MUSIC SCIENCE OF THE TURN OF THE MILLENNIUM IN THE REFLECTION OF RUSSIAN RESEARCHERS (two points of view on the path of Russian musicology to the future)
G.A. Eremenko
Abstract. The article presents the opinions of research specialists regarding the acute methodological attitudes of Russian musicology. The importance of an interdisciplinary approach for the approval of the scientific status of this discipline of humanitarian knowledge brings the positions of scientists closer. At the same time, the article emphasizes the difference in understanding its methodological foundations and strategies. In the work of the musicological profile by T.I. Naumenko “Musicology: the style of a scientific work” (2005), the focus is on the problem of improving the ways of organizing the text of a musicological work through the synthesis of specialized research analysis and literary and creative forms of its expression. The author of the dissertation recognizes the high professionalism of the conscious application of this two-pronged approach (with the uniqueness of individual forms of its representation) as the defining innovative property of text formation in the analyzed musicological works of the 1990s–2000s. The position of the culturologist T.V. Bukina in the dissertation “The idea of musical culture and ways of its conceptualization of the Soviet and post-Soviet eras” (2011) is aimed at revealing a number of serious problems in modern Russian musicology. Among them is the predominance of interest in highly specialized aspects of music, insufficient attention to current problems of the present and the introduction of sociological factology, isolation from contacts with specialists in related fields of art studies. The proposals of the doctoral student and the opinions of a number of musicologists on overcoming the monoparadigmal attitude in the development of Russian music science are highlighted.
Keywords: musical culture, Russian musical science, methodology of musicology, interdisciplinary approach, cultural approach, musical sociology, scientific and artistic text
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Eremenko, G.A. (2022), “Music science of the turn of the millennium in the reflection of Russian researchers (two points of view on the path of Russian musicology to the future)”, Journal of Musical Science, vol. 10, no. 1, pp. 5–15.
DOI: 10.24412/2308-1031-2022- 1-5-15.
QUARTET POLYPHONY AS AN ENVIRONMENT FOR INTRAMUSICAL COMMUNICATION
G.A. Demeshko
Abstract. String quartet represents a modern type of instrumentalism and poses a series of questions to researchers. Being the most conservative genre of sonata cyclic genesis, it seamlessly blends into dynamical panorama of composers’ works in the 20th century and into the stylistic system of its opposing representatives, such as A. Schoenberg and D. Shostakovich, B. Bartók and B. Tishchenko, A. Schnittke and M. Weinberg... The article analyses one of the fundamental features of quartet music-making, namely its ability to reproduce the environment of intramusical communication. The genre has ancestral memory of off-stage performance inherited from early quartets and remains true to it even on concert stage before the audience. This feature – let’s call it the principle of dual communication – is what separates it from a concert or symphony. However, the indications of intramusical communication often fade in the new culture paradigm, which is characterized by the lack of interpersonal communication. The article is aimed at distinguishing and describing this fundamental quarter feature by the example of polyphony in opuses of composers of the 20th century who were more sensitive to the nature of this genre. The article studies polyphony as a model for a “group of individuals” playing music and analyses a number of methods, which can be employed to reach the goal. The methods include a fine-tuned technique of voice manipulation, frequent rich “modulations”, efforts to save on the medium of expression, a tendency to use less voices in musical texture up to reducing it to solo monologues, etc. The following conclusion is made communication of the few members of an ensemble is represented in the musical text of the quartet, among other things, by using certain techniques of polyphonic writing; the intramusical perspective of the dual communication structure reflects the fundamental feature of the quartet, while the perspective addressing wide audience represents its mobile and fluctuating features; the stable perspective defines the general concept of the genre as a creative collaboration of the ensemble members; quartet is the only form allowing functional interchange in this pair: solo (a performer expresses the position of the entire ensemble) – all together (ensemble monologue).
Keywords: quartet polyphony, intramusical communication, principle of dual communication, ensemble music-making, quartet instrumentalism, rich modulation, voices composition
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Demeshko, G.A. (2022), “Quartet polyphony as an environment for intramusical communication”, Journal of Musical Science, vol. 10, no. 1, pp. 16–27.
DOI: 10.24412/2308- 1031-2022-1-16-27.
KEY FEATURES OF TRANSCRIPTION GENRE
Ren Peiyuan
Abstract. The article discusses the genre of transcription. To identify the features of the transcription genre, it is compared with other related phenomena – reworks, arrangements, paraphrases, fantasies, adaptations. Based on a comparison of found theoretical materials, conclusions were drawn about the typological features of transcription as a genre that were formed back in the Baroque era. The main differences between the mentioned genres include the degree of independence of the reworked original, instrumental, stylistic, structural and compositional transformations, and the addition of new material to the original music. The features of later samples of transcriptions that have retained continuity with baroque traditions are noted. Transcription is defined as an artistically independent genre. The formation of definitions and concepts is based on the works of Russian-speaking and English-speaking scholars, in particular, M. Parshin, B.B. Borodin, J.W. Orocz and others. The author relied on the musical works of I.S. Bach, F. Busoni, F. Liszt, S. Rachmaninov and others.
Keywords: transcription, arrangement, rework, paraphrase, fantasy, adaptation, works for piano
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Ren Peiyuan (2022), “Key features of transcription genre”, Journal of Musical Science, vol. 10, no. 1, pp. 28–36.
DOI: 10.24412/2308-1031-2022-1-28-36.
GENESIS OF MUSICAL FIGURES «DIE EIN COMPONIST WISSEN SOLL» OF MEINRAD SPIESS: CONFESSIONAL ASPECT
А.А. Мaltseva
Abstract. The Tractatus musicus compositorio-practicus (Augsburg, 1745) of the Benedictine monastery’s monk of the Irsee area in Bavarian Swabia, organist and composer Meinrad Spiess contains the latest catalog of musical-rhetorical figures of the Baroque era. It is taken into account that M. Spiess, in his autodidactic manual on the creation of church music, defends the use of church modes and, in general, he expresses conservative judgments on various problems. This article examines one of the possible reasons why a catalog of musical figures similar to rhetorical ones appeared in M. Spiess’s treatise. We compare catalogs of figures that form, in a certain sense, a “chain of borrowings”. These are such Catholic authors, the predecessors of M. Spiess, as the Jesuit Athanasius Kircher (Musurgia universalis sive Ars magna consoni et dissoni, 1650, Т. 2), Thomas Balthasar Janovvka (Clavis ad thesaurum magnæ artis musicæ, 1701) and the Cistercian Mauritius Vogt (Conclave thesauri magnæ artis musicæ, 1719). The observation that М. Spiess borrowed the components of their lists allows us to make an assumption that he could consciously strive to continue the trend of continuity of catalogs of musical-rhetorical figures, which is in the considered Catholic musical-theoretical sources. This may not be the only reason, so the prospects for further research are open.
Keywords: Meinrad Spiess, Baroque, theory of composition, musical rhetoric, musical-rhetorical figures, catalogue of musical figures, Figurenlehren, Catholicism
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Maltseva, A.A. (2022), “Genesis of musical figures «die ein componist wissen soll» of Meinrad Spiess: confessional aspect”, Journal of Musical Science, vol. 10, no. 1, pp. 37–48.
DOI: 10.24412/2308-1031-2022-1-37-48.
INSTALLATION AND AVANT-GARDE TRENDS IN FOREIGN MUSIC OF THE EARLY XX CENTURY
Z.M. Denisova
Abstract. The purpose of this study is to consider the avant-garde movements in foreign music of the early 20th century and prove that the eclecticism and multi-layered nature of the art of this period are not related to the authors' desire to oppose it to the art of romanticism, but rather it is connected with the emergence of a new type of artistic thinking – montage. The analysis showed that in musical culture, montage does not appear as an elementary way of constructing a musical composition, but rather as a large-scale artistic phenomenon that has become a kind of universal for creators, allowing them to freely work with shaping, thematics, ideological and conceptual content and reflect their feelings and vision surrounding reality. The methodological basis of the article is a set of methods: theoretical, semantic, analytical. The dominant method is the historical method, when the artistic movements of Western music of the early 20th century are considered in stages, in connection with each other, based on identification, opposition, comparison, and generalization. The main conclusions of the study are as follows. As an artistic and conceptual phenomenon, montage opens up incredible prospects for creativity, allowing creators to come into contact with various cultural layers and draw answers to many questions of today from them. The analysis made it possible to identify the author's innovations in foreign music of the early 20th century, which were based on montage. The novelty of the study lies in the fact that for the first time some stages of foreign music are considered in the context of montage as an artistic phenomenon that today needs scientific understanding and a new research interpretation.
Keywords: editing, foreign music, avant-garde trends, electronic music, text, dramaturgy, composition Conflict of interest. The author declares the absence of conflict of interests.
For citation: Denisova, Z.M. (2022), “Installation and avant-garde trends in foreign music of the early XX century”, Journal of Musical Science, vol. 10, no. 1, pp. 49–57.
DOI: 10.24412/2308- 1031-2022-1-49-57.
“TWO COLORS OF TIME” BY G.N. IVANOV: REALITY AND FICTION
E.S. Gulyaeva
Abstract. The object of study in this article is the last operetta of the Siberian composer G.N. Ivanov «Two Colors of Time». The purpose is to analyze the manuscripts of this work. The goal dictates the following tasks: to describe the stages of the search and the current state of the manuscripts, to identify the relationship between real events and their interpretation in the play, as well as the composition itself, to analyze V.S. Mikhanovsky's play and musical material. The relevance of the topic is due to the fact that the essay has not been studied, and the material has a number of artistic advantages. It is also important that the basis is based on the true history of Siberian origin. The article contains archival materials: fragments of interviews with the playwright and librettist V.S. Mikhanovsky, photographs of real historical characters. It is important to analyze the real history and the elements introduced into it, the problem of the expediency of their combination is solved. During the review of the essay, the presence of tragic and comedic lines associated with various characters was revealed. Special attention is paid to the consideration of the musical characteristics of the main and a number of minor characters – Masha, Ivan, Roman, Chernoukhov, Dyak Fedor, Daria and Glafira, Stepan Panasenko.
Keywords: G.N. Ivanov, music for the theater, creativity of Siberian composers, operetta, «Two Colors of Time», V.S. Mikhanovsky
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Gulyaeva, E.S. (2022), “«Two Colors of Time» by G.N. Ivanov: reality and fiction”, Journal of Musical Science, vol. 10, no. 1, pp. 58–71.
DOI: 10.24412/2308-1031-2022-1-58-71.
TWO FANTASY PIECES BY PAUL NATORP FOR PIANO
Guo Shaoying
Abstract. This article examines the piano work of Paul Gerhard Natorp, who, in addition to music, brightly and talentedly declared himself in other scientific fields. First, Natorp is a representative of the philosophical trend, which in the history of philosophy is called “neo-Kantianism”. His apologists paid a lot of attention to the personality of Plato, whose philosophical system also left an imprint on the composer's worldview. Secondly, Natorp left a significant mark on social pedagogy, having authored an innovative system of education and осоupbringing. At the same time, both spheres of activity were influenced by his musical thinking. For the first time in the history of Russian musicology, the author of this article analyzes two fantasy pieces (Zwei Fantasiestückе) for piano, written by Natorp. It is noteworthy that both fantasy pieces are among the works for solo piano of the 1870s, which were created by Natorp under the guidance of his mentor Gustav Jacobsthal. Best known as a renowned philosopher and social educator, Natorp created inimitable examples of musical compositions, especially for the piano. In the composing workshop of Natorp, there are many models for creating musical opuses, but they all act not only as parts that are designed to contribute to the world treasury of musical thought, but, at the same time, represent substructures of a single complex system, the task of which is to the need to create and maintain an integral musical space – the sounding space of being. The author of the article states that the personality of Natorp is interesting because in his work he made an attempt to build a paradigm of coexistence of all three of his hypostases, which is so significant for the world cultural heritage, namely music, philosophy and pedagogy. This synthesis was clearly and vividly manifested in his piano compositions. It is emphasized that the author of the article had to collect musical examples for this study himself. The work was very painstaking and full of novelty.
Keywords: Natorp, piano pieces, two fantasy pieces, chamber ensemble, German classics, musical form Conflict of interest. The author declares the absence of conflict of interests.
For citation: Guo Shaoying (2022), “Two fantasy pieces by Paul Natorp for piano”, Journal of Musical Science, vol. 10, no. 1, pp. 72–79.
DOI: 10.24412/2308-1031-2022-1-72-79.
E.A. Romanovskaya
Abstract. This article is devoted to the problem of the untimely appearance and, in this regard, the performing oblivion of the Second Concerto for Piano and Orchestra by A.K. Glazunov. This work is rarely performed, little studied, and is briefly mentioned or omitted altogether in research works devoted to the composer's work. However, the revival of the performing interest in the concert and its inclusion in the repertoire of young contemporary pianists speaks of the relevance of music. Through the historical context, the alleged reasons for the difficult attitude towards the work of Glazunov as a zealous defender of traditions during the period of the revolutionary renewal of the musical language are consistently stated. It also calls into question the consideration of the composer's work only through the prism of traditionalism: the work emphasizes both the continuity of Glazunov in the development of the genre of the piano concert, and the emergence of new trends in his stylistic language, such as modern and eclecticism. Chronological information about the writing and performance of the concerto during the difficult crisis period in the life of the composer and society is given. The article analyzes the features of the formation of a one-movement piece with features of a suite and the use of the monothematic principle of melodic development in the Second Concerto.
Keywords: piano concert, A.K. Glazunov, monothematism, traditions, modern, eclecticism
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Romanovskaya, E.A. (2022), “A.K. Glazunov’s Concerto for piano and orchestra, op. 100: through the prism of tradition and innovation”, Journal of Musical Science, vol. 10, no. 1, pp. 81–89.
DOI: 10.24412/2308-1031-2022-1-81-89.
ABOUT RUBATO PARADOX IN CLASSICISM AND ROMANTICISM
M.G. Karpychev
Abstract. Tempo rubato is a musician’s art to play in free regime of music time following. The contrary one – the strict metronomic mechanics. These two regimes are dialectically (like in “diffusio”) connected. It became absolutely clear for us after realizing the deepest principle of Bruno Walther, the great conductor. He said about Beethoven (and, we shall notice, it concerns without any doubt wiener classicism in whole): “Play always rubato, but it must be imperceptible”. Now let us try to continue this idea and take a look on romanticism. We are sure, that romantic pieces must always be played evenly, but evenness must be imperceptible. Romantic pieces with their capricious time’s context demand restrained time regime, because, otherwise, the player looses good art taste. Everybody knows Liszt’s words: “Do you see branches, leaves – how they are staggering? The root and trunk keep strongly – that is the tempo rubato”. Active breaking metre in romanticism leads to the breaking composer’s idea. And the same – of absolute evenness in classicism leads to the “dead” rendition. Negative poles become intimate. And at last we shall ask – maybe correlation between music classicism and romanticism continues genetic correlation of Apollo and Dionysus origins, of these greatest PROTOS-IMAGES?
Keywords: tempo rubato, metre, classicism, romanticism, “diffusio”
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Karpychev, M.G. (2022), “About rubato paradox in classicism and romanticism”, Journal of Musical Science, vol. 10, no. 1, pp. 89–94.
DOI: 10.24412/2308-1031-2022-1-89-94.
PIANO CREATIVITY OF M.G. KARPYCHEV
L.L. Zenina
Abstract. The article is dedicated to the memory of Mikhail Georgievich Karpychev, Doctor of Art Criticism, Professor of the M.I. Glinka Novosibirsk State Conservatory, who worked at the Department of General Piano of the NSC for more than 30 years. The scale of M.G. Karpychev's creative activity was truly significant: he combined the talent of a poet (he published nine poetry collections, two books in prose, a philosophical essay and short stories), a composer (about 20 works), a teacher, a pianist-performer. His scientific books and articles were devoted to the disclosure of the problems of the content of music, the peculiarities of speech on the piano, specific issues of the flow of musical time. The works concerning methodological problems of piano teaching were aimed at practical tasks of teaching piano playing, studying the experience of outstanding piano teachers, improving the technique of students. M.G. Karpychev's compositional work is diverse, in which he conveyed his impressions of numerous trips to countries and cities of Europe. As a result of his trips, compositions based on the peculiarities of the stylistics of different historical eras, reflecting national traditions, the originality of the musical mentality, conveyed by bright colors and dynamic contrasts, appeared. The musical compositions of M.G. Karpychev are closely intertwined with his literary work.
Keywords: M.G. Karpychev, piano pedagogy, creativity, composer, teacher, pianist-performer
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Zenina, L.L. (2022), “Piano creativity of M.G. Karpychev”, Journal of Musical Science, vol. 10, no. 1, pp. 95–106.
DOI: 10.24412/2308-1031-2022-1-95-106.
ABOUT THE ESSENCE OF THE AESTHETIC
E.G. Gurenko
Abstract. The article is devoted to the analysis of the aesthetic as a phenomenon of value character. Proceeding from the theoretical ideas of I. Kant about the existence of free beauty (pulchritudo vaga) and incoming beauty (pulchritudo adhaerens), the author introduces two inextricably linked concepts – aesthetic free and aesthetic incoming. The first concept serves as an expression of the essence of the aesthetic, the second covers each of its most general modifications, as a result of which the beautiful and the ugly, the sublime and the base, the tragic and the comic appear not only as phenomena having their own features, but as phenomena having a single basis. The hierarchy of these modifications is given in the form of a conditionally ranked system, the nature of which is determined by the "measure" of the manifestation of the free and incoming aesthetic in each of them, as well as by the "specific weight" of their positive or negative significance. The article shows that the value of an object cannot be an integral part of this object, value is the modus of the latter. The concept of modality is associated with the possibility of changing projections, states of the object, forms of its implementation. A thing can simultaneously serve as an object of veneration and be inherited, it can have great cultural and historical significance and can, moreover, possess exceptional beauty. The change of these planes, dimensions, levels of being becomes possible if the position of the subject (observer of this object) changes. The modes of things in this case acquire a new content, since they are included in a different coordinate system. In the definitions of the beautiful and the ugly, the sublime and the base, the tragic and the comic, the object and subject sides of these categories are specially emphasized, and the manifestation of aesthetic free and aesthetic incoming principles in them is also taken into account.
Keywords: aesthetic, aesthetic free, aesthetic incoming, beautiful, sublime, tragic, comic, low, ugly, value, attitude, mode
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Gurenko, E.G. (2022), “About the essence of the aesthetic”, Journal of Musical Science, vol. 10, no. 1, pp. 107–119.
DOI: 10.24412/2308-1031-2022-1-107-119.
THE MUSICALITY OF FICTION: A SYNERGETIC ASPECT
N.P. Kolyadenko
Abstract. The musicality of fiction in most cases is associated by researchers with the "audible" side of the word, created in the verbal language by sound recording or verbal instrumentation. The article suggests a different approach, based not on the musicalization of verbal language, which originates from the ancient syncretism of words and music, but on the "non-acoustic musicality" that arose as a result of the interaction of independent arts. It is shown that inaudible musicality originates from its "intelligibility" as an expression of Pythagorean-Platonic eidos by music. In understanding this approach, it is proposed to apply some of the provisions of synergetics that have been ignored so far. In the synergetic aspect, non-acoustic musicality is interpreted as an attractor of changes in the structure of an artistic image, which introduces features of creative (dynamic) chaos into verbal art. The signs of musical thinking are justified by referring to the work "Music as a subject of logic" by A.F. Losev. Fragments from Pasternak's prose "Novella" are chosen as an example of a synergetic interpretation of non-acoustic musicality. It is demonstrated that the original structure of the verbal image, arising from the inspirational influence of music, can be formed on the basis of metaphorical densification, by the nature of semantic fullness similar to musical images. Forming the saturation of meaning from the supra-logical collision of various meanings and the exchange of energy and information, the creative chaos of such a structure significantly increases and expands the volume of the verbal image. In comparison with the external musicality of sound recording, the considered variant "is unattainably ahead of its sound embodiment and creates a special kind of ideality" (G.G. Gadamer). The synergetic approach, which captures the nature of the energy of the interaction of words and music, allows us to take into account the deep insights that arise in verbal texts.
Keywords: non-acoustic musicality, synergetics, attractor, creative chaos, A.F. Losev, "The Story" by B. Pasternak, "a special kind of ideality"
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Kolyadenko, N.P. (2022), “The musicality of fiction: a synergetic aspect”, Journal of Musical Science, vol. 10, no. 1, pp. 120–132.
DOI: 10.24412/2308-1031-2022-1-120-132.
EMOTIVITY IN THE FORMATION OF VOCAL TEXT: FROM OCCURRENCE TO PERCEPTION
V.V. Klimenko, E.A. Prikhodovskaya
Abstract. The article discusses the various phases of the functioning of vocal sound in the text space, through which the sound is transmitted from its source to the addressee (listener). The concept of an audio model is introduced, which is the only link between the composer and the listener. The composer creates only chronologically limited musical-verbal text. For the creation of an audio model that directly comes into contact with the psyche of the bearer of the perceiving consciousness, the singer-performer of this work is “responsible”. The subject of his work (s) is the emotiveness of vocal sound, which is the central problem in our article. The article discusses the holistic path of vocal sound, from its origin to its perception. There are six phases of sequential transformation of sound in space. The “penetrating” property of vocal sound is an emotive “charge”, which is transformed in the perceiving consciousness into an emotional characteristic. The integrative function of emotiveness is affirmed in relation to all involved means of expressiveness. The phases of the functioning of emotivity are given: 1) of the emotive impulse (hereinafter – the emotive process); 2) of sound wave formation; 3) acoustic transformation; 4) of perceptual interaction of vocal sound with auditory membranes of the addressee; 5) of apperception as the transmission of an emotive impulse; 6) of transformation of an emotive impulse into an emotional "charge" in the perceiving consciousness of the addressee (listener). These issues are considered on the example of a number of samples from vocal literature.
Keywords: emotivity, emotive impulse, emotive process, audio model, vocal sound, apperception, phase Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Klimenko, V.V., Prikhodovskaya, E.A. (2022), “Emotivity in the formation of vocal text: from occurrence to perception”, Journal of Musical Science, vol. 10, no. 1, pp. 133–146.
DOI: 10.24412/2308-1031-2022-1-133-146.
MUSICAL PROPERTIES OF THE ZVONNITSAS OF THE KALININGRAD METROPOLITANATE
S.G. Tosin
Abstract. Zvonnitsas in this region began to appear only in the lastest 25–30 years, when the Russian Orthodoxy came here. They have not been studied by campanologist musicians yet, so the purpose of the article was to identify the musical features of the bell culture of the region. The following tasks are being solved: a) determining of the musical and acoustic indicators of the bell instrumentation of the Kaliningrad Metropolitanate, b) analysis of the musical and cult-ritual possibilities of its zvonnitsas. The article is based on the results of the author's survey of zvonnitsas of the Kaliningrad Metropolitanate in 2019. The musical quality of the zvonnitsa depends on a complete set of bells and the structure of the scale. The analysis of the samples indicates an absence of a standard in their formation. The number and quality of bells in the instrument can be free. The interval composition is represented by two types of zvonnitsa’s scales: a) harmonic, which is based on classical harmony; b) arbitrary, structurally unorganized. The study of musical and cult-ritual parameters was carried out on the basis of specific samples, which include musical material and Orthodox genre rules. Assessing the bellringing culture of the Kaliningrad Metropolitanate, we can conclude that it is moving in line with all-Russian trends. But there is one feature that is not typical for other regions of Russia: there are no Russian ancient bells in the Kaliningrad zvonnitsas.
Keywords: zvonnitsa, bell, chime, bell ringer, Kaliningrad Metropolitanate
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Tosin, S.G. (2022), “Musical properties of the zvonnitsas of the Kaliningrad Metropolitanate”, Journal of Musical Science, vol. 10, no. 1, pp. 147–156.
DOI: 10.24412/2308- 1031-2022-1-147-156.
GENRE PANORAMA OF THE VIOLIN WORKS BY CHINESE COMPOSERS AFTER THE CULTURAL REVOLUTION
A.M. Petrova
Abstract. The article examines the genre panorama of the violin works Chinese composers in the 20th century. The author identifies the leading genres and stylistic landmarks that have determined the character of the country's violin art throughout four stages of development – from the beginning of the 20th century to the present. It has been established that the appeal to the ancient layers of the national artistic culture and the search for individual solutions of synthesis with the Western European genre system is becoming one of the leading ways to preserve national identity in the context of the new musical and aesthetic space that emerged after the end of the Cultural Revolution. The role of programmaticity in violin compositions created after 1976 is determined – the formation of new sound ideals in the field of violin music through the popularization of the avant-garde compositions of Chinese composers. The violin concerto genre is defined as the most representative in the system of creativity national Chinese composers. The special role of the genre of the string quartet, trio and quintet, which serves as a creative laboratory for working out the composer's techniques and techniques that are relevant in the twentieth century, as well as methods of working with heterogeneous timbres, has been established. It was revealed that the genres of programmed miniature, sonatas and suites are the leading genres in the field of chamber violin music and remain in demand at the present stage.
Keywords: Cultural revolution, genres of violin music, concert, quartet, European musical romanticism, programmatic, musical avant-garde
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Petrova, A.M. (2022), “Genre panorama of the violin works by Chinese composers after the Cultural revolution”, Journal of Musical Science, vol. 10, no. 1, pp. 157–167.
DOI: 10.24412/2308-1031-2022-1-157-167.
Zuo Haoxi
Abstract. The article is devoted to Chinese musical culture and the existence of the piano prelude genre in it. The author of the article considers the issues of national composer traditions and the influence of the characteristics of other national cultures on the formation and the development of the Chinese piano prelude genre. The most important aspect is the analysis of the works of Ding Shangde (1911–1995), which is carried out in the scientific literature for the first time. Focusing on a number of works by a modern Chinese composer who was no less famous in the People's Republic of China both as a concert pianist, who was the first to play a solo concerto in his homeland, and as a music teacher, the author notes that Ding Shangde experimented a lot in such genres as prelude and fugue. He made especially bold decisions in harmonic language. For example, in most of his works there is no specific tonal center. In the Four Little Preludes and Fugues, op. 29 (1988) he even tried to work with the series. The central place in the work is given to the genre of prelude. The author focuses his scientific interest on the following piano miniatures: Preludes, op. 3, No. 1 (Andante sostenuto), which is based on the Chinese folk song “Xiao Lu” (“Little Path”); preludes op. 3, No. 2 (Andantino cantabile) and Preludes, op. 3, No. 3 (Allegretto con anima). All three preludes were created by Ding Shangde in 1948 while studying in Paris under Tony Aubin.
Keywords: Ding Shangde, prelude, Chinese piano music, Chinese national flavor, Western piano art
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Zuo Haoxi (2022), “Features of the implementation of national and ino-national characteristics in the prelude cycles of Chinese composers”, Journal of Musical Science, vol. 10, no. 1, pp. 168–174.
DOI: 10.24412/2308-1031-2022-1-168-174.
THE XIAO FLUTE IN THE CONTEXT OF CHINESE CULTURE
Ji Yanyi
Abstract. The bamboo flute called xiao is one of the most popular and noble music instruments in China. Despite this fact, there are almost no studies of this music instrument either in Chinese or in European languages which shows the relevance of this article. The xiao flute has a unique timbre that distinguishes it from other related instruments. The article establishes the cultural and philosophical factors that determine the specificity of the sound of xiao, as well as their influence on the harmony and melody inherent in music for xiao. Research is based on the philosophy of Chinese music, encyclopedic articles about the xiao flute, as well as the author's (who can play the instrument) own observations. The article is written in line with interdisciplinary research, the basis of which is the principle of consistency, which determined the use of integrative, system-functional methods. It has made possible to analyze xiao from the standpoint of musicology and philosophy of music, and show how the peculiarities of Chinese culture and philosophy influenced the formation of the xiao noble sound. The author shows that philosophical attitudes, not the technical limitations were primary in the formation of the sound and repertoire of xiao.
Keywords: Chinese musical instruments, bamboo flute, timbre, acoustics, harmony, musical expressiveness, philosophy of music
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Ji Yanyi (2022), “The xiao flute in the context of Chinese culture”, Journal of Musical Science, vol. 10, no. 1, pp. 175–182.
DOI: 10.24412/2308-1031-2022-1-175-182.
WORKS BY N.Ya. MYASKOVSKY IN THE GENERAL PIANO COURSE
Yu.A. Rozhkova
Abstract. Learning to play the piano is of greater importance in the education of professional musicians of different specialties. As part of the study of the discipline "piano", students develop not only purely pianistic skills, but also expand their musical horizons, enrich auditory representations, and cultivate artistic and aesthetic taste. The article discusses the possibility of studying some of N. Ya. Myaskovsky's works in the general piano course. The author emphasizes the urgency of the problem of expanding the repertoire. The fund of musical literature for piano is huge. Teachers often limit their work with students to only works known to them. A number of simple compositions of the last century, as well as interesting and easy-to-understand, performance opuses of modern composers remain in the shadows. They are not studied in the general piano course, although many of them deserve pedagogical attention. The more diverse and richer the educational material, the more intensively the creative potential of students is revealed, their musical thinking and imagination develop. The author classifies N. Ya. Myaskovsky's compositions according to their degree of complexity, taking into account the piano training of students. The article is of practical value and can be recommended to teachers and university students in the framework of studying the discipline "piano" in the general piano course.
Keywords: piano, general piano course, repertoire, teaching, N.Ya. Myaskovsky
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Rozhkova, Yu.A. (2022), “Works by N.Ya. Myaskovsky in the general piano course”, Journal of Musical Science, vol. 10, no. 1, pp. 183–190.
DOI: 10.24412/2308-1031- 2022-1-183-190.
Huang Zehuan
Abstract. In the center of the article is the dance drama “Confucius”, created by director Kong Dexin, who is a descendant of the world-famous philosopher, whose name is in the title of the drama, and composer Zhang Qu. Exploring the role of dance in the education of a person, studying the role of dance culture in the life of society, the author comes to the following thought. The dance drama genre turns out to be the most optimal for understanding the significance of the thinker in the history of China, as well as his role in the life of our ВЕСТНИК МУЗЫКАЛЬНОЙ НАУКИ. 2022. Т. 10, № 1 192 fellow citizens inhabiting the Celestial Empire. Carrying out an art history analysis of the creations of Chinese masters, the author dwells on the plot presented in six parts of the dance drama: “Prologue. Question”, “Difficult Times”, “Hunger”, “Datong”, “Zhenshan” (“Death of Ren”) and “Epilogue. Music”. The author notes that significant in this context is the fact that Confucius appears before the audience in his hands with a musical instrument. Maintaining determination and good spirits in his students, who are experiencing hardships and trials with their teacher, Confucius recites classical poetry by heart, plays the guqing and sings songs, while maintaining an optimistic and cheerful character. The author states that, demonstrating a synthetic artistic whole, the drama “Confucius” incorporates such integral components as: dance performance, ritual recitation, musical accompaniment and vocalization. The fact that the dance drama “Confucius” has gained worldwide fame, causing the audience constant delight, is seen by the author not only as a result of the highest skill of the performers, as well as its undoubted artistic merits, but also the love of every nation for the culture of dance that has been preserved for many centuries.
Keywords: dance drama, “Confucius”, director Kong Dexin, composer Zhang Qu
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Huang Zehuan (2022), “Dance drama «Confucius»”, Journal of Musical Science, vol. 10, no. 1, pp. 191–199.
DOI: 10.24412/2308-1031-2022-1-191-199.
FAN AS ATTRIBUTE OF TRADITIONAL CHINESE CULTURE
U Liyang
Abstract. The article is devoted to the consideration of the fan as an attribute of traditional Chinese culture, actualized in dance. As a form of body language, dance is recognized as the most important means of conveying cultural values and expressing feelings, and is also one of the significant components of traditional Chinese opera. Despite the fact that, in addition to dance, its foundation is also based on the synthesis of singing, instrumental music, acrobatics, martial arts, painting, literature and even medicine as interdependent components of a synthetic artistic whole, it is dance that most fully provides the embodiment of the divine rhythm of Shen-yun. Taking into account the centuries-old experience of plastic assimilation of the values of the world of nature and the world of people around man, traditional Chinese dance is called 201 КУЛЬТУРОЛОГИЯ upon to actualize in the opera the spiritual aspects of the plot twists and turns of the main characters. At the same time, both the dance itself and its attributes are dictated by the need to ensure the quality of the acting, creating optimal conditions for the multifaceted disclosure of the system of images traditional for Chinese opera. One of the iconic attributes of Chinese dance culture, which is used many times in opera performances, is the fan. The article examines a number of functions of the fan in traditional dance culture, through which the symbolization of the originally utilitarian object, used in everyday life by the inhabitants of the Celestial Empire, occurs. The author focuses his scientific interest on four functions of the fan used in traditional Chinese dance: 1) conveying cultural traditions, 2) expressing feelings and ideas, 3) enhancing expressiveness, and 4) enriching the composition. The author focuses on such dances as “Plum in the Snow”, “Fan Plates”, “Red Fan”, “Red and Black”, “I was looking for her in a dream a thousand times”, etc.
Keywords: fan, Chinese traditional dance culture, utilitarian and aesthetic functions
Conflict of interest. The author declares the absence of conflict of interests.
For citation: U Liyang (2022), “Fan as attribute of traditional Chinese culture”, Journal of Musical Science, vol. 10, no. 1, pp. 200–207.
DOI: 10.24412/2308-1031-2022-1-200-207.
