ON THE ORIGINS OF ROMANTIC PIANISM (BASED ON THE I.N. HUMMEL'S PRELUDES, op. 67)
I.R. Khananov, E.K. Karelina
The article is focused on some aspects of Johann Nepomuk Hummel’s (1778–1837) piano work. The figure of this greatest composer of early romanticism hasn’t been sufficiently highlighted in the modern Russian musicology and is usually considered as one of a so-called «sideline composers». The article contains several facts, which is proving the significance of a J.N. Hummel`s name in an early 19th century musical Europe. Based on a methodological position of considering the structural formations of a piano score being a conditional codes, that determine a pianist`s moving concept, the structure of a musical artwork is being acknowledged as one of the most substantial reflections of the epoch`s pianism. Hence, the term of a sensorialmoving plan of the piece is imposed, which characterizes the whole complex of moving elements required to play the piece. The purpose, that had been followed by the authors of the article, was to reveal the features of a J.N. Hummel`s piano writing (based on op. 67 Preludes), that would demonstrate a transitional nature of the early 19th century pianism, while on the other hand, identify the anticipation of a F. Chopin`s style in Hummel`s piano score. As the interim results of a research made one may consider the affirmation of the need for an implementation of a Hummel`s figure in historical context of a romantic pianism evolution far more specifically, than it has been done by a Russian musicology until the present time and, as a consequence, the need of a new sight on a revolution in piano playing performed by a romantical composers.
Keywords: romantic pianism, I.N. Hummel, preludes, sensorial-moving plan, piano texture
Conflict of interests. The authors declare the absence of conflict of interests.
For citation: Khananov, I.R., Karelina, E.K. (2021), “On the origins of romantic pianism (based on the I.N. Hummel's Preludes, op. 67)”, Journal of Musical Science, vol. 9, no. 4, pp. 5–16.
DOI: 10.24412/2308-1031-2021-4-5-16.
VOCAL LYRICS BY FREDERIC CHOPIN
O.S. Motorina, S.G. Voitkevich
Abstract. The paper is devoted to an almost unexplored sphere of Frederic Chopin’s creative activities – his vocal art. The virtuoso pianist, the “poet of the piano” Chopin is the author of 19 songs created in 1829–1847. All of them are written on the Polish poets’ texts and represent a range of images embodying the themes of Motherland, love, loneliness, and death. The authors consider the features of reflecting the composer’s personal experience and establish semantic correlates between autobiographical events and song lyrics. Chopin’s concern about the fate of Poland is echoed in his most tragic vocal pieces. Deep sincere affection that the composer felt towards his compatriots (Constance Gladkovska, Maria Wodzińska and Delfina Potocka) over the years had a dramatic effect too. The article addresses the history of creation, harmonic features, genre origins, figurative and intonation structure of works based on the analysis of available sources. The authors identify three groups of Chopin’s vocal heritage and their genre attribution: a song in a verse form, a ballade and a dialogue scene. They draw melodic and mode-harmonic parallels between Chopin’s vocal and instrumental works and reveal the specific features of his songwriting by example of Polish songs.
Keywords: Frederic Chopin, vocal lyrics, song, Stefan Witwicki, Poland
Conflict of interests. The authors declare the absence of conflict of interests.
For citation: Motorina, O.S., Voitkevich, S.G. (2021), “Vocal lyrics by Frederic Chopin”, Journal of Musical Science, vol. 9, no. 4, pp. 17–31.
DOI: 10.24412/2308-1031-2021-4-17-31.
REPRESENTATION OF AUTHBIOGRAPHY IN THE R. STRRAUSS'S “A HERO’S LIFE”
Yu.L. Fidenko
Abstract. The article is dedicated to the analysis of the R. Strauss’s symphonic poem “A hero’s life” which still has no proper coverage in Russian musicology. The goal of the research is to determine features of the author’s self-identification in the German composer’s music. The scientific novelty consists in recognizing the autobiographical nature parameters of a musical text in the context of a complex analysis. The article notes that R. Strauss composed an autobiographical program and called himself the hero of his composition. The author's verbal explanations in the score are important components of artistic whole. The author of the article consistently analyzes the main figurative lines, intonation and timbre dramaturgy, thematic connections in the “A hero’s life”. During the analysis, the signs of modeling his portrait in the melodic, mode, tonality, rhythmic, genre and instrumental appearance of the main protagonist’s theme were managed to be found in the R. Strauss’s symphonic poem. Information about the hero is also transmitted in the music through images of his environment and the situational reaction of the character. In the result of the research, the author comes to the conclusion that the program idea, vivid images-portraits and dramaturgy make it possible to interpret a symphonic poem as a work of art in which the signs of the author’s personification are clearly expressed. The artistic resources potential arsenal of R. Strauss’s music is aimed at showing the author in different statuses and forms of his presence.
Keywords: autobiography in music, R. Strauss, “A hero’s life”, symphonic poem
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Fidenko, Yu.L. (2021), “Representation of authbiography in the R. Strrauss’s «A hero’s life»”, Journal of Musical Science, vol. 9, no. 4, pp. 32–40.
DOI: 10.24412/2308- 1031-2021-4-32-40.
Wu Xiangze
Abstract. The article examines the operatic creativity of F. Busoni, presented by one of the brightest creative works of the composer – the opera “Harlequin, or Windows”. The author of the article has made a detailed analysis of the composition and musical characteristics of the characters of the opera “Harlequin”, noted neoclassicist and romantic tendencies in relation to the use of musical language, forms and characteristics of the heroes of the work. Having become a “new word” in the composer’s work, the opera “Harlequin” influenced the development of the opera genre in the 20-th century. Nevertheless, more than a century after the day this work was published, not a single detailed study of musical language, composition, operatic drama, as well as singing and performing techniques of opera has appeared in the scientific literature. The author expresses hope that work in the indicated direction will significantly expand the understanding of the composer’s creative style, introducing elements of novelty into the problem of musical theater of the past era. Concluding his research, the author comes to the conclusion that in the opera “Harlequin” F. Busoni resorts to the buffa structure of scenes and numbers characteristic of the opera, focusing on: the free design of the stage material; naturalness of dialogues; mobility of instrumental accompaniment, which is set off by the naturalness of dramatic speech; pronounced dance and the use of tongue twisters.
Keywords: F. Busoni, opera “Harlequin”, neoclassicism, opera buffa, leitmotif Conflict of interests.
The author declares the absence of conflict of interests.
For citation: Wu Xiangze (2021), “Features of the composition and musical characteristics of the heroes of the opera F. Busoni «Harlequin, or windows»”, Journal of Musical Science, vol. 9, no. 4, pp. 41–50.
DOI: 10.24412/2308-1031-2021-4-41-50.
L.V. Gavrilova
Abstract. The article is devoted to one of the largest European music and theater festivals d’Art Lyrique d’Aix-en-Provence, which is held annually in the south of France. It provides its brief history, from 1948 until the present day. From the author’s point of view, it is closely connected with the artistic aspirations of its leaders – Gabriel Dussurget, Bernard Lefort, Louis Erlo, Stéphane Lissner, Bernard Foccroulle. Thanks to their activities each new stage of the festival's development was organically integrated into the context of the major trends in the modern musical theater, revealing at the same time the pressing challenges of theatrical practice. One of the most acute problems was identified by the new artistic director of the festival, Pierre Audy (since 2019): “to set to music” or “against music”. The undertaken historical review made it possible to characterize the main features of the festival: the multidimensional nature of the programs, the involvement of the largest figures of modern musical and theatrical art-directors, conductors, singers, what has led to the use of the most modern innovations on stage, including multimedia theater. A special attention in the article is given to “Requiem” by W.A. Mozart staged by Romeo Castellucci under the baton of Raphaël Pichon, one of the performances, which became the main event of the festival in 2019. The conceptual content of the performance is emphasized, fragments of other compositions included in the score are revealed. The stage version is considered as a phenomenon of choral theater, which is in line with the current trends of modern art related to the visualization of non-stage music.
Keywords: festival, d’Art Lyrique d’Aix-en-Provence, contemporary musical theater, Romeo Castellucci, choral theater
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Gavrilova, L.V. (2021), “Festival International d’Art Lyrique d’Aix-en-Provence in the context of the leading trends in contemporary musical theater”, Journal of Musical Science, vol. 9, no. 4, pp. 51–59. DOI: 10.24412/2308-1031-2021-4-51-59.
NEW YORK CREATIVE SCHOOLS OF THE 20th CENTURY AND THE ACTIVITIES OF COMPOSER EARL BROWN
S.A. Kozlovskaya
Abstract. This article is devoted to the work of one of the brightest composers of the avantgarde of the second wave, Earl Brown, which is considered in the context of the “New York school of Composition” and other creative associations that arose in New York in the 1950s against the background of the principles of experimental direction of various types of art. Based on the analysis of documentary and scientific foreign sources, the author describes the features of the creative method of avant-garde art, highlighting such principles as the interaction of visual means with objects of the surrounding world, the integration of sculpture with natural elements, aleatoric dance construction and the ideas of abstractionism in music. The paper shows the general experience of composers in the creation of electronic music, which allowed us to identify a number of distinctive features in the work of E. Brown of the early period. This is his special interest in jazz; the combination of an improvisational approach with a rational-logical approach in his works; the development of new types of music notation; a departure from the extremes of experimental settings and the preservation of his inner emotionally saturated sound standard. In this context, the special role of the Folio cycle is noted as a vivid experimental work in the development of the principles of mobile form and graphic writing methods. In conclusion, a general assessment of the activities of Brown and the “New York schools”, which were in close ties of ideological content, which put New York into the leaders of the world art of the twentieth century, is given.
Keywords: avant-garde, New York school, abstract expressionism, modern art, Earl Brown, aleatorics, open form, performance
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Kozlovskaya, S.A. (2021), “New York creative schools of the 20th century and the activities of composer Earl Brown”, Journal of Musical Science, vol. 9, no. 4, pp. 60–70.
DOI: 10.24412/2308-1031-2021-4-60-70.
M.N. Drozhzhina, S.A. Ovchinnikov
Abstract. This article is an attempt to identify the relationship of the musical and aesthetic views of the Indian Sufi Hazrat Inayat Khan (with the blessing of his mentor, who “connected East and West” with the help of music, preaching Sufism to the inhabitants of Europe) with the compositional opuses of his son, Hidayat Inayat Khan. As a result of the analysis of the main provisions, in Hazrat Inayat Khan’s book “Mysticism of Sound”, two aspects focused on the problems of this article are highlighted and consistently stated. The first follows from the philosopher’s preliminary conclusion about sound as the beginning of the creation of the world, the second is devoted to the problem of harmony. It is natural that the philosopher did not realize the desire to unite the East and the West directly in his compositions, since he recognized the difference in the understanding of musical harmony between the West and the East. However, his son, who was educated at the Paris Conservatory, managed to realize this goal. The article emphasizes: the specificity of the composer’s musical language is due to the patterns of interaction of traditional Eastern monody (represented by raga in the works of Hidayat Inayat Khan) with the European polyphonic genre system. The levels of manifestation of the connection with the Sufi tradition, the stay inside of which caused the uniqueness of his opuses, are indicated. Using the example of the “Monotony” for strings, dedicated to the composer’s sister who died heroically in 1944, an appeal to the theme focusing the “vibrations” of a person, regardless of belonging to the East or West, is shown.
Keywords: Hazrat Inayat Khan, Hidayat Inayat Khan, Pirzadi Nurunnisa Inayat Khan, Sufism, musical and mystical views, synthesis of raga with European polyphony, composer, East–West, “Monotony”
Conflict of interests. The authors declare the absence of conflict of interests.
For citation: Drozhzhina, M.N., Ovchinnikov, S.A. (2021), “The development of the musical and aesthetic views of Hazrat Inayat Khan in the compositional work of his son – Hidayat Inayat Khan”, Journal of Musical Science, vol. 9, no. 4, pp. 71–83. DOI: 10.24412/2308-1031- 2021-4-71-83.
THE CREATIVITY BY S.G. TOSIN: THE SEARCHING OFF MUSICAL AND NON-MUSICAL SOLUTIONS
L.L. Pylneva
Abstract. The article is devoted to the analysis of the creative aspirations of one of the modern composers of Siberia – Sergey Gennadievich Tosin (b. 1953). The purpose of the manuscript was to outline the main areas of his work related to the expansion of the concepts of “programmer”, “musical instrument” and “musical sound”. The programs in the composer’s presentation turn into detailed verbal comments, prescriptions regarding both the features of interpretation and a detailed explanation of the design and technology of the solution. In a number of scores, the verbal text addressed to a potential performer completely replaces the musical one, turning the essence of the opus into a description of a creative idea that needs to be embodied according to the principle of performance, happy. The concept of a “musical instrument” goes far beyond academic art, enriched by a wide range of instruments of various genesis: from traditional to household (for example, a hammer, saw, anvil, children’s mechanical toy, pan). “Musical sound” takes into its sphere untempered sounds, screaming, whispering, all kinds of mechanical noises, natural sounds. The expansion of the field of means of musical (and non-musical) expressiveness required the composer to search for stabilization techniques. One of them was work with very clear given musical forms, the other was the establishment of a clear “sound point”, “sound axis”, that is, a support, the return to which occurs constantly. Revealing works in various genres are considered: opuses for solo instruments (“Variations-Intermedias on the triad of D-major”, “Quaternion”, “Apokriph”, “Plagioklasis”), orchestra scores (“Aescis”), choral opus (“Magical Tour”, “Concerto non academia”), works for an indeterminate composition (“Musica da camera” No. 3, 4, 5).
Keywords: Sergey Tosin, the work of contemporary composers, composers of Novosibirsk, musical sound, program music
Conflict of interest. The author claims no conflict of interest.
For citation: Pylneva, L.L. (2021), “The creativity by S.G. Tosin: the searching off musical and non-musical solutions”, Journal of Musical Science, vol. 9, no. 4, pp. 84–95.
DOI: 10.24412/2308-1031-2021-4-84-95
GRAVITATIONAL SENSATIONS IN PIANO PERFORMANCE AND INTONATION PLASTIC
V.V. Budnikov
Abstract. The article analyzes the performing gravitational (weight) representations formed in the process of intonation comprehension of the composer’s text by the pianist. Weight sensation, according to the author of the article, is an internal regulator of the pianist’s plasticity and the central category of the methodological system of the outstanding piano teacher of the second half of the twentieth century V.I. Slonim. His views, it seems, are based on the Western European tradition, which has found its integral plastic expression in the methodology of K.A. Martinsen, and on the acting plasticity of the system of K.S. Stanislavsky. Slonim enriched the technique with the concept of plastic “sculpting” of intonation, which is relevant for pianism, in which “weight” is understood as a projection of intonation (fret) gravitations. The purpose of the article is to identify the deep relationship between the plastic representations of the performer and the intonation thinking of the composer, reflected in the textural design of the musical image. The weight sensations in the considered methodology, having the property of plastically “generalizing” the motor variety, focus exclusively on specific intonations and are “identical” to them. It is possible to approach the clarification of the deep polysensory mechanism through the prism of the hypothesis of B.L. Yavorsky, linking the reception of gravity and mood gravity in music, with the involvement of a synaesthetic approach, which allows us to identify the interdependence the weight sensations of the performing apparatus and musical intonation. Performing (plastic) intonation in the Slonim technique is formed by two main working exercises: “Shoulder” and “Singability”. Exploring their impact on the formation of a performing text, it is possible to detect a “proprioceptive” synaesthetic mechanism (gravitational-kinesthetic) and trace its influence on the pianist's plasticity in the process of intonation.
Keywords: Novosibirsk piano school, V.I. Slonim’s system, piano method, the pianist’s performing apparatus, auditory-proprioceptive synaesthesia, plastic “sculpting” of intonation, the weight (gravity) sensations of a pianist
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Budnikov, V.V. (2021), “Gravitational sensations in piano performance and intonation plastic”, Journal of Musical Science, vol. 9, no. 4, pp. 96–109.
DOI: 10.24412/2308- 1031-2021-4-96-109.
ELVIRA DE HIDALGO: CREATIVE PORTRAIT “IN THE INTERIOR” OF THE ERA
M.V. Kholodova, D.Kh. Yesayn, D.V. Kosenkova
Abstract. The focus of the proposed article is the personality of Elvira de Hidalgo, an outstanding Spanish opera singer who shone on all eminent theater stages of the first third of the 20th century, Speaking with the best voices of our time – F. Chaliapin, T. Ruffo, E. Carruzo, M. Battistini and others. When her solo career was completed, the singer switched to pedagogical activity, where she acted as “Pygmalion”, creating her “Galatea”, the Maria Callas. The relevance of the topic of research is due to the fact that the biography of the opera diva from Aragon has not yet become an object of attention in Russian musicology. The publication is intended to this gap. Based on the analysis of various foreign sources, the authors attempted to systematize information and reconstruct the stages of professional formation, fruitful creative activity of a talented Spanish singer who has won worldwide recognition and love of the public. It is assumed that the materials of this work will form a more complete idea of the personality of de Hidalgo, make sense of her place and role in the history of the development of opera art in the first half of the 20th century.
Keywords: Elvira de Hidalgo, Spanish opera singers, 20th-century opera art, Maria Callas
Conflict of interests. The authors declare the absence of conflict of interests.
For citation: Kholodova, M.V., Yesayn D.Kh., Kosenkova, D.V. (2021), “Elvira de Hidalgo: creative portrait «in the interior» of the era”, Journal of Musical Science, vol. 9, no. 4, pp. 110–117.
DOI: 10.24412/2308-1031-2021-4-110-117.
DIRECTOR'S NOTES. Outlines of upcoming performance “THE BEAUTIFUL HELEN” by Jacques Offenbach
V.A. Vavilov
Abstract. In the article director shares his vision for special aspects of arranging the musical performance, which plot is based on a parody. An ironic parody of the highest quality is a basis of this comedy. Parody in operetta, a light comedy genre of musical theater, was especially successful for the founder of this genre, Jacques Offenbach. In contemporary theatre, where there is a constant search for new original forms of presentation of classical works, it is necessary to be attentive to the artistic conception. Operetta in this sense is the genre that is reluctant to accept the scenographic avant-garde. Here the director obeys the composer’s intention as much as possible. The success of the performance depends on the brightness and subtlety of the musical language, as well as perfect embodiment of the artistic conception, and not on the availability of special effects. The author of the article presents a description of the outline of his own project involving direction of Jacques Offenbach’s operetta “The beautiful Helen”. Original sets and costumes, effects created on stage using digital and media technologies, are designed to highlight the details and depth of the satirical and lyrical images of this unique work. An unusual interpretation of the place and time of the action, the multilayered events and plots in the performance, effective polyphony, made possible by the musical drama initiated by the brilliant composer, will make this performance captivating and interesting for the modern viewer as long as director’s conception is turned into the play.
Keywords: director’s gaze, “reanimation” of Offenbach, theater in theater, contemporary scenography Conflict of interests. The author declares the absence of conflict of interests.
For citation: Vavilov, V.A. (2021), “Director's notes. Outlines of upcoming performance «The beautiful Helen» by Jacques Offenbach”, Journal of Musical Science, vol. 9, no. 4, pp. 118–126.
DOI: 10.24412/2308-1031-2021-4-118-126.
MUSICAL AND PHILOSOPHICAL STUDIES OF PAUL NATORP
Guo Shaoying
Abstract. The article is devoted to the work of the German philosopher and composer Paul Natorp, completely unfamiliar to Russian musicology (art history). The combination of a philosopher and a musician in one person is a rather rare phenomenon. From a few examples (F. Nietzsche, A. Scriabin), it can be concluded that one type of activity inevitably prevails over another, and therefore achievements in one area are more significant than in another. Nevertheless, the influence of one sphere on another is noticeable and leaves an imprint on the nature of ideas and creative intentions. Using the example of several chamber-instrumental works of the composer, which became famous thanks to the enthusiasm of some archivists of the Society of Music Lovers in Vienna, an attempt was made to present the peculiarities of the composer’s creative handwriting of the “second row”, interesting in that he was also the head of a new philosophical movement in Germany at the beginning of the 20th century. The main part of Paul Natorp’s creative heritage is made up of chamber works, including about 100 art songs, some of which are grouped into cycles, various chamber ensembles, a large number of pieces of different genres for piano, 2 choirs. The peculiarities of the thematic of his works, its connection with the romantic and classical musical tradition are considered.
Keywords: chamber music, late romanticism, German music, Paul Natorp, chamber sonatas, piano trio, composer-philosopher
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Guo Shaoying (2021), “Musical and philosophical studies of Paul Natorp”, Journal of Musical Science, vol. 9, no. 4, pp. 127–136. DOI: 10.24412/2308-1031-2021-4-127-136.
THE ROLE OF EMOTIVENESS IN THE PERFORMANCE OF A MUSICAL WORK
E.A. Prihodovskaya
Abstract. The article proposes to consider emotiveness as the main mechanism for performing a musical work, as a result of which the concepts of the emotive plan of the work and the emotive as its key “building unit” become the leading ones. The thesis on the correspondence between the emotive plan and the musical form of the work is proposed, which allows one to “read” the patterns of the emotive plan based on the observed formal structure. As an example, the author analyzes the emotive plan of a piece for piano by P.I. Tchaikovsky’s “Dumka”. The definition of emotive as the main constructive unit of the emotive plan of the work is proposed. The progression from a mono-timbral instrument - piano - through synthetic vocal genres to choral works is considered. It is emphasized that the understanding of the emotive plan of a piece of music is simplified through texture transformations that help to see various modifications of the musical form. As examples, S. Rachmaninov's romance “Don’t sing, beauty, with me” and such choral canvases as “Carmina Burana” by Karl Orff and “Chimes” by V. Gavrilin are also mentioned.
Keywords: emotive, emotive plan, drama, musical form
Conflict of interests. The author declares the absence of conflict of interest.
For citation: Prihodovskaya, E.A. (2021), “The role of emotiveness in the performance of a musical work”, Journal of Musical Science, vol. 9, no. 4, pp. 137–143.
DOI: 10.24412/2308- 1031-2021-4-137-143.
PERFORMING MANNERS IN MODERN RUSSIAN POP MUSIC
Yu.V. Antipova
Abstract. The relevance of the problem of studying the phenomena of mass music is associated with the global expansion of this layer of art, which not only satisfies the vital, social, aesthetic needs of a huge number of people, but also overturns the basic ideas about cultural values, the artistic significance of a work of art (more and more often – a “product”). The purpose of the study is to present the variety of performing manners in the national mass music of our time from the standpoint of the manifestation of the main trends, ideological attitudes, moods in society and to outline the changes that have occurred in our social life and sociocultural space over the past few decades. Relying on the developments of Russian scientists at the turn of the XX–XXI centuries (O. Dolskaya, T. Cherednichenko, M. Shugurov), who reveal in the phenomena and trends of mass music manifestations of the postmodern era, interlayer intersections and denote the specifics of Russian musical culture, the author presents the performing manners as a reflection of the general state of modern culture (post-culture), characterized as a “landfill space” (A. Dugin), a multi-vector search for identity. Some results of observations of the most popular types of performing manners (rap recitation, “singing” of performers without vocal data, singing in high male voices, deliberately indistinct articulation, craving for imitating other people’s manners, etc.) and the current period of their coexistence and kitsch mixing are summarized. allows us to conclude that there is no single direction of spiritual and artistic searches, an unclear concept of the structure of our consciousness.
Keywords: performing manners, mass music, pop music, estrad
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Antipova Yu.V. (2021), “Performing manners in modern Russian pop music”, Journal of Musical Science, vol. 9, no. 4, pp. 144–154.
DOI: 10.24412/2308-1031-2021-4-144-154.
CATEGORY “JAZZ STYLE”. ON THE DEFINITION OF THE CONCEPT OF JAZZ INVARIANT
K.O. Gladkov
Abstract. The article focuses on the issues of studying the category “style” in jazz musicology – jazzology. Relying on the theoretical attitudes of such researchers as A. Losev and A. Khasanshin, the author suggests a style model (as a kind of abstraction) in the form of a ternary structure, including external conceptual and internal stylistic components, as well as a level responsible for the formation of an individual style variant in the recipient’s mind. For the projection of the style model into the sphere of jazz culture of music-making, the arguments of a number of Western jazzologists (Y. Van Praag, I. Berendt, A. Oder, etc.) and the theoretical provisions of the works of the authoritative Russian critic and jazz researcher E. Barban. On this basic basis, the essential features of the jazz style invariant have been developed, which manifest themselves: in the interaction of the conceptual and aesthetic aspect of jazz music and its musical syntax. The invariant model of the jazz style is presented in the form of a graphic image. The characteristic of each level of this model is given. An attempt is made to reveal the diffuse nature of jazz art, which combines the cultural genetic code of two civilizations – Western and African. Typological principles of jazz idiomatics as a certain type of musical creativity are systematized (based on R. Stolyar’s observations). In the center of special attention is the category of “swing”, recognized by many jazz researchers as an essential parameter. The article also comprehends the cultural aspect of jazz music making, coupled with a special philosophy of this art, endowed with a specific psychoenergetic emotion.
Keywords: jazz, style, style model, jazz style invariant, jazz performance, jazz history, swing, jazz stylistics, jazz improvisation
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Gladkov, K.O. (2021), “Сategory «jazz style». On the definition of the concept of jazz invariant”, Journal of Musical Science, vol. 9, no. 4, pp. 155–163.
DOI: 10.24412/2308- 1031-2021-4-155-163.
L.A. Gustova-Runtso
Abstract. Mass teaching of church singing in rural schools in the Russian Empire is associated with the reform of primary education in 1864, which was stated in the «Regulations on Primary Public Schools». The masses were trained in church singing under the patronage of the Ministry of Public Education and represented, according to Prince Vladimir Odoevsky, «the most powerful lever» of the religious and moral education of the people. Orthodox parishes and Orthodox liturgical traditions were restored and strengthened in the North-Western Region of the Russian Empire, where traces of the union had been destroyed since 1839. And teaching the people to church singing became the “most powerful lever” that contributed to the religious, moral and aesthetic education of the people. The practice of teaching church singing in rural schools of the North-Western Region of the Russian Empire in the XIX century became a powerful incentive for the emergence of church choirs and the unification of rural parish liturgical singing practice with its Great Russian counterpart. The author analyzes the parish chronicles and the diocesan periodical press and identifies the leading importance of teaching church singing for the development of the Orthodox singing practice of the rural parish type. The author applied the principle of historicism and revealed the context of the existence of the Belarusian Orthodox singing practice in the Kiev Metropolia in the XVI – XVIII centuries and the North-Western region of the Russian Empire in the XIX – early XX century. The author applied source and textual methods and introduced valuable facts about the formation of the Belarusian Orthodox liturgical singing practice of the rural parish type during the abolition of the union and unification of Orthodox worship with its Russian counterpart in scientific use.
Keywords: education, church, Orthodox, singing, rural school, choir, North-western region, Russian empire, Belarusians
Conflict of interests. The authors declare the absence of conflict of interests.
For citation: Gustova-Runtso, L.A. (2021), “Practice of teaching church singing in rural schools of the North-Western region of the Russian empire in the XIX century”, Journal of Musical Science, vol. 9, no. 4, pp. 164–172.
DOI: 10.24412/2308-1031-2021-4-164-172.
N.V. Perepich
Abstract. This article examines a number of events during of the сelebration of the 300th anniversary of the House of Romanov in Krasnoyarsk, as well as their chronology. The study is based on archive materials from Krasnoyarsk State Archive, primarily on newspapers “Eniseyskiye gubernskiye vedomosti” and “Eniseyskaya mysl”. The main objective of the article was to examine little-known information about anniversary events in Krasnoyarsk and the contribution of musical arts. Consequently, the main tasks were to find and read through the information, order this data chronologically, and identify the contribution of (mostly musical) arts. Research techniques included performing archival searches and selecting documents. Furthermore, the objective required application of the historical approach and musicological analysis methods. The relevance of the study is reinforced by the unabating scientific interest in the history of Russian and the Romanov dynasty, as well as broad attention in 2013 to the 400th anniversary of Romanov’s accession. The study established the importance and wide use of musical components in celebrations, as well as following the national trends in the choice of repertoire for ceremonial acts. Small compositions and adaptations with variation in the orchestra were found to be preferred.
Keywords: House of Romanov, celebration of 300th anniversary, Krasnoyarsk, glorifying music, cantata Conflict of interests. The author declares the absence of conflict of interests.
For citation: Perepich N.V. (2021), “Music in jubilee celebrations: about the celebration of the 300th anniversary of the reign of the House of Romanov in Krasnoyarsk”, Journal of Musical Science, vol. 9, no. 4, pp. 173–182.
DOI: 10.24412/2308-1031-2021-4-173-182.
LI JINHUI AND HIS ROLE IN THE FORMATION OF MODERN CHINESE MUSIC EDUCATION SYSTEM
Xu YinChen
Abstract. The article is devoted to the teaching activities of Li Jinhui (1891–1967) in the field of music education in China. It is easy to find that there are outstanding teachers in history, whose influence on the development of educational processes is difficult to overestimate, their methodology has become a model for everyone, and, more importantly, it was their teaching activities that made an innovative contribution to the development of music education. Among them, a special place is occupied by Li Jinhui, whose activity in this area dates back to the early twentieth century, when Chinese society, culture and education were undergoing major changes. The purpose of the article is to identify the role of Li Jinhui in the formation of the system of modern Chinese music education. Using the historical research method, the author analyzes the main ideas underlying Li Jinhui's pedagogical experiments. Attention is focused on the features of his philosophy of music education, set out in various documentary sources, as well as the means of pedagogical activity. The article emphasizes that Li Jinhui’s ideas about the need to combine Western European and Chinese music, the compulsory inclusion of music teaching in the general education system, and an orientation towards the individual abilities of students were decisive for the formation of modern Chinese music education. Drawing attention to the role of Li Jinhui in this process will help to understand the characteristics of the system of Chinese music education today, and will fill one of the gaps in domestic ideas about the history of world music education.
Keywords: Li Jinhui, Chinese music education, Western music, Chinese traditional music, teaching activities Conflict of interests. The author declares the absence of conflict of interest.
For citation: Xu YinChen (2021), “Li Jinhui and his role in the formation of modern Chinese music education system”, Journal of Musical Science, vol. 9, no. 4, pp. 183–190.
DOI: 10.24412/2308-1031-2021-4-183-190.
ROLE CHEN ZHI IN THE FORMATION OF THE CLASSICAL GUITAR SCHOOL IN CHINA
Xia Tian, O.A. Svetlova
Abstract. This article is devoted to the creative activity of the outstanding Chinese guitarist Chen Zhi (陈志). For the first time in Russian musicology, the question of the formation of modern guitar art in China, which has passed a difficult but intensive path of development, is being raised. Chen Zhi is the founder of the classical guitar school in China, who brought up a brilliant galaxy of world-class students. The article highlights the milestones of the creative path of the master, provides biographical data, outlines the role of Chen Zhi as the first guitar teacher, founder of guitar collectives and societies, founder of competitions, host of educational radio and television programs in China. The authors refer to the work of Chen Zhi “My feelings and learning experience”, in which the teacher gradually outlines his own experience of professional growth and pedagogical skills, which allows deeper insight into the process of forming his methodology. Taking into account the experimental and evolutionary nature of Chen Zhi’s pedagogy, which is demonstrated by his students of different generations, it is concluded that the stages of the creative formation of the Chinese guitar teacher as a whole are a reflection of the process of formation of the professional school of classical guitar in China.
Keywords: Chen Zhi, 陈志, guitar, China, performing arts, “我的教学感受和心得”
Conflict of interests. The authors declare the absence of conflict of interests.
For citation: Xia Tian, Svetlova O.A. (2021), “Role Chen Zhi in the formation of the classical guitar school in China”, Journal of Musical Science, vol. 9, no. 4, pp. 191–201.
DOI: 10.24412/2308-1031-2021-4-191-201.
EXPERIENCE OF INTERCULTURAL COMMUNICATION IN THE BALLET “LEGEND ABOUT SWAN LAKE AND UGLY DUCKLING”
U Liyang
Abstract. The article presents an art criticism analysis of the ballet “The Legend of Swan Lake and the Ugly Duckling” by N. Kasatkina and V. Vasilev, carried out under the sign of intercultural communication. The author states that the combination in the space of a synthetic 203 КУЛЬТУРОЛОГИЯ literary text of elements of three different cultures – Danish (the tale of H.-C. Andersen), Norwegian (music by E. Grieg) and Russian (the ballet Swan Lake by P.I. Tchaikovsky) initiated a type of communicative impact, within which plastic speech occupies a dominant position in relation to musical and verbal speech. Despite a number of formal aspects that seem to justify such a synthesis – E. Grieg and P.I. Tchaikovsky were not only contemporaries, but also knew each other’s work well, being friendly with each other; the history of Tchaikovsky’s ballet has points of contact with the story of the Ugly Duckling; Grieg knew and loved Andersen’s work, referring to the verses of the Danish storyteller in his vocal cycle “Melodies of the Heart”, op. 5; Tchaikovsky dedicated to Grieg his 1888 fantasy overture “Hamlet” in f minor, op. 67 – in fact, the production of contemporary authors bears the signs of “bygone days”. We are talking about a return to divertissement ballet, about musical eclecticism, including the distortion of the ethical orientation of the immortal creation of H.-G. Andersen and reducing the essence of the fairy tale to the joy of procreation.
Keywords: intercultural communication, ethical moment of the text, ballet “The Legend of Swan Lake and the Ugly Duckling”
Conflict of interests. The author declares the absence of conflict of interests.
For citation: U Liyang (2021), “Experience of intercultural communication in the ballet “Legend about Swan Lake and Ugly Duckling”, Journal of Musical Science, vol. 9, no. 4, pp. 202–213.
DOI: 10.24412/2308-1031-2021-4-202-213.
