DIATONICS: GENERATING PATTERNS. “WHITE KEYS” DIATONIC
L.V. Aleksandrova
Abstract. The article is devoted to the study of the fundamental basis of European thinking – diatonics in the context of its generating patterns due to structural ordering and symmetry. In this perspective, diatonics is presented as a musical-theoretical system, which is a logical model of an empirical musical system, its constructive and effective form of generalization. The logical relations of this system are considered at the level, which is represented by the height-“spatial” coordinates of the sound. As an initial basis, the “white-key” diatonic system is analyzed as a high-pitched and visually ordered set having a mirror-symmetrical structure relative to the central axis – the sound d. The system is opened by the Dorian fret, one of the main frets in medieval music (the first autentic fret). This mode, due to the identity of the quantitative characteristics of the ascending and descending forms, is congruent, it is internally mirrored relative to the logical virtual axis located between the sounds g and a. The Locrian fret completes the diatonic system, revealing an internal harmonic opposite (antisymmetry) relative to the virtual axis between e – f (the lower voice of the triads). To identify the action of generating patterns, it is necessary to represent diatonics as such an ordered set of sounds, which is subordinate to the main system–forming relation – tolerance, which has the properties of reflexivity, symmetry, antisymmetry. The components of a tolerant attitude are indifferent to the functional patterns of frets, they manifest themselves at the level of structural foundations characteristic of melodic and harmonic dependencies. All conjugated frets have structural transitivity, thanks to the action of a tolerant attitude, and generate melodically and harmonically opposite pairs. This regularity ensures consistent periodic coupling of pairs of frets in an integral system and promotes moving, structurally regulated spatial and structural variability, leading to structural degeneration, and in creative processes – to degeneration into the opposite quality, contrasting image. This is the essence of the generating patterns of diatonics.
Keywords: diatonics, diatonic frets, symmetry, melodic and harmonic opposites, basis, core, tolerance ratio, scale, generating patterns
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Aleksandrova, L.V. (2022), “Diatonics: generating patterns. «White keys» diatonic”, Journal of Musical Science, Vol. 10, no. 3, pp. 5–15.
DOI: 10.24412/2308-1031- 2022-3-5-15.
THE PHENOMENON OF CODE AND ITS MECHANISMS OF MUSICAL INCARNATION
O.A. Yuferova
Abstract. The subject of this article is the phenomenon of code – the important component of musical communication. The code forming the area of regulatory information of all meaningful senses. It is an actual and unexplored area of modern musicology. The code is interpreted as an intersubjective mental reality, which is formed by means of the “signification” sound material by human consciousness. The purpose of the article is to try to study the mechanisms of the musical incarnation of the code. The author suppose, that the musical manifestation of the code is the normative components of the composition. Theirs detection become to possible with an analytical procedures. The article attempts to find a musical norms at grammatical and lexical levels of the textual organization. At the same time, the author consider a different historical periods of the development of musical art. He notes, that each of them has its own “set” of normative elements, and, accordingly, its own code. In the process of studying the phenomenon of code the author use a semantic, semiotic, structural methods of research. As a result he discover a number of patterns. For example, the grammatical norms are noted by mobility, variability. Each subsequent stage of the development of musical art abolish the past norms. They displacements by new normative elements. This historical process reflect a successive change of musical codes. The lexical norms are stability, they ability to move from one epoch to another. Each new code discover in its musical incarnation the normative lexis of the previous code. At the music of the twentieth century appears the unique possibility of simultaneous existence musical lexicon of different ages. At the same time, the author notes about the communicative problems of this epoch. They links with the “narrowing” of the range of musical norms, transition from a general conventional code to different autonomous encryption systems.
Keywords: code, communication, message, language, cipher
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Yuferova, O.A. (2022), “The phenomenon of code and its mechanisms of musical incarnation”, Journal of Musical Science, Vol. 10, no. 3, pp. 16–25.
DOI: 10.24412/2308-1031-2022-3-16-25.
S.S. Korobeinikov
Abstract. The article is devoted to the problem of compositional organization and drama of the Second sonata for piano by Galina Ustvolskaya. The urgency of the problem is due to the lack of analytical study of this work, which extremely clearly demonstrates the originality of the composer's thinking. One of its manifestations is associated with Ustvolskaya's special attraction to variance. Analysis of the musical text demonstrates an unusual compositional solution of the sonata, which consists in the fact that repetition and variability are here total in nature and are manifested at various compositional levels. As a result, the contrasts are weakened, and this turns the two parts of the cycle into two similar intonation options. The reflection of the compositional variance in the variance of the harmonic language operating with homogeneous chords is shown. Multiple repetition as the leading principle of the organization of form leads to the replacement of the principle of contrast, which is basic for the sonata canon, by the dominance of the principle of identity. Rather rare analogies to this principle are revealed in instrumental cycles, including sonata ones, both among the works by Ustvolskaya herself and in the works by composers of different eras, which emphasizes the uniqueness of the genre solution in the work under consideration. At the same time, the article demonstrates a number of stable techniques in the interpretation of form (including the manifestation of repetition) on the example of other sonatas by the composer. The influence of various polyphonic techniques on the dominance of variant-variational methods of development in Ustvolskaya is considered, the attraction to which allows us to speak of her inherent Bachianism and at the same time emphasizes her closeness to the chronotope of Russian culture.
Keywords: Ustvolskaya, sonata, repetition, variance, polyphony, Bachianism
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Korobeinikov, S.S. (2022), “Repetition and variation as multilayered vectors of form organization in the Second sonata for piano by Galina Ustvolskaya”, Journal of Musical Science, Vol. 10, no. 3, pp. 26–36.
DOI: 10.24412/2308-1031-2022-3-26-36.
A.M. Anuchin
Abstract. Marilyn Shrude is a talented American composer, pianist and teacher. She has composed a large number of compositions in various genres, which are performed by outstanding musicians of the USA and Europe. Her most famous chamber-instrumental works are those in which the saxophone is included. Her creativity has been awarded the highest American national rewards, including the Guggenheim Fellowship, the Academy Award in Music from the American Academy of Arts and Letters Music Prize, two ASCAP Awards, the “Meet the Compose” Award, the Sorel Foundation Award, National Endowment for the Arts Composer Fellowship, the Kennedy Center Friedheim Award, the Cleveland Arts Prize, the Rockefeller Foundation Fellowship. Marilyn Shrude's music is quite complex and it deserves a lot of attention. The difficulty of the researching of her creativity also lies in the fact that over time the composition style of M. Shrude has changed a lot. She used multilayered constructions, timbral contrasts, dissonances, series, atonal effects, and micropolyphony. At present, her music is known in Russia not enough, and there are no articles of this composer have been written in our country. This article serves as a continuation of the author's research of the composer's style of Marilyn Shrude. The purpose of this article is to demonstrate the motivic development as one of the important elements of Shrude’s composition technique shown by her trio "Within Silence". The scientific novelty of the work is that there are no studies and articles written about M. Shrude in our country.
Keywords: Marilyn Shrude, “Within Silence”, John Cage, John Sampen, Alto Saxophone, multiphonic, aleatoric music, CAGE motive, subtone, flutter-tonguing, timbral techniques, pitch class
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Anuchin, A.M. (2022),“The motivic development as part of the composer’s technique of Marilyn Shrude shown by the example of her trio «Within Silence»”, Journal of Musical Science, Vol. 10, no. 3, pp. 37–46.
DOI: 10.24412/2308-1031-2022-3-37-46.
ON THE USE OF THE NATURE OF THE SOUND OF PERCUSSION INSTRUMENTS IN THE MUSIC OF D.D. SHOSTAKOVICH
Li Zichu, N.V. Medvedeva
Abstract. The relevance of the article is determined by referring to the generalized parameters of sounds with different timbres and the peculiarities of their perception by a person when analyzing the music of D.D. Shostakovich. The composer's timbre thinking is a well-known fact, but the peculiarities of his interpretation of different groups of instruments are due not only to historically formed ideas about timbres, but are rooted in the very nature of sound of different origin. Special attention should be paid to the percussion group, which has a particularly bright, individual sound. The purpose of the article is to establish a connection between the nature of sound and Shostakovich’s interpretation of timbres. The material of ВЕСТНИК МУЗЫКАЛЬНОЙ НАУКИ. 2022. Т. 10, № 3 48 the research was both the scores of the composer's orchestral works, including the First, Fourth, Sixth, Fifteenth symphonies, the First Violin Concerto, the vocal-symphonic poem “The Execution of Stepan Razin”, the music for the film “Hamlet”, and their analysis by various researchers, as well as works on musical acoustics. In the study, the conclusions of the article are connected with the statement of the desired connection, especially vividly manifested in Shostakovich’s later opuses. The timbres of the percussion instruments in the last symphony turn out to be associated with the superhuman image of Time. Both the timbre and its acoustic characteristics perfectly correspond to the idea of the measurement of human life and its evaluation at the end of the path.
Keywords: timbre thinking, orchestration, acoustics, psychoacoustics, percussion instruments, Shostakovich, the image of Time
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Li Zichu, Medvedeva, N.V. (2022), “On the use of the nature of the sound of percussion instruments in the music of D.D. Shostakovich”, Journal of Musical Science, Vol. 10, no. 3, pp. 47–53.
DOI: 10.24412/2308-1031-2022-3-47-53.
V. SHEBALIN’S MUSIC FOR THE PLAY “OUR YOUTH”. AN EXPERIENCE OF REFLECTING AN ERA
A.V. Naumov
Abstract. Music for the play Our Youth at the Moscow Art Theatre was one of the first works written by V. Shebalin in the genre of theatre music still out of researcher’s view. Art history is better known at works created by the composer in cooperation with Vs. Meyerhold. An episodic appearance at the Moscow Art Theatre exposed Shebalin to an approach to production that was alien to him and far from musicality. In part all of it was even in dissonance with the dramaturgy. Here, however, the problems of the relationship between “music for the play” and “music for the performance” and “music from the author” and “music from the theatre” were considered anew. The insistence on the “authenticity” of sound, as a legacy of the realistic tendencies that gained strength in the 1930s, also played its part. The materials preserved in the Russian State Archive of Fine Arts and the Moscow Art Theatre Museum conceived of great interest: Shebalin managed to find unique, but universal keys to the musical image of the Civil War. The significance of the work was all the more serious because the production ran for several years and became one of the notable examples of the early “Soviet style”. The precedent was valuable for the composer who was subsequently called upon to design many more plays by contemporary composers, but it also had an impact on the Moscow Art Theatre, where similar dramaturgy had previously and often continued to be performed without specially commissioned music.
Keywords: Moscow Art Theatre, Shebalin, “Our Youth”, “The Other Side”, music for the play
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Naumov, A.V. (2022), “V. Shebalin’s music for the play «Our Youth». An experience of reflecting an era”, Journal of Musical Science, Vol. 10, no. 3, pp. 54–64.
DOI: 10.24412/2308-1031-2022-3-54-64.
STRUCTURAL AND SEMANTIC FEATURES OF SONATA f-moll, op. 5 BY N.K. MEDTNER E.O.
Predvechnova
Abstract. The article for the first time presents semantic analysis of the Sonata f-moll, op. 5 by N.K. Medtner from the standpoint of programmatic, structural-genre invariant, composition, thematism, interpretation of symbolic images at the level of text, context and intertext. Determined the symbolic type of programming of the Sonata, op. 5, expressed in the idea of a romantic dual world and a high degree of associativity of images. The specificity of the interpretation of the structural-semantic genre invariant (according to M.G. Aranovsky), due to the influence of the russian and western european romantic sonata, considered the interaction of the emotional-dramatic (“Acting Man”) and intellectual (“Thinking Man”) spheres of human existence. The author of the article comprehended the symbolic image of the hero-creator, presented in the concept of “Theurgical Man”. The value-semantic perspective of the analysis helped to study the extra-musical semantic features of the content of the Sonata, personified in the dialogue between the time-eternity of the author and the time of the hero (according to M.М. Bakhtin). The semantic analysis composition of the Sonata f-moll is implemented at three levels: conceptual, plot and logical (according to L.A. Kupriyanova). The intramusical semantics of thematism made it possible to identify migrating intonational formulas (according to L.N. Shaimukhametova), which have a recognizable structure and influence the transformation of symbolic images. As a result of the semantic analysis, the influence of the piano works of R. Schumann and P.I. Tchaikovsky. Revealed features of N.K. Medtner's musical thinking, such as symphonic, dialectical, dialogical, poliphonic, which form the logical-semantic structure and dramaturgy of the symbolic images of the Sonata f-moll.
Keywords: N.K. Medtner, Sonata f-moll, ор. 5, semantics of composition, semantics of thematism, semantics of structural-semantic genre invariant
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Predvechnova, E.O. (2022), “Structural and semantic features of Sonata f-moll, op. 5 by N.K. Medtner”, Journal of Musical Science, Vol. 10, no. 3, pp. 65–72.
DOI: 10.24412/2308- 1031-2022-3-65-72.
E.V. Nosoreva
Abstract. The article deals with the unique genre of Venetian barcarole and its realization in the chamber-vocal works of West-European composers of the 19th century. On the basis of the extant old publications we study the origins of its genre invariant and the key characters. The specific character of their recreation in composer's works is revealed through the analysis of romances by R. Ana, M. Balfe, F. Schubert, F. Mendelssohn, F. Henzel, etc. At the same time, the focus of the study is to determine the common features of folk and authorial barcarols. Particular attention in chamber-vocal works is paid to the conditionality of the musical content by the verbal components and plot, which form the basis of the poetic text. The methodological basis of the article was the theory of genre, as well as the development of the problem of the interaction of words and music. Through the study of original means of genre expression the key figures of wave, swaying, gliding on water surface, as well as the images of beautiful place, distance, dream and reverie are considered. Observations on the processes of interaction between the melody and the piano part are given. The tasks of searching methodological approaches for the study of the barcarole genre in the piano music of Western European and Russian composers of the 19th century not related to the word are also presented. The results of the carried out research opens perspectives for understanding of the special artistic world of the barcarole. And also give the possibility of application in pedagogical practice and performing interpretation.
Keywords: barcarole, Romanticism, chamber vocal music, genre invariant, images, motifs, verbal component
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Nosoreva, E.V. (2022), “The implementation of barcarola in the chamber-vocal compositions of the European composers of the XIX century”, Journal of Musical Science, Vol. 10, no. 3, pp. 73–81.
DOI: 10.24412/2308-1031-2022-3-73-81.
E.A. Shefova
Abstract. The article fills a whitespace in the focus of researches devoted to the study of the development and formation of a children’s piano album. The focus will be on the independent area of professional musical creativity – children’s cycle, associated with the interpretation of images and motives of literary works by G.H. Andersen. The stage of formation of the album is taken as a starting point which is starting with the Schumann’s line – “Album for the young” and “Twelve four-handed piano pieces for small and big children”, op. 85. There are identified two main directions of development of the children’s piano cycle on the texts of G.H. Andersen. The first one is connected with the interpretation of fairy-tale images outgoing from the principle of creating a musical analogue, relying on particular literary layer, the founder of the direction became P. Tchaikovsky. And the second one continues the Schumann’s line, where the plays represent the art world that is not identified only with the sound of music, as a result of which there is only an extra-musical component is sufficient for the composer. It is mentioned that among this kind of works it is worth highlighting the albums of E. Hartmann, L. Schitte, F. Schmitt and K. Reinecke. Generalizing the cycles, it can be mentioned that all of these composers remained in the limits of their musical preferences, when referring to the extra-musical component. E. Hartmann who dedicated most of his time to public service, considered his two cycles as “salon music” without insisting on the pedagogical nature of plays; the miniatures of L. Schitte presented instructional material, despite the ingenuity of textural services; in the works of F. Schmitt and E. McDowell, it is an attempt to synthesize romantic and impressionistic stylistic features. The reception of G. H. Andersen’s creativity in the music of foreign composers has found an expression in the different genres with an appeal to various styles, methods and techniques. The legacy of G.H. Andersen in the modern realities for composers allowed them to express their personal attitude to the chosen topic.
Keywords: G.H. Andersen, children’s piano album, fairy tales, “invisible pictures”, musical image, Romanticism, instrumental music
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Shefova, E.A. (2022), “The work of G.H. Andersen: the peculiarity of reflection in children’s piano albums by foreign composers”, Journal of Musical Science, Vol. 10, no. 3, pp. 82–91.
DOI: 10.24412/2308-1031-2022-3-82-91.
CONCERTO FOR CELLO AND ORCHESTRA BY J. HEIFETZ: IN DIALOGUE WITH P. TCHAIKOVSKY
G.A. Cheremnykh
Abstract. This article is devoted to the cello concerto by the Russian-Israeli composer I.M. Heifetz, which has not yet been comprehended in Russian musicology. Dedication of this work to the memory of P.I. Tchaikovsky suggests that it corresponds to the work of the Russian classic on different levels. The identification of these parallels at the figurative, intonation-thematic and dramatic levels is the basis of this article. An additional aspect of the work was the comprehension of the significance of the experience of contact with the world of Tchaikovsky's music for the further work of Heifets. As is known, the genre of the instrumental concerto became a creative laboratory for the composer, within which his symphonic concept and approach to the construction of the symphonic whole was formed. A number of features of the concerto, identified in the course of analysis and perceived by Ilya Kheifets from Tchaikovsky (hidden programming, inclination towards wave development, interpretation of negative images, etc.) will later manifest themselves in the composer's symphonies, especially the First “Jaffa” (2002) and Fourth “In memory of Fredrick Gorenshtein” (2014).
Keywords: cello concerto, Ilya Heifets, P.I. Tchaikovsky, dramaturgy, memorial compositions, stylistic dialogue
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Cheremnykh, G.A. (2022), “Concerto for cello and orchestra by J. Heifetz: in dialogue with P. Tchaikovsky”, Journal of Musical Science, Vol. 10, no. 3, pp. 92–99.
DOI: 10.24412/2308-1031-2022-3-92-99.
E.V. Nesterenko
Abstract. The article is devoted to the style features of “Capriccio” for two pianos, op. 6 (hereinafter referred to as “Capriccio”) of the talented and original representative of the Siberian composer school G. Nikulin. When writing the article, the author took into account the detailed recommendations of the composer, systematically consulted on the idea of creating a composition, its artistic and figurative content, compositional structure and form features. The work presents the interpretation of the content of the work, considers the structural and intonational features of the genre and the origins of the figurative sphere, analyzes the means of musical expression used. The author of the article, relying on personal performance experience, offers his own interpretation of “Capriccio”. The composer’s style of G. Nikulin can be defined as gravitating toward polyrhythm, multi-layeredness, the use of various polyphonic techniques, a variety of rhythmic formulas and timbre palette, and the use of modern acoustic techniques. In the course of the performance analysis of the work, the author of the article concludes that intonational-rhythmic thinking is connected with the traditions of neo-folklorism, notes the influence of the ideas of I. Stravinsky and B. Bartok on the work of G. Nikulin. The article will make it possible to form a more complete picture of G. Nikulin’s work, little known to the public. “Capriccio” can be recommended for teachers, concert performers, as well as for studying the piano ensemble in the classroom by students of secondary schools and universities.
Keywords: G. Nikulin, organ, capriccio, neo-folklorism, Siberian School of Composers, compositions for 2 pianos, performance analysis
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Nesterenko, E.V. (2022), “Connection of traditions and innovation in the work of G. Nikulin on the example of «Capriccio» for two pianos, op. 6”, Journal of Musical Science, Vol. 10, no. 3, pp. 100–107.
DOI: 10.24412/2308-1031-2022-3-100-107.
A.V. Grebenkin
Abstract. The article is devoted to the issue of musical and aesthetic mutual influences of Russian and Japanese cultures. This theme is revealed through the prism of the analysis of one of the demonstrative compositions of modern Siberian academic music “Variations on the Japanese folk theme «Sakura»” by Andrey Molchanov. This work is the result of the composer’s masterful combination of elements of the musical cultures of East and West. The bright, talented music of the “Variations” touches on a wide range of human emotions, while raising the philosophical questions of being. The author of the article gives a brief description of the worldview of the inhabitants of Japan, pointing out the manifestations of the Japanese and Russian principles in the composition. The presented performance analysis of the work makes it possible to determine the range of figurative spheres of each variation, highlight the issues of dramaturgy of the variation cycle, features of thematic and compositional structure. As a result of its study, the pianist will form not only a figurative and emotional state that requires a special aesthetics of performance, but also a culture of understanding the foundations of the Japanese worldview. In this sense, “Variations on the theme «Sakura»” have a certain cultural and historical value and open up wide opportunities for further evolution in performing practice.
Keywords: Andrey Molchanov, Sakura, Japanese culture, integration of cultures, variations
Conflict of interests. The author declares the absence of conflict of interests
For citation: Grebenkin, A.V. (2022), “On the interaction of national-aesthetic principles in «Variations on the Japanese folk theme “Sakura”» by A. Molchanov”, Journal of Musical Science, Vol. 10, no. 3, pp. 108–116.
DOI: 10.24412/2308-1031-2022-3-108-116.
VOCAL WORK ALTAN UULA “MY HOME – PICTURESQUE STEPPE”
Yang Zongbao
Abstract. The article deals with the vocal work “My home – picturesque steppe”, which was created by at least three people. In addition to the author of poetic lines Ho Hua and the composer Altan Uula, the soloist of the Song and Dance Ensemble of Inner Mongolia, De Dema, took a great part in improving the original version of this work, whose performance skills aroused the confidence of the audience. Thus, after a concert by a well-known mezzo-soprano in the Celestial Empire, one of the Chinese present in the hall turned to the singer with a request to strengthen the lyrical beginning in the song, focusing on the beauty of the nature of Inner Mongolia. After listening to her admirer, De Dema met with the poet and told him the desire of a person from the public, completely agreeing with him. As a result of the revision of the text and the creative collaboration of the poet Ho Hua, the composer Altan Uul, as well as the singer De Dema, an updated version of the song “My home – picturesque steppe” appeared. Today, this Mongolian work is well known not only to the Chinese. In 1980, it was included in the UNESCO list of Outstanding World Musical Works, as well as in the Collection of Outstanding Songs of the Asia-Pacific Region. In June 2019, this vocal work was included in the top 100 best songs dedicated to the 70th anniversary of the founding of the People's Republic of China. The article offers a brief introduction to the poet and composer of the vocal work “My home – picturesque steppes”, the history of its creation, as well as an analysis of the musical form.
Keywords: Altan Uul, “My home – picturesque steppes”, vocal composition
Conflict of interests. The authore declare the absence of conflict of interest.
For citation: Yang Zongbao (2022), “Vocal work Altan Uula «My home – picturesque steppe»”, Journal of Musical Science, Vol. 10, no. 3, pp. 117–123.
DOI: 10.24412/2308-1031-2022-3-117-123.
THE HISTORY OF IGIL (EGIL) PERFORMANCE: PROBLEMS AND PERSPECTIVES Ch.S.
Tumat
Abstract. The article studies the history of performance practices of the instrument – egil (igil). The traditional two-stringed bowed musical instrument of Tuvinians – igil, which is also named egil – is well-known in the world thanks to the wide-spread popularity of Tyvan khöömei. Despite the ubiquity of the instrument in the contemporary musical environment, there are a gap in research about egil (igil). This paper addresses one of the previously understudied questions – the history of performance practices on this archaic Tyvan instrument. The author investigated the history of the egil (igil) performance since the 1920s until the current day and distinguished different stages in development of this instrument performing practices. In addition, she recovered names of the traditional musicians and studied their individual repertoires. This study draws on the author’s research of archival materials, interviews with informants, and existing scholarship on traditional music on this archaical music instruments of tuvinians as like egil (igil). The study allows to suggest that knowledge about the history of 125 МУЗЫКАЛЬНОЕ ВОСТОКОВЕДЕНИЕ egil (igil) traditional performing practices is important for the proper formation and study of the nowadays young generation of musicians. All this knowledge is important for the formation and preservation of authenticity in the education of the younger generation of musicians egilchi. The detailed study of the history of performance allows the preservation and archiving of data, about the performers, thus fixing the facts in the general history of Tuva culture.
Keywords: history of performance, musical culture of Tuvinians, igil, egil, bowed instrument, Tuvinians, Tuva
Conflict of interests. The authore declare the absence of conflict of interest.
For citation: Tumat, Ch.S. (2022), “The history of igil (egil) performance: problems and perspectives”, Journal of Musical Science, Vol. 10, no. 3, pp. 124–134.
DOI: 10.24412/2308- 1031-2022-3-124-134.
M.G. Karpychev
Abstract. The article is devoted to the new touch term of piano playing. The author proves the necessity of the term “non staccato” in teachers’ practice and methodical literature. “Non staccato” means touch lighter than “non legato” without “ressort” on a key, but not fast abrupt by movement towards the player – that is “non staccato”. With this term the logical “line” is: legato – non legato – non staccato – staccato (from real sounds’ connection – to separate sounds of every of them with support on a key – to the light, non abrupt sound with micro-intervals between sounds – to abrupt real staccato with more intervals between every sound). The author gives the examples of “non staccato” in classic piano music (W. Mozart, L. van Beethoven). The touch “jeu perle” (“perle playing”) is the kind of “non staccato” in the very fast tempo. The author quotes the opinions about touch “line” of A. Martinsen, K. Cherny, N. Medtner, S. Feinberg, N. Rubinstein, V. Nikolayev, L. Oborin. These opinions don’t include the contents of the new author’s term “non staccato”, that’s why the term is really new. We can notice the connection of “non staccato” with S. Feinberg’s words about “childish staccato”, so “non staccato” may be called “adult staccato”.
Keywords: piano, touch, non staccato, symmetrical scale of piano touching
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Karpychev, M.G. (2022), “«Non staccato» – the new term”, Journal of Musical Science, Vol. 10, no. 3, pp. 135–141.
DOI: 10.24412/2308-1031-2022-3-135-141.
LANG LANG: NEW TRENDS IN ACADEMIC MUSICAL ART
Ge Shiyu
Abstract. The article is devoted to the analysis of commercial trends new to academic musical art using the example of the phenomenal young Chinese-American pianist Lang Lang. Noted that a significant role in the rapid spread of his world fame was played by the technical development of music recording facilities, the transition to a video format, the use of closeups in filming. For the industry of commercial consumption of musical classics, elements of show and focus turned out to be relevant, to which this artist is no stranger, his popularity outside the categories of lovers of classical music and professionals is facilitated by active facial expressions and wide stage gestures. He uses the accompanying commercial success to popularize piano music, including with the help of the “The Lang Lang Piano Method” he developed. The shocking figure of this pianist evokes a polar reaction. Classical music and the interests of world show business intersected in his person. The author is sure that in the end each side won, piano music, thanks to Lang Lang, acquired a new life impulse and spreads in the world with great intensity.
Keywords: Chinese Pianist Lang Lang, Commerce in academic art, Lang Lang Piano Method
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Ge Shiyu (2022), “Lang Lang: new trends in academic musical art”, Journal of Musical Science, Vol. 10, no. 3, pp. 142–152.
DOI: 10.24412/2308-1031-2022-3-142-152.
FROM THE HISTORY OF PRODUCTIONS OF OPERAS BY G. VERDI IN TOMSK (XIX–XX century)
S.P. Vavilov, E.V. Malikov
Abstract. The article provides information about the productions of operas by G. Verdi, which were carried out in Tomsk during the XIX–XX centuries. Analyzed archival materials, as well as chronicles of provincial publications. It is noted that provincial theaters, in particular, theaters of Siberia and the Far East, began to get acquainted with Verdi's operas in the last quarter of the XIX century. These opera performances were staged by numerous mobile opera and operetta entreprises. Information is given about the first productions of Verdi's operas, which relate to the season of 1890 / 91. The article contains rare and littleknown facts about the activities of opera companies, work of major conductors of that time A.S. Aprelsky, A.E. Margulyan, B.A. Hess and also contains information about the performers who participated in the productions of operas, among them the names of outstanding domestic vocalists: M.K. Maksakova, N.T. Van-Brandt, E.Ya. Snegurskaya, S.Kh. Egizarov. The article also reports on the significant shortcomings that were inherent in a number of performances. Most of the performers were rather weak provincial singers and actors, choirs were small in composition, orchestras sometimes did not have the necessary musical instruments. Directors and entrepreneurs allowed hefty notes from opera texts. The presented information made it possible to conclude that the operas of the great Italian composer were for many decades the basis of the opera repertoire in Tomsk. The authors of the work are confident that the study of the history of the productions of operas by the most popular and to this day opera composer will help to more fully recreate the picture of the development of the musical culture of Tomsk.
Keywords: Tomsk, enteprise, G. Verdi, opera, conductor
Conflict of interests. The authors declare the absence of conflict of interests.
For citation: Vavilov, S.P., Malikov, E.V. (2022), “From the history of productions of operas by G. Verdi in Tomsk (XIX–XX century)”, Journal of Musical Science, Vol. 10, no. 3, pp. 153–160.
DOI: 10.24412/2308-1031-2022-3-153-160.
Wang Ruile
Abstract. The modern modernization of higher music education in China is aimed at updating the traditional foundations of Chinese musical art and reducing the psycho-emotional loads of students of music pedagogical institutions. Music itself in Chinese culture since ancient times has played the role of the most important harmonizing principle, capable of influencing all systems of the human body. Such a phenomenon is also possessed by that part of modern Chinese musical art, which is created on the basis of traditional samples of works that help a person to find physical and mental health, tranquility and a sublime state. The article discusses the directions of music therapy application, which make it possible to make the training of students the most effective in professional and psychological terms. We are talking about four lines of introduction of music therapy. The first trajectory is connected with the therapeutic effect of traditional and modern Chinese musical art on the emotional and physical condition of future music teachers. The second direction is connected with additional methodological preparation of students for the upcoming pedagogical activity in terms of expanding the range of knowledge about strengthening the psychophysiological health of students. The third line concerns the issue of strengthening the content literacy of future music teachers. The fourth position is devoted to the development of students’ interest in the origins of Chinese musical art.
Keywords: music therapy, traditional and modern Chinese music, education, stress, music content
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Wang Ruile (2022), “The potential of music therapy in solving modern problems of music and pedagogical education in China”, Journal of Musical Science, Vol. 10, no. 3, pp. 161–166.
DOI: 10.24412/2308-1031-2022-3-161-166.
E.S. Priezzheva
Abstract. The article analyzes “Sketches”, a ballet in one act by A. Petrov, music by A. Schnittke, based on Gogol's literary works, staged in 1985 at the Bolshoi Theatre of the USSR, in the context of interpreting the literary source on the ballet stage. The idea of the ballet is revealed, the dramatic and musical foundations, stylistic features, and the body plastic methods used by the choreographer are analyzed. The study mentions the play “Revis Fairy Tale” by Yu. Lyubimov, staged in 1978 at the Taganka Theatre, while the dramatic solution that united the characters of six Gogol’s stories is being analyzed. The compositional plan of the musical score of “Sketches” by A. Schnittke is compared with the Gogol Suite, constituted by G. Rozhdestvensky in 1981, and the scenario plan by A. Petrov. It is concluded that the ballet director carefully follows the musical score, alternates choreographic forms in a dynamic way, endows the characters with individual dance vocabulary, and include pantomime scenes, which do not occupy a dominant role, in order to reveal the figurative content. In conclusion, the article’s author notes that A. Petrov’s directing solution, the originality of the choreographic action, and Gogol's types convincingly presented using body plastic methods allow us to consider A. Petrov’s ballet “Sketches” as a successful unfairly forgotten example of the literary works embodiment in choreography of the second half of the XX century.
Keywords: N. Gogol, A. Petrov, A. Schnittke, literature subject, drama, choreographic interpretation, ballet directing
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Priezzheva, E.S. (2022), “Ballet «Sketches» to the music of A.G. Schnittke staged by A.B. Petrov at the Bolshoi Theatre of the USSR”, Journal of Musical Science, Vol. 10, no. 3, pp. 167–182.
DOI: 10.24412/2308-1031-2022-3-167-182.
O.V. Begicheva, Shen Tong, K.А. Shteinle
Abstract. The article discusses with the artistic processes taking place in the art of romanticism. It is noted that the cardinal shifts that have taken place in the attitude of the creative elite have affected the discourse about love. Despite the fact that it has long been the subject of research studies by scientists of various specialties, the concept of “courtly love” and the image of the Beautiful Lady / the Loved Far-Away Lady remained aside from general observations. It is considered on the example of a decorative panel by M. Vrubel and a symphonic prelude by N. Cherepnin based on the drama of the same name by E. Rostand “The Princess Far-Away”. It is noted that the image of the Loved Far-Away Lady received a new life in the art of the turn of the 19th–20th centuries, having integrated into the dream discourse of symbolism. The purpose of the article is to reveal the archetypal constants in the structure of the named image. Using the methods of historical-culturological, musicological, art history analysis, as well as the methods of comparative studies and theoretical poetics, the plot-thematic topic the Loved Far-Away Lady in poetic, artistic and musical opuses was investigated. Common plot motifs, principles of character typification, composition and dramaturgy are found. The authors established the influence of the medieval symbol of the Beautiful Lady on the formation of the new European image of the Loved Far-Away Lady and its further merging with the aesthetic and religious concept of the Eternal Femininity of the Russian symbolists.
Keywords. symbolism, semiosis of dreams, courtly love, the image of Loved Far-Away Lady, “The Princess Far-Away”, E. Rostand, M. Vrubel, N. Cherepnin
Conflict of interests. The authors declare the absence of conflict of interest.
For citation: Begicheva, O.V., Shen Tong, Shteinle, K.А. (2022), “The image of the laved faraway lady in «The Princess Far-Away» by Mikhail Vrubel – Nikolai Cherepnin”, Journal of Musical Science, Vol. 10, no. 3, pp. 183–192.
DOI: 10.24412/2308-1031-2022-3-183-192.
