MY FATHER ALEXANDER MIRONOVICH AIZENSHTADT
S.A. Aizenshtadt
Abstract. Article represents memoirs, devoted to the large musicologist, one of founders of studying of musical folklore of the people of Siberia and the Far East of Russia, the teacher and the composer Alexander Mironovich Aizenshtadt (1922–2009). Article is based on personal memoirs of her author – the pianist and the musicologist S.A. Aizenshtadt, the son Alexander Mironovich. The main periods of A.M. Aisenshtadt's life path rich in difficult events, which began in Vitebsk and ended in Yaroslavl, are considered. The article describes the history of his scientific searches that unfolded during his stay in the Far East, which revealed to a novice scientist, a teacher of the Khabarovsk Music School, a previously unknown musical culture – folklore of the indigenous peoples of the Amur region. The main direction of subsequent research that was determined was most effectively continued and implemented in articles and dissertations during the period of work at the Novosibirsk Conservatory. The author also presents the achievements of A.M. Aisenshtadt in the field of compositional creativity, which became more active after moving to Krasnodar and then to Yaroslavl. Article contains earlier not published data on the biography of Aizenshtadt. For illustrations photos from family archive are used.
Keywords: Aizenshtadt, Novosibirsk Conservatory, Musical Folklore, Siberia, Far East of Russia, Nanais, Evenks
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Aizenshtadt, S.A. (2022), “My father Alexander Mironovich Aizenshtadt”, Journal of Musical Science, vol. 10, no. 2, pp. 7–17.
DOI: 10.24412/2308-1031-2022-2-7-17.
NOVOSIBIRSK PERIOD OF A.M. AISENSHTADT'S SCIENTIFIC ACTIVITY
N.V. Leonova
Abstract. Alexander Mironovich Aisenshtadt is a musicologist and folklorist who worked at the Novosibirsk Conservatory from 1957 to 1974. At the stage of the formation of scientific work at a music university, he played a decisive role in the study of traditional music of Siberia. In Novosibirsk, he was formed as a researcher, his works were recognized by domestic specialists. However, some aspects of his folklore activity are still insufficiently documented. In particular, this applies to such an important area as expedition work. The author of the article, based on the study of archival and published sources, establishes a chronological list of folklore expeditions organized with the participation of A.M. Aisenshtadt, starting from the late 1950s and until his departure from Novosibirsk. The information about the territories chosen for recording musical folklore of both the Russian population of the region and its indigenous inhabitants is collected: the Evenks, the Kets, the Selkups, the Khakasses. The collected information will help to certify the early expedition collections stored in the Archive of Traditional Music foundation. The issue of attempts to create structural units at the Novosibirsk Conservatory at the turn of the 1960s and 1970s, designed to promote the development of activities for the study of the musical culture of Siberia, deserves special attention.
Keywords: ethnomusicology, traditional Siberian folklore, field researches, A.M. Aisenshtadt, Novosibirsk Conservatory
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Leonova, N.V. (2022), “Novosibirsk period of A.M. Aisenshtadt’s scientific activity”, Journal of Musical Science, vol. 10, no. 2, pp. 18–25.
DOI: 10.24412/2308-1031-2022-2-18-25.
GENRE SYSTEM BURYAT MUSICAL FOLKLORE: TO THE QUESTION ABOUT STUDY METHODOLOGY
O.V. Novikova
Abstract. The article discusses approaches to the genre classification of Buryat folklore, which resulted from various methodological positions of the authors of studies and collections of folklore materials. It is noted that in a number of works the installation of the Buryat people for consideration as a consolidated community with a single culture is noticeable. In the context of ethnic heterogeneity, the Buryats emphasize the importance of studying specific ethnolocal traditions, describing individual genres in as much detail as possible, publications of the most complete folklore texts indicating the places of fixation and informants. All this will to make holistic descriptions of the genre systems of folklore of separate ethno-local groups of buryats. At the same time, musical and folklore genres should be considered in the context of a holistic system of Buryat traditional culture, including both musical and non-musical genre traditions. It is necessary to take into account the ethnic terminology reflecting intracultural genre oppositions, as well as historical changes in traditional culture. This approach it is observed in the studies of Novosibirsk authors, its effectiveness is illustrated on the example of the description of the West Buryat Idin (Bokhan-Osin) and East Buryat Khorin (Eravna) folklore-genre systems.
Keywords: Buryat folklore, Buryat folkloristics, Buryat studies, genre typology of folklore, Buryat folk music
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Novikova, O.V. (2022), “Genre system Buryat musical folklore: to the question about study methodology”, Journal of Musical Science, vol. 10, no. 2, pp. 26–35.
DOI: 10.24412/2308-1031-2022-2-26-35.
BYLINA MELODIES OF RUSSIAN OLD-SETTLERS OF THE NORTH-EAST OF SIBERIA
A.S. Yakovleva
Abstract. The article is devoted to the melodies of bylinas in the folklore of local groups of Russian old-settlers of the North-East of Siberia: Russkoye Ustye and Markovo. The topic is relevant, since in the genre hierarchy of the musical folklore of the Russian old-settlers of this region, the epic sphere occupied a leading position and is a unique, but at the same time little-studied phenomenon in the field of ethnomusicology. The purpose of this study is to determine the features of the organization of bylina melodies. For this, a comparative analysis of the samples was carried out in terms of the form of verse and melody, quantitative syllabic composition and the volume of musical time. As a result of the study, it was revealed that the principle of the ratio of the quantitative syllabic composition and the volume of musical time turned out to be an essential distinguishing feature of the Markovo and Russkoye Ustye groups of melodies. Thus, in Markovo samples, an important role in the organization of a work is played by the regulation of the duration of syllables depending on their number in a line, which leads to the observance of the same musical length of lines and / or stanzas. No such regularity was found in the Russkoye Ustye records. Thus, despite the kinship of the local groups, the common origin of most bylina plots, and even the presence of the same plot of bylina in the song repertoire of neighboring folklore traditions, there are signs that distinguish Markovo recordings of bylina melodies from those in Russkoye Ustye.
Keywords: North-East Siberia, Russian old-settlers, epic folklore, bylinas, rhythmic organization of melodies
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Yakovleva, A.S. (2022), “Bylina melodies of Russian old-settlers of the North-East of Siberia”, Journal of Musical Science, vol. 10, no. 2, pp. 36–44.
DOI: 10.24412/2308-1031-2022-2-36-44.
HANDWRITTEN ARCHIVE OF EDUARD ALEKSEEV. TO THE QUESTION OF SYSTEMATIZATION OF DOCUMENTS
A.D. Khaltanova
Abstract. The article deals with the issue of systematization of the handwritten archive of Eduard Efimovich Alekseev. The need to pose the question is due to the fact that the materials of the fund-maker Alekseev reveal different types of creative and scientific activities of the musicologist: research, collecting, composing. It should also be noted that the collecting and research activities of the scientist cover the folklore of different peoples of the former Union of Soviet Socialist Republics. The aim of the study is to determine the nature and type of systematization of Alekseev's archival materials. To achieve the goal, we use the methods of systematization of the Federal Archival Agency and manuscript fund of M.N. Zhirkov of the National Library of the Republic of Sakha (Yakutia). The paper uses the description method to form a general idea of the significance of Alekseev's archival materials. The article describes the contents of folders of E.E. Alekseev. The method of systematization is used to present documents by type of activity of a scientist. The paper also considers the systematization of the manuscript fund of the first composer of Yakutia, collector and researcher of Yakut folklore M.N. Zhirkov. Autor based on the methodological recommendations of the Federal Archival Agency and present various options for systematizing the documents of E.E. Alekseev. Autor a result of the study, the author proposes a variant of the systematization of Alekseev's paper materials with the maximum preservation of the "folder system" of the fund creator Alekseev.
Keywords: manuscripts, handwritten archive, Eduard Efimovich Alekseev, systematization of the handwritten archive, folklore studies
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Khaltanova, A.D. (2022), “Handwritten archive of Eduard Alekseev. To the question of systematization of documents”, Journal of Musical Science, vol. 10, no. 2, pp. 45–52.
DOI: 10.24412/2308-1031-2022-2-45-52.
BORIS ALEXANDROVICH SHINDIN. THE MAIN TOPICS OF SCIENTIFIC CREATIVITY
O.A. Svetlova
Abstract. The article is devoted to the review of scientific research directions of the outstanding musicologist, graduate and teacher of the Novosibirsk Conservatory, Doctor of Art History, Professor Boris Alexandrovich Shindin and is timed to the 80th anniversary of his birth. Having studied and systematized his extensive legacy, the author sets the task to identify and consider the main themes of his scientific work in order to recreate the multifaceted appearance of the scientist who made a significant contribution to musical medieval studies and musical study of Siberia. The author notes the significant influence of the trends of the period of the “Archeographic Discovery of Siberia” and his famous teachers – Novosibirsk folklorist and historian A.M. Aisenshtadt and the founder of the Russian school of medieval studies M.V. Brazhnikov on the formation of professional interests of B.A. Shindin. In the period of the late 1960s – 1970s, the musicologist's research was devoted to the theory of natural rospev, his Cand. Sc. Thesis was the first special work on this topic. Another fundamental topic is the genre typology of the Old Russian singing art, developed since the mid-1980s and fully implemented in the doctoral dissertation of 2004. As part of the direction of musical medieval studies, B.A. Shindin becomes the first ancient musicologist who, since the 1980s, together with Novosibirsk specialists of technical sciences, has been developing the topic of electronic computing technologies in relation to the monuments of ancient Russian musical writing, which eventually leads to the creation of an electronic alphabet for the notolinear reconstruction of the znamenny rospev. In the works of the professor, a special direction is formed for the study of the singing traditions of the Siberian Old Believers, which is actively developed in the scientific activities of his students in the 1990s–2000s, which contributes to the formation of the Novosibirsk medieval school of B.A. Shindin. Finally, as a Siberian scientist, Boris Alexandrovich played an important role in the development of the complex theme of the Novosibirsk Conservatory “Musical Culture of Siberia” as a researcher, initiator and organizer of major regional scientific and publishing projects, including the information system “Musical Culture of Siberia”. In conclusion, it is emphasized that the range of scientific interests of B.A. Shindin has always been connected with the history of Russian musical culture, and he himself is an example of service to Russian musical science.
Keywords: Shindin Boris Alexandrovich, M.V. Brazhnikov, musical medieval studies, Old Believers, musical culture of Siberia, Novosibirsk Conservatory
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Svetlova, O.A. (2022), “Boris Alexandrovich Shindin. The main topics of scientific creativity”, Journal of Musical Science, vol. 10, no. 2, pp. 53–65.
DOI: 10.24412/2308-1031- 2022-2-53-65.
N.S. Murashova
Abstract. The article summarizes the methodological approaches of Professor of the Novosibirsk Conservatory B.A. Shindin on the study of ancient Russian singing art with university students. Their application in modern pedagogical practice will make it possible to comprehend the specifics of mastering the music of medieval Russia, which will favorably affect the effectiveness of teaching musical and historical disciplines. The study of the ancient Russian singing art is complicated by the lack of an emotional listener’s attitude to its monuments; aesthetic distance due to the unusual intonation structure. The most important task is to form students’ analytical and auditory culture in relation to musical works of the Russian Middle Ages, which will help to comprehend their artistic features in the context of stylistic evolution. The organizational and substantive aspects of the section of the course “History of Russian Music” dedicated to the development of ancient Russian singing art are presented. The methodological aspects of studying the following topics are characterized: the history of the study of the ancient Russian singing art, tasks, principles, methods and sources of research, general characteristics, periodization, evolution, stylistic varieties, comparative study of the Russian and European musical Middle Ages. The methodological basis of B.A. Shindin’s pedagogical system was a culturological approach, which finds expression in the discovery of contextual connections of singing art with cultural and historical events, iconography, literature. The problems of musical and historical evolution were comprehended in line with the concepts of N.I. Konrad, D.S. Likhachev, B.V. Asafyev; they were based on the ideas about the existence of transitional periods in the development of artistic culture, about cultural communications and the impossibility of absolute cultural isolation. Shindin proposed to consider the ancient Russian singing art from the outside (from the standpoint of modern artistic thinking) and from the inside (from the standpoint of the artistic consciousness of the Middle Ages). Such an angle of view allows us to comprehend the specifics of ancient Russian music and the ways of its actualization, forms an important personal attitude for a student musician to the material functioning in a special artistic and aesthetic context within an unusual system of intonation thinking with its own fret, rhythmic and compositional features.
Keywords: author’s methodology of B.A. Shindin, ancient Russian singing art, “History of Russian music” as a university discipline, principles of studying medieval music, cultural approach in teaching
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Murashova, N.S. (2022), “Principles of studying ancient Russian singing art with students of music universities: the author’s method of B.A. Shindin”, Journal of Musical Science, vol. 10, no. 2, pp. 66–79.
DOI: 10.24412/2308-1031-2022-2-66-79.
SINGING MANUSCRIPTS OF THE SEMEISKII MASTER I.I. SLEPENKOV
T.G. Kazantseva
Abstract. The article is devoted to singing manuscripts of non-linear notation, created by the Old Believer Semeyskye from the village Kuitun of Buryatia I.I. Slepenkov and now kept in the funds of the Institute of History of the Siberian Branch of the Russian Academy of Sciences (Novosibirsk) and the Institute for Mongolian, Buddhist and Tibetan Studies of the Siberian Branch of the Russian Academy of Sciences (Ulan-Ude). Three manuscripts are attributed to the master on the basis of scribe’s and owner’s signatures, the fourth - on the basis of the similarity of paleographic features. The codicological analysis of the manuscripts made it possible to establish the time of their writing in the period of the last third of the 19th - the first quarter of the 20th century. The design of the manuscripts is pertaining in the tradition of the Guslitsky school of book writing, which was formed at the end of the 18th century in the Moscow Region Center of the Beglopopovskye Old Believers. The type of the design of the manuscripts and the professional handwriting of the scribe did not change throughout the entire period of the master’s work on the creation of singing books. According to the structure and composition, two of them are typical Irmology and Demestvennik, the third is a Сollection of selected chants, created by order of L.A. Tolstov. A similar Collection of inconstant composition is the section of additions in Irmology. The fourth manuscript is the penitential verse “On the End Time”, which is repeatedly found in the singing books of Semeyskye. It is noted that I.I. Slepenkov often included rare hymns in his Сollections, for example, the Cherubic Hymn and the irmos for Pascha of Bulgarian chant. The favorite chant of the master was the matins antiphon of the 4th tone, which he placed in early and late manuscripts in different notation variants.
Keywords: znamenny chant, Old Believers semeiskie, singing manuscripts, Old Believer bookscrew schools, I.I. Slepenkov
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Kazantseva, T.G. (2022), “Singing manuscripts of the semeiskii master I.I. Slepenkov”, Journal of Musical Science, vol. 10, no. 2, pp. 80–95.
DOI: 10.24412/2308-1031-2022-2-80-95.
THE LESSON “WHO CAN RUN AWAY...” IN THE SINGING ALPHABETS OF THE XVII century
N.S. Seregina
Abstract. The subject of the analysis of this article is the ABC lesson “Who can run away...”. According to the description of N.A. Ogarkova, M.I. Glinka’s album contains a recording by V.V. Stasov: “Who can run away the hour of death”. The origin of the text string is determined: the attribution of the text shows that it is included in the text of the educational chant – in the alphabets of singing notations of the XVII–XX centuries. The literary source is found in the folklore drama about King Herod. It is stated that this text in the singing alphabets is notated with znamenny and notolinear notation according to the steps of the scale. The author identifies this alphabet text in a number of lists of the XVII–XIX centuries, which are in the RSL in the funds of D.V. Razumovsky, V.F. Odoevsky, etc., cites mention of it in the research literature. Leaving a detailed analysis of the material outside the scope of the article, the author summarizes that the notation shows the educational chant not as a scheme of the sequence of tones, but as the intonational integrity of the lines. Different nevmenny variants of the tune reflect its deep inner meaning.
Keywords: M.I. Glinka, V.V. Stasov, N.A. Ogarkova, singing alphabets, the action about King Herod
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Seregina, N.S. (2022), “The lesson «Who can run away...» in the singing alphabets of the XVII century”, Journal of Musical Science, vol. 10, no. 2, pp. 96-101.
DOI: 10.24412/2308-1031-2022-2-96-101.
T.F. Vladyshevskaya
Abstract. In this article, the author actualizes the problem of the artistic canon in the Old Russian church-singing art. The canonicity of the artistic thinking of the Russian Middle Ages was manifested in a variety of interrelated elements of liturgical art, in the singing system of osmoglasie, the system of similar, etc. The theological concept of inspired singing determined the aesthetic criteria of the singing art. The task of the singers was to reproduce the heavenly archetypes, to recreate the angelic singing. As a material, the author chose the Cherubic Song of the znamenny chant as the musical center of the Liturgy of the faithful, in which the meaning of angelic singing is expressed. The work draws semantic parallels of the chant with the icon “Liturgy. Cherubim” XVI century. The monody of the Cherubic Song differs from the traditional osmogony of the znamenny chant by melismatics without caesur between text syntagmas, the absence of secretly closed chants and fit. The author traces the change in the chant of the Cherubic song in the stylistic development, considering the triple line of the XVI century, the four-part harmony of the znamenny chant of the second half of the XVII century, noting the presence of local, monastic, author's compositions. As a result, a conclusion is made about the stylistic specifics of the Old Russian church-singing art and its independent path of development based on canonical traditions.
Keywords: ancient Russian singing art, artistic canon, Cherubic Song, znamenny rospev
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Vladyshevskaya, T.F. (2022), “Artistic canon and stylistic trends of the Old Russian singing art (on the example of the Cherubic Song)”, Journal of Musical Science, vol. 10, no. 2, pp. 102–111.
DOI: 10.24412/2308-1031-2022-2-102-111.
G.A. Pozhidaeva
Abstract. The article reveals the possibilities of a stylistic method to determine the regional affiliation of church hymns of the XVI–XVII centuries. The method is based on the author's study of the style of monastic singing of the northern and Central Russian traditions, since monastic melodies are an indicator of local traditions. The projection of the stylistic features of monastic singing on the singing of parish churches makes it possible to detect their common or different features and, on this basis, attribute the regional origin of specific chants. On the example of the hymn of the Dormition of the Theotokos of the demestvenny chant, the commonality of its musical and stylistic norms with the norms of the northern monastic school is shown: only the gradual movement of the chant, a slow dotted rhythm, a limited quantity of kokiz of a narrow range, their wide variation in rhythm, mode and intonation, the second variability of the modes. The chant of the hymn of the Dormition of the Theotokos differs from the demestvenny chant of the main tradition. As a result of the research, the author proves that the creation of this hymn belongs to the northernschool, the center of which was Veliky Novgorod. Creation of a chant by the masters of the Novgorod singing school at the Church of St. Sophia, intended for cathedral worship, can probably be attributed to the time no later than the second third of the XVI century.
Keywords: stylistic method, singing art of the late Russian Middle Ages, demestvenny chant, regional traditions
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Pozhidaeva, G.A. (2022), “Stylistic method in the study of regional traditions of the Late Russian Middle Ages (XVI–XVII centuries)”, Journal of Musical Science, vol. 10, no. 2, pp. 112–118.
DOI: 10.24412/2308-1031-2022-2-112-118.
O.E. Sheludyakova
Abstract. The article studies compositions for a capella choir with one or more solo voices created in Russia in the XVIII–XX centuries. The relevance of the topic of this work is evidenced by the insufficient elaboration of the theory and history of solo performance in Russian liturgical music. Since ancient times and to this day, the question of the specifics of soloing in the church choir has been extremely controversial, and until now, there are no studies specifically devoted to this issue. The aim of the study was to identify the genre specifics of solo performance in choir practice by the example of works for soloists and choir of the Russian Orthodox tradition. Possible approaches to the typology of ancient Russian singing genres are analyzed, special attention is paid to the concept of genre analysis by B.A. Shindin. Possible approaches to the typology of choral compositions with soloists are briefly outlined (in terms of the scale and function of solo episodes in the form of the composition as a whole, by the nature of the interaction of solo and choral parts, by the number of soloists and their timbres, etc.). As a result of the analysis of hymns for soloists and chorus, the article highlights the genres that have received the greatest distribution in solo and choral literature, as well as genres in which solo performance was especially noticeable: antiphons, psalms, litanies, etc. It is concluded that initially the musical component of both singing service and church singing in general was completely subordinated to the dogmatic, liturgical side. However, in compositions for soloists and choir of the XVIII–XX centuries, professional vocalists began to be soloists, and the solo voice becomes a vivid expression of the author's worldview and author's style.
Keywords: musical genre, Russian Orthodox tradition, choral art, solo performance, Orthodox worship
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Sheludyakova, O.E. (2022), “Genre specifics of solo performance in choir practice by the example of works for soloists and choir of the Russian Orthodox tradition”, Journal of Musical Science, vol. 10, no. 2, pp. 119–128.
DOI: 10.24412/2308-1031-2022-2-119-128.
TO THE QUESTION OF THE STUDY OF THE OPEN FORM PHENOMENON IN THE MUSICAL ART OF THE XX CENTURY
S.A. Kozlovskaya
Abstract. The article is devoted to the study of the phenomenon of open (mobile) form, widely used in the composer’s work of the XX–XXI centuries. The article presents the theoretical views on this phenomenon of foreign and domestic art historians, philosophers, aestheticians, culturologists and composers, based on an individual understanding of the phenomenon of openness in a work of art. Through the prism of analyzing various approaches, specific views on this phenomenon are revealed: as a reflection of the aesthetics of nominalism by T. Adorno, as a special type of musical message in the context of the concept of an open work by U. Eco, as a specific musical interpretation of an open composition in connection with the techniques of aleatoric and minimalism by M. Pereverzeva and V. Tsenova, as a psychological aspect of the perception of an open form in the works of E. Ruchyevskaya and S. Goncharenko, the content level of openness and related issues in the work of N. Goryukhina, as well as the views of composers. The author comes to the conclusion that the concepts of “open” and “mobile form” are not amenable to a specific definition, however, researchers agree on such general parameters as incompleteness, freedom of choice, multiple reading and interpretation of the original author’s text, improvisation, and so on. In connection with the open form, the problems of artistic integrity, unresolved conflict, the quality of performing interpretation, the psychology of perception, which are the result of the process of musical thinking, are indicated.
Keywords: open form, mobile form, aleatoric, musical avant-garde, composition
Conflict of interest: The author declares the absence of conflict of interests.
For citation: Kozlovskaya, S.A. (2022), “To the question of the study of the open form phenomenon in the musical art of the XX century”, Journal of Musical Science, vol. 10, no. 2, pp. 129–139.
DOI: 10.24412/2308-1031-2022-2-129-139.
A.V. Vanchugov
Abstract. Since ancient times, there has been an interpretation of the City as something more than a settlement with a number of geographical and economic characteristics. In the Holy Scriptures, myths, the works of philosophers, the works of masters of art, the City often became a form of representation of the universe, the spiritual quest of man, idealistic models of the world order, social and cultural foundations. Comprehension of meanings through allegory about the City has become a special creative and intellectual process, the coverage of which is relevant from the point of view of the development of urban theories and the continuation of research in the field of musical content, as the interest of modern composers in urban themes is increasing. As the study showed, being the subject of a metaphor, the City is capable of reflecting the most burning themes of the past and present. The relevance of the article is due to the need to identify key milestones in the history of allegorical representations of the City in various theosophical, philosophical and artistic practices, which will allow us to present the problem comprehensively and allows you to develop a typology of metaphors in the art of music. The study of the multi-component theme of the City as a metaphor involves the involvement of research views that have developed in several areas of humanitarian knowledge. The methodological base is based on a historical approach that allows us to progressively consider milestones and discover hidden connotative meanings in the cultural heritage of past eras. As a result, it becomes possible to understand the main “points” of the development of the global historical process of increasing urban allegories.
Keywords: City, metaphor, bible, Middle Ages, Renaissance, modern times, philosophy, theology, art, literature
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Vanchugov, A.V. (2022), “City as a metaphor in historical retrospective: meaning contexts of “city” musical compositions at the link of the XXth–XXI centuries”, Journal of Musical Science, vol. 10, no. 2 pp. 140–152.
DOI: 10.24412/2308-1031-2022-2-140-152.
I.V. Alekseeva
Abstract. In the center of the article is the newest and unknown to the Russian listener and researcher composition of our contemporary and compatriot composer Margarita Zelenaya. The author presents the results of the study of the poem “I Believe” for violin and string ensemble, dedicated to the spiritual theme – one of their topical in the late XX – early XXI century. The analytical excursion is based on the theory of musical text. At the same time, fragments of three prayers borrowed by the composer act as semantic structures: Jewish, Orthodox and gospel. Having arisen at different times, in different cultural spaces and preserving the genetic memory of national origins, they enter into a dialogue and control the processes of meaning generation of the text. The principles of the composer’s work with the “foreign word” in the direction of creating a unique artistic world of composition are revealed. The structural and semantic modifications of the text of the prayers that organize the musical matter of the poem are investigated. Their reinterpretation and arrangement lead to the formation of an individual concept, in the center of which is the concept of faith in the spiritual unity of the peoples of the world. At the same time, moving into the past helps to comprehend the present, and borrowing “someone else’s” opens the way for “returning to oneself”.
Keywords: poem, spiritual theme, prayers, ensemble, intertext, drama
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Alekseeva, I.V. (2022), “Margarita Zelenaya. The poem «I Believe» for solo violin and strings: the realization of a spiritual theme”, Journal of Musical Science, vol. 10, no. 2, pp. 153–161.
DOI: 10.24412/2308-1031-2022-2-153-161.
CHINESE LITERATURE IN WORKS OF CONTEMPORARY COMPOSER GUO WENJING
Ma Shuhao
Abstract. The article examines the works of the Chinese composer Guo Wenjing, the impulse to create which was served by literary sources. Guo Wenjing's special attention to classical and modern national literature is noted for the poetic opuses of Li Bo, Huang Tingjian, Xi Chuan, Zhang Ji, prose of Luo Guangzhong, Lu Xin, Lao She, as well as traditional legends. This allowed the composer to invest in his compositions ethical and aesthetic postulates of Chinese culture, as well as to rely on semantically significant elements of traditional art. The appeal to the national language made it possible to introduce the specifics of speech intonation into academic compositions, expanding the range of sound orders and strengthening the expressive potential of musical tissue. The introduction of techniques and methods of the Beijing and Sichuan Opera made it possible to introduce a specific color into the works of this genre, and the inclusion of traditional instrumentation in ensembles and orchestras helped enrich the palette of colors of academic compositions. Among the bright opuses are the operas “Notes of the Crazy”, “Poet Lee Bo”, “Fenyi's Gazebo”, “Ricksha”, “The Wild Grass” concert, the chamber-instrumental composition “Late Spring”, “Hard Road to Shu” for the choir and symphony orchestra.
Keywords: Guo Wenjing, works of the Chinese composers, literary primary sources, Chinese literature, national culture
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Ma Shuhao (2022), “Chinese literature in works of contemporary composer Guo Wenjing”, Journal of Musical Science, vol. 10, no. 2, pp. 162–174.
DOI: 10.24412/2308-1031-2022-2-162-174.
THE TRADITIONAL ART OF SINGING IN THE CONTEXT OF MODERN MUSICAL EDUCATION IN SYRIA
M.N. Drozhzhina, M. Alhamvi
Abstract. This article is devoted to one of the most urgent problems of music science and artistic practice – the problem of preserving the traditional oral and professional heritage in the conditions of modern music education. This problem is considered in the historical context, which forms an idea of the process of formation of state higher music education in Syria. The role of Soviet and Russian teachers in this process is emphasized. Using a concrete example from the Syrian musical culture – the Higher School of Music of the capital – Damascus (supported by comparisons and facts from the practice of other educational institutions), the importance of preserving the teacher-student system, which allows preserving and developing the tradition, ensuring its full-fledged functioning, is emphasized. The historical and pedagogical aspects involved in the work contributed to the formation of ideas about the search in the sphere of interaction between the educational systems of the West and the East. The article shows how, independently of each other, singers-teachers who transmit the oral-professional tradition in the conditions of modern music education, often come to the idea of the need to solve two cardinal problems: preserving the oral nature of teaching and overcoming the tendency to stagnation of forms and methods through mastering the methodology provided by interaction with Western (academic) methods of work on voice production and general musical training. The unsolved problems include the problem of methodological support of the educational process, which is due to objective factors. The authors conclude that there are universal and specific trends characteristic of the present stage of mastering the oral professional vocal tradition in the mainstream of modern education. Various approaches to the preservation of the relay type of tradition transmission (oral teaching) are attributed to universal, the use of a methodology borrowed from academic Western vocal and general music education (Damascus) and collective teaching of traditional singing (Aleppo) are specific.
Keywords: Syria, Damascus, Higher School of Music, Aleppo, Sabah Fakhri, professional singing of oral tradition, teacher-student system, educational process
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Drozhzhina, M.N., Alhamvi, M. (2022), “The traditional art of singing in the context of modern musical education in Syria”, Journal of Musical Science, vol. 10, no. 2, pp. 175–186.
DOI: 10.24412/2308-1031-2022-2-175-186.
Ruan Wensheng
Abstract. This article analyzes the performance style of the outstanding Chinese pianist Yuja Wang on the example of some works by romantic composers. The author of the article refers to a detailed study of the Chinese pianist's performance of such works as the Piano Concerto no. 3 by the Russian composer Sergei Rachmaninoff and the Concerto no. 2 by Johannes Brahms. In particular, it is noted that her performing interpretation of the Rachmaninoff and Brahms concertos sounds quite original, being marked by the author's individuality. Demonstrating remarkable strength and power, incredible composure and the utmost concentration of energy, the Chinese pianist, at the same time, appears full of freedom and artistry. Among her admirers are Michael Tilson Thomas, Claudio Abbado, Martha Argerich, Daniel Barenboym, Kirill Petrenko and others. The Chinese pianist is no less interested in the Russian public. Evidence of this is the interview of Yuja Wang with Irina Nikitina, which was broadcast on the Kultura channel as part of the Enigma program. Despite the fact that the work of Yuji Wang, according to her, is spontaneous, she plays everything she takes on with the same skill. The pianist came to Russian music through her acquaintance with Russian ballet. Her mother, a professional dancer, kept many records of ballet performances. Therefore, according to Yuja Wang, her love for Russian music began from childhood. Her good command of the Russian repertoire is associated with the Chinese pianist's belonging to the Russian piano school. Yuji Wang's teacher was the American pianist Gary Graffman, a student of W. Horowitz.
Keywords: сhinese pianist, Yujia Wang, concert genre, brilliant pianism, performing style, virtuosity, romanticism
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Ruan Wensheng (2022), “The performing style of the Chinese pianist Yujia Wang on the example of some works by romantic composers”, Journal of Musical Science, vol. 10, no. 2, pp. 187–195.
DOI: 10.24412/2308-1031-2022-2-187-195.
SOUND CULTURE OF BUDDHISM IN TUVA
Ch.O. Adygbay, E.K. Karelina
Abstract. This work, the authors recorded information about the sound culture in the Buddhist tradition. Valuable material was given to us by the bearer of the spiritual tradition of the Gelug Buddhist school – a Tibetan monk, Lama Geshe Lobsang Thupten (1966–2021). He lived in Tuva 26 years as a spiritual mentor and has made a significant contribution to the development 197 КУЛЬТУРОЛОГИЯ of the Buddhist tradition in region. The sound world of Buddhism is deep and inexhaustible, but it remains poorly studied until now, due to the taboo of a whole layer of knowledge, it is in many ways determines the relevance of this study. The purpose of our article is to identify the features of the sound culture of Buddhism in Tuva. To reveal the topic, an optimal set of research methods on history, religious studies, cultural studies and ethnomusicology was used. Some of the previously published information on the musical component of Buddhism in Tuva has now been clarified and reconsidered by us. Buddhism has had a huge impact on the traditional culture of Tuvans. Many elements of ritual practice and the artistic canon have firmly entered the culture, intertwining with customs and ethnic traditions. Buddhism recognizes the phenomenon of sound as an exceptional role in the universe. In the Buddhist world, the role of sound perception in education and upbringing is very significant. Music is considered as a necessary element of the ritual, the mastery of which is included in the mandatory training system. The temple instruments sound service perform a magical and protective function. The texts of Buddhist prayers and the approximate intonation pattern are fixed by the type of non-verbal notation (yang). The Buddhist tradition in Tuva has not yet been fully restored, which means it is also reflected in its musical component. Prospective studies of the topic we have stated cannot be conducted in the highly specialized field of ethnomusicology, but require a comprehensive interdisciplinary approach. We hope that we have managed to take the first step in this direction.
Keywords: sound, culture, buddhism, Tuva
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Adygbay, Ch.O., Karelina, E.K. (2022), “Sound culture of Buddhism in Tuva”, Journal of Musical Science, vol. 10, no. 2, pp. 196–206.
DOI: 10.24412/2308-1031-2022-2-196-206.
THE MAIN FORMS OF INSTITUTIONALIZATION OF CULTURAL INDUSTRIES IN THE PRC
Feng Zongren
Abstract. The article is devoted to the study of the main forms of institutionalization of cultural industries and stages of development of cultural policy in the People's Republic of China within the framework of the creative economy. The problems of the development of artistic culture in the context of the formation of cultural industries in China have not yet become the subject of in-depth cultural analysis. Therefore, using the general scientific method, a culturological analysis of the mechanisms and directions of the institutionalization of artistic culture as the main resource of the formation of cultural industries in China was carried out, the methodological potential of institutionalism in the study of artistic culture was investigated. It is shown that the problems associated with the forms of institutionalization of cultural industries in the People's Republic of China are closely related to the question of the nature of creativity and creativity, which has not received a definite response in the scientific community. In conclusion, it is concluded that today there are such areas of institutionalization of artistic culture as the strategy of standardization of production, the strategy of imitation, the strategy of cooperation or collaboration, the strategy of trade, the development of clusters, creative communities. Taking into account these circumstances, the considered approach is in demand by science, since it implies the study of artistic culture not only in dynamics, but also in statics, inconsistency and variability.
Keywords: institutionalism, artistic culture, cultural industries, creativity, strategy, cultural product
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Feng Zongren (2022), “The main forms of institutionalization of cultural industries in the PRC”, Journal of Musical Science, vol. 10, no. 2, pp. 207–214.
DOI: 10.24412/2308-1031-2022-2-207-214.
