THE ESSAY "WHAT BEETHOVEN GAVE US?" BY FERRUCCIO BUSONI
B.B. Borodin
Abstract. The figure of the musician and thinker Ferruccio Busoni (1866–1924) occupies a special place in the history of piano art. The relevance of studying the theoretical works by this Italian musician is determined from the scale of his personality and his inherent innovative approach to musical performance. However, a significant part of his richest ideological heritage has not yet been translated into Russian. The essay “What Beethoven Gave Us?” (“Was gab uns Beethoven?”), written in November 1920, is a literary tribute to the great composer. Busoni included this text in his last book “Von der Einheit der Musik” (“On the Unity of Music”, 1922). The commented translation of the essay presented in this publication aims to acquaint Russian musicians with the original concept of Beethoven's work, which belongs to the outstanding master of the performing arts. Busoni considers the anticipation of the future to be the most valuable in Beethoven's work – the originality of architectonics, moments of approaching "absolute music", free from non-musical content.
Keywords: history of piano art, Ferruccio Busoni, literary heritage, Ludwig van Beethoven, composer style.
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Borodin, B.B. (2021), “The essay «What Beethoven gave us?» by Ferruccio Busoni”, Journal of Musical Science, vol. 9, no. 3, pp. 5–12.
DOI: 10.24412/2308-1031-2021-3-5-12.
E.I. Porizko
Abstract. This article is devoted to highlighting the creative intersections in the lives of two outstanding German composers F. Mendelssohn-Bartholdi and G. Meyerbeer. The impetus for the analysis and comparison of facts from the life and work of the composers was a common quote for the two authors from the Lutheran choral "Ein' feste Burg ist unser Gott", which in the case of Mendelssohn and his deep knowledge of the German Lutheran tradition seems to us quite natural, while Meyerbeer's appeal to her attracts research interest. At the same time, we tried to chronologically restore communication between the two musicians, starting with their acquaintance in Berlin and ending with the death of Mendelssohn. In our study, we trace the links between the Reformation Symphony and the opera "Huguenots" of these two authors, respectively. The main research was based on primary sources: diaries and letters of composers, as well as documents of the era, such as the agreement between Meyerbeer and the theater management. The study leaves the question of Meyerbeer's possible borrowing of Mendelssohn's ideas open, but gives possible directions for further research both in the field of musicology and copyright.
Keywords: sonata form, Symphony, Reformation, Augsburg Confession, Giacomo Meyerbeer, Hugenotten, Martin Luther, Felix Mendelssohn Bartholdy, Choral.
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Porizko, E.I. (2021), “Mendelssohn and Meyerbeer: to the question of creative crossing of two composers through the prism of choral «Ein` feste Burg ist unser Gott» quote”, Journal of Musical Science, vol. 9, no. 3, pp. 13–28.
DOI: 10.24412/2308-1031-2021-3-13-28.
PLAINS CONCEPT AND IMPLEMENTATION IN EARLY SYMPHONIES BY NIELS WILHELM GADE
E.A. Khoniakina, O.A. Svetlova
Abstract. This article actualizes the issue of studying the symphonies of the Danish romantic composer Niels Wilhelm Gade (1817–1890) through the prism of the national style, implying the refraction in his music of the features of the original Scandinavian and Danish folk art. Hypothesis of research indicated by the concept of "the plain" as the fundamental quality of the Danish national mentality. The author draws attention to the existence of significant differences between the concepts of Nordic (Scandinavian) style and locally Danish, and also points out the close relationship of these phenomena. A historical and cultural panorama of Denmark in the XIX century created, in the context of which the emergence of the concept of "the plain" as a manifestation of national self-consciousness of the Danes. A special relationship established between the ethnonym "Danes" and the position of "the plain". Examples are given from the literature and painting of Denmark in the era of romanticism, where the proposed concept is implemented. The first and second symphonies of Gade are considered from the point of view of the embodiment of national components in them at the figurative-content and musical-stylistic level, the scaldic compositional techniques, thematic connections with folklore material revealed. It is concluded that the idea of "the plain" and expressive picturesqueness – a natural symphonic credo of Gade.
Keywords: Scandinavia, Denmark, Gade, romanticism, symphony, Nordic style, "the plain".
Conflict of interests. The authors declare the absence of conflict of interests.
For citation: Khoniakina, E.A., Svetlova, O.A. (2021), “Plains concept and implementation in early symphonies by Niels Wilhelm Gade”, Journal of Musical Science, vol. 9, no. 3, pp. 29–42.
DOI: 10.24412/2308-1031-2021-3-29-42.
E.O. Predvechnova
Abstract. The article presents for the first time the analysis-interpretation of the "Sonatareminiscenza" a-moll, op. 38, № 1 by N.K. Medtner at five stages of semantic approach: programmatic, structural-genre invariant, composition, thematicism, interpretation of symbolic images. At the first stage, the features of the symbolic program associated with the phenomenon of memory and expressed in the modes of the present and past tense. The article assumes that at the level of extramusical semantics, images-symbols of time and eternity reflect two facets of N.K. Medtner's romantic worldview, expressed in the dialogue between the author and the hero. At the second stage, the author of the article determines the specificity of the interpretation of the heat invariant and the concept of the Sonata – “The Man Recollecting” and the sphere of lyrical images-symbols. At the third stage, on the basis of musical semantics, the analysis of the dramaturgy and composition of the one-part Sonata, due to the romantic poetry of the composer's thinking. The intonation-semantic connection between the “Sonatareminiscenza” and the rest of the plays of the cycle “Forgotten Motives”, op. 38. At the fourth stage, the peculiarities of the intramusical semantics, associated with the refrain of the theme of memories, which is the leitmotif of the entire work of N.K. Medtner. At the fifth stage, are studied the peculiarities of the performing interpretation by E. Svetlanov (classical type) and E. Kisin (romantic type), revealing different facets of the content of the “Sonata-reminiscenza”.
Keywords: N.K. Metner, Sonata-reminiscenza, semantic analysis-interpretation, symbolic image, structural-semantic genre invariant.
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Predvechnova, E.O. (2021), “Semantic analysis-interpretation on example «Sonatareminiscenza» a-moll, op. 38, no. 1 by N.K. Medtner”, Journal of Musical Science, vol. 9, no. 3, pp. 43–51.
DOI: 10.24412/2308-1031-2021-3-43-51.
«CITY LIFE» BY S. REICH: TO THE PROBLEM CITY AS A METAPHOR
A.V. Vanchugov
Abstract. Contemporary academic composer's art is a complex creative and intellectual process of artistic activity, consisting of a multidimensional interaction of ideas, tasks, meanings. Each author strives to create a unique opus, often incorporating an allegorical component into it, which requires a conceptual approach to its interpretation. When analyzing such works, it is necessary to form an idea of an expanded (“moving”) metaphor – a multi-stage display of an image that is not given holistically in sensory experience, but only vector designating a certain semantic space. As a result, it becomes possible to reveal the actual modernity of the topic aimed at understanding the essence of the life of a person, society, state, and the world as a whole. The relevance of the study is due to the lack of analytical material on the composition of S. Reich “City Life” (1995) and the possibility of its consideration in the context of the broader topic “City as a metaphor in musical art at the turn of the XX–XXI centuries”, reflecting, in turn, current research trends in various fields of humanitarian knowledge. The purpose of the study is to comprehend the urban metaphor of the “City-metropolis”, which is an expression of knowledge and understanding of the realities of life of mankind living in the modern “stone jungle”. The methodological base is based on a holistic musicological analysis using a new metaphorical method (approach) that allows one to discover hidden connotative meanings. As a result, a multi-layered and versatile presentation of the concept becomes possible, in which the City is the embodiment of the idea of the tragic existence of mankind.
Keywords: City as a metaphor, Stephen Reich, Ludwig Wittgenstein, postminimalism, “City Life”.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Vanchugov, A.V. (2021), “«City Life» by S. Reich: to the problem City as a metaphor”, Journal of Musical Science, vol. 9, no. 3, pp. 52–62.
DOI: 10.24412/2308-1031-2021-3-52-62.
SONG AS INSTRUMENTAL GENRE IN PIANO MUSIC FOR CHILDREN BY N.P. RAKOV
O.I. Porizko
Abstract. The article talks about the role of the Song as an instrumental genre in piano music for the children of the Russian composer of the 20th century N.P. Rakov. The Krat history of the formation of the genre from European piano music of the 19th century can be traced, starting with the work of F. Mendelssohn and R. Schumann, as well as the Norwegian composer E. Grieg, to the work of Russian composers of the late XIX–XX centuries: P.I. Tchaikovsky, S.V. Rachmaninov, N.K. Metner. A special place is noted in the development of the Instromental Song genre in the work of domestic composers who devoted their lives to creating a children's repertoire, including A.F. Gedike, D.B. Kabalevsky and N.P. Rakov. Examples of comparison of fragments of miniatures of this genre are given both in the works of Russian composers A.F. Gedike and N.P. Rakov. The connection of children's music of A.F. Gedike, D.B. Kabalevsky, N.P. Rakov with folk origins is shown. A fractional analysis of the previously unexplored works of this genre of pedagogical repertoire by N.P. Rakov was made: g-moll songs and the play "Rye Spikes," which are plays for high school students. The role of work with students on compositions of this genre in the process of forming the personality of a young musician in national traditions is noted.
Keywords: N.P. Rakov, reliance on folklore, song as an instrumental genre, history of the genre, song in European music, song in Russian music, song in children's music by N.P. Rakov.
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Porizko, O.I. (2021), “Song as instrumental genre in piano music for children by N.P. Rakov” Journal of Musical Science, vol. 9, no. 3, pp. 63–73.
DOI: 10.24412/2308-1031-2021-3-63-73.
ATTRIBUTES OF THEATRICALITY IN PIANO MUSIC
D.A. Ivacheva
Abstract. The article examines the theatricality phenomenon as an interspecies aesthetic category. This work reveals the content of the concept of theatricality in piano music from the point of view of theatrical attributes. The main part of the research is a description of the attributes of theatricality, which allow us to talk about the spectacularity and effectiveness in the art of piano. Particular attention is paid to character, picturesque and specificity as the embodiment of objectivity, spatiality, individuality, concreteness, and portraiture in music. Based on the analysis of piano works from S.S. Prokofiev's ballets, it has been established that the embodiment of the characters of literary primary sources is significantly enriched through music. Much attention is paid to the eventfulness that contributes to the presentation of stage action in the art of piano. An attribute of the game that realizes the feeling of duality is indicated: real and ideal plans. The attribute of contrast is determined from the side of the character's relief, spatial sensation in music. In conclusion, the place of the attribute of convention is specified, which is overcome by means of musical expressive means. The author also draws attention to the attribute of hyperbolization as an integral part of theatricality. The idea is substantiated that the penetration of theatricality into piano music contributes to the systemic unity of means of expression. This problem has been little studied and requires further research.
Keywords: theatricality, piano music, theatrical attributes, personality, picturesqueness, specificity, game element, eventfulness, contrast, convention, hyperbolization.
Conflict of interests. The author declaresz the absence of conflict of interests.
For citation: Ivacheva, D.A. (2021), “Attributes of theatricality in piano music”, Journal of Musical Science, vol. 9, no. 3, pp. 74–83.
DOI: 10.24412/2308-1031-2021-3-74-83.
ABOUT THE PLASTIC “GENOME” IN THE PIANO METHOD OF V.I. SLONIM
V.V. Budnikov
Abstract. The article considers one of the performing tasks (the problem) solved by the piano method of Vissarion (Iser) Isaakovich Slonim – plastic “sculpting” of intonation. Slonim, being a direct successor of the traditions of the piano school of T. Leshetitsky – A. Esipova, accepted and preserved the idea of “progressive conservatism”, which is based on an integral motor “genome”, laid down by the pedagogy of K. Cherni. The methodological principles of the pianist’s interpretation of the composer’s text, applied by Slonim, demonstrate a fundamentally new view on the formation of performing plasticity, which is “laid” by separate technical details and is determined by the intonation process. Attention to the internal, “muscular” sensations gives grounds to apply a synаesthetic approach to their analysis. The scientific novelty of the article is to identify the connections of the proprioceptive sensory perception of the performing process with the tactile representations of the pianist based on the polysensory mechanism of internal perception of “deep intonation”. Gravitational and kinesthetic vectors of proprioception, formed mainly by musical intonation, modal and metric gravitations, are undoubtedly the main regulators of the pianist’s tactile representations. These vectors, through the mechanism of tactile-proprioceptive synesthesia, influence the creation of “sculptural casts” of the texture, which is individual not only within the framework of the composer’s style, but also within the framework of a single work. The plastic “genome”, determining the originality of a certain type of texture, reveals non-verbal information about the creative method of the composer and is an additional aspect of the synaesthetic attribution of the composer’s text.
Keywords: Novosibirsk piano school, V.I. Slonim, piano method, the pianist’s performing apparatus, tactile-proprioceptive synaesthesia, plastic “sculpting” of intonation.
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Budnikov, V.V. (2021), “About the plastic «genome» in the piano method of V.I. Slonim”, Journal of Musical Science, vol. 9, no. 3, pp. 84–93.
DOI: 10.24412/2308-1031-2021-3-84-93.
SYNESTHESIA AS A GENERAL AESTHETIC CATEGORY AND ARTISTIC UNIVERSAL
S.V. Konanchuk
Abstract. The article examines the crisis phenomena in modern aesthetic theory associated with the processes of virtualization and general aestheticization of modern art culture. The growing processes of derealization of being and the multiplicity of perception of reality indicate the emergence of a new type of aesthetics, the range of problems of which and methods of resolution can be determined on the basis of the synesthetic paradigm, while synesthesia can be considered as one of the actual universals of aesthetics. The article identifies the main types of ideas about synesthesia based on the generalization of modern approaches to the study of this phenomenon. In addition, the article examines the aesthetic role and functions of synesthesia in modern art culture and art. The article also analyzes the issues related to the influence of virtual reality on the processes of formation of new forms of sensuality, related to the strengthening of the phenomena of synthesis and synesthesia in modern art culture. The Siberian school of musical synesthetics is considered as an avant-garde direction in modern aesthetics, in which there are no crisis phenomena, and the development of the theory is carried out synchronously with the emergence of new artistic practices. A significant achievement of musical synesthetics is the development of a methodology for the analysis and interpretation of musical works related to the sphere of "non-classical sound space".
Keywords: aesthetics, categories of aesthetics, art culture, synesthesia, synthesis of arts, musical art.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Konanchuk, S.V. (2021), “Synesthesia as a general aesthetic category and artistic universal”, Journal of Musical Science, vol. 9, no. 3, pp. 94–100.
DOI: 10.24412/2308-1031-2021-3-94-100.
A.S. Kalibayeva
Abstract. The article deals with the problem of the universalism of the composer-performer’s creative personality, which rarely becomes the subject of a separate study. At the beginning of the 21st century, different types of creative personalities have developed in a ramification of Kazakhstan’s composer tradition: composers oriented towards national culture, towards Western academicism, and authors of a mixed orientation. Many musicians harmoniously combine performing, composing, teaching, research, organizational, leadership, and other talents. Concerning the forms of creative activity, universalism seems to be an intrinsic property of a professional musician in any ethnic tradition, in mass art, and in Western music until the 18th century. In modern conditions, musician’s self-realization in various qualities again becomes relevant. Expanding the field of creative self-expression gives impetus to the manifestation of innovative thinking. Through analysing the multifaceted activities of individual personalities within the Kazakhstan’s musical culture, it becomes obvious that they developed due to versatility and flexibility, both personally and professionally. Combined artistic means of two traditions (ethnic and modern westernized composer) reflects the universalism of style. Multidimensional self-realization (composer-performer-teacher) contributes to greater demand and a successful career as a musician. Depending on historical conditions, the universalism of style and creative self-realization manifested itself in different ways at different development stages of the national composition school.
Keywords: universalism in creativity, composers of Kazakhstan, composer-performer, creative personality.
Conflict of interest: The author declares the absence of conflict of interest.
For citation: Kalibayeva, A.S. (2021), “Composer-performer in contemporary art of Kazakhstan. To the issue of the universalism of creative personality”, Journal of Musical Science, vol. 9, no. 3, pp. 101–109.
DOI: 10.24412/2308-1031-2021-3-101-109.
S.A. Aizenshtadt, Zeng Yao
Abstract. The article reveals the methods of popularization of the outstanding Chinese pianists Yin Chengzong and Liu Shikun, carried out by information and educational publications of the People's Republic of China in the period from the mid-90s of the XX century to the end of the second decade of the XXI century. It is shown that the formed images correspond to the typological characteristics of the spiritual leader-hero. The heroization of leadership images is based on the basic values of the national mentality, among which devotion to state interests and the universalism of the individual are emphasized, understood as the unique versatility of the creative potential realized in serving the people. Yin Chengzong appears as a fighter against the persecutors of the piano in the era of the "Cultural Revolution" and at the same time – a model of law-abidingness and loyalty to the State, and also defends the idea of Sinification of the piano. Liu Shikun is the embodiment of a universal personality and a hero who remained loyal to the Motherland and the supreme power in the hardest trials. The article is relevant in terms of understanding the patterns of development of Chinese piano culture and for understanding aspects of the state policy of the People's Republic of China, aimed at promoting national and state values.
Keywords: China, piano, leader, Yin Chengzong, Liu Shikun.
Conflict of interest. The authors declare the absence of conflict of interest.
For citation: Aizenshtadt, S.A., Zeng Yao (2021), “Popularization of national pianists in information and scientific and educational publications of the People's Republic of China”, Journal of Musical Science, vol. 9, no. 3, pp. 110–120.
DOI: 10.24412/2308-1031-2021-3-110-120.
ETHNIC AND NATIONAL BEGINNING IN THE PIANO WORKS OF ZHANG ZHAO
Tan Xuyuan, S.A. Mozgot
Abstract. The article analyzes the ethnic and national characteristics of the composer's musical language using the example of Zhang Zhao's three piano pieces "Mei Niang," "Chinese Dream" and "Ailao Rhapsody". The purpose of the study is to establish the factors contributing to the creation of the national character of Zhang Zhao's music in the context of the prevalence of Western European foundations of composition. As a result of the study, it is proved that the essence of the Chinese national style in the work of Zhang Zhao is determined by the subtle incrustation of individual musical techniques of specific ethnic groups. The predominance of linear, melodic development, both in the organization of texture (sonoristic layers) and harmony (the inclusion of non-chord sounds, the use of linear harmony) is inherent in the peoples of the I group; imitation of the sounds of Chinese bells is typical for the music of the Tibeto-Burmese peoples; reproduction of grace, grace notes, quarter-fifth bourdon accords, rattling effect, special timbral sonority of the high register in the dynamics of p conveys the characteristic sound of guqin – an instrument popular among the peoples of Han and I. At the same time, reproduction of characteristic techniques of playing the pipa is characteristic of many regional practices in central China. When processing folk melodies and creating original compositions, the composer deliberately preserves the musical characteristics of a particular area and the cultural traditions of a particular ethnic group in China. On the example of the analysis of piano works, it is proved that the national style in the composer's piano works is created by the multiethnic interaction of characteristic musical features inherent in different ethnic groups of China.
Keywords: Zhang Zhao, ethnic, national, multicultural, Mei Niang, Chinese Dream and Ailao Rhapsody.
Conflict of interest: The authors declare the absence of conflict of interest.
For citation: Tan Xuyuan, Mozgot, S.A. (2021), “Ethnic and national beginning in the piano works of Zhang Zhao”, Journal of Musical Science, vol. 9, no. 3, pp. 121–131.
DOI: 10.24412/2308-1031-2021-3-121-131.
PERFORMANCE FEATURES OF CHAMBER-VOCAL WORKS BY MODERN CHINESE COMPOSERS
Yang Xiao dong
Abstract. This article is devoted to the performance characteristics of chamber vocal works by contemporary Chinese composers. The purpose of the work is to identify the peculiarities of the process of mastering this genre of vocal music, as well as analyze possible methods of overcoming performing difficulties, based on the understanding of the specifics of chamber vocal music by contemporary Chinese composers. The article also identifies and describes the main genre features of art songs and romances by modern Chinese composers, which are mandatory for the creation of a performing interpretation. The author examines the existing methods of Chinese vocal teachers (Li Er Yong, Yang Bo), the main principles of which are aimed at understanding the specifics of chamber vocal works of modern Chinese composers (art song, romance), as well as on understanding the performing tasks facing vocalists. The importance of a systematic approach in the practice of studying the peculiarities of chamber vocal works by vocalists (the interaction of poetic lyrics and their melodies, taking into account the specifics of the synthesis of Chinese and European vocal traditions. Also, the analysis of scientific research and the practical experience of the author of the article made it possible to determine possible methods of working on chamber vocal works modern Chinese composers. The following methods were used for the research: style, genre, performing and interpretive.
Keywords: contemporary Chinese composers, chamber vocal music, performance features.
Conflict of interest: The author declares the absence of conflict of interest.
For citation: Yang Xiao dong (2021), “Performance features of chamber-vocal works by modern Chinese composers”, Journal of Musical Science, vol. 9, no. 3, pp. 132–137.
DOI: 10.24412/2308-1031-2021-3-132-137.
V.V. Ditenbir
Abstract. This article continues the theme presented in the previous issue of the Musical Gazette, offering clarification and detail of one of the aspects of the problem of the formation of a regional vocal school in Novosibirsk – regional specificity in the work of the Department of Solo Singing at the NSC named after M.I. Glinka. It analyzes the influence of the regional factor, which (in addition to the positive role of the composers of the region) includes the harsh climatic conditions, problems of the stage and acoustics of the hall of the Novosibirsk Opera House. Such consequential trends as a great attention to regional composer's work, purposeful education of endurance of the voice and strict adherence to its true nature are considered. The latter is seen as a mandatory and effective tool in the formation of the designated endurance. Specific examples are given of the successful return of its original status to the voice. The article emphasizes that recently (due to the use of electronic technologies in Novosibirsk State Academic Opera and Ballet Theatre), the power of voice has ceased to be mandatory for participation in a number of performances of the Novosibirsk Opera House. Despite this, the teachers of the department remain faithful to the requirements of the domestic and regional opera scene. The author comes to the conclusion that the successful solution of problems related to regional specificity is facilitated by the foundation based on the traditions of domestic vocal schools, which are rooted in the pedagogy of Italian vocals.
Keywords: Novosibirsk Conservatory, Department of Solo Singing, Regional Specificity, Vocal School, Novosibirsk Opera House.
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Ditenbir, V.V. (2021), “Reflection of regional specifics in the work of the Department of Solo Singing of the M.I. Glinka Novosibirsk State Conservatoire”, Journal of Musical Science, vol. 9, no. 3, pp. 138–148.
DOI: 10.24412/2308-1031-2021-3-138-148.
FROM THE HISTORY OF PRODUCTIONS OF FRENCH OPERAS IN TOMSK AT THE TURN OF THE XIX–XX century
S.P. Vavilov, Ya.V. Tkalenko
Abstract. Article is dedicated to the history of productions of French operas on the stage of Tomsk between 1880s and 1930s. The results of the study of the chronicles of provincial newspapers allowed to recreate the picture of the activities of Russian opera companies, which became the main conductors of the culture of musical theater in those years. The music of French composers formed the bulk of the repertoire of opera groups. In Tomsk in the second half of the 19th century, bands were touring, led by both enterprising businessmen and people, among whom were experienced actors of drama theaters. The article contains information about some entreprereners, whose repertoire included melodies of French composers. Opera productions played a great educational role in the cultural life of the city. Opera productions solved another important task – the education of the artistic taste of the public of a large Siberian city, as Tomsk became at the turn of the 19th – 20th centuries. The performance level of many touring troupes was quite high. The article noted that interest in opera productions was supported by regular advertising of performances in Tomsk magazines and newspapers. The performance of almost all operas was commented on by chroniclers and music critics. The materials of the article allowed the authors to conclude that the acquaintance with the operatic work of French composers played an important role in the development of the musical culture of the city of Tomsk, and these opera productions in Tomsk at the turn of the 19th and 20th centuries became a significant page in the musical history of the city. The article uses illustrative materials from the private collection of one of the authors.
Keywords: Tomsk, French composers, opera, operetta, entreprise.
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Vavilov, S.P., Tkalenko, Ya.V. (2021), “From the history of productions of French operas in Tomsk at the turn of the XIX–XX century”, Journal of Musical Science, vol. 9, no. 3, pp. 149–158.
DOI: 10.24412/2308-1031-2021-3-149-158.
PROBLEMS OF MAPPING IN STUDY SIBERIAN TRADITIONAL CULTURES IN THE CONTEXT OF MODERN TRENDS
P.S. Shakhov, N.V. Leonova
Abstract. The authors focus on the problems of using modern technologies in the study of traditional cultures, above all, electronic catalogs and interactive maps that allow you to present folklore samples in multimedia form, accompany them with significant amounts of heterogeneous information, to systematize and map information about folklore texts and the results of their analytical description. A brief review of a number of domestic and foreign products of this kind demonstrated their multi-functional nature, the ability to set and solve information, research, and cultural and educational tasks. Novosibirsk folklorists begin this work, mastering not only new technological capabilities, but also methods of mapping that are quite productively implemented in a number of ethnomusicological schools. The article has a methodological character. On the example of two scientific projects (one being carried out at the present time, the second is promising), the authors demonstrate the specifics of the object of research, i.e. traditional Siberian folklore, and the main aspects of its study. These aspects are associated not only with identifying the areas of distribution of the phenomena under study (which is relevant for studying the traditions of the indigenous peoples of Siberia), but also with determining the dynamics and characteristics of changes in folklore complexes that exist far from the "mother" tradition (that is typical for studying the traditions of Siberian settlers). Taking these circumstances into account, the article proposes some new approaches to mapping Siberian material on the basis of structural-typological and comparative research.
Keywords: ethnomusicology, mapping, interactive maps, traditional Siberian folklore, Institute of Philology SB RAS, Novosibirsk Conservatory.
Conflict of interests. The authors declare the absence of conflict of interests.
For citation: Shakhov, P.S., Leonova, N.V. (2021), “Problems of mapping in study Siberian traditional cultures in the context of modern trends”, Journal of Musical Science, vol. 9, no. 3, pp. 159–169.
DOI: 10.24412/2308-1031-2021-3-159-169.
THE MAIN TIMBRES OF THE WEST BURYAT EPIC AND THEIR SOUTH SIBERIAN PARALLELS
O.V. Novikova
Abstract. The article presents the results of the study of the timbre organization of the West Buryat epic tale "Tokhonoyn gansа Tөөlen", recorded on a tape by M.P. Khomonov from Bura Barnakov in 1961 and notated by the author of the article in connection with the preparation of the Buryat epic volume of the academic series "Monuments of folklore of the peoples of Siberia and the Far East". Based on the methodology of analyzing the singing timbres of V.V. Mazepus, the main timbre signs of uliger were identified, among which are super-segmental weak nasalization, raised larynx, narrow-slit phonation, segmental correlated laryngalization, erization, etc. These timbres find parallels in the epic of the Eastern Buryats, Tuvans, Teleuts, Shors and Khakas. Nasalization and raised larynx, other super-segmental and segmental timbres observed in the epic tale of Bura Barnakov are found in various combinations in a number of genre traditions of Western and Eastern Buryats: Western and Eastern Buryat songs, Eastern Buryat lullabies, glorifications of winners, etc. Thus, the timbre characteristics complement the features that unite and distinguish between genre traditions within the Buryat intonation culture, as well as Buryat uligers and epic traditions of the peoples of Southern Siberia.
Keywords: Buryat folklore, epic, uliger, articulatory classification of timbres, Bura Barnakov.
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Novikova, O.V. (2021), “The main timbres of the west Buryat epic and their South Siberian parallels”, Journal of Musical Science, vol. 9, no. 3, pp. 170–176.
DOI: 10.24412/2308-1031-2021-3-170-176.
PIANO REMOTE EDUCATION: FIRST PRACTICES AND EXPERIENCE
S.G. Chaikin
Abstract. The paper presents the author’s view upon the current situation in music education. Emerging educational circumstances of remote teaching-learning require the analysis of the obtained experience to meet the urgent needs in working with pianists. The paper’s target is to present some methods to meet the challenge. Problems with the instruments (especially with piano), with low level of psychological and technological training to work in the absence of live personal contact in many participants of the educational process, mostly senior-aged ones. The final target result of the creative process – concert, or stage performance – distinctly prove to be capable of rendering artistic impact by means of electronic communication devices. But the core of this process, the mystery of the musical piece emerging, essentially common work (‘professor-student’ at least) still remain problematic, or hardly possible at all. All this is still extremely difficult to get in remote interpersonal communication. Traditional principles and methods of selecting repertoire as well as arranging performing practice were to be changed. The new educational environment gave start to developing new assessment criteria, since it became necessary to take into consideration conditions that are highly unusual and often unacceptable for creative performing activity. Proper functioning of performing arts as such has become an issue of vital importance. These and some other related topics and aspects brought by the new reality are revealed and summarized in the paper.
Keywords: remote education, acoustic and digital piano, repertoire, performing practice.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Chaikin, S.G. (2021), “Piano remote education: first practices and experience”, Journal of Musical Science, vol. 9, no. 3, pp. 177–184.
DOI: 10.24412/2308-1031-2021-3-177-184.
ABOUT THE MAIN TRENDS IN THE DESIGN OF SOUTH GERMAN RENAISSANCE ORGANS
F.V. Tabyisova
Abstract. The relevance of a research topic, dedicated to the design of South German Renaissance organs, is due to the poorly studied state of the South German organ school in Russian musicology. The aim of the study is to establish a set of major trends in the exterior of the instrument, which is a striking artistic and cultural phenomenon. A large church organ and an organ ensemble, which means a general compositional whole, which includes, in addition to a musical instrument, its foot (like a swallow's nest), when creating, adopted the architectural and design style of the church premises by the principle of adjunction. The content is revealed through the analysis of three aspects of the external appearance of the instrument: its general artistic design, structural features and the character of the decorative finish of the organ case. The organ row under consideration, which, in addition to large forms of the instrument, that is, stationary church organs, includes small ones – portables and positives, is divided into two groups: instruments demonstrating the asymmetric forms of pipes rows and the symmetrical structure of the organ cases. The material can be in demand by a wide audience, represented mainly by art historians, organists and musicologists.
Keywords: Southern Germany, Renaissance, organ art, organ cases design.
Conflict of interest. The author declares the absence of conflict of interest.
For citation: Tabyisova, F.V. (2021), “About the main trends in the design of South German Renaissance organs”, Journal of Musical Science, vol. 9, no. 3, pp. 185–197.
DOI: 10.24412/2308-1031-2021-3-185-197.
N.A. Priyduha
Abstract. The musicality of painting in this article appears as the basis for the interpretation of a pictorial work. The musical approach to the interpretation of the painting reveals a number of associations unusual for static types of art, embedding it as a landscape-forming element in the artistic and associative landscape of the city. On the example of the works of the Altai artist P. D. Jura, the possibility of musical interpretation of painting at the compositional level and the probability of forming landscape connections of the city with other territories are presented. Insight into the secrets of the interaction of various properties of works of art leads to an understanding of the universal principles of their existence, creates the basis for various forms of interpretation, which is the main goal of the study. Identifying the common nature of the means of expression of painting and music, finding common principles of organization of pictorial and musical material - there are tasks, the solution of which leads to obtaining a number of additional characteristics of the pictorial work, enriching its imagery. As a result, the analysis of the musicality of painting touches on the problem of studying the synthesis of arts, the integrity and depth of perception of his works. The position of the recipient of an artistic creation inevitably becomes active, turning the viewer, first of all, into a co-author and, at the same time, into his listener.
Keywords: Musicality of painting, cultural landscape, point, line, sound, association.
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Priyduha, N.A. (2021), “Musicality of painting as a factor in the formation of the cultural landscape (on the example of paintings by the Altai artist P.D. Jura)”, Journal of Musical Science, vol. 9, no. 3, pp. 198–209.
DOI: 10.24412/2308-1031-2021-3-198-209.
