ТИПЫ ЗВУЧАНИЙ В СТАРИННОЙ МУЗЫКЕ НАБЛЮДЕНИЯ О ПРОИЗВЕДЕНИЯХ ГЕНРИХА ШЮТЦА
М. Хайнеман (перевод с немецкого языка Е. Смыки, А. Мальцевой)
Аннотация. Произведения Генриха Шютца часто содержат обороты, не соответствующие современной теории музыки. Даже Кристоф Бернхард в конце концов смирился с попыткой свести бросающиеся в глаза диссонансы до знакомых оборотов [музыкальной] речи; в своем Resolutiones tonorum dissonantium он заявил, что ухо может воспринимать комбинации аккордов, даже если они несовместимы с правилами строгого контрапункта. Это выводит сам звук на уровень критерия оценки, но также допускает его как композиционную интенцию. В данной статье на ряде примеров показано, как Генрих Шютц воспринимает новые звучания и (особенно в поздних сочинениях – таких, как пассионы) полностью подчиняет композиционную технику выразительности. Приведенные примеры из сочинений Генриха Шютца Symphoniae sacrae I, Symphoniae sacrae II, Kleine Geistliche Konzerte, пассионов по Матфею и по Луке демонстрируют, что контрапункт и голосоведение следуют концепции, в которой звучание понимается как отправная точка композиционной работы.
Ключевые слова: Генрих Шютц, Барокко, типы звучаний, анализ музыки, духовная музыка
Конфликт интересов. Автор заявляет об отсутствии конфликта интересов.
Для цитирования: Хайнеман М. Типы звучаний в старинной музыке. Наблюдения о произведениях Генриха Шютца / пер. Е. Смыки, А. Мальцевой // Вестник музыкальной науки. 2023. Т. 11, № 3. С. 5–30.
DOI: 10.24412/2308-1031-2023-3-5-30.
Yu.V. Moskvina
Abstract. The article deals with the masses of German composer Ludwig Daser (about 1525– 1589), significant for his epoch but now little-known. He was outshined by his famous colleagues in Bavarian court chapel – Ludwig Senfl and Orlando di Lasso. Nevertheless, Daser’s saved works show that in the art of composition he is not inferior to outstanding authors. The main objective of the study is to demonstrate some important compositional principles of Daser’s music by the example of his three masses (“Ave Maria”, “Praeter rerum seriem” and “Pater noster”). In the article the method of complex analysis is applied: the aspects of melody, rhythm and polyphonic texture are affected. In considering works with cantus prius factus it’s necessary to use the comparative method which helps to identify the features of work with the model. A detailed study of Ludwig Daser’s masses shows that he skilfully mastered as in classical (canon, cantus firmus) and old methods (polytext and polycantus composition) as in contemporary techniques for him (paraphrase and parody in through-imitation texture). Now the historical importance of Daser’s music is rightfully recognised by performers and musicologists.
Keywords: Ludwig Daser, techniques of composition, mass, paraphrase, parody, canon, cantus firmus, through-imitation texture
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Moskvina, Yu.V. (2023), “Between the traditions of the old masters and the manner of writing of contemporaries. On the question of composition techniques in the Masses of Ludwig Daser”, Journal of Musical Science, vol. 11, no. 3, pp. 31–46.
DOI: 10.24412/2308-1031-2023-3-31-46.
MUSICAL FIGURES OF JOHANN NUCIUS AND THEIR GENESIS
А.А. Мaltseva
Abstract. The so-called “doctrine of musical figures” (Figurenlehre) has long been associated with Lutheran culture. This article deals with a list of musical figures by the Catholic author, Cistercian abbot Johann Nucius (c. 1556–1620). His list of figures is presented in the treatise Musices poeticæ sive de compositione cantus (1613). The author relies on the hypothesis of the German researcher Martin Runke that Nucius in his work translates the ideas of his composition teacher in Görlitz, the Saxon Johann Winkler, and explores musical examples of figures in Nucius’s treatise, the degree of completeness of their fixation, the panorama of composers’ names, drawing on those found by the German musicologist Thomas Napp in the Görlitz Ratarchive data from a catalog of musical works dated September 19, 1593. As a result, the article confirms the likelihood of the Lutheran origins of the teachings of the Catholic Nucius. On a new turn, returning to the generally accepted idea of the Lutheran origin of Figurenlehre, which has its roots in the 70s of the 16th century, the author warns not to belittle the theoretical significance of the lists of musical figures of the Catholic line, belonging to Athanasius Kircher, Tomas Balthasar Janovvka, Mauricius Vogt and Mainrad Spiess.
Keywords: Johann Nucio, musica poetica, Baroque, theory of composition, musical rhetoric, musical-rhetorical figures, catalogue of musical figures, Figurenlehren, Catholicism
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Maltseva, A.A. (2023), “Musical figures of Johann Nucius and their genesis”, Journal of Musical Science, vol. 11, no. 3, pp. 47–59.
DOI: 10.24412/2308-1031-2023-3-47-59.
M.E. Girfanova
Abstract. The article deals with the functioning of the three-part canonical sequence in the episodes of the fugues of J.S. Bach’s “The Well-Tempered Clavier”. The three-part canonical sequence is presented here in a specific way, so the author of the article resorts to the concept of “structure” to refer to this phenomenon. The origin of the structure is established. In the works of the major German music theorists of that time, F.W. Marpurg and J.Ph. Kirnberger, the species of perpetual canon is mentioned, of which it is a part. A brief digression into the history of this species of canon is undertaken with an analysis of samples. The constants for its are: the fifth as the fundamental entry interval and modulation across the circle of fifths (in the earliest samples – transposition). In a number of modern studies, the name is assigned to the canon: “per tonos”, which goes back to the designation of the canon from Bach’s “The Musical Offering”, belonging to this species. The article shows what canon technology takes place in the “Well-Tempered Clavier”, what material is used for the melodic elements of the structure, what role does structure play in fugue. Conclusions about this polyphonic method can find practical application when working on a training fugue. It seems promising to expand the field of study, with an appeal to other fugues of Bach, as well as to the fugues of his contemporaries and later authors.
Keywords: canonical sequence, canon, J.S. Bach, The Well-Tempered Clavier, fugue, episode, J.Ph. Kirnberger
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Girfanova, M.E. (2023), “The use of the three-part canonical sequence in the fugues of J.S. Bach’s «The Well-Tempered Clavier»”, Journal of Musical Science, vol. 11, no. 3, pp. 60–73.
DOI: 10.24412/2308-1031-2023-3-60-73.
ПЛАНИРОВАЛ ЛИ ИОГАНН СЕБАСТЬЯН БАХ ПОСЛЕДНЮЮ ФУГУ ИЗ «ИСКУССТВА ФУГИ» BWV 1080 КАК ЧЕТВЕРНУЮ ФУГУ?
О. Бюзинг (перевод с немецкого языка А. Мальцевой)
Аннотация. Основная тема «Искусства фуги» Иоганна Себастьяна Баха может быть построена на мотивах органного произведения Дитриха Букстехуде «В мире и радости я ухожу» (Mit Fried und Freud fahr ich dahin). Эта ведущая тема используется в качестве первой темы в финальной фуге «Искусства фуги» – Fuga a tre soggetti – в «концентрированной версии». В процессе создания тематического комплекса этого фрагмента в тройном контрапункте Бах, вероятно, считал приоритетным сочетание темы B-A-C-H (третья тема) и главной темы этой фуги; только затем была добавлена вторая тема. Тематический комплекс в четверном контрапункте, заявленный Мартином Густавом Нотебомом в 1881 г. с основной темой «Искусства фуги» и собственно первой темой Фуги a tre soggetti, эстетически и, как четверной контрапункт, технически неверен. Дополнение фрагмента в баховском стиле бессмысленно, но возможна художественная рефлексия этого фрагмента с использованием современных композиционно-стилистических средств, как осуществлено, например, в Fantasia Contrappuntistica для двух фортепиано Ферруччо Бузони и ad fugam для солирующего кларнета и камерного оркестра Вальтера Штеффенса.
Ключевые слова: Иоганн Себастьян Бах, Искусство фуги, главная тема, Fuga a tre soggetti, четырехголосный комплекс Нотебома, комплекс Нотебома ошибочен
Конфликт интересов. Автор заявляет об отсутствии конфликта интересов.
Для цитирования: Бюзинг О. Планировал ли Иоганн Себастьян Бах последнюю фугу из «Искусства фуги» BWV 1080 как четверную фугу? / пер. А. Мальцевой // Вестник музыкальной науки. 2023. Т. 11, № 3. С. 74–90.
DOI: 10.24412/2308-1031-2023-3-74-90.
GOTTFRIED KIRCHHOFF AND HIS “L’A.B.C. MUSICAL”
A.A.Bardin
Abstract. This article is devoted to the fundamental work of the outstanding German composer of the High Baroque era Gottfried Kirchhoff (1685–1746), organist and musical director of St. Mary's Church in Halle, contemporary and friend of J.S. Bach and G.F. Handel. This is “L'A.B.C. Musical, containing Preludes and Fugues in all keys for organ or harpsichord", which was considered lost for a long time and was discovered at the beginning of the 21st century in Russia. The purpose of the article is to bring together the data necessary for the performer about the life and creative path of the composer, about the idea and content of the cycle, drawn from various sources – both time-tested foreign and the latest domestic ones, among which it is necessary to especially note the studies of St. Petersburg musicologists. These are D. Sc. (Art Criticism), Professor Anatoly Milka, who discovered "L'A.B.C. Musical" in the library of the Rimsky-Korsakov St. Petersburg State Conservatoire, and Cand. Sc. (Art Criticism) Maxim Serebrennikov, who put forward the hypothesis that the found edition, which has been in the said library since the second half of the 19th century, does not fully represent the polyphonic cycle of Gottfried Kirchhoff. New discoveries may still be waiting for us in the future.
Keywords: Gottfried Kirchhoff, L’A.B.C. Musical, Baroque, figured bass, Anatoly Milka, Maxim Serebrennikov
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Bardin, A.A. (2023), “Gottfried Kirchhoff and his «L’A.B.C. Musical»”, Journal of Musical Science, vol. 11, no. 3, pp. 91–96.
DOI: 10.24412/2308-1031-2023-3-91-96.
ARCANGELO CORELLI. A GLANCE AT THE BIOGRAPHY PAGES
S.V. Bakuto
Abstract. The article is dedicated to Arcangelo Corelli, the composer and violinist of Italian Baroque. His name went down in the history of Western European Art as the creator of the Roman violin school. Corelli's work was concentrated on the genres of instrumental music – concerto grosso, trio sonata, sonata for violin and basso continuo. Indicating the names given to him during his lifetime – “Arcangelo,” “Bolognets,” “Arcomelo Arimanteo,” famous people of that time invariably added praiseful epithets to them: “Italian Orpheus violins” – Georg Muffat, “famous violin professor” – Giovanni Mario Crescimbeni, “the greatest master of composition” – James Drummond, thereby putting Corelli on a par with famous musicians of the seicento era. The study of the creative biography of the “Italian music symbol” (E. Krivitskaya) is relevant in the light of the deepening ideas about the Italian musical tradition. The growth of international studies, devoted to Corelli and had actively begun from the 70s of the XX century, continues to this day. In the 370th anniversary of the musician’s birth, it is important to identify the problem of the timely biography’s updates minding the modern information open to the music community. Based on the study of the foreign-language sources, poorly consecrated in the domestic scientific environment, the article presents factual information about the composer’s life and work and updates some of the information previously disseminated in Soviet musicology. At the same time, the principle of historicism becomes a methodological priority for the research’s course. On its basis, the main stages of Corelli's biography, their correlation and balance with previous views on the subject of research were identified. The discovered data allows us to expand the idea of the personality’s scale of the Baroque composer and fully demonstrate the artistic context of that time.
Keywords: Arcangelo Corelli, concerto grosso, Italian baroque, Bolognese violin school, roman violin school, Bologna Academy, Academy of Arcadia, Fusignano
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Bakuto, S.V. (2023), “Arcangelo Corelli. A glance at the biography pages”, Journal of Musical Science, vol. 11, no. 3, pp. 97–106.
DOI: 10.24412/2308-1031-2023-3-97-106.
THE ICON OF VENICE IN THE BARCAROLES OF FRENCH COMPOSERS OF THE 18TH CENTURY
A.V. Merzlova-Нorbach, E.V. Pankina
Abstract. The article systematises the sources containing information about the terms “barcarola” and “canzone da battello”. The etymology of the word “barcarola” is clarified and different variants of its origin are considered. In the history of music there are many examples of genre identification with the image of a particular country. In such cases the genre becomes the embodiment of a collective image of national culture. In French music of XVIII century Italian musical style and Italian genres are actualized; develops a kind of "fashion" for Italian culture. In this cultural context, the genre of barcarole, which for French composers and audiences embodied the image of Venice, becomes popular. The first known barcarolle appeared in the operas of French composers of the 18th century. On the material of a few samples, as well as the collection by J.-J. Rousseau “Canzoni da batello. Chansons italiennes” (Boat songs. Italian melodies, 1753) we examine the stylistic peculiarities of the 18th century barcarole genre in comparison with the mature genre features of the 19th – 21st century barcarole. The author suggests the assumption that at the early stages of the genre development in the French musical culture the main factor was the identification of the notion of the barcarole with the image of Venice.
Keywords: barcarole, canzoni da battello, Venice, J.-J. Rousseau, songs of Venetian gondoliers
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Merzlova-Нorbach, A.V., Pankina, E.V. (2023), “The icon of Venice in the barcaroles of French composers of the 18th century”, Journal of Musical Science, vol. 11, no. 3, pp. 107–118.
DOI: 10.24412/2308-1031-2023-3-107-118.
THE ROLE OF GERMAN COMPOSERS IN THE MUSICAL CULTURE OF DENMARK IN THE 18th CENTURY
E.A. Khoniakina
Abstract. In Russian musicology, the history of the musical culture of Denmark in the 18th century is extremely little covered. This article aims to partially fill this gap. Fragments of the works of Danish researchers are introduced into scientific use, on the basis of which the author offers an overview of the activities of German composers who worked in Denmark at that time. It is noted that the development of Danish-German relations is due to cultural and linguistic kinship, territorial and historical ties. Against the background of a single and alien to the Scandinavians Italian influence (the first operas in Danish by G. Sarti played a role), the German influence gained in the 18th century wide scope, thanks to which Denmark has become a leader in the field of culture among the countries of the Nordic region. The article reflects the activities of societies and Giethus-Konzerte, the work of I. Schulz, H. Zinck, F. Kunzen. Particular attention is paid to the “Holger Fehde” movement as the first open Danish-German confrontation at the end of the 18th century and F. Kunzen's comic opera “Holger Danske”. It is concluded that thanks to the German composers and musicians in Denmark, the foundations were laid for the development of the composer school and the formation of national ideas in the art of music, primarily through the appeal to Danish plots and images.
Keywords: Danmarks music, Danish school of composers, 18th century, Danish-German relations, Holger Fehde, Holger Danske
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Khoniakina, E.A. (2023), “The role of German composers in the musical culture of Denmark in the 18th century”, Journal of Musical Science, vol. 11, no. 3, pp. 119–130.
DOI: 10.24412/2308-1031-2023-3-119-130.
L.V. Gavrilova
Abstract. The article is devoted to the renaissance of baroque music in modern liturgical practice. The author focuses attention on the revived tradition in European churches and cathedrals of the inclusion of masses and cantates by baroque composers in the context of church service. Various programs are presented in confirmation: Thomaskirche (Leipzig), Hofmusikkapelle (Vienna), Church St. Augustin (Vienna) and others. On the example of the cantata No. 6 from the "Christmas oratorio" by I.S. Bach, which was performed in Berlin, in the Domkirche on January 6, 2014, the author draws up a scheme of composition and concludes that the parts of the cantata are distributed in specific sections of the liturgy. The opening and closing numbers frame it, indicating the entrance and exit of the priests. A series of numbers is sounded during communion, accompanied by the most important act of worship. The central moment becomes the reading of the verse of the Gospel from Matthew followed by the performance of the five numbers of the cantata, which are recognized as “musical poem on evangelical texts” (A. Schweitzer). The author emphasizes that thru inclusion in the liturgy of the music of the great German cantor, the church service acquires a powerful force of emotional and artistic influence on the parishioners.
Keywords: baroque music, liturgical practice, I.S. Bach, Christmas oratorio, cantata
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Gavrilova, L.V. (2023), “Renaissance of Baroque music in modern liturgical practice (on the example of the performance of the Sixth Cantata from the Christmas Oratorio by J.S. Bach)”, Journal of Musical Science, vol. 11, no. 3, pp. 131–141.
DOI: 10.24412/2308-1031-2023-3-131-141.
HERMENEUTIC REFLECTION AS A METHOD OF NON-CLASSICAL MUSICOLOGY: METHODOLOGICAL CONSIDERATIONS
N.P. Kolyadenko, T.A. Kornelyuk
Abstract. The relevance of the article stems from the urgency of hermeneutic problems in the modern Russian art history. The purpose of the article is to consider the peculiarities of hermeneutic reflection as a method of non-classical musicology. The epistemological aspect of hermeneutic reflection raises a number of questions for researchers related to the definition of the method itself and its tools. The research history of such concepts as “text”, “understanding”, “interpretation”, “meaning” in the domestic musical science dates back several decades. However, the stage of non-classical musicology brings the understanding of these concepts to a new round of research reflection. The article highlights the problematics of the debatability of the term “understanding”, based on holistic, dialogic, historical processes, and the relationship between the concepts of “hermeneutic circle” and “hermeneutic spiral”. The interdisciplinary basis of the method, including the integration of knowledge of art history, philosophy, philology, etc., inevitably leads to an interpretive type of research reflection based on the dominant role of an individual-personal research vision. The hermeneutic rethinking and expansion of the musical meaning is considered through the focus on the structural and compositional level of the musical text on the example of the musical form of the Second ballad by F. Chopin. Intersensory associations in the synesthetic method of interpreting musical texts, for which the stages of hermeneutic reflection and the procedure of the hermeneutic circlespiral become significant, are viewed as impulses that lie outside the musical structure and endow it with meanings.
Keywords: non-classical musicology, hermeneutic reflection, holic principle, hermeneutic spiral, text, understanding, interpretation, interpretative type of research reflection
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Kolyadenko, N.P., Kornelyuk, T.A. (2023), “Hermeneutic reflection as a method of non-classical musicology: methodological considerations”, Journal of Musical Science, vol. 11, no. 3, pp. 142–151.
DOI: 10.24412/2308-1031-2023-3-142-151.
THE FORMATION OF THE PIANO SCHOOL OF CHINA: PERSONALITIES
Liang Chenyi, N.S. Bazhanov
Abstract. The article discusses the first historical stage – the formation of the Chinese piano school. This process was attended by musicians of three contingents, Chinese pianists, Russian and Western European performers. Description and analysis of the personalities of Chinese pianists of the first half of the 20th century, allows you to find patterns of formation and development of the Chinese piano school. The list of pianists contributing to the formation of the Chinese piano school is opened by B.S. Zakharov. Contemporaries and students noted that Boris Zakharov, while conducting his lessons, preferred to say little and more playing techniques at the piano. The Russian pianist-teacher attached great importance to the training of the finger, motor technique of future piano performers. Together with B.S. Zakharov, Russian pianists A. Cherepnin, A. Tatulyan, T. Kravchenko worked in China, M. Pachi came from Italy. Later, they were joined by students of the professor of the Moscow Conservatory A. Ziloti – S. Aksakov, Z. Pribytkova, B. Lazarev, E. Levitin. In the biographical information of foreign pianists working in China, the activities of Chinese pianists reflect the deep patterns of the existence of not only the Chinese piano school, but also the more important system – Chinese piano culture. It is this complex system education that defines the nature of its smaller part, namely the Chinese piano school. The composition of the piano culture system forms the following elements: composer's creativity; piano musical literature; text archives; state educational institutions; performers pianists; piano competitions; piano music lovers; Concert halls; Piano factories.
Keywords: Chinese Piano School, Chinese Piano Culture, Xiao Yumei, B.S. Zakharov, Ding Shan De
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Liang Chenyi, Bazhanov, N.S. (2023), “The formation of the piano school of China: personalities”, Journal of Musical Science, vol. 11, no. 3, pp. 152–161.
DOI: 10.24412/2308-1031-2023-3-152-161.
QUARTET WORKS OF CHINESE COMPOSERS: TO THE PROBLEM OF REFLECTING THE NATIONAL CONTENT
A.M. Petrova
Abstract. The article deals with the problem of embodying nationally characteristic content and themes in the quartet works of Chinese composers from the period of formation – in the first half of the 20th century, to the 2000s of the 21st. In the context of cultural and historical stages, the methods of composer's work in the most artistically significant works of national authors are revealed. At the stage of the formation of the quartet in the system of the Chinese composer violin school, the variant-variational method of developing the material and quoting national thematics remained in priority. At the same time, individual works reveal original ways of working with traditional material. The authors reconsider the approach to the Chinese modal and metrorhythmic system of certain regional traditions, which is shown by the example of the String Quartet in F major, op.10 No. 1 by Ma Sicong (1938) and the String Quartet in G major by Qu Wei (1960). During the period of the Cultural Revolution there was a forced return to the methods of the stage of the formation of the genre in Chinese academic musical culture. However, even during this period, national authors managed to create artistically significant and popular quartets to this day (The Gray-haired Girl String Quartet by Zhu Jian'er and Shi Yongkang (1972)). During the period of “reform and opening up” after 1976, Chinese composers were again able to turn to the styles and techniques of the 20th century that developed in Europe and the United States. The freedom of artistic creativity made it possible to find individual ways of embodying national content, philosophical views and themes.
Keywords: string quartet, citation method, variational method, Ma Sicong, Qu Wei, Zhu Jian'er, Shi Yongkang, Luo Zhongrong, Zhou Long, Liang Lei
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Petrova, A.M. (2023), “Quartet works of Chinese composers: to the problem of reflecting the national content”, Journal of Musical Science, vol. 11, no. 3, pp. 162–174.
DOI: 10.24412/2308-1031-2023-3-162-174.
FROM THE HISTORY OF THE SAXOPHONE IN CHINA
Zhang Shuo
Abstract. The article is devoted to the study of the origins of the appearance of saxophone in China in the second half of the XIX century. The information presented in domestic works is critically understood. Based on the analysis and systematization of disparate sources, the author characterizes the socio-political and socio-cultural conditions for the introduction of saxophone into the musical life of China. Data from foreign works are introduced into scientific use, revealing facts unknown to the Russian audience related to the process of assimilation of the "voice of Saxs" in China. It has been shown that these processes are associated with the "Westernization" movement in China since the 2nd half of the 19th century. An important function in the popularization of the saxophone was the activities of visiting Europeans. The key role in the future was played by military-political reforms, the result of which was the modernization of the army according to the Western model. This led to the reorganization of the military bands, which included the saxophone. This became one of the factors in the rooting of the instrument in the musical infrastructure of China in the 20th century.
Keywords: saxophone, musical culture of 19th century in China, Ali-Ben-Su-Alle, Zhang Zhidong, Yuan Shikai, military brass band
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Zhang Shuo (2023), “From the history of the saxophone in China”, Journal of Musical Science, vol. 11, no. 3, pp. 175–183.
DOI: 10.24412/2308-1031-2023-3-175-183.
LENINGRAD MUSICIANS IN TASHKENT AND NOVOSIBIRSK (1940s – 1950s)
M.Yu. Dubrovskaya, E.E. Tarasevich
Abstract. The article discusses the epochal significance of the activities of the best Leningrad musicians, academic groups and institutions for the formation of a new academic musical environment in the places of their evacuation during the war years, numerous cadres of highly professional performers and musicologists. The degree of participation of leading Leningrad professional musicians in the educational and creative activities of musical universities Tashkent and Novosibirsk is characterized as a factor in the process of mutual enrichment of the national cultures of the USSR. Little-known facts of the premiere performances of the Seventh "Leningrad" Symphony by D.D. Shostakovich, held in the rear of Tashkent (UzSSR) and Novosibirsk in 1942. The circumstances of the most active musical and educational activities of the Leningrad Philharmonic Orchestra evacuated to the Siberian capital under the guidance of an outstanding lecturer, original speaker and publicist, Professor I.I. Sollertinsky restored by the authors of the article for the first time based on unpublished archival materials of the Museum Laboratory of the M.I. Glinka Novosibirsk State Conservatory. The amplitude of the historically established human and professional interaction between the professors and students of three outstanding conservatories in the cultural centers of the Soviet Union distant from each other demonstrates the amazing continuity and fruitfulness of the scientific and pedagogical schools and traditions that have formed in the system of Soviet higher musical education.
Keywords: Leningrad Conservatory, Tashkent Conservatory, Novosibirsk Conservatory, D.D. Shostakovich, Seventh Symphony, Leningrad Philharmonic, premiere performance, I.I. Sollertinsky
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Dubrovskaya, M.Yu., Tarasevich, E.E. (2023), “Leningrad musicians in Tashkent and Novosibirsk (1940s – 1950s)”, Journal of Musical Science, vol. 11, no. 3, pp. 184–192.
DOI: 10.24412/2308-1031-2023-3-184-192.
ÉTUDES-TABLEAUX FOR GUITAR BY DMITRY BORODAEV
E.Yu. Finkelstein, A.E. Starkova
Abstract. In the Russian repertoire for the six-string guitar, special attention is drawn to works written by composers who have the art of performing on this instrument. Possession by the author of the music of the technical means of the instrument becomes an important factor for improving guitar performance and increasing the level of quality of his repertoire. The question of creating compositions for guitar by virtuosos and professional composers who do not play the guitar is considered. The problem of complexity of a six-string guitar due to its immanent properties is indicated. Examples of creativity of guitarists writing music for their instrument are given: Alexander Ivanov-Kramskoy, Nikita Koshkin. A brief overview of Dmitry Borodaev's creative biography is given. Four miniatures of the author in the context of guitar literature, their content, expressive and technical means are studied. It is revealed that the composer's comprehension of biblical images and plots takes place in a modern way. It is determined that in the cycle, without the participation of the possibilities of the Russian song, a musical works with pronounced features of the national tradition is formed, for which the expressive means of the instrument are used. It is shown that Borodaev's Études-Tableaux embody the signs of postmodernism aesthetics. The performance features of the cycle, which does not contain unsolvable technical difficulties, are largely determined by the high level of skill of its creator.
Keywords: six-string guitar, repertoire for six-string guitar, domestic guitar music, instrumentation, composer, guitar performance, Borodaev, Études-Tableaux
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Finkelshtein, E.Yu., Starkova, A.E. (2023), “Études-Tableaux for guitar by Dmitry Borodaev”, Journal of Musical Science, vol. 11, no. 3, pp. 193–202.
DOI: 10.24412/2308-1031-2023-3-193-202.
CONSCIOUS AND UNCONSCIOUS IN MODERN CULTURE
A.A. Andreev
Abstract. The topic of unconsciousness and its relationship to consciousness acquired the greatest urgency in the 19th century when famous scientists and writers began to devote their scientific works and artistic works to this topic. Today this topic is still in demand among many basic and applied sciences, in artistic creation, education, media, fashion industry. Research of the unconscious is also necessary in terms of understanding many sociocultural problems and phenomena existing in the modern world. Therefore, reference to the works of such classics in the field of social philosophy and psychology as K.G. Jung, E. Fromm, G. Marcuse, J. Bodriyar, H. Ortega y Gasset becomes necessary for the study of the relationship of conscious and unconscious in modern culture. Appealing to these authors helps to understand that the unconscious can manifest itself in society through simulacras, stereotypes, false needs and mass interests. The negative effect of the unconscious is revealed to be that in addition to the traditional directions of culture it stimulates the development of non-traditional ones which find themselves in various forms and theories that require scientific understanding. As a result, the author concludes that the dialectical interaction of the conscious and unconscious in culture has an evolutionary character and is aimed at the development of consciousness of human, society and culture itself.
Keywords: conscious, consciousness, unconscious, culture, modern culture, mass culture, society, parascience
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Andreev, A.A. (2023), “Conscious and unconscious in modern culture”, Journal of Musical Science, vol. 11, no. 3, pp. 203–212.
DOI: 10.24412/2308-1031-2023-3-203-212.
S.V. Anikienko
Abstract. The history of the musical culture of the Kuban in the 1920s is still replete with significant gaps. The reason for this lies in the absence of surviving archival documents of that time. Valuable information, which largely allows reconstructing the events of the musical life of the region, is contained in the materials of the periodical press of the period under study. Among the most important events in the musical life of the Soviet Union at the end of the 1920s were grandiose musical festivals dedicated to the 100th anniversary of the death of Beethoven. The anniversary was also celebrated in Krasnodar. The teachers and students of the local musical college performed a number of the composer's works, including all the symphonies (the 9th symphony was performed twice). This fact of musical history has not yet found its study in Russian musicology. The regional version of the celebration of the 100th anniversary of Beethoven's death presented in the article largely determines the relevance of the study in connection with its focus on local history. The use of source study and biographical research methods by the author allows us to significantly expand the field of observation of cultural processes in the country and draw a conclusion about the continuity of the traditions of musical performance of Beethoven's works in the Kuban since the end of the 19th century, as well as the integration of the Kuban regional musical culture into the all-Russian cultural space.
Keywords: Beethoven, Kuban, Krasnodar College of Music, K.A. Vout, H.F. Tamler
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Anikienko, S.V. (2023), “Beethoven's jubilee in Krasnodar (1927): myth-creation of the Soviet era or continuation of traditions?”, Journal of Musical Science, vol. 11, no. 3, pp. 213–219.
DOI: 10.24412/2308-1031-2023-3-213-219.
“RAMP AND LIFE” AS A SAMPLE OF THE RUSSIAN THEATER MAGAZINE OF THE EARLY XX CENTURY
G.Yu. Ertsengel
Abstract. A specific feature of Russian musical specialized periodicals of the early twentieth century is the universality of publications. Although the journals of that time have characteristic typological features, the range of issues covered goes far beyond them. Thus, in the theatrical publications, in addition to materials directly related to the development of the drama theater, articles are published on the musical theater (opera, ballet, operetta), reviews of symphonic and chamber concert programs, detailed biographical sketches of composers, information on painting and architecture is placed. The most characteristic publications of the beginning of the 20th century include the theater magazine "The Ramp and Life", published in Moscow from 1909 to 1918. A significant part of its publications is devoted to the reflection of musical culture, not only domestic, but also Western European. This makes it possible to isolate materials of this type into a separate object of scientific consideration. The proposed perspective of the study reveals new features in Russian music criticism of the early twentieth century. The classification of published materials is made. It is concluded that this edition has all the characteristic features of the Russian theater magazine of the early twentieth century.
Keywords: specialized periodicals, The Ramp and Life, Leonid Munshtein, musical culture
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Ertsengel, G.Yu. (2023), “«Ramp and Life» as a sample of the Russian theater magazine of the early XX century”, Journal of Musical Science, vol. 11, no. 3, pp. 220–226.
DOI: 10.24412/2308-1031-2023-3-220-226.
N.S. Murashova
Abstract. The article is devoted to such an aspect of reading practice as reading interests and preferences of students. Its purpose is to identify ways of reading, the reader's repertoire and determine the place of reading in the structure of student leisure. The material of the study was the data obtained during the survey and interviews from students of 1–3 courses of the training areas "Library and Information Activities" and "Social and Cultural Activities" of the Novosibirsk State Pedagogical University. Then these data were compared with the published results of similar studies on the basis of Russian universities over the past 10 years, which made it possible to determine the trends characteristic of the reading practice of modern Russian students in general and to identify some of the features inherent in the focus group under study. In the context of all-Russian practice, there is a tendency to increasingly involve reading in the leisure activities of young people. Transformational processes in modern reading are mainly due to the spread of electronic reading formats. The dominance of mass literature and a limited number of genres in the last 5 years has been replaced by a pronounced genre diversity of works of both mass and elite literature. The most widely read authors among students are M.A. Bulgakov, F.M. Dostoevsky, L.N. Tolstoy, E.M. Remarque and J. Salinger; followed by J. Rowling, J. Austin, E. Bronte, J. Orwell, O. Wilde, M. Petrosyan and M.A. Sholokhov. Asian literature also enjoys attention among NSPU students. The results of the study are of interest in studying the dynamics of student reading practice, which reflects the public interests and worldview of today's youth. They can also be used in the development of reading promotion programs aimed at the formation of homo legens.
Keywords: reading practice, reading interests, students, youth reading, popularity of reading, printed and electronic books, audiobooks, literary genres, authors of literary works
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Murashova, N.S. (2023), “Reading interests of students of Novosibirsk State Pedagogical University in the context of the All-Russian practice of youth reading”, Journal of Musical Science, vol. 11, no. 3, pp. 227–241.
DOI: 10.24412/2308-1031-2023-3-227-241.
