STRING BOW QUARTET: ASPECTS OF THEORETIC REFLECTION ON THE GENRE
G.A. Demeshko, K.S. Khrapov
Abstract. The article is focused on theoretical observations, evaluations, and criticism of string bow quartet as a genre. Apart from other reasons, this topic was chosen because this complex and very subtle genre of chamber ensemble music lacks the well-deserved attention of researchers. Usually, it is either studied incidentally or from the viewpoint of having common aspects with symphony and, thus, it has not been completely examined as a standalone genre yet. Quartet is also underestimated in terms of its modern innovations in techniques and style. The development of symphony and instrumental concert in the music of the 20th–21st centuries, on the other hand, has been addressed much more frequently. The article has the following objectives: 1) to search literature for presentations of the quartet’s genre properties, which would rather be peculiar than common in general system of musical genres, and to provide comments on the properties; 2) to focus mainly on works of native researchers and on evaluations of quartet made by some performers and composers; 3) to determine the main directions of quartet that are discussed in research literature in general. The last objective determined the article structure. Analysis of quartet’s theoretical reflection leads to the following conclusions: a) quartet as a genre is both perfect and amazing in its viability; b) there are still a lot of blind spots and debatable aspects in this area; c) without doubt, quartet is waiting for new researchers.
Keywords: quartet, chamber ensemble music-making, communicative properties of the genre, sonata cyclic forms, quartet’s genre attributes, quartet style
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Demeshko, G.A., Khrapov, K.S. (2023), “String bow quartet: aspects of theoretic reflection on the genre”, Journal of Musical Science, vol. 11, no. 2, pp. 5–15. DOI: 10.24412/2308-1031-2023-2-5-15.
EDGAR ALLAN POE'S POEM “BELLS” IN THE RECEPTIVE SPACE OF AMERICAN MUSICAL ROMANTICISM
Wang Tiantian
Abstract. The article discusses two choral opuses by American composers, Arthur Foote and William Gilkrist, created on the words of the poem of the same name by Edgar Allan Poe “Bells”. The purpose of the work is to find in E. Poe's concept of “Christmas” and to consider the refraction of the Christmas code of the poem in music. It is noted that the Christmas code consists of images of winter magic, motives of gifting, sledding, themes of family happiness, divine light and the accompanying positive emotions of collective joy, delight, admiration. On a conceptual basis, a parallel is drawn between the images of the “Bells” from the “Christmas Stories” by Charles Dickens and the “Bells” by Edgar Poe, and then all the components of the Christmas code are found in the music. In the course of the analysis of Christmas carol and secular Christmas songs, the key intonations of the musical-themed Christmas complex were established: music theme bell ringing representing a trichord in a quart, anniversaries, as well as music theme based on a stable harmonic vertical. The intonational connection of the choral hymn “Hallelujah” and the secular Christmas song by James Lord Pierpont “The One Horse Open Sleigh” / “Jingle Bells” with the “Bells” by Arthur Foot and William Gilkrist is demonstrated.
Keywords: E. Poe, poem Bells, musical-themed Christmas-complex, Christmas code, American musical romanticism, W. Gilkrist, A. Foot
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Wang Tiantian (2023), “Edgar Allan Poe's poem «Bells» in the receptive space of American musical Romanticism”, Journal of Musical Science, vol. 11, no. 2, pp. 16–24. DOI: 10.24412/2308-1031-2023-2-16-24.
ITALIAN OVERTURES OF RUSSIAN OPERAS BY E. FOMIN
Jia Jinyu
Abstract. E.I. Fomin still remains a little-studied figure in Russian music, and the few compositions that have come down to us are perceived as “accidental” phenomena to some extent, which arose due to the originality of his underestimated talent. However, a detailed study of Fomin’s operas and the historical context of their appearance allows us to establish their strong connection and interdependence. The article focuses on the overtures of three fully extant musical and stage works: operas “Coachmen”, “The Americans” and melodrama “Orpheus”. A detailed analysis of thematism, methods of its development and the general construction of the musical form reveals the features that make each overture the embodiment of an individual concept of a stage work. In “Coachmen” the main feature is the use of folk-song thematism, quotes from the N. Lviv – I. Prach collection, in “The Americans”– the richness and variety of thematic material reflecting the multipersonality of the opera, in “Orpheus”– the extreme dramatic development and conflict. “Orpheus” is also considered in the context of the reform of the opera libretto of opera seria at the end of the XVIII century, which led to the “fashion” for tragic endings in musical theater performances.
Keywords: Italian opera, Russian opera, opera overture, thematism, E.I. Fomin
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Jia Jinyu (2023), “Italian overtures of Russian operas by E. Fomin”, Journal of Musical Science, Vol. 11, no. 2, pp. 25–35. DOI: 10.24412/2308-1031-2023-2-25-35.
M.V. Utkina
Abstract. The article is devoted to identifying examples of the reflection in the chamber-vocal creativity of S.V. Rachmaninov of the vivid impressions received by the composer in the world of life of the Russian estate. The author considers the influence of the established traditional way of life of Russian estates as a natural and cultural environment, which became for the composer a source of emotional impressions, creative energy, which served as an impulse to the development and flowering of his talent. The composer's romances, demonstrating the indicated influence, contain the widest amplitude of artistic images. The strong influence of the latter on the listener arouses a keen interest in the study of the events of Sergei Vasilyevich's life path, which influenced the formation of his personality, becoming a musician. The article quotes from the works of researchers of the life and creative path of S.V. Rachmaninov as colorful illustrations of events that complement, clarify and confirm the important circumstances of the issues under consideration from the perspective of observations and reflections. The topic includes separate facets of Rachmaninov's chamber-vocal creativity. The reader is offered arguments based on the analysis of the thematic association of romances depicting through landscape sketches the sensual world of a person in the diversity of his states and experiences. The author shares his conclusions about the importance of a comprehensive study of the composer's biography, letters and memoirs of contemporaries for a deeper understanding of the content of his works.
Keywords: S.V. Rachmaninov, Russian romances, Russian manor, images of nature in vocal music, chamber-vocal creativity of S.V. Rachmaninov
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Utkina, M.V. (2023), “The nature and lifestyle of the Russian estate as a source of creative inspiration of S.V. Rachmaninov: reflection in the composer’s chamber-vocal genre”, Journal of Musical Science, Vol. 11, no. 2, pp. 36–47. DOI: 10.24412/2308-1031-2023-2-36-47.
L.V. Gavrilova
Abstract. The article discusses the monodrama “The Black Man” by Krasnoyarsk composer Oleg Prostitov, created based on the poem by Sergei Yesenin in 1996, and its opera-ballet version presented by ballet master Sergei Bobrov at the Krasnoyarsk Opera and Ballet Theatre in 2022. The history of the creation of the poetic text is brought into focus, which influenced its themes, ИСТОРИКО-ТЕОРЕТИЧЕСКИЕ ВОПРОСЫ МУЗЫКОЗНАНИЯ 49 which were determined by the emotional crisis of the last years of Yesenin's life. It is emphasised that the image created by the poet has a tradition of embodiment in world literature, being closely linked to the idea of duality. The dialogic structure of the text indicates the presence of theatrical features, which prompted the composer to create a monodrama. The baritone part is constructed as a dialogue between the Poet and his alter ego – the Black Man. The lack of events in the plot of the poem predetermined the inclusion of a choir and three dances by Isadora. In turn, it was the ballet episodes that became the impetus for the appearance of Sergei Bobrov's opera-ballet version. A mirror becomes the main “generating” idea and the main element of the decorations: in it, the Black Man appears, as well as ballet doubles of the singing heroes, who also multiply in mirror reflections (8 – in light costumes, 8 – in black). Thus, the eternal struggle between dark and light forces in a person is visualised. The ballet scenes also depict the traditional love triangle: the Poet – Isadora – the Black Man. The video sequence based on photo materials and film footage became a complementing component. The author concludes that the opera-ballet version of O. Prostitov's monodrama allowed for the creation of new plot lines and the discovery of new artistic meanings hidden in S. Yesenin's poem.
Keywords: The Black Man, S. Yesenin, O. Prostitov, S. Bobrov, monodrama, ballet, genre metamorphoses
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Gavrilova, L.V. (2023), “The monodrama «Black Man» by Oleg Prostitov (based on Sergei Yesenin's poem) and its opera-ballet embodiment on the stage of Krasnoyarsk”, Journal of Musical Science, Vol. 11, no. 2, pp. 48–55. DOI: 10.24412/2308-1031-2023-2-48-55.
PHOTO NOVELLAS DEDICATED TO THE CITIES OF EUROPE, IN THE WORKS OF YU.P. YUKECHEV
L.L. Pylneva
Abstract. The musical compositions of the prominent Siberian composer Yu.P. Yukechev represent a bright page in the Novosibirsk culture. Among the publications about him, the works of S.S. Goncharenko, A.P. Mentyukov, E.B. Pokidko, I.V. Belonosova should be noted. Despite the interest of musicologists and performance, the composer's work has not been studied enough, especially for the works of the late period. The purpose of this article is to consider photo novels dedicated to the culture of various European cities. The methodology includes descriptive, context-dialogical methods, elements of a holistic analysis. Photo novellas belong to the last of the four stages of the composer's work, formulated within the periodization proposed by researchers to date. Among the works are “Spanish Diary”, “What do the swans of Prague sing about?”, “Viennese mosaic or the Birth of waltz” and others. The absence of direct figurative parallels and illustrative associations between video and audio sequences was revealed. The video sequences were formed by Yu.P. Yukechev on the principle of a collage of photographs and video clips made by him personally during his travels. The musical response represents the composer's impressions inspired by the culture, landscapes, architecture of cities, but the musical decisions themselves are subject to the logic of immanent musical development. The emerging polyphony of meanings between the audio and video sequences creates a field for the composer's dialogue with the listener.
Keywords: Yu.P. Yukechev, Siberian composer, photo novellas, visual series, audio series, Verlaine-Sonata
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Pylneva, L.L. (2023), “Photo novellas dedicated to the cities of Europe, in the works of Yu.P. Yukechev”, Journal of Musical Science, Vol. 11, no. 2, pp. 56–65. DOI: 10.24412/2308-1031-2023-2-56-65.
SYNESTHETIC PERCEPTION OF MUSIC IN M. TSVETAEVA’S AUTOBIOGRAPHICAL AND MEMOIR PROSE
N.P. Kolyadenko
Abstract. The article reveals the role of synesthesia (inter-sensory association) in Marina Tsvetaeva's perception of music. The choice deliberately made by the poet is emphasized – the preference is not for real-sounding music, but for “non-acoustic musicality”, “music of speech”, which has become the algorithm of her literary creativity. In line with musical synesthetics, Tsvetaeva's appeal to a deep “common feeling” and the formation of “common emotional signs” uniting the modes of perception is stated. The presence of vivid plastic auditory images in Tsvetaeva's poetry is demonstrated. The main objective of the article is to reveal the synesthetic perception of music in the poet's autobiographical and memoir prose. The story “Mother and Music” examines M. Tsvetaeva's intersensual color-tactile-kinesthetic descriptions of musical sound, timbres of instruments, musical notation, contributing to the penetration into the mystery of musical meaning. A comparison of the inter-sensory associations of the poet and the participants of the questionnaire “Color Hearing” shows that when perceiving and performing music, the living energy of synesthesia creates the crystallization of emotions and compensates for the pointlessness of musical images. The specifics of the unique synesthetic images created in memoir essays – gestalts of poets – A. Pushkin, M. Voloshin, A. Bely, V. Bryusov and K. Balmont are revealed. The visual-plastic image of A. Bely, referring to the art of eurythmy, is analyzed. In order to determine M. Tsvetaeva's interpretation of the meaning of the “music of speech” her comparative characteristic of the polarity and “mutual exclusion” of the work of two poets, V. Bryusov and K. Balmont, is given. The conclusions confirm that intersensual intersections in the language of Tsvetaeva's prose and the “nonacoustic musicality” of verbal speech significant for her are initiated by the energy of the early deep polymodal impact of sounding music.
Keywords: synesthesia, M. Tsvetaeva, non-acoustic musicality, common emotional sign, autobiographical and memoir prose, synesthetic images-gestalts of poets
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Kolyadenko, N.P. (2023), “Synesthetic perception of music in M. Tsvetaeva's autobiographical and memoir prose”, Journal of Musical Science, Vol. 11, no. 2, pp. 66–76. DOI: 10.24412/2308-1031-2023-2-66-76.
“INCOMPLETE” AS A CONCEPT OF ARTISTIC CREATIVITY AND MODERN SCIENCE
L.G. Zapevalova
Abstract. The article is devoted to a comprehensive study of the phenomenon of “incompleteness”, which is understood as an artistic continuum intentionally or accidentally created in a work by the author, which has a semantic and structural openness, forming in the mind of the perceiver a steady feeling of some “understatement” and aesthetic “unpolished”. The active interest in the phenomenon of incompleteness on the part of researchers from various fields of scientific knowledge – philosophy, aesthetics, literary criticism and musicology – confirms the relevance of this article, which is in line with one of the promising areas of modern science. The purpose of the article is to multi-vector study of “incompleteness”, its theoretical substantiation and consideration of various “forms” of its manifestation in music based on the fundamental categories of genre, musical form and composition technique. The phenomenon to be studied is interdisciplinary in nature, which largely determined the chosen methodological approaches. The method of comparative analysis has become fundamental when considering the corpus of scientific literature on this issue, covering the works of U. Eco, E. Abramovskikh, A. Denisov and other researchers. The typological approach made it possible to present various manifestations of incompleteness in music in the form of a classification, the logical basis of which is the degree of its expression from “minimal” signs to an independently functioning “open work” (U. Eco). The hermeneutic approach is used in the article as a “tool” for interpreting the complex and ambiguous concept of “incompleteness”, which has a pronounced “marker” of metaphoricality in its basis, the possibility of its theoretical justification and, as a result, giving it a scientific status.
Keywords: incompleteness, non finito, genre, musical form, composition technique, open form, open work
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Zapevalova, L.G. (2023), “«Incomplete» as a concept of artistic creativity and modern science”, Journal of Musical Science, Vol. 11, no. 2, pp. 77–86. DOI: 10.24412/2308-1031-2023-2-77-86.
THE SYRIAN CITY OF ALEPPO AS A HISTORICAL CENTER OF ARABIC SINGING AND PROFESSIONAL ORAL TRADITION
M. Alhamwi
Abstract. This article focuses on identifying the factors that have ensured the Aleppo's status as the musical capital of Syria and one of the leading centers of Arab singing of the professional oral tradition. On the basis of modern concepts (the scientific theory of “social relays” by M.A. Rozov and the elaboration of the criteria of professionalism in the traditional musical culture by S.P. Galitskaya) the author, using historical facts and characteristics of artistic practice, finds in the Aleppo traditional professional singing all the criteria characterizing this type of art. The reasons for the general Arab significance of the achievements of the traditional vocal art of Aleppo, due to geographical, economic, socio-cultural factors, are outlined. The main characteristics of the Muwashshah and Kudud genres and the conditions of their existence are given. Noting the role of religious tradition and the teacher-student system in the formation of the performing school, the author further sees a parallel with modern approaches to the training of traditional singers in universities in Aleppo. The author concludes by emphasizing that the city has entered the history of Arabic oral and professional singing as a center of careful preservation and development of traditions, training of performers, and cultivating the artistic taste of both performers and listeners.
Keywords: Syria, Aleppo, professional Arabic oral tradition singing, Muwashshah, Kudud, social relays, traditional performing school, zikr, Sabah Fakhri
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Alhamwi, M. (2023), “The Syrian city of Aleppo as a historical center of Arabic singing and professional oral tradition”, Journal of Musical Science, Vol. 11, no. 2, pp. 87–97. DOI: 10.24412/2308-1031-2023-2-87-97.
OPERA COMPOSITIONS BY GUO WENJING: FEATURES OF MUSICAL SOLUTIONS
Ma Shuhao
Abstract. The article is devoted to the analysis of the opera works of the contemporary Chinese composer Guo Wenjing（郭文景）. The themes of five operas, based on well-known masterpieces of national literature and painting, are considered: “Diary of Madman”（狂人日记）, “The night banquet”（夜宴）, “Feng Yi Ting”（凤仪亭）, “Poet Li Bai”（诗人李白）, “Rickshaw” （骆驼祥子）. The techniques of the composer's work in each of the works are studied, as a result of which his gravitation to the type of chamber opera is revealed. It was found that the appeal to the sources of different eras and the concentration on the experiences of the main characters requires each of the opuses to find its own version of the genre. In “The night banquet” （夜宴） and “Feng Yi Ting”（凤仪亭）, Guo Wenjing turns to a synthesis of European operatic canons and the traditions of Peking and Sichuan opera, and in “Diary of Madman” （狂人日 记） to a combination of avant-garde techniques and principles of pitch organization associated with the tone system of the Chinese language. “Poet Li Bai”（诗人李白） and “Rickshaw” （骆驼祥子） are more in line with European academic conceptions of the opera genre, but elements of Chinese musical art are also present. The national flavor in all of the works is achieved through the inclusion of traditional forms and vocal production techniques, techniques of traditional scenography, the sound of folk instruments, and an allusion to the themes of folk songs.
Keywords: Guo Wenjing, operas by Chinese composers, Beijing traditional opera, Sichuan traditional opera, Chinese folk instruments
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Ma Shuhao (2023), “Opera compositions by Guo Wenjing: features of musical solutions”, Journal of Musical Science, Vol. 11, no. 2, pp. 98–111. DOI: 10.24412/2308-1031-2023-2-98-111.
“THREE PRELUDES” FOR PIANO BY ZHANG SHUAI IN THE ASPECT OF EAST – WEST DIALOGUE
Wang Biqi
Abstract. The problems of this article are in line with the national musical sinology. The author refers to the work of contemporary Chinese composer and pianist Zhang Shuai, whose creative portfolio includes works of various genres from instrumental miniatures to large symphonic and theatrical opuses. One of the recognized and repertory compositions is the piano cycle “Three Preludes”, op. 18 (1998), which is being examined for the first time to identify its figurative and stylistic features in the aspect of the concept of East – West dialogue relevant to Chinese musical art. To understand the idea of the cycle, the cultural context of the “period of openness” in China is briefly highlighted, when composers of different generations sought to find methods for synthesizing national traditions and new Western techniques. Zhang Shuai's cycle is analyzed, consisting of vividly contrasting plays “Conflict”, “Mysticism” and “The Power of Youth”, while there is a similarity of oriental thematism to the images and techniques of Chinese landscape painting, the embodiment of the idea of synthesis of the traditional, static-meditative East and the modern, expressive-dynamic West through the opposition and interaction of pentatonics and chromatics is traced., nationally colored motifs and jazz rhythmics. The originality and complexity of the cycle is noted from the point of view of not only the performing technique, but also the expression of the ideological and figurative content of Zhang Shuai's three preludes.
Keywords: Zhang Shuai, 张帅, prelude, 《前奏曲三首》, New Wave, 新潮, Chinese piano school, East – West dialogue
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Wang Biqi (2023), “«Three Preludes» for piano by Zhang Shuai in the aspect of East – West dialogue”, Journal of Musical Science, Vol. 11, no. 2, pp. 112–123. DOI: 10.24412/2308-1031-2023-2-112-123.
METHODOLOGY OF MODAL ANALYSIS OF THE BURYAT EPIC “TOKHONOIN GANSA TӨӨLEN”
O.V. Novikova
Abstract. The article is devoted to the description of the process of musical transcription of the Buryat epic legend “Tokhonoin gansa Tөөlen”, prepared jointly with the Doctor of Philology E.N. Kuzmina for publication in the Buryat epic volume of the series “Monuments of Folklore of the Peoples of Siberia and the Far East”. This epic legend is sung from beginning to end. The difficulties of notation this legend were connected mainly with the definition of its pitch organization. Its definition required the use of empirical and analytical methods of pitchmode analysis. The article consistently outlines the stages and procedures of this analysis: the determination of systemically significant pitch invariants taking into account the pitch contours realized on them, using the computer program “Speech Analyzer” of the Summer Institute of Linguistics; identification of the general modal system of the epic legend and its pitched variants arising from the zonality of its constituent modal steps; grammatical analysis of the functionality of the modal steps of the general modal system of the epic legend. The study is based on the methodology of the universal grammatical approach of V.V. Mazepus and ideas about the modal organization of the music of indigenous Siberian cultures, set forth in the works of N.M. Kondratyeva. It justifies the consistency of the interpretation of pitch in the author's notation of the uliger, allows to show the procedural nature of the formation of the modal organization sequence throughout the entire epic composition.
Keywords: Buryat folklore, epic of Buryat, pitch scales of folk music, uliger, Bura Barnakov, Monuments of folklore of the peoples of Siberia and the Far East
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Novikova, O.V. (2023), “Methodology of modal analysis of the Buryat epic «Tokhonoin gansa Tөөlen»”, Journal of Musical Science, Vol. 11, no. 2, pp. 124–137. DOI: 10.24412/2308-1031-2023-2-124-137.
P.S. Shakhov, V.G. Telminov, I.V. Zubov
Abstract. On the basis of several works of linguists, folklorists, ethnographers, and ethnic music researchers, we describe the main vectors of studies of Heikki Paasonen, a prominent Finnish researcher; we also offer a brief review of his works on Mordvin languages and folklore. In spite of the fact that some folklore texts collected by H. Paasonen have been used in a number of Russian publications (in adapted form, in original Mordvin languages accompanied by Russian translations), his academic works have apparently never been translated. We offer a German-to-Russian translation of the first part of H. Paasonen’s article titled Über den versbau des mordwinischen volksliedes (On the Structure of Mordvin Folk Lyrics) published in 1910, in Finnisch-ugrischen Forschungen, vol. X. In this article, H. Paasonen analyzes folklore lyrics in Erzya Mordvin and Moksha Mordvin, reveals certain tendencies in metric structures related to syllabic lyric systems, and suggests a classification of lyrics. In H. Paasonen’s original study, folklore lyrics are recorded with symbols of phonetic transcription. In the translated version, lyrics are written in modern Erzya Mordvin and Moksha Mordvin using Cyrillic symbols, with preservation of dialect traits reflected in H. Paasonen’s phonetic transcriptions. Parallel translations into Russian are also included, reflecting original lyric structures.
Keywords: Mordvin folklore studies, Heikki Paasonen, lyrics, lyric structure, translation
Conflict of interest. The authores declare the absence of conflict of interests.
For citation: Shakhov, P.S., Telminov, V.G., Zubov, I.V. (2023), “Heikki Paasonen’s studies in Mordvin languages and folklore: «On the verse structure of the Mordovian folk songs» (translation from German, first part)”, Journal of Musical Science, Vol. 11, no. 2, pp. 138–162. DOI: 10.24412/2308-1031-2023-2-138-162.
ISSUES AND PROBLEMS OF MUSICAL DRAMATURGY IN THE GENRE OF DIGITAL OPERA
D.S. Otyakovsky, R.F. Sagdiev
Abstract. The International Digital Opera Lab is a cultural and educational project designed to popularize the opera genre in the online space, search for new forms of musical theater, and analyze the situation that has arisen in the cultural sphere due to COVID restrictions. In 2020 there was enormous interest in the genre of digital theater, but this interest was rather forced: artists, obliged to comply with quarantine measures, were looking for an opportunity to create new ways of communication with the audience. In the opera sphere, however, it was primarily video webcast of performances that could not be called online projects in the full sense of the word. In contemporary art, digital opera is already represented by a fairly large number of extremely varied works, but research methods are only being formulated and vary depending on the researcher. Thus, we have a phenomenon that is rapidly developing, mutating and modulating in the same stream of culture and time with us. The curator of the digital opera research laboratory is Dmitry Otyakovsky, one of the creators and visionaries of the new genre, winner of the Onegin National Opera Prize in the Best Online Project category. In 2020 he made a film opera in the screenlife genre, A Feast in Time of Plague by C.A. Cui. Rustam Sagdiev, being an active composer, having extensive experience in creating musical works, including operas, is a permanent co-author of projects of the Digital Opera Research Laboratory.
Keywords: online opera, digital art, music, theater, avant-garde, directing, composing, curatorial work
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Otyakovsky, D.S., Sagdiev, R.F. (2023), “Issues and problems of musical dramaturgy in the genre of digital opera”, Journal of Musical Science, Vol. 11, no. 2, pp. 163–168. DOI: 10.24412/2308-1031-2023-2-163-168.
E.D. Kostina
Abstract. The relevance of the article is due to the need for scientific understanding of experiments in the field of performing on percussion instruments using electronics. The consideration of the impact of technological progress on classical percussion instruments, the designation of factors for expanding the capabilities of the performer and the impact on the modern listener constitute the novelty of the study. The author identifies two main groups of plays: with the use of originally recorded audio tracks (tape), which allow you to create the effect of ensemble playing or additional semantic context (especially when documentary recordings of the human voice and quotations of famous musical compositions are involved); compositions using live electronics, where the music played by the performer is captured using microphones and transferred to a computer, and then used for replay during the performance of the piece. In both cases, the use of electronics allows the composer to solve a wide range of artistic tasks. The effects of looping, delay, reverberation are used nowadays in dozens of compositions for marimba, one of which was “Mirrors of Emptiness” for marimba and digital delay (2008) by Grigory Smirnov (1982, Russia–USA). The composer, fascinated by the “mirror” idea, convincingly depicted emptiness with its illusion of fullness. With the help of microphones, a digital audio processor (or software for the effect of stereo exposure), two monitors and speakers, a single monochrome whole is created in G. Smirnov's composition in a minimalist manner, illustrating the idea of the limitations of mirror reflections.
Keywords: musical electronics, percussion instruments, marimba, live electronics, Tape, Delay, Grigory Smirnov, Mirrors of Emptiness
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Kostina, E.D. (2023), “On the question of the use of electronics in music for percussion instruments (on the example of «Mirrors of Emptiness» for marimba and digital delay by G. Smirnov)”, Journal of Musical Science, Vol. 11, no. 2, pp. 169–177. DOI: 10.24412/2308-1031-2023-2-169-177.
S.V. Cherevan
Abstract. The article attempts to generalize the experience of distance teaching of musical and theoretical disciplines from a methodological perspective during the COVID-19 pandemic (2020). The relevance of the topic is connected with the general vector of modernization of Russian education in accordance with the digitalization of the modern environment, due to the task of improving technologies in the training of professional musicians, the integration of technologies and methods of distance education into the practical sphere. Based on the analysis of the application of innovative learning technologies in digital format in the educational environment of musical specialization, the criteria for the selection of teaching and communicative methods and forms of work with students are substantiated. The methodology of presenting the theoretical disciplines of the musical cycle in a digital perspective based on generalization, comparison, analytical aspects is considered; the features of the synthesis process are revealed, organically combining traditional methods of teaching music students and innovative Internet information and technologies, combining the experience of teaching face-to-face contact form and distance format. The scientific novelty of the article consists in addressing the subject of research that has become relevant for domestic education recently – since 2020, in connection with the COVID-19 infection; in analyzing the use of innovative technologies for teaching musicians in a distance format. The presented results of their own teaching process, the experience of colleagues, the justification of the criteria for the selection of teaching methods and forms of work with students are new and in-demand material. Practical recommendations on the organization of classes in remote mode on solfeggio, musical form, the author's results, presented in the article, have been successfully tested in practice and, hopefully, can provide methodological assistance in teaching music-theoretical disciplines in primary, secondary, higher education.
Keywords: distance learning technologies, methods of teaching solfeggio, musical form, digital means of musical education, musical-theoretical disciplines
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Cherevan, S.V. (2023), “Methodological features of distance teaching of musicaltheoretical disciplines in electronic-digital conditions of our time”, Journal of Musical Science, Vol. 11, no. 2, pp. 178–189. DOI: 10.24412/2308-1031-2023-2-178-189.
M.Yu. Dubrovskaya, E.E. Tarasevich
Abstract. The article is intended to draw the attention of the scientific community to the problem of the rehabilitation of an increasing number of children with disabilities and as a result, to 191 МУЗЫКАЛЬНОЕ ОБРАЗОВАНИЕ И ПРОСВЕЩЕНИЕ form an idea among musicians about a special type of correctional pedagogy – habilitation, which is distinguished by alternative methods of accompanying a sick child, including art therapy. The harmonizing effect of music on the human psyche facilitates the establishment of contacts between a child with disabilities and the environment, stimulates his readiness to communicate. The phenomenal pedagogical experience of a teacher-abilitologist is shown on the example of the famous Novosibirsk musician and composer Alexei Ivanovich Borozdin (1937–2021). The author's pedagogical concept of A.I. Borozdin, built on the systematic realization of the potential of the personality-developing possibilities of musical art in the field of children's correctional pedagogy, served as the methodological basis for the habilitation center he created in 1991 in the Novosibirsk Akademgorodok – Children's health-improving and educational (social and pedagogical) center A.I. Borozdin. Referring to the many years of fruitful experience of the activities of the teachers of the Center, the authors of the article for the first time attempt to describe, analyze and methodologically substantiate the mechanisms of the influence of music therapy (music therapy) on the mental and psychophysical development of children with disabilities in the process of habilitation.
Keywords: A.I. Borozdin, Children's Health and Education Center, habilitation pedagogy, music therapy
Conflict of interest. The authors declare the absence of conflict of interest.
For citation: Dubrovskaya, M.Yu., Tarasevich, E.E. (2023), “Novosibirsk musician A.I. Borozdin and its children's health and educational center in the system of domestic habilitation pedagogy”, Journal of Musical Science, Vol. 11, no. 2, pp. 190–198. DOI: 10.24412/2308-1031-2023-2-190-198.
THE SYSTEM OF PEDAGOGICAL TRAINING OF THE NOVOSIBIRSK CONSERVATORY STUDENTS: HISTORY AND MODERNITY
L.P. Robustova
Abstract. The activities of the Novosibirsk Conservatory have an important cultural-creating meaning that goes beyond the borders of the region, which confirms the idea of the fundamental role of music education not only in society, but also in the process of young specialists’ training. The article reflects the experience of the Department of Music Education and Enlightenment of the Novosibirsk Conservatory, which used to be called the Department of Music Pedagogics (Methods), History and Theory of Performing Arts, in the process of formation and development of Conservatory students’ pedagogical training integrated system. The article says about the disciplines studied, it focuses on the types, forms and methods of students’ work in teaching practice and it also says about the Sector of Teaching Practice. It shows how the integrated system of pedagogical training algorithm was gradually developed at the Conservatory. By the mid-90s, this system was already a complete cycle, which goes from theoretical knowledge to practice and it finishes with a student's research qualification work. In it, the graduate student implements the experience of previous activities not only in the field of pedagogics, psychology, teaching methods and practice, but also in a special class. The work is defended at the state exam. The success of this process was initially due to the active growth of the scientific potential of all teachers of the Department, the vast majority of whom successfully defended their Cand. Sc. Thesis in the 80s of the XX century. The active professional activities of the Department has always been associated with the organization of large conferences, largescale research projects in various fields, and the involvement of students in experimental work through the teaching practice. In the last decade, the existing system is experiencing some changes connected with the loss of Department control of classes quality in teaching practice at some Conservatory faculties. The phenomenon of partial decentralization of activities does not disrupt the integrated system functioning yet, but it requires additional study and / or new alternative solutions.
Keywords: Novosibirsk Conservatory, Department, professional music education, pedagogical training system, pedagogical practice, pedagogics, psychology, methodology, research work
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Robustova, L.P. (2023), “The system of pedagogical training of the Novosibirsk conservatory students: history and modernity”, Journal of Musical Science, Vol. 11, no. 2, pp. 199–210. DOI: 10.24412/2308-1031-2023-2-199-210.
DYNAMIC SYSTEM OF MUSICAL AND STAGE EMBODIMENT OF AN OPERA PART
E.E. Malinovskaya
Abstract. The article proposes a model of a dual dynamic system for the embodiment of an opera part: the first component is designed for the actor's activity of the singer; the second component – on his vocal activity (specific vocal means of expression). Within the framework of the first component, the connection of such elements as character and situation is emphasized; within the framework of the second component, those elements that are included in the scope of the creative activity of the singer-performer are emphasized. Thus, within the framework of the dual dynamic system, two complexes of means of expression are positioned – a complex of means of expressiveness of the performance (not completely related to the singers), and a complex of means of expressiveness of the singer as the main character of the performance. The dynamic essence of this system is manifested in the change in the significance of expressive means in the course of the performance. The components of the dynamic system are considered as separate independent lines, where each carries its own semantic load in the development of the dramaturgy of the opera. But at the same time, in their interaction and a certain sequence of each of the elements, a general audiovisual picture is formed, perceived by the listener. It is shown that within the framework of a dynamic system, it is possible to track the activity and influence of each of the means of expression, changing in the action of an opera performance. A graphic of a dynamic system is presented on the example of P.I. Tchaikovsky “Eugene Onegin”.
Keywords: opera, opera singer, expressive means, dynamic system, graphic of a dynamic system
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Malinovskaya, E.E. (2023), “Dynamic system of musical and stage embodiment of an opera part”, Journal of Musical Science, Vol. 11, no. 2, pp. 211–219. DOI: 10.24412/2308-1031-2023-2-211-219.
THE HISTORY OF THE ORIGIN AND CREATIVE PATH OF THE “SIBERIAN BRASS”
S.M. Kuzov
Abstract. The article is devoted to the creative activity of the ensemble of brass wind instruments of the Novosibirsk Philharmonic “Siberian Brass”. The author, being an artist of the “Siberian Brass”, set out to study and systematize the main life milestones of the ensemble. A very small number of literary sources about breaststroke bands in Russia emphasizes the relevance of this work. For writing, articles from scientific journals, materials from the press, personal experience of the author, as well as information from musicians standing at the origins of the formation of the ensemble were used. The work consistently presents the history of the emergence of the collective from its inception to the current composition, describes its achievements, stages of creative ascents and critical moments, the most significant milestones and representatives, and also analyzes the instrumental composition and repertoire. On the basis of the study, conclusions are drawn about the evolution of the “Siberian Brass” from a small amateur team to a highly professional ensemble that has become widely known in Russia, as well as about the gradual complication and enrichment of the repertoire with musical works of different styles and eras. The article will be of interest both for brass musicians and for admirers of breaststroke ensemble performance.
Keywords: Siberian Brass, ensemble, Arnold Katz, Andrey Saltanov, Mikhail Kositsin, Nikolai Sizikov, Academic Symphony Orchestra, Novosibirsk Philharmonic
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Kuzov, S.M. (2023), “The history of the origin and creative path of the «Siberian Brass»”, Journal of Musical Science, Vol. 11, no. 2, pp. 220–230. DOI: 10.24412/2308-1031-2023-2-220-230.
