of video games, through the prism of diegesis. Currently no doubt about the fact that the music of video games is an important area of musical art and is a significant part of the auditory experience of modern human (often using music of a game he meets with existing art music styles and techniques of composition). But, despite the great importance of the musical row in the gameplay, the comprehension of this dimension of the video game industry has become an independent branch of musicology relatively recently – primarily in those countries where there is a distinction between the professions of film composer, academic composer and composer of the game industry. The results of the studied works on this topic allow us, first of all, to determine the contribution and limitations of cinematic and narratological theories in understanding the role of musical accompaniment in video games. However, the playful nature requires a new, complementary theoretical approach that will guide research in this area.
Keywords: video games, musical accompaniment, diegesis, musical content, non-geographic interactive music, adaptive music, diegetic music.
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Nekrasov, A.A. (2021), “Aspects of diegesis in understanding the structure of musical content modern video games”, Journal of Musical Science, vol. 9, no. 2, pp. 169–175.
DOI: 10.24412/2308-1031-2021-2-169-175.
O.A. Svetlova
Abstract. In this article, the history of Siberian music criticism and journalism is stated as an independent object of critical study. The aim is to identify the main problematic aspects of the study, among which the main one is the specifics of Siberian music criticism and journalism, the periodization of its development in line with this all-Russian artistic phenomenon. The author draws attention to the contradiction that still exists between the rich Siberian musical and critical heritage presented in the periodicals of the historical and cultural centers of Siberia – Tomsk, Tomsk, Omsk, Irkutsk, Krasnoyarsk, Novosibirsk – and the still insufficient and unequal degree of its study in the perspective of “criticism through the prism of culture”. It is stated that there is no panoramic research in the field of the history of Russian and regional music criticism and journalism, as well as the research of local periodicals that played their main role in the formation of music-critical activity. A number of issues are outlined, the solution of which will allow us to identify trends in the development of music-critical heritage in Siberian periodicals, regional factors that are not typical for European criticism, and to trace the dynamics of the development of the genre system of music-critical publications. The article emphasizes the relevance of the work, which consists in the urgent need to study regional music-critical journalism as a historical phenomenon that acts as a mirror of the cultural level of society, not only fixing, but also transmitting and regulating the moral and aesthetic values of a certain historical era.
Keywords: music criticism and journalism, critical studies, musical culture of Siberia, regional periodicals.
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Svetlova, O.A. (2021), “The history of Siberian music criticism and journalism in regional periodicals: to the problem statement”, Journal of Musical Science, vol. 9, no. 2, pp. 176–183.
DOI: 10.24412/2308-1031-2021-2-176-183.
NOVOSIBIRSK REGIONAL VOCAL SCHOOL AS AN ESTABLISHED PHENOMENON
M.N. Drozhzhina, V.V. Ditenbir
Abstract. In this article (based on a preliminary theoretical understanding of the phenomenon of the vocal school), an attempt is made to substantiate the hypothesis: to date, a vocal performing school has formed in Novosibirsk in its regional version, which has the following necessary parameters: vocal performance is localized in the regional cultural space; it develops in line with its own artistic, chronological and pedagogical paradigm, ensured by the continuity of traditions; there is a successful broadcast of achievements outside the region. Historical and theoretical analysis of the conditions for the formation of the phenomenon, namely: the construction in a young cultural and scientific-industrial center of the country's largest opera house with a very large stage and hall; the formation of the pedagogical component (the opening of the conservatory with the department of solo singing, provided with highly professional personnel) in the harsh climatic conditions for vocal activity, made it possible to draw conclusions about the consistency of the stated hypothesis. It is shown that the specificity and interdependence of the above criteria ensure the uniqueness of the appearance of the Novosibirsk vocal school. It is characterized by reliance on the traditions of Russian vocal schools, focus on overcoming problems associated with regional specifics (negative climatic factor and the characteristics of the stage and hall of the Novosibirsk theatre). The indicator of the formation of the Novosibirsk regional vocal school is the broadcast and recognition of its achievements outside the region.
Keywords: regional vocal school, vocal performance, Siberia, Novosibirsk Conservatoire, solo singing department, Novosibirsk Opera House.
Conflict of interests. The authors declare the absence of conflict of interests.
For citation: Drozhzhina, M.N., Ditenbir, V.V. (2021), “Novosibirsk regional vocal school as an established phenomenon”, Journal of Musical Science, vol. 9, no. 2, pp. 184–196.
DOI: 10.24412/2308-1031-2021-2-184-196.
INFLUENCE OF TONE ON REGIONAL STYLISTIC FEATURES OF CHINESE ART SONG
Zeng Qiang
Abstract. Vocal art is the art of combining music and language. Songs are based on language, and the artistic concept, characters, thoughts and feelings in them must also be expressed through language. Language is the basis of singing, singing is a sublimation of language, and the position of language in vocal music is self-evident. The question of tones in Chinese is of great relevance: the tone in Chinese is phonemic, so changing the pitch (or contour of the tone) of a word can dramatically change its meaning. Chinese art songs are one of the most striking examples of transformations taking place in the Chinese language during the twentieth century, because they reflect not only regional transformations related to dialect features, but also the external Western influence of composing practices. The purpose of this article is to study the tonal differences between Cantonese and Mandarin in Chinese. Different regions, different geographic environments, different humanities and language habits will have different singing voices. The author comes to the conclusion that it is the differences in tone that play a huge role when listening, since they determine the semantics and style of Chinese art songs.
Keywords: tone in Chinese, Chinese art songs, style of Chinese songs, semantics of Chinese songs, Western influence.
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Zeng Qiang (2021), “Influence of tone on regional stylistic features of Chinese art song”, Journal of Musical Science, vol. 9, no. 2, pp. 197–207.
DOI: 10.24412/2308-1031-2021-2-197-207.
S.G. Tosin
Abstract. In the Kaliningrad region, Russian Orthodoxy has no long-standing spiritual traditions. The Orthodox Church appeared here only in the post-Soviet period. Finding out how this affected the local Russian bell instruments is the main goal of this work. This article is the first one devoted to this topic. Its main tasks are: a) to identify Kaliningrad Orthodox bell architectural structures; b) to identify the constructive and technical features of the local diocesan zvonnitsas. The study revealed that not all types of Russian bell buildings function in the Kaliningrad Metropolitanate. There are ward and ground zvonnitsas, as well as polygonal belfries, but there are no wall zvonnitsas and round belfries. The quality of the zvonnitsa depends on the placement of the bells on the ringing tier and the design of its mechanical transmission system. Studies of local instruments have shown that this is not done well everywhere. This is found everywhere in Russia, not only in the Kaliningrad region. The author believes that there are more similarities than differences between the zvonnitsas’ instruments of this region and other Russian territories. It is possible that standard constructive solutions, typical of zvonnitsas in other regions of Russia today, are being replicated in its Baltic region. At the same time, just like everywhere else, here each of the zvonnitsas has its own individuality. This means that the bell instruments of the Kaliningrad Metropolitanate have a property wich is characteristic of the Russian Orthodox zvonnitsa – constructive multivariance.
Keywords: zvonnitsa, belfry, bell, chime, bell ringer.
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Tosin, S.G. (2021), “Constructional features of the zvonnitsas of the Kaliningrad metripolitanate of the Russian orthodox church”, Journal of Musical Science, vol. 9, no. 2, pp. 208–217.
DOI: 10.24412/2308-1031-2021-2-208-217.
M.M. Badyrgy, E.K. Karelina
Abstract. The article highlights the activities of the executive authorities of the Republic of Tyva on the issues of preserving and developing the traditions of Tuvan throat singing (xöömei), including: state documents, institutional results, public initiatives. The rapid development of the throat singing art in modern Tuva raises the problem of the adequacy of the cultural policy. Special attention is paid to the project "Koshkun xöömei", launched in 2014, which has not received scientific understanding yet. The project is a series of competitions among the performers of the Tuvan xöömei in the municipalities of Tuva – kozhuuns (districts). The research is based on culturological approaches. The purpose of the article is a multi-faceted analysis of the activities being carried out, with the revealing of the positive aspects of this practice, and also the shortcomings for further improvement of the state cultural policy in the Republic of Tyva. Analysis of publications in the media on this topic, the results of a survey of organizers and participants, taking into account the opinion of the population allowed us to make a general conclusion about the effectiveness of the measures taken by the Government of the Republic of Tyva. At the same time, experts have noted alarming trends that threaten the loss of authenticity and leveling of local specifics in the development of the Tuvan Xöömei. It is concluded that Tuva's cultural policy should be improved based on the scientific foundations.
Keywords: cultural policy, the Republic of Tyva, Tuvan throat singing xöömei, xöömeiists, "Koshkun xöömei", competitions.
Conflict of interests. The authors declare the absence of conflict of interests.
For citation: Badyrgy, M.M., Karelina, E.K. (2021), “Modern cultural policy of Tuva on preserving the traditions of throat singing (based on the project «Koshkun хӧӧmei»)”, Journal of Musical Science, vol. 9, no. 2, pp. 218–232.
DOI: 10.24412/2308-1031-2021-2-218-232.
