E.I. Semionidi, A.A. Strilchenko
Abstract. The article discusses the idea of the tendencies of spontaneous pagan and OrthodoxChristian “double-faith”, reflected through musical art. Russian opera art has always been focused on educating its audience of high moral qualities, love for their native land, its historical and cultural heritage. This is expressed in the works of such famous composers as M.I. Glinka, P.I. Tchaikovsky, M.P. Mussorgsky, as well as N.A. Rimsky-Korsakov, whose opera “Sadko” was chosen as the object of scientific research of this article. It is no coincidence that in order to create the first symphonic poem in the history of Russian music, Nikolai Andreevich Rimsky-Korsakov turned to the character of Russian epics, embodying a musical work on the stage, in the center of which is the “double-faith” conflict of that period: the confrontation of Christian and pagan beliefs, which took place for several centuries since the baptism of Russia. Through vivid and memorable images, the composer managed to convey the atmosphere of “unity and struggle” of two ways of worldview. This topic can be considered very relevant for modern Russia, when the problem of Russian national identity has become very acute. During this period, such important aspects of this problem as the issues of the historical development of Russian culture, including music, also become particularly topical.
Keywords: opera “Sadko”, N.A. Rimsky-Korsakov, the period of “double-faith”, bylina, folklore, Christianity, paganism
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Semionidi, E.I., Strilchenko, A.A. (2023), “Synthesis of poetic and musical artistic means in the representation of the Christian-pagan «double-faith» in N.A. Rimsky-Korsakov's opera «Sadko»”, Journal of Musical Science, Vol. 11, no. 1, pp. 5–13. DOI: 10.24412/2308-1031-2023-1-5-13.
THE RICERCARS OF IGOR STRAVINSKY: NEW REPRESENTATIONS OF AN OLD GENRE
G.A. Demeshko
Abstract. The article studies the various aspects of ricercar representation in modern music by the examples of three works of Igor Stravinsky. It is noted that the composer continuously represents himself in this autonomous genre, independent from fugue, thus leading to discussions on theoretical definitions of ricercar as a genre. At the same time, the article underlines the ability of ricercars to be seamlessly introduced into a different context of genre and composition, whilst intensifying and enriching the author’s message. Ricercars develop in different ways in the Stravinsky’s opuses taken under consideration. It is the paradoxical mode of interaction with the logic of directional symphonized development in the second movement of the Symphony of Psalms; a late baroque fuga ricercata in the Concerto for Two Pianos; and an exquisite Renaissance style bridging the canon technique typical for ricercars with quasiserialism in the Cantata for soprano, tenor, female choir, and instrumental ensemble written for the 15th- and 16th-century poems. However, this age-old genre reveals something bigger and deeper-laid than just the processing of a continuous material imitation and variation (Italian riceracre means “to search out, to seek, to stumble through the darkness”) – it is the “continuity of musical consciousness” (L. Gerver), which is highly consonant with the nonclassical cultural mentality of the 20th century.
Keywords: ricercar, imitation and variation development, canon, fugue-like exposition, old genre, metric and rhythmic variation, symphonization, stylization, serialism
Conflict of interests. The author declare the absence of conflict of interests.
For citation: Demeshko, G.A. (2023), “The Ricercars of Igor Stravinsky: New representations of an old genre”, Journal of Musical Science, Vol. 11, no. 1, pp. 14–25. DOI: 10.24412/2308-1031-2023-1-14-25.
PROGRAMMING AS A PATH TO ARTISTIC DISCOVERY IN BORIS TCHAIKOVSKY'S SEVASTOPOL SYMPHONY
S.S. Korobeinikov
Abstract. The article is devoted to the problem of genre originality of Sevastopol Symphony by Boris Tchaikovsky. The relevance of the problem is due to the lack of analytical study of the symphony in this aspect. Programming is of particular importance in the interpretation of the genre here. It allows putting the symphony on a par with the program works of B. Tchaikovsky's predecessors and contemporaries.The symbolic plot of the symphony combines two typological models. One is based on the embodiment of landscape imagery, the other reflects battle collisions. An analysis of well-known works of both types (landscape and battle symphonies) leads to the conclusion that these two types of imagery exist autonomously and do not interact with each other within the framework of one work. B. Tchaikovsky in the work under consideration managed to organically combine these two lines in the development of the genre in a single dramatic vein and thereby renew it. It is the revealed novelty of the Sevastopol Symphony that allows us to speak – despite the fact that the musical language of the composition is demonstratively directed towards the classical-romantic tradition – about the artistic innovation made here. The main impulse for combining heterogeneous typological models of the symphony in this work was the image of the city of Sevastopol.
Keywords: Boris Tchaikovsky, symphony, landscape, battle, artistic innovation
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Korobeinikov, S.S. (2023), “Programming as a path to artistic discovery in Boris Tchaikovsky's Sevastopol Symphony”, Journal of Musical Science, Vol. 11, no. 1, pp. 26–34. DOI: 10.24412/2308-1031-2023-1-26-34.
M.V. Bazilevich, O.S. Kuzennaya, N.A. Semeshko
Abstract. In the article the authors make an attempt to define the peculiarities of implementing the opera buffa genre model in M.L. Tariverdiev's opus “Count Cagliostro”. The methodology of research is based on the principles of historical retrospective and classification as well as on provisions and approaches of historical and theoretical Music Studies: Tone Theory, Genre Theory, and Musical Composition Holistic Analysis Theory. Study materials are the voice and piano score and orchestra score of the opera “Count Cagliostro”; works of the Russian music historians devoted to Italian comic opera, to the life path and creative legacy of M.L. Tariverdiev. The study regards the history of creation, and conceptual and imaginative contents of the opera, the principles of drama and means of musical language used by the author to create the musical portraits of the main characters. On the basis of comprehensive study the following conclusion is drawn: opera “Count Cagliostro” has a special place in the composer’s creative legacy and is a unique phenomenon of the Soviet musical art of the second part of XX century. Being a rare example of the original variety of comic opera, M.L. Tariverdiev’s opus implements the genre model of opera buffa and also absorbs the features of lyricopsychological musical drama and synthetic mass music culture genres. Following the traditions established in the works of W.A. Mozart, G. Verdi, P.I. Tchaikovsky M.L. Tariverdiev creates a “romantic comedy of characters”, where the portraits of the main characters get enriched with the methods of musical images’ development specific to lyrico-psychological musical drama and with the expressive means of XVIII and XX centuries’ music.
Keywords: Mikael Tariverdiev, opera buffa, Italian comic opera, Soviet music, polystylistics, Count Cagliostro
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Bazilevich, M.V., Kuzennaya, O.S., Semeshko, N.A. (2023), “M.L. Tariverdiev's opera «Count Cagliostro» as an experience of implementing opera buffa traditions in the XX century”, Journal of Musical Science, Vol. 11, no. 1, pp. 35–47. DOI: 10.24412/2308-1031-2023-1-35-47.
CHORAL AND ENSEMBLE SCENES IN THE DRAMATURGY OF G.N. IVANOV’S THEATRICAL WORKS
E.S. Gulyaeva
Abstract. The article discusses choral and ensemble scenes in the theatrical works of G.N. Ivanov. The appearance of various types of collective scenes is noted: choral, ensemble, mixed with the predominance of spoken and recitative dialogues, ensemble fragments, individual choral inserts. The participants of choral numbers, as a rule, perform the functions of a commentator, a direct participant in the action, the creator of a certain emotional atmosphere, an informant. Non-choral mass scenes are more dynamic, effective, contribute to the concretization of the content. Among the most striking choral ones are “Bitterly!”, “Morning and night silently say goodbye”, “Not one road in the field” from the opera “Alkins songs”, choral scene at the bazaar and “Song of rowan” from “Rowan red”, “Ditties” from the operetta “Two colors of time”, “By the Sea of Ob”. Among the ensembles, the key is the scene in Kasyanova Pad. The mass non-choral scenes include the scenes of admission to the commune and the finale of “Two colors of time”, the scene of reading a letter to the Mayor, “We need to do something” and the finale from the opera “The inspector”, the scene of village gossip from “Alkins songs”, the scene of the denouement from the operetta “By the Sea of Ob”. The choice of the composer's solution is determined by the peculiarities of the genre of the work, as well as the possibilities and semantics of the means of musical expression. There is a tendency to show the unity and cohesion of the collective in the format of choral scenes and to demonstrate the disunity of the characters, in conflict with the help of complex mass dynamic episodes.
Keywords: Georgy Nikolaevich Ivanov, Siberian composer, opera dramaturgy, opera, operetta, oratorio-gatherings
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Gulyaeva, E.S. (2023), “Choral and ensemble scenes in the dramaturgy of G.N. Ivanov’s theatrical works”, Journal of Musical Science, Vol. 11, no. 1, pp. 48–57. DOI: 10.24412/2308-1031-2023-1-48-57.
А.А. Sushlyakova
Abstract. The music of Astor Piazzolla – the reformer of the “tango world” is in great demand in contemporary culture. Stylistic renewal of the traditional canon of tango was made by the composer in the context of multi-vector search of the second part of the 20th century. The “author's” version of a refraction of the classic prototype of the genre – the style tango nuevo discovered by him – made the composer a “Latin American avant-garde”. His legacy consists of more than 700 works in different genre-and-stylistic manners, among which the instrumental concertos of 1970–1980s – Aconcagua and Double сoncerto – mark the composer's new phase of maturity. The article formulates the features of genre and stylistic canon of “classical tango” to reveal the novelty of tango nuevo style. The nature of Piazzolla's concertos is shown in the light of domestic concerto theory of a new type which generalised the creative discoveries of academic composers of the XX century. These analytical observations reveal Piazzolla's individual approach to the genre. He was marked by the realisation of concerto principles of contemporary European thinking: a variety of instrumental compositions, enriched timbral functions and their constructive and dramatic use – dynamic changes and daring combinations of instruments. The analysis of rhythmic methods reveals the form-forming role of accentrhythmic and metrical syncopation in combination with the methods of music-making, close to the folk and jazz tradition. The thematic material also contributes to the growth of the principle of effective dialogicality in the organisation of the concert genre. The analysis revealed different types of presentation, the ways of their intonation unity.
Keywords: tango, Astor Piazzolla, tango nuevo, principles of modern concerto, concerto
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Sushlyakova, A.A. (2023), “Tango nuevo by A. Piazzolla: Principles of contemporary concert performance in the compositions of the 1970s – 1980s”, Journal of Musical Science, Vol. 11, no. 1, pp. 58–69. DOI: 10.24412/2308-1031-2023-1-58-69.
SONATAS BY K. VOLKOV FOR PIANO no. 4 AND 5: ISSUES OF THE NEO-FOLKLORE INTERPRETATION OF THE GENRE
N.Yu. Volobuev
Abstract. The purpose of the article is to identificate interpretation features of the sonata model in the works of the turn of the millennium by the Moscow composer K. Volkov. His work of various genres is a significant contribution to Russian music due to a vivid synthesis of traditional and innovative, folklore and academic approaches. The composer's use of neofolklore principles of composition leads to an epic interpretation of the sonata genre. The growth of the transpersonal dimension in the sonatas is noticeable – it is expressed in the archetypal nature of the images, the cosmocentrism of the worldview. The specificity, catchiness, genre clarity of the thematic material, its reliance on song, dance and picturesqueness enhance the communicative potential of the works. Features of thematism contribute to the compression of the scale of the sections of the form and the strengthening of their multifunctionality. There is a decrease in the role of independent development episodes. Instead, variational methods of updating the material prevail. The traditional structure of the sonata cycle is transformed into a hierarchy of three-phase and two-phase structures. It gives the dramaturgy continuity and dynamism. The reduction of the form, while maintaining its clarity, provides simplicity of perception. Symphonic principle gives versatility and conceptuality to the figurative structure of the sonata, aimed at revealing the theme of man's relationship with the world and nature, which acquires ritual or tragic shades in the embodiment.
Keywords: piano sonata, Kirill Volkov, neo-folklorism, stylistic synthesis, epic dramaturgy
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Volobuev, N.Yu. (2023), “Sonatas by K. Volkov for piano no. 4 and 5: issues of the neo-folklore interpretation of the genre”, Journal of Musical Science, Vol. 11, no. 1, pp. 70–79. DOI: 10.24412/2308-1031-2023-1-70-79.
E.G. Basargina, N.V. Kret
Abstract. The relevance of studying interpretation as a phenomenon of compositional creativity is due to the increased interest in the problems of musical communication and interpretation. The purpose of the study is to study the features of the composer’s interpretation of the poetic invariant on the example of M. Tsvetaeva’s poem “Here’s the window again...” in the vocal music of Russian composers of the second half of the twentieth century, in particular, A. Nikolaev, B. Tishchenko, V. Dashkevich, S. Slonimsky, M. Tariverdiev. Using the methods of comparative and intonation analysis, analysis of vocal works, it was revealed that the specificity of the composer’s interpretation determines the rhythmointonal idea of the poem, but at the same time it allows for a certain reinterpretation and individual reading. It is proved that the substantial depth of the poetic invariant makes it possible to create on its basis the most diverse in semantics, structure, intonation, musical form interpretive variants. The example of M. Tsvetaeva’s poem “Here’s the window again...” shows how its semantic richness and peculiar rhythmics are refracted in various composer interpretations. The minor and the musical form with the obligatory division into couplets-sections combine all the analyzed examples from Russian music of the second half of the twentieth century, while they differ significantly in the interpretation of the musical image, intonation dramaturgy, the location of the climax, techniques of counter rhythm. A. Nikolaev and Slonimcky are attracted to the intensely dramatic image. V. Dashkevich and M. Tariverdiev offer a lyrical and elegiac interpretation; B. Tishchenko shifts the emphasis to the final phrase of the poem, using the speech type of intonation.
Keywords: composer’s interpretation, poetic invariant, M. Tsvetaeva’s poetry, vocal music, song, song-cycle, rhythmic-intonation idea
Conflict of interests. The author declare the absence of conflict of interests.
For citation: Basargina, E.G., Kret, N.V. (2023), “Features of the composer’s interpretation of the poetic invariant in Russian vocal music of the second half of the twentieth century”, Journal of Musical Science, Vol. 11, no. 1, pp. 80–90. DOI: 10.24412/2308-1031-2023-1-80-90.
Zhao Wenkai
Abstract. The study of the problem of the embodiment of the figurative-artistic world in works for the saxophone in the music of the 20th century provides for the existence of an appropriate theoretical basis. In this article, the term “figurative-artistic world” in music is generally revealed. The interpretation of this concept is based on the concepts of famous musicology researchers (V.V. Medushevsky, M.S. Skrebkov-Filatova, V.N. Kholopova, L.N. Shaimukhametova). On the basis of this general theoretical understanding, the peculiarity of the embodiment of the figurative and artistic world in saxophone music is revealed. The main role in this belongs to the artistic and expressive techniques that the saxophonist performers possess. The works of M. Mymryk and G. Dewhirst, T. Matthew, R. Weston, etc. have a conceptual value in understanding this issue. The concept of the Russian scientist M.A. Begovatova is of great importance in this case. The work of A.M. Ponkina “The evolution of academic music for the saxophone of the second half of the XIX – beginning of the XXI century” is thorough in theoretical terms. Based on the results of this scientist's research, it becomes possible to consider the innovative search of composers in the field of the timbre contour of saxophone music, which reveals additional aspects of understanding the realization of the artistic intent of the work through this instrument. The article touches upon the list of musical works for the saxophone, which carry a special potential in understanding the specifics of the embodiment of the figurative and artistic world through the saxophone. We are talking about the works of M.D. Gottlieb, B.A. Diev, A.Ya. Eshpay, R. Noda.
Keywords: saxophone, image, artistic idea, artistic thinking
Conflict of interest. The author declare the absence of conflict of interests.
For citation: Zhao Wenkai (2023), “On the question of the embodiment of the figurativeartistic world in works for saxophone in 20th century music”, Journal of Musical Science, vol. 11, no. 1, pp. 91–98. DOI: 10.24412/2308-1031-2023-1-91-98.
MUSIC CRITIC PETER POSPELOV: TO THE QUESTION OF THE AUTHOR'S IDIOSTYLE
D.V. Pavlikov
Abstract. This article is devoted to the problem of idiostyle in music-critical texts. The modern socio-cultural space of Russia is distinguished by an abundance of music critics and bloggers. However, not every one of them has an individual intonation dictionary. The focus is on the works of music critic and journalist Peter Pospelov. Throughout his creative activity, Pospelov remained faithful to his own intonation. The analysis of his numerous publications allows us to identify individual features of the author's style, among which there is an abundance of ironic assessments and ironic censures, polysemantic linguistic constructions, frequent recourse to theatrical dramaturgy techniques with prescribed characters and dialogues. Pospelov's texts are often associated with methodological problems of music criticism. In a characteristic ironic manner, the author reflects on the exciting issues related to the influence of music criticism on the public, the relationship between the critic and the performer, the problems of context in music criticism. Pospelov's idiostyle is inscribed in the historical chronotope and is formed ВЕСТНИК МУЗЫКАЛЬНОЙ НАУКИ. 2023. Т. 11, № 1 100 in the conditions of dynamic socio-political and cultural changes. Pospelov's uniqueness and his individual “linguistic personality” clearly stand out against the background of the general mass of authors of the XXI century, bringing him to the fore as one of the most important figures of music criticism at the present stage.
Keywords: idiostyle, Peter Pospelov, music criticism, review, linguistic personality
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Pavlikov, D.V. (2023), “Music critic Peter Pospelov: to the question of the author's idiostyle”, Journal of Musical Science, vol. 11, no. 1, pp. 99–109. DOI: 10.24412/2308-1031-2023-1-99-109.
PIANO CYCLE BY N.P. RAKOV “WATERCOLORS” AS A REFLECTION OF THE ORIGINAL AUTHOR'S STYLE
O.I. Porizko
Abstract. The article examines N.P. Rakov's piano cycle “Watercolors” (1946), consisting of nine pieces of different genres. The novelty of the name reflects the author's vision of his artistic style, which organically combines the richness of color coming from painting and the lightness of graphics. This is answered by the transparency of the texture of the pieces, the subtlety of nuance in the presence of melodic richness and harmonic colorfulness. Each of the genres present in the cycle, the author develops and fills with important features of his style, first of all, relying on the national folk song tradition, as well as using original author's writing techniques. The post-war period of the creation of the cycle is also significant, where for the first time in the piano music of N.P. Rakov, a work appears – the Legend of d-moll, in which deep drama, comprehension of the tragic events of history is embedded. As in other cycles of N.P. Rakov for piano, in the cycle “Watercolors”, in addition to the basic principle of combining pieces through contrast, the role of tonal organization is great – a mirror structure that creates a dramatic basis and leads to a hymnal outcome – the affirmation of the triumph of life.
Keywords: N.P. Rakov, piano cycle “Watercolors”, novelty, development of traditions, tonal organization, style features
Conflict of interest. The author declare the absence of conflict of interests.
For citation: Porizko, O.I. (2023), “Piano cycle by N.P. Rakov «Watercolors» as a reflection of the original author's style”, Journal of Musical Science, vol. 11, no. 1, pp. 110–126. DOI: 10.24412/2308-1031-2023-1-110-126.
STYLISTIC FEATURES OF KURT SCHWAEN’S MUSIC IN HIS COMPOSITIONS FOR BALALAIKA
O.V. Usova, A.A. Usov
Abstract. The article presents an overview of the music for the balalaika by the 20th-century German composer Kurt Schwaen (1909–2007) in the context of his creative style. His compositions have become an example of the original perception of the balalaika by foreign composers. The name of Kurt Schwaen is not so widely known in Russia, in connection with which this article proposes his brief creative biography, provides an overview of the diverse genre palette of his music and the main creative settings. Particular attention is paid to the connection of Schwaen's composing activity with a wide range of creative personalities, which caused the emergence of new interesting compositions. Thus, acquaintance with the Soviet balalaika player Vladimir Illyashevich aroused the composer's interest in the balalaika and led to the appearance of several original compositions for this instrument. The article presents the history of the creation of each of Schwaen's balalaika opuses, reveals the main features of the composer's style, which are also characteristic of many of his other works. There is an inclination towards classical non-program genres with laconic compositional solutions, concentrated thematics and a clear structure. Music for the balalaika has become an example of the composer's individual approach to the interpretation of this instrument in line with German academic musical traditions.
Keywords: Kurt Schwaen, stylistic features, balalaika, concert piece genre, folk musical instruments, history of balalaika performance, German composers of the 20th century
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Usova, O.V., Usov, A.A. (2023), “Stylistic features of Kurt Schwaen's music in his compositions for balalaika”, Journal of Musical Science, vol. 11, no. 1, pp. 127–135. DOI: 10.24412/2308-1031-2023-1-127-135.
FORMATION OF THE MOSCOW JAZZ SCHOOL IN THE WORKS OF V.YA. PARNAKH
P.L. Ovchinnikov
Abstract. The article is devoted to the analysis of the work of Valentin Yakovlevich Parnakh, a “pioneer” of Soviet jazz, who made a significant contribution to the formation of the Moscow jazz school. It is shown that under the influence of Western European culture influenced the basis of V. Parnakh's experiments – the rejection of the traditional academic system of presentation of musical compositions and the search for original stage solutions. Parnakh, who did not have the skills of classical choreographic education, created original expressive techniques that became part of not only his artistic image, but also, in part, the stage appearance of the jazz band. His synthetic art project is distinguished by polymorphism (the interaction of music and dance), an emphasis on performativity as an action that implies the simultaneous creative impulse, the birth and fixation of artistic meaning and its perception. It is concluded that the vivid artistry of the concert performances of the first jazz collective of the USSR gave impetus to the formation of a special direction of jazz art – theatrical jazz, the characteristic features of which are entertainment, proximity to theatrical art. It is determined that the specifics of the Moscow jazz school at the initial stage of its formation was the synthetic nature of creative experiments, the development of techniques for combining musical and performing arts. The result of these searches was the emergence of a special direction of jazz art – theatrical jazz.
Keywords: Valentin Yakovlevich Parnakh, Soviet jazz, Moscow jazz school, jazz band
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Ovchinnikov, P.L. (2023), “Formation of the Moscow jazz school in the works of V.Ya. Parnakh”, Journal of Musical Science, Vol. 11, no. 1, pp. 136–145. DOI: 10.24412/2308-1031-2023-1-136-145.
SYNESTHESIA AS AN AESTHETIC CATEGORY AND ITS RELATIONSHIP WITH OTHER UNIVERSALS OF AESTHETICS
S.V. Konanchuk
Abstract. The subject of this research is the study of synesthesia as one of the categories of modern aesthetics and the identification of its connection with other aesthetic categories related to the three structural components of modern aesthetics: classics, non-classics and virtualistics. It is noted that synesthesia is directly related to the metacategory “aesthetic”. When comparing synesthesia with the classical categories of aesthetics, its connection with the category of “harmony” is revealed, first of all, with such types of its understanding as aesthetic and artistic harmony, in contrast to mathematical harmony. Comparison with the category of "harmony" emphasizes the main property of synesthesia – the preservation of the integrity of sensory experience in the conditions of modern “media culture”. The connection of synesthesia with the category of a symbol and with such an aesthetic category as a game, which belongs to the classics and non-classics at the same time, is indicated. Of the non-classical categories of aesthetics, synesthesia is related to such concepts as corporality, intertextuality, labyrinth, hypertext. Finally, it should be noted that in the space of virtualistics, synesthesia plays the main role of combining diverse heterogeneous elements into a single harmonious whole. As a result of the study, it was concluded that in modern art and aesthetics, synesthesia can be considered as a universal, on the basis of which the connection of sensations, feelings and ideas is fixed in synesthetic artistic images or synesthetic codes. In addition, the paramount importance of synesthesia for artistic and aesthetic communication has been revealed.
Keywords: aesthetics, categories of aesthetics, classics, non-classics, virtualistics, art culture, synesthesia, synthesis of arts
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Konanchuk, S.V. (2023), “Synesthesia as an aesthetic category and its relationship with other universals of aesthetics”, Journal of Musical Science, Vol. 11, no. 1, pp. 146–152. DOI: 10.24412/2308-1031-2023-1-146-152.
A.M. Petrova
Abstract. Currently, the string quartet genre is an important area of research interests for musicologists from the countries of the Far East region – China, South Korea and Japan. This is proved by numerous works devoted to the issues of violin performance and composer creativity of national and Western European researchers. Based on the concept of “spiritual leadership”, the direction of the scientific research of the Far Eastern musicologists is determined, which manifests itself in the priority consideration of the work of outstanding figures of musical art and the leading genres of violin music. The article notes the uneven study of the problems of the formation and development of the quartet genre, which is proved by the analysis of the scientific works of Chinese, South Korean and Japanese authors. A comprehensive understanding of the typological processes of the development of violin art in China and the insufficient development of this issue in South Korea and Japan are noted. The study of the history of the quartet genre within the framework of Chinese musical science takes place in the context of a complex of research problems devoted to the violin performance and composer creativity of national authors, which was reflected in the conceptualization of the stages of development of the genre in Chinese academic music. The article reveals the key research positions of the Far Eastern musical science regarding the range of problems affecting the field of quartet creativity and the typology of its development.
Keywords: quartet genre, acculturation, leadership concept, Far Eastern musical science, genre periodization
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Petrova, A.M. (2023), “Quartet creativity of Chinese, Korean and Japanese composers in the mirror of the Far Eastern musical science”, Journal of Musical Science, Vol. 11, no. 1, pp. 153–163. DOI: 10.24412/2308-1031-2023-1-153-163.
Chen Chenzi
Abstract. Chinese music culture throughout the history of its development has revealed, on the one hand, an extraordinary internal resource in the matter of self-renewal, which made it extremely stable and self-sufficient. On the other hand, it has demonstrated a rather mild adaptability and the ability to evolve and improve through the development of "other" cultures. The article examines the main directions of the cultural influence of the West on the music of China, which eventually provoked by the present century a giant wave of interest of the Chinese population in vocal, instrumental and other areas of musical art. The main problem raised in the article is related to the identification of ways through which the effective integration of "Western" and "eastern" in music was realized, which ensured the evolution of Chinese musical art. The purpose of the study is to analyze a wide range of theoretical sources on this issue. The article is based on such methods as analysis, synthesis, and the study of scientific sources on the problems of the evolution of musical art in China. As a result of the research, the ways in the field of culture, education and religion of China were identified, which made it possible to influence the musical art of the West on Chinese music and ensure its development.
Keywords: musical art of China, vocal music, instrumental music, concert activity
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Chen Chenzi (2023), “The evolution of the musical art of China: on the question of the peculiarities of the development of the dialogue between the music of the East and the West”, Journal of Musical Science, Vol. 11, no. 1, pp. 164–175. DOI: 10.24412/2308-1031-2023-1-164-175.
PATRIOTIC AND MILITARY SONGS IN CHINA OF THE XX century
Huo Jing Xin, O.A. Yuferova
Abstract. Patriotic and military songs is a new stage of the musical art of China of the ХХ century. The cause of their’s appearance was a radical changes in the political, social, economic spheres of the state, revolutionary and military events. This songs belong to mass musical culture. They developed and evolved throughout the twentieth century. Many of them became a national treasure (for example, the songs "I love you, China", "One, Two, Three, Four, song"). The relevance of this article is links with a new genre direction of songs in China of the twentieth century and their’s little-studied in music science. The purpose of the article is the provision of a general characteristic of patriotic and military songs in China of the ХХ century. The authors present a wide panorama of this songs, consider the stages of their origin, development during the twentieth century. At the work revealed that this songs are performed during mass cultural events, national holidays. They have a bright, memorable melodies, high ideological content. The patriotic and military songs have great social significance in the patriotic education. They send a sense of national pride, gratitude for the exploits of their compatriots, raise a spirit, foster a high sense of love for the Motherland.
Keywords: patriotism (爱国主义), patriotic songs of China (中国爱国歌曲), military songs of China (军歌), mass musical genres (大众音乐类型)
Conflict of interests. The authors declare the absence of conflict of interests.
For citation: Huo Jing Xin, Yuferova, O.A. (2023), “Patriotic and military songs in China of the XX century”, Journal of Musical Science, Vol. 11, no. 1, pp. 176–185. DOI: 10.24412/2308-1031-2023-1-176-185.
JIANG WENIE’S VOCAL WORK: STYLE FEATURES
Zhou Liang, E.Yu. Shigaeva
Abstract. The figure of the composer Jiang Wenye (1910–1983) is placed in the center of the article. His life and work were connected with China, Taiwan, and Japan, where he lived for many years. The Russian composer A. Cherepnin had a significant influence on the formation of his creative worldview. After the end of the Sino-Japanese War, Jiang Wenye became a victim of political repression due to his connection with Japan. At present, the process of revival and active study of the creative heritage is underway in his homeland: catalogs of works are being compiled, music is being performed, films about the composer are being made. A significant part of the heritage of Jiang Wenye are works for voice. The purpose of this article was an attempt to periodize vocal creativity, as well as to identify its characteristic features. Among them are a combination of folk melos and modern compositional techniques, the renewal of harmonic colors, the use of polyphonic techniques. In these techniques, the connection with European traditions is manifested. At the same time, the composer carefully preserves the national traditions of Chinese culture, building connotations between the poetic and musical text of the songs, as well as introducing turns into the piano texture that imitate the sound of Chinese folk instruments.
Keywords: Jiang Wenye, Chinese music, vocal music, Chinese poetry, polyphony, accompaniment
Conflict of interests. The authors declare the absence of conflict of interests.
For citation: Zhou Liang, Shigaeva, E.Yu. (2023), “Jiang Wenie’s vocal work: style features”, Journal of Musical Science, Vol. 11, no. 1, pp. 186–197. DOI: 10.24412/2308-1031-2023-1-186-197.
A.D.-B. Baranmaa
Abstract. The article provides a chronological list of materials of the singing performance of Tuvan tales and fairy tales (tool) of the phonofund of the scientific archive of the TIGPI, in order to identify the quantity and quality of available recordings. As a result of the analysis, more than 30 samples of the singing-recitative performance of the tool, collected in the period from 1959 to 1972, from 17 storytellers from different regions of Tuva, were revealed. Along with the unique recordings of complete versions of major tales from the famous storyteller Ch.-H.Ch. Oorzhak, there are materials with recordings of fragments of the tool. Unfortunately, there are no more than 20 files with recordings of this period specified in the registry book, there are discrepancies in the information of the general phonofund registry with the available real recordings. The author proposes to carry out work on the ordering and systematization of valuable and rare materials of the phonofund of the Scientific Archive of TIGPI with recordings of samples of melodiously performed tols for their further preservation, study and popularization.
Keywords: Tuva, TNIIYALI, TIGPI, phonofond recordings, heroic tales and fairy tales (tool), storyteller (toolchu), melodious performance (yrlap ydar)
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Baranmaa, A.D.-B. (2023), “The art of melodious performance of Tuvan heroic tales and fairy tales in recordings of the late 50s – early 70s of the XX century: problems of preservation and popularization”, Journal of Musical Science, Vol. 11, no. 1, pp. 198–208. DOI: 10.24412/2308-1031-2023-1-198-208.
N.G. Fenina, V.V. Grudinskaya
Abstract. The article is devoted to the process of working with poetic texts, starting from the selection of material and up to the final creative stage – a poetry contest. The authors of the article pay attention to the relationship between the poetic word and music. The concept of a secondary linguistic personality and its role in the formation of students' abilities to communicate in a foreign language at the intercultural level is considered. The key stage for the formation of a secondary linguistic personality is the stage of interpretation of the content of poetic texts. At this stage, students' readiness for a dialogue of cultures, cross-cultural literacy, understanding of the cultural and civilizational diversity of the world is also being formed. The poetic component of the process of teaching foreign languages affects the emotional sphere and the inner world of music university students, developing emotional intelligence, which is one of the flexible skills necessary for the successful formation of professional competencies of music students. The poetic competition as the final stage of work with poetic texts is considered by the authors of the article as an integrated part of the educational process in the teaching methodology. The article also analyzes the results of a survey of students of the Novosibirsk State Conservatory in order to clarify their attitude to the inclusion of the poetic component in the process of teaching foreign languages by teachers of the Department of Humanities. The article substantiates the inclusion of the poetic component in the educational process of students of musicians in order to form their secondary linguistic personality.
Keywords: musical university, poetic component, secondary linguistic personality, foreign language, intercultural communication, dialogue of cultures
Conflict of interests. The authors declare the absence of conflict of interests.
For citation: Fenina, N.G., Grudinskaya, V.V. (2023), “The poetic component of the process of teaching foreign languages for the formation of a secondary linguistic personality of music university students”, Journal of Musical Science, Vol. 11, no. 1, pp. 209–217. DOI: 10.24412/2308-1031-2023-1-209-217.
