V.V. MAZEPUS: LIFE PAGES AND MAIN RESULTS OF ETHNOMUSICOLOGICAL ACTIVITY
N.M. Kondrat’eva
Abstract. This memorial article is dedicated to the 75th anniversary of the birth of V.V. Mazepus (15.01.1947 – 02.12.2006), an outstanding scientist, professor of the Novosibirsk State Conservatory and founder of the Novosibirsk ethnomusicological school. It provides biographical information and describes the main results of his scientific, pedagogical and creative work. Several new methodological approaches, developed by him are considered as the main results of ethnomusicological activity. The first of these is the universal grammar method, which allows describing various cultural phenomena using a system of multilevel invariants. These are minimal segments (at the level of segmentation), positional invariants (at the syntagmatic level) and functional invariants (at the paradigmatic level). At the next stages of analysis, the grammar of the studied style is determined and its cultural interpretation is given. The next achievements were the development of an articulatory classification of ethnomusical timbres and its acoustic support, a method of statistical analysis of rhythm, comparative historical methods of relative chronology and external comparison. V.V. Mazepus also made a significant contribution to the methodology of complex textological research, the methodology of studying the perceptual thinking of folklore performers and the methodology of areal studies of indigenous Siberian cultures. The development of the theory of intonation culture of an ethnos deserves special attention. It is based on the idea of identifying supergrammar that regulates the differences in genre traditions and unites them into a single whole. The most important components of V.V. Mazepus' pedagogical work were the development and reading of six unique author's courses related to the main areas of his scientific research. V.V. Mazepus taught these courses for 18 years. They also contributed to the education of a cohort of highly professional specialists, the formation of a scientific school and the transformation of the Novosibirsk Conservatory into one of the leading ethnomusicological centers. The application to the article contain lists of published works by V.V. Mazepus, which give an idea of the research carried out, as well as diploma papers and master's theses carried out under his supervision.
Keywords: V.V. Mazepus, ethnomusicology, musical culture of Siberia, methods of musical texts analysis
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Kondrat’eva, N.M. (2022), “V.V. Mazepus: Life pages and main results of ethnomusicological activity”, Journal of Musical Science, Vol. 10, no. 4, pp. 5–21.
DOI: 10.24412/2308-1031-2022-4-5-21.
EDUCATION OF ETHNOMUSICOLOGIST: ABOUT PEDAGOGICAL ACTIVITIES OF V.V. MAZEPUS
O.V. Novikova
Abstract. The article is devoted to the memories and reflections on the pedagogical activity of Vladimir Vladimirovich Mazepus (1947–2006), professor of the Department of Ethnomusicology of the Glinka Novosibirsk State Conservatory. Having developed a consideration with the methods of exact scientific and methodological complexes for the study of non-European musical cultures, V.V. Mazepus became the author of specialized training courses, which had no analogues in other universities. “System methods of text analysis” introduced structural musicological methods and allowed to study the author's methodology of describing the grammatical organization of various cultural phenomena. The purpose of the subject “Articulatory classification of timbres” was to master the methods of adequate description of ethnomusicological timbres. The “Fundamentals of Poetry” gave an idea of various poetic systems and prepared for the study of the rhythmic structure of a folklore work, in which the rhythm of the verse and the rhythm of the melody are correlated. The course “Musical Culture of China” consistently considered the historical evolution of the largest non-European musical civilization. They expanded the arsenal of analytical tools for future ethnomusicologists, allowing them to achieve reliable results where traditional musicological approaches were not effective enough. The main goal of his pedagogical work V.V. Mazepus saw the cultivation of the creative thoughts of a scientist, a future like-minded colleague. In his specialty class, as well as in the Laboratory for Systemic Research of Ethnomusical Cultures, which united his students and followers, there was an atmosphere of inspired scientific research, which gave rise to a feeling of brotherhood, a common cause.
Keywords: Vladimir Mazepus, methodology of ethnomusicology, education of ethnomusicologist, pedagogy of higher education
Conflict of interest. The author declares the absence of conflict of interest.
For citation: Novikova, O.V. (2022), “Education of ethnomusicologist: about pedagogical activities of V.V. Mazepus”, Journal of Musical Science, Vol. 10, no. 4, pp. 22–30.
DOI: 10.24412/2308-1031-2022-4-22-30.
ON THE PROBLEM OF INTERETHNIC INTERACTIONS OF KARAITE SONG FOLKLORE
M.Yu. Dubrovskaya
Abstract. The article raises the problem of interethnic interactions of Karaite song folklore for the first time in the ethnomusicological aspect. Text comments in Karaite song collections published in the XXI century are subjected to critical reflection. By means of a comparative examination of a number of samples of well-known Crimean-Karaite, Crimean Tatar, KazanTatar and Karaite-Lithuanian folklore works, the presence of active interethnic mutual influences in this area is proved, which resulted from objective processes of formation and temporary development of the artistic culture of the small Karaite ethnos surrounded by larger ethnic groups of the population of the Crimea and adjacent lands. It is indicated that the various transformations of the melodic appearance and verbal text of Karaite folklore phenomena in a foreign environment, characteristic especially for the period of the early twentieth century, did not affect the recognition of the invariant, in particular, the Crimean-Karaite “Eki Kyzchyk” and the Karaite-Lithuanian “Bir bar edi”. It is revealed that the incentive for reintoning, borrowing and re-texting of well-known folklore tunes was the presence of oral song traditions of peoples who historically lived in direct contact with the Crimean-Karaite diaspora, the creativity of immigrants from this enclave, as well as the historical, cultural and linguistic unity of the Turkic-speaking ethnic groups of pre-revolutionary Russia, the Russian Federation and its closest neighboring countries.
Keywords: Karaite song folklore, interethnic interactions, Turkic-speaking peoples, ethnomusicology and folklore studies, song collections
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Dubrovskaya, M.Yu. (2022), “On the problem of interethnic interactions of Karaite song folklore”, Journal of Musical Science, Vol. 10, no. 4, pp. 31–44.
DOI: 10.24412/2308-1031-2022-4-31-44.
DIATONICS: GENERATING REGULARITY. THE TWELVE-SOUND DIATONIC IN THE MUSIC OF THE TWENTIETH CENTURY
L.V. Aleksandrova
Abstract. The article is a continuation and development of the provisions considered in the article “Diatonics: generating patterns. «White-key» diatonics” (Journal of Musical Science. 2022. No. 3. pp. 5–15). The patterns of European diatonics, determined as a result of historical selection and fully reflected in the ancient perfect system, have retained their relevance in the music of the XX century, despite the variability of local structural and functional characteristics. The structural ordering of diatonic scales in the model of a unique “white-key” diatonic system allowed not only to preserve it as the basis for a number of high-pitched music systems of the XX century, but also to give rise to many varieties with complex constructive content. The article deals with complex structural varieties of diatonics of the twentieth century, involving the summation of the sound orders of various diatonic modes, creating a denser structure of 9, 10, 11, 12 steps selected from the twelve-tone base. These include complex modes systems that combine modes of different heights of localization: formed by modes of the same mood (major or minor), separated from each other by a semitone, tritone, one-terts system. Complex modes systems, like the mirror-symmetrical initial diatonic, have a structural transitivity of the conjugated components of its modes and, thanks to the action of a tolerant attitude, generate melodically and harmonically opposite pairs. For a more visual expression of the considered patterns, the method of formalized recording of both diatonic modes and complex twelve-tone systems was used. In the context of this work, this method is expedient not only for visual demonstration of the melodic and harmonic opposites of complex systems, but also is necessary for search operations that allow identifying new modal organizations in a simpler way according to regularity projected from the original “white-key” diatonics. In a logical sense, thanks to the action of a tolerant attitude, the process of rebirth unfolds from one relatively simple and orderly form of thinking to a larger one, and so on endlessly, following the universal laws of cyclicity and order. The individual creative processes of the creators seem to draw their fragments from the abyss of possibilities and facets of harmony, order, symmetry. Keywords: twelve-tone diatonics, modal systems of the 20th century, formalized recording, creative options
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Aleksandrova, L.V. (2022), “Diatonics: generating regularity. The twelve-sound diatonic in the music of the twentieth century”, Journal of Musical Science, Vol. 10, no. 4, pp. 45–67.
DOI: 10.24412/2308-1031-2022-4-45-67.
MEASURING MUSIC: TO THE HISTORY OF ACOUSTIC STUDIES OF A PIECE OF MUSIC
N.S. Bazhanov
Abstract. This article involves three "characters": dimension, a musical work in performing form, a history of acoustic research in musical science. Measurement refers to a musical work and is understood very broadly, in fact, as the side of music perception, beyond which intonation meanings do not exist. The path to knowledge of a musical work in a performing form inevitably lies through acoustic research, where measurements play the fundamental role of notating text and decorating the grammar of expressive means. The article attempted to explain and argue the reasons for the decrease in the intensity of domestic research on a musical work in sound form almost to complete disappearance. With the modern capabilities of digital acoustic programs-editors, this is all the more paradoxical against the background of the heyday of musical acoustics in the second half of the 20th century when using complex analog equipment. The sound of a musical work is the most important and only objective ontological form of the work. In Western musicology, interest in studying the laws of the performing form works have increased significantly in the 21st century. Reducing fundamental information about the structure of a musical work in its main sound communicative form does not simply increase ignorance of the main subject of musical science. Acoustic texts of a musical work contain indirect data on the main final component of the work system – its existence in the perception and musical consciousness of the listener.
Keywords: acoustics of musical work, study of musical performance, sound of music, measurement of music
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Bazhanov, N.S. (2022), “Measuring music: to the history of acoustic studies of a piece of music”, Journal of Musical Science, Vol. 10, no. 4, pp. 68–79.
DOI: 10.24412/2308-1031-2022-4-68-79.
EARLY-TIME PUBLICATIONS OF “ARMIDE” BY J.-B. LULLY AND PH. QUINAULT: HISTORICAL DIGRESSION
T.V. Smirnova
Abstract. The article presents an overall review of the early-time publications of “Armida”, the last joint work of composer J.-B. Lully and dramaturge Ph. Quinault in the genre of tragédie mise en musique. The objects of study were scores and librettos published in the late 17th – early 18th centuries and available to the author. They are considered as the most important sources of information about stage production (time and place of performance) and the persons involved in (composer, playwright, decorators, patrons). The results of the study allow: firstly, to concretize the knowledge about the volume and the content of printed editions of musicaltheatrical plays, secondly, to define the possible origins of the term “libretto”, which has numerous forms, known mainly from modern encyclopedic publications (small size printed book / libretto, literary basis of a musical-stage composition or opera summary), thirdly, to recreate (due to engravings contained in decoratively designed publications) the atmosphere of the action taking place on the stage in the time of their creation and, finally, to expand the existing ideas about publication license holders, importance of publishing to distribute the musical-stage compositions and to develop the musical-theatrical business.
Keywords: Lully, tragédie en musique, early printed, libretto
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Smirnova, T.V. (2022), “Early-time publications of «Armide» by J.-B. Lully and Ph. Quinault: historical digression”, Journal of Musical Science, Vol. 10, no. 4, pp. 80–90.
DOI: 10.24412/2308-1031-2022-4-80-90.
THE IMPLEMENTATION OF FOLKLORE PROTOTYPES IN THE “SPANISH RHAPSODY” BY MAURICE RAVEL
V.V. Bass
Abstract. The article discusses the principles of mediation of the genres of Spanish dance culture in the musical thematism of M. Ravel’s “Spanish Rhapsody”. Various musical and choreographic prototypes – malagenia, habanera, hota – are investigated in the aspect of the functioning of their genre semantics in the context of a symphonic work in order to expand ideas about Ravel’s style system. Special attention is paid to how the plastic components of dance (poses, gestures, movements, choreographic drawing) are reflected in the basic parameters of the musical language – rhythm, texture, melodic drawing, composition. The analysis of the symphonic score in the chosen perspective showed that Ravel was able to masterfully recreate a wide range of folk song and dance images not only through the implementation of the features of the musical language of certain regional traditions of Spanish folklore, but also through the subtle refraction of plasticity of dance movements and gestures, the embodiment of dance expression. The implementation of dance prototypes in various parts of the “Spanish Rhapsody” has its own specifics. In “Malagenia” and “Habanera” the choreography of the dances, the peculiarities of performance and instrumental accompaniment received a consistent and detailed reflection. We can talk about the “visible” concreteness of musical images associated with the hero of the dance. In “Feria” dance prototype is presented more generally (although the composer resort to quoting folk melodies of the Aragonese hota), without consistent reproduction of all the choreographic structure, without personification musical intonation.
Keywords: dance prototypes, Spanish folklore, choreographic lexis, indirect implementation dance, ravel’s style
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Bass, V.V. (2022), “The implementation of folklore prototypes in the «Spanish Rhapsody» by Maurice Ravel”, Journal of Musical Science, Vol. 10, no. 4, pp. 91–107.
DOI: 10.24412/2308-1031-2022-4-91-107.
M. RAVEL'S ENSEMBLE SONATAS OF THE 1920s: ON THE QUESTION OF INTERPRETATION OF STYLE
G.A. Eremenko, V.P. Mikhaylova
Abstract. The article is devoted to the interpretation of stylistic features in the 1920s` Ensemble Sonatas by M. Ravel. The composer himself recognized them as a pivotal point in his work, which was characterized with the growing attention to constructive techniques in composition as a reaction to criticism of the freedom of expression given to Impressionist artists. In respected Russian monographs (Yu. Krein, I. Martynov, V. Smirnov), the style and technique of written sonatas are characterized only by brief observations. Therefore, the composer`s innovations do not receive any specific estimations. The relevance and novelty of the article are determined by the stylistic interpretation of new structural features and means of expression. The authors focus on showing classicist and neoclassical features in the musical language of the sonatas. Based on the opinions by such researchers as M.K. Mikhailov, L.N. Raaben, V.P. Varunts, a characteristic of common and different features in terminology and national identity of dialogue with the tradition is proposed. The authors also emphasize Ravel's interest in enriching romantic-impressionist traits in the late period of his work with different – moderate (classicist) or radical (neoclassical) – forms of inheritance of the experience of French musical culture. An analysis of composition, thematism in sonata cycles and methods of its development is the content of the main section of the article. The classification of two types of presentation is proposed – linear and genre. Some peculiarities of the organization of each of them are revealed. The most significant individual features in different versions of the composer's dialogue with the national tradition of musical art of distant epochs are shown in concrete examples. The analysis allowed us to reveal the boldness of Ravel's innovative discoveries – the nature of linear thinking, a flexible combination of an expanded tonal-harmonic system with neo-modal and polylade methods of organization, while preserving the special laws of national shaping. Ravel used these discoveries as a means of constructive and expressive renewal of his original musical language.
Keywords: ensemble sonata, string instruments, style, thematism, linearity, neomodality, dialogue with tradition, classicism and neoclassicism, French music, chamber music of the twentieth century
Conflict of interests. The authors declare the absence of conflict of interests.
For citation: Eremenko, G.A., Mikhaylova, V.P. (2022), “M. Ravel's Ensemble Sonatas of the 1920s: on the question of interpretation of style”, Journal of Musical Science, Vol. 10, no. 4, pp. 108–119.
DOI: 10.24412/2308-1031-2022-4-108-119.
IDEAS AND ARTISTIC IMAGES IN CHILDREN’S ALBUMS FOR PIANO BY RUSSIAN COMPOSERS
Zhang Chao
Abstract. The author focuses on the evolution of the artistic images in piano works for children and youth by Russian composers and explores how the process of artistic images’ perception can affect the pianists' training. It is the images of the children's albums that become for young pianists the first step towards the perception and interpretation of the complex artistic images present in "adult" piano music, especially, when it comes to performance interpretation. Changes, which the artistic images have undergone from P.I. Tchaikovsky's to S.M. Slonimsky's piano works for children and youth, demonstrate that new tendencies have appeared in the 21st century in the child psychology and children's musical art fields. The purpose of this article is to determine the role of children’s piano albums artistic images in the process of young pianists' formation and development, as well as to highlight new artistic images that have appeared in contemporary piano composers' works. The author of the article draws attention to the concept of "modernity" in the framework of the artistic images' interpretation and, comparing the works of Russian composers in the 19th, 20th, and 21st centuries highlights those artistic images common to their works that convey to young pianists the key universal and spiritual values necessary for musical art understanding.
Keywords: musical art, artistic image, piano culture, piano music for children, children’s piano album
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Zhang Chao (2022), “Ideas and artistic images in children's albums for piano by Russian composers”, Journal of Musical Science, Vol. 10, no. 4, pp. 120–128.
DOI: 10.24412/2308-1031-2022-4-120-128.
A.S. Molchanov
Abstract. The article analyzes one of the most striking compositions in the Siberian professional music of the last decade, the piece for solo cello “Shaman” by Boris Lisitsyn. The author of the article focuses on the compositional and technical aspects of the realization of the composer’s idea and the cognitive possibilities of understanding it at the level of the musical material forming the image. The analysis notes the predominance of the phase character of the composition, combining reprise patterns with the variant development of the material, as well as different interpretative versions of the composition, their influence on the overall structure of the work and the peculiarities of its perception. In this regard, the researcher identifies cognitive detection strategies and expectations that interact with each other, determining the specifics of the perception of sound material organized on the basis of identical, variably repeated elements. They show the orientation of the composition, first of all, to a competent listener. As a result, Boris Lisitsyn’s work appears in the synthesis of academic musical tradition and avant-garde composition techniques of the twentieth century, aimed at revealing a specific musical image of a shaman. In the course of its embodiment, the composer reflected the general cultural and typological ideas about shamanism in academic music, taking into account crosscultural ties and the development of ritualism in art. Also, the musical language of “Shaman” demonstrates the characteristic manifestations of Lisitsyn’s individual compositional stylistics with its high semantic fullness of intonation content presented in the space-time continuum.
Keywords: shamanism, aleatorica, minimalism, cognitive process, Siberian composers, music for cello
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Molchanov, A.S. (2022), “«Shaman» by Boris Lisitsyn. At the junction of cultural traditions and composition techniques in the Post-Avant-garde period”, Journal of Musical Science, Vol. 10, no. 4, pp. 129–139.
DOI: 10.24412/2308-1031-2022-4-129-139.
L.V. Gavrilova
Abstract. The article is devoted to the opera Giocasta by the Italian composer Azio Corghi, which premiered on June 19, 2009 in Vicenza, Teatro Olimpico. It was specially commissioned as a part of the celebration of the 500th anniversary of the birth of the great Italian architect Andrea Palladio, according to whose project this theater was built. The author discusses the opera in the context of the composer's musical theatre works, highlighting as the main vector the leading artistic idea of creativity, which Corghi formulated as “the need to know the past in order to be able to rediscover and re-read it «in the spirit of modernity»”. Special attention is paid to the characteristics of the composition and libretto of the opera, created in collaboration with Maddalena Mazzocut-Mis. It represents an alternative version of the ancient myth, combining the plot motifs of Sophocles', Euripides' and Seneca's tragedies. In addition, the dramatic functions of voce recitante, mezzo-soprano, soloist violist and chorus in their relationship with the traditions of the ancient theater are being revealed. This made it possible to formulate the specifics of “reading the past in the spirit of modernity” in the opera Giocasta and present it as an organic part of the musical and theatrical heritage of A. Corghi.
Keywords: musical theater, Azio Corghi, opera “Giocasta”, Maddalena Mazzocut-Mis, libretto
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Gavrilova, L.V. (2022), “Azio Corghi's Giocasta as an example of implementing the composer's creative credo: «re-read the past in the spirit of modernity»”, Journal of Musical Science, Vol. 10, no. 4, pp. 140–152.
DOI: 10.24412/2308-1031-2022-4-140-152.
MUSICAL HERMENEUTICS: WHAT SHOULD IT BE LIKE TODAY? (INVITATION TO SCIENTIFIC DISCUSSION)
T.A. Kornelyuk
Abstract. The article is devoted to the problems of musical hermeneutics, which is one of the most discussed areas of musical science in Russia nowadays. "Subjectivity" and "unscientific" are the "cornerstones" of research consideration, and such debatable concepts as "unprovable", "unverifiable", "irrational", "illogical" require research and methodological reflection. The purpose of the article is to outline the problematic field of musical hermeneutics and identify ways for further methodological reflection. The author considers L.O. Akopian's concept of three models of musical hermeneutics and invites readers to a scientific discussion. The problematic field of musical hermeneutics covers the following aspects: subjective factor; the problem of scientific character; the problem of the adequacy of interpretation; the problem of understanding; the problem of provability; the problem of the purpose of interpretation of the text. Further progress of scientific and methodological thought, in the context of the questions discussed in the article, can be achieved, as seen by the author, by invoking the concept of two types of research reflection in modern musicology – analytic and synthetic/interpretative as well as the concept of "adequate perception" (developed by V.V. Medushevsky). The hermeneutics of a musical text and the hermeneutics of musical research concepts, as directions of "nonclassical musicology", the author attributes to the synthetic/interpretative type of research reflection and proposes to conduct a scientific discussion in this direction.
Keywords: musical hermeneutics, musical text, interpretation, L.O. Akopian, etymology, scientific discussion, humanitarian knowledge, synthetic type of research reflection, adequate perception, V.V. Medushevsky
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Kornelyuk T.A. (2022), “Musical hermeneutics: what should it be like today? (invitation to scientific discussion)”, Journal of Musical Science, Vol. 10, no. 4, pp. 153–162.
DOI: 10.24412/2308-1031-2022-4-153-162.
I.P. Kladova
Abstract. This article is devoted to the study of the specifics of the figurative-symbolic content and perception of the Tchaikovsky choral cycle “The Liturgy of St. John Chrysostom”. The phenomenon of perception of Orthodox symbols is investigated on the basis of the application of psychological, archetypal analysis, through which different levels of expression and formation of musical liturgical content, interpretation of the text, historical and cultural context are comprehended. The article examines the Orthodox symbols of “inspired prayer”, which form the archetypal basis of musical thinking and determine the structural, semantic, genre (according to M.G. Aranovsky) features of the composer's liturgical cycle. Based on the analysis of the content of conceptual and emotional archetypes as symbolic images, the logical and semantic foundations and composition of the Tchaikovsky choral cycle are comprehended. The symbolic archetypal image of the litany “Lord, have mercy” stands out, acting as a “semantic dominant” that determines the peculiarities of the perception of the Liturgy. The process of musical perception of Orthodox symbols is carried out on the basis of the theoretical propositions of P. Florensky, I. Gardner on the spiritual foundations of prayer involved in the formation of both the liturgical, church canon and the composer's composition. The value-semantic, existential vector of the study made it possible to identify some features of the perception of the sacred proto-symbol of “infinite time-eternity” and to highlight the conciliar, dialogical, nonlinear type of thinking represented in the figurative and symbolic content and perception of the “Liturgy of St. John Chrysostom”.
Keywords: Russian spiritual music, The Liturgy of St. John Chrysostom, perception, archetypal analysis of the text, context, “inspired prayer”, litany, conceptual and emotional archetypes, symbol, musical and semantic content
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Kladova, I.P. (2022), “P.I. Tchaikovsky. «The Liturgy of St. John Chrysostom»: on the perception of orthodox symbols and archetypes of «inspired prayer»”, Journal of Musical Science, Vol. 10, no. 4, pp.163–174.
DOI: 10.24412/2308-1031-2022-4-163-174.
THE FORMATION OF MUSIC THERAPY IN THE EAST AND WEST IN HISTORICAL PERSPECTIVE
Yang Aozhan
Abstract. The issues of music therapy are of interest for specialists in the field of music education, medicine, neurophysiology, and psychology. In this article, we reviewed the development of music therapy in Eastern and Western countries from 2500 B.C. until the end of the 20th century. The issues of the formation of music therapy as a science and its connections with medicine, neurophysiology, and psychology are touched upon. The purpose of this study is to show the main stages of the formation of music therapy in the historical and cultural context from ancient times to the present in the East and West (in Ancient Greece and Rome, Ancient China, Ancient India, USA, Russia and China) and identify the main approaches and differences. Research methods are historical, cultural, analytical, description method. Many foreign and domestic scientists have recorded the positive effect of music therapy on the physiological state of a person. We will present the some of their key findings which influenced the further development of the field, in the article. As a result, it is shown that an important task of music therapy is the selection of musical material, certain sounds and rhythms that allow the patient to experience catharsis.
Keywords: therapeutic effect of music, music psychology, music therapy, psychology
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Yang Aozhan (2022), “The formation of music therapy in the East and West in historical perspective”, Journal of Musical Science, Vol. 10, no. 4, pp. 178–182.
DOI: 10.24412/2308-1031-2022-4-175-182.
THEATER AND MUSIC CRITICISM OF E.V. KORSH IN THE “TOMSK PROVINCIAL VEDOMOSTI”
O.A. Svetlova
Abstract. The article is devoted to the journalistic activity in the field of theater and music criticism of the famous Siberian journalist and editor Evgeny Valentinovich Korsh, who lived in Tomsk in 1880–1888. Its significance in the Siberian music-critical journalism at the stage of its formation is determined. For the first time, Korsh's notes and reviews on dramatic performances and concerts in Tomsk, published in the “Tomsk Provincial Vedomosti” in 1882– 1883, when he was the editor of the non-official part of the newspaper, are considered. Korsh introduced the "Theatrical Chronicle" column, where he regularly posted critical reviews. He became the first author of music-critical publications in the government press about concerts of the Tomsk branch of the Imperial Russian Musical Society, guest performers and local amateur musicians. The article analyzes some of Korsh's publications, which give an idea of his critical style and allow us to outline the key aspects of his criticism. He raised such acute issues as the repertoire of the provincial theater, the level of productions, performing talent and artistry of artists, recorded the attendance of performances and concerts, reflected the mood of the audience. The reviewer severely criticized weak plays, overly spectacular theatrical techniques, fake acting, disregard for the Russian repertoire, public indifference, but supported the artists of the average level for naturalness and fidelity of intonation, diligent performance and conscientious attitude to art. It is concluded that in the Tomsk provincial press E.V. Korsh became the first critic in the field of theatrical and musical art. After this brief period of prosperity, music-critical publications completely disappeared from the pages of the government newspaper.
Keywords: musical culture of Siberia, music-critical journalism, theater criticism, E.V. Korsh, "Tomsk Provincial Vedomosti"
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Svetlova, O.A. (2022), “Theater and music criticism of E.V. Korsh in the «Tomsk Provincial Vedomosti»”, Journal of Musical Science, Vol. 10, no. 4, pp. 183–192.
DOI: 10.24412/2308-1031-2022-4-183-192.
Zeng Yao
Abstract. This study presents the poorly-studied period of the Chinese piano art development. The purpose of article is identification of the processes of formation of national piano school happening during war to Japan and began existence of People's Republic of China. In this aspect this epoch of the Chinese piano culture formation is becoming the subject of a separate research topic for the first time. Information about piano educational institutions and biographical data on the largest Chinese pianists of that time are given. Based on the works of previous researchers, new criteria for the emergence of the national piano school were formulated and adjustments to the existing periodization of Chinese piano art were proposed. It is argued that the period under review is an independent stage in the formation of pianistic culture in China, characterized by the fact that for the first time in its history Chinese musicians began to occupy a leading place. The main trends inherent in this stage are indicated. It is claimed that by the end of it a fairly developed system of piano education had been formed in China; a continuity of pedagogical traditions arose; piano art began to go beyond its own national space. Concluded, that the prerequisites for the formation of an independent national school were partially formed, but it has not yet fully developed.
Keywords: China, piano, Chinese piano art, the Shanghai Conservatory, the Beijing Conservatory, the National Piano School
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Zeng Yao (2022), “The piano art of China of the 1940s – early 1950s in the context of the formation of the national piano school”, Journal of Musical Science, Vol. 10, no. 4, pp. 193–203.
DOI: 10.24412/2308-1031-2022-4-193-203.
Liu Yingchen
Abstract. The development of musical art in modern Chinese society is very active. There are a lot of young talents, creative organizations and collectives are developing. The article discusses some of the causes and mechanisms of the development of certain areas of Chinese musical art in the twentieth century. The article considers the educational channel for the development of musical art, the channel of emigration of foreign musicians to China, foreign internships and training of Chinese musicians, concert activities, etc. Within the framework of the research topic, the complex interaction of national and European singing schools, the influence of European traditions on the content of the training of Chinese singers is considered. The article traces the line of attention of the Chinese government to the musical, vocal traditions of the country's culture. Continuity is an important factor in Chinese musical culture. Based on the generalization of the literature, the author of the article points out the important ideological positions that underlie the training of musicians in China: musical mastery has a close connection with the spiritual sphere of Chinese culture and develops together with all manifestations of the musician's personality (emotional, intellectual, aesthetic); Chinese musical art has always existed in conjunction with poetry, literature, theater, etc.; academic, folk, pop achievements of art can be integrated in the directions of music.
Keywords: Chinese musical art, Chinese musical education, Chinese vocal school, «new folk singing», V.G. Shushlin, Zhou Xiaoyan
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Liu Yingchen (2022), “The influence of cultural and educational channels on the development of Chinese vocal art in the XX century”, Journal of Musical Science, Vol. 10, no. 4, pp. 204–214.
DOI: 10.24412/2308-1031-2022-4-204-214.
TRANSCRIPTIONS OF CLASSICAL WORKS FOR ACCORDION BY ANDREY ROMANOV
N.V. Prokopiev, N.V. Sannikova
Abstract. The creative legacy of Andrey Nikolaevich Romanov has found recognition not only among colleagues and followers, but also among a wide audience. However, until now its transcriptions, processing and transcription have not become the subject of scientific and methodological understanding, which determines the relevance of this work, the purpose of which is to determine the specifics of the sound of the accordion and to identify the features of special aesthetics in the transcriptions of A.N. Romanov. On the way to this goal, the article examines the accordion as an instrument of academic musical culture, touches upon the issues of genre differences in arrangements, treatments and transcriptions, technological principles of academic accordion sound, analyzes the transcription of A.N. Romanov’s Concerto No. 4 “Winter” f-moll, op. 8, RV 297 by A. Vivaldi. The musical collections “Andrei Romanov Plays” and “And I play the Accordion” (issues 1–5) reflected the performing and pedagogical experience of an outstanding accordion player, puzzled by the problem of expanding the educational and concert repertoire of performers. With a competent reading of transcriptions and author's works by Andrey Romanov, with proper analysis of the musical text and compliance with special instructions, the sound of the accordion reflects a special academic aesthetics that puts it on a par with the most complex and artistically rich instruments.
Keywords: accordion performance, transcriptions, performing repertoire, music pedagogy, accordion, music making
Conflict of interests. The authors declare the absence of conflict of interests.
For citation: Prokopiev, N.V., Sannikova, N.V. (2022), “Transcriptions of classical works for accordion by Andrey Romanov”, Journal of Musical Science, Vol. 10, no. 4, pp. 215–224.
DOI: 10.24412/2308-1031-2022-4-215-224.
PROBLEMS OF TRANSCRIPTION OF CELLO SUITES BY J.S. BACH FOR GUITAR
Liu Zhenwei
Abstract. The article deals with the main problems that arise in guitar transcriptions of cello suites by J.S. Bach, namely, the problems of transposing into other keys, the problem of the correlation of performing capabilities of different instruments (cello and guitar), the problem of phrasing, the performance of long notes and, finally, the problem of style. In the process of researching the sources, arguments are given that make one doubt the purpose of “Suite pour la Luth”, which is considered an example of the author’s Bach arrangement for a guitarrelated instrument the lute. Therefore, the transcription methods that are present in it cannot be considered exemplary for guitar arrangements. Some samples of arrangements for guitar of Bach’s music are considered, special attention is paid to the Prelude and Sarabande from the First Cello Suite, the Prelude from the Fifth Cello Suite. In their analysis, the main attention is focused on the problems of guitar arrangements listed above. They are connected both with the difference in the sound and expressive capabilities of the cello and guitar, and with the problems of style, with different hearing of music in different eras. Most guitar arrangements focus on the romantic model of the full-sounding and colorful sound of the instrument, but in the case of cello suites, this approach completely changes both the style and the meaning of Bach’s music.
Keywords: J.S. Bach, cello suite, guitar transcription, texture, tonality, phrasing, handwritten source
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Liu Zhenwei (2022), “Problems of transcription of cello suites by J.S. Bach for guitar”, Journal of Musical Science, Vol. 10, no. 4, pp. 225–234.
DOI: 10.24412/2308-1031-2022-4-225-234.
RUSSIAN KOREANS: THE HISTORY OF RESETTLEMENT AND FEATURES OF ACCULTURATION
A.A. Butakova, Zh.A. Lavelina
Abstract. The article is devoted to the issue of mass migration of the Korean people to the territory of the Russian state, as well as the peculiarities of the refraction of Korean culture in contact with other traditions. The work traces the long path of Korean immigrants from their first appearance on the territory of the Far East to the development in Central Asia after deportation. The purpose of the study is to determine the main stages of the formation of the Korean diaspora. Along with the methods of description and systematization, a historical and typological approach was actively used, which allowed recreating the process of resettlement and distribution of Koreans across Russia and CIS countries. As a result of the study, it was found that the first settlers fled to the territory of Primorsky Krai in the middle of the XIX century. After the establishment of official diplomatic relations between Russia and Korea, the migration process was simplified, which led to the formation of new Korean settlements and regions in the Far Eastern region. In the future, the path of Korean immigrants turned out to be difficult. Despite all the trials, representatives of the Korean diaspora not only adapted to the new living conditions, but also made a significant contribution to the development of the republics of the Soviet Union.
Keywords: Koreans, resettlement, culture, Soviet Union, deportation
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Butakova, A.A., Lavelina Zh.A. (2022), “Russian Koreans: the history of resettlement and features of acculturation”, Journal of Musical Science, Vol. 10, no. 4, pp. 235–245.
DOI: 10.24412/2308-1031-2022-4-235-245.
