N.I. Verba
Abstract. L. van Beethoven’s legacy, along with monumental and iconic genres in the context of the history ofmusical art, includes numerous miniatures, the creation of which the author took as seriously as the massive symphonic works. Bagatelles, collected in three cycles and serving as a kind of markers of both Beethoven’s gradually emerging piano style and signs of understanding the genre in accordance with the ideological constants of the romantic era, occupy a separate place in the work of the Viennese genius. This article analyzes the semantics of the bagatelle genre, genetically related to the French culture of the Baroque era and the expansion of the semantic boundaries of the genre in the XIX century. The possible reasons for the appeal of the Viennese colossus to the genre of miniature, in general, and bagatelle, in particular, are highlighted, including both biographical grounds and time trends. Attention is paid to Beethoven’s interpretation of bagatelle, which laid down important routes for the development of the genre in the works of other romantic composers, namely: cyclicity, programmability, form features, the character of diverse connections within cycles and the saturation of “frivolous” miniature with serious meanings.
Keywords: Beethoven's work, piano miniature, bagatelle genre, musical culture of romanticism
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Verba, N.I. (2024), “Bagatelles in Beethoven’s legacy: transformation of a «trinket» into a symbolic genre for the Romantic era”, Journal of Musical Science, vol. 12, no. 1, pp. 9–17.
DOI: 10.24412/2308-1031-2024-1-9-17.
E.O. Predvechnova
Abstract. This article presents for the first time a semantic analysis of the program and sacred symbolic images of N.K. Medtner's "Sonata-Ballad", op. 27. The features of the extramusical semantics of the Sonata, due to the influence of the romantic piano ballads of F. Chopin, the Fourth Sonata of A. Scriabin, are considered. Appeal to the concept of "religious-symbolic program" helps to study the semantics of the sacred images of the Sonata, displayed in the epigraph-poem of A.A. Fet. The specifics of the interpretation of the composition and the structuralsemantic genre invariant of the Sonata, op. 27, expressed in the idea of the trinity and the semantics of the circle, are considered. The meta-symbol of Faith, comprehended in the context of the theory of M.G. Aranovsky and in accordance with the conceptual content of the "Sonata-Ballad", allows us to identify the incarnations of the Man who creates, prays, rejoices, united in a single concept "Theurgic Man". At the intramusical semantic level, lyricepic themes of ballads, dance, flight, jubilation, and lyrical-dramatic images of the choral procession, sorrow, will, prayer, question and exclamation are revealed. The value-semantic aspect of the analysis, based on the works of M.M. Bakhtin, V.V. Medushevsky, made it possible to identify the features of the existential content of the Sonata, presented in the chronotope and dramaturgy of images-symbols of Time and Eternity, the author and the hero.
Keywords: N.K. Medtner, Sonata-ballad, semantic of programm, performing interpretation, image-symbol, structural-semantic genre invariant
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Predvechnova, E.O. (2024), “On the semantics of the program and the interpretation of sacred symbolic images in the «Ballad Sonata» Fis-dur, оp. 27 by N.K. Medtner”, Journal of Musical Science, vol. 12, no. 1, pp. 18–24.
DOI: 10.24412/2308-1031-2024-1-18-24.
THE COMPOSITIONAL PRACTICE OF WESTERN MUSIC IN THE 1950s AND 1970s IN THE CONTEXT OF EDITING
Z.M. Denisova
Abstract. Western music of the 1950s and 1970s is one of the most interesting pages of the musical culture of the 20th century. This is the time of innovators who have made their invaluable contribution to the development of world musical art. Paradoxicality, ambiguity, complexity of Western music of the 1950s and 1970s aroused active research interest from the very beginning. And yet, despite the existing works, a systematic consideration of avant-garde trends in the context of montage in Russian musicology has not been undertaken before. The active musical development that came during this period is not so much a consequence of the composers' desire to oppose their work to the legacy of previous eras, but a manifestation of a new type of artistic thinking, addressed to all the achievements of human culture as a whole. The product of such thinking was montage, which acted as a kind of sign of the beginning of a new stage in the development of musical art. It is noteworthy that initially montage acts only as a way of constructing a musical work. Gradually, in its development, it reaches the scale of a separate phenomenon, opening up wide opportunities for composers to work with various artistic layers and create complex conceptual layers based on them, reflecting the versatility and ambiguity of the worldview of modern authors. The following avant-garde trends are in the field of view of the author of the article: aleatorics, sonoristics, minimalism, meditative music and others. The nature of montage, the patterns of its functioning are revealed through the analysis of musical texts.
Keywords: montage, avant-garde, composer's practice, musical text, dramaturgy, composition, thematics Conflict of interest. The author declares the absence of conflict of interests.
For citation: Denisova, Z.M. (2024), “The compositional practice of Western music in the 1950s and 1970s in the context of editing”, Journal of Musical Science, vol. 12, no. 1, pp. 25–33.
DOI: 10.24412/2308-1031-2024-1-25-33.
COMPOSER AND DIRECTOR: ABOUT THE CREATIVE METHOD OF CREATING FILM MUSIC
Li Jian, N.V. Medvedeva
Abstract. Since the advent of sound cinema, many famous composers have taken on the task of composing soundtracks. The article examines the features of the process of creating film sound design. Composing music for cinema occurs at different stages of work on a film. Sometimes the composer only sees the script and the director’s instructions, while other times he views the footage. Often the first successful work of a director and composer leads to the creation of a creative tandem for many years. A successful musical solution contributes to the popularity of a film, and sometimes songs and instrumental themes go beyond the scope of the film and are performed in concerts. This publication provider a comprehensive analysis of S. Prokofiev’s Overture from the film “Ivan the Terrible” by S. Eisenstein and V. Bibergan’s romances from films by various directors. Using the example of these two authors, there is a noticeable difference in the approach to creating film music: within the framework of the theatrical tradition (thematic complexes modeled on opera, ballet and music for performances) and based on the visual image (background sound and noise effects accompanying the film frame). The study of the principles of existence of the modern media space, the interaction of cinema with other spheres of creativity represent a relevant area of research. The article reveals a variety of approaches to creating the atmosphere of a film using musical means: embodying the exact sound characteristics of the era, psychological portraits of characters using the timbres of voices and instruments. The research was based on the works on film music by Yu. Abdokov, T. Egorova, A. Smirnov, T. Shak.
Keywords: history of cinema, film music, S. Prokofiev, S. Eisenstein, “Ivan the Terrible”, V. Bibergan, leitthematism, background music
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Li Jian, Medvedeva, N.V. (2024), “Composer and director: about the creative method of creating film music”, Journal of Musical Science, vol. 12, no. 1, pp. 34–44.
DOI: 10.24412/2308-1031-2024-1-34-44.
THE FINAL FORM OF A PIECE OF MUSIC
N.S. Bazhanov
Abstract. The purpose of the article is to describe a system of generalized forms of a musical work that ensure the existence of a work in the performing arts. A musical work is thought of only in a dynamic version, in the process of performance, as a perfect and complete work (opus perfectum et absolutum) at the moment of its "formation" in time. The well–known system of general forms of the work – composer – performer – listener – is limited to the performing part. This part consists of four forms of a musical composition: musical notation → intonation form of the performer → form of playing movements on the instrument → sound form of the work. In performing forms, the systemic concept of "finality" is introduced, in the logic of which the properties of a musical work are considered. Finality is an increase in the qualitative values of the successive parts of the system as we approach the final part. There may be an increase in information, eventfulness, content, relationships, the influence of parts on the success of the implementation of the main functions of the system, etc. At the stage of finality of the work, the unity of the three forms of a musical work becomes the most justified. There can be no finality as the completeness of a work outside the musical consciousness of the performer, outside the playing movements on the instrument and outside its sound. Thus, finality arises as a trinity of a) intonation, b) game (movements of the performing apparatus) and c) acoustic performance forms. The finality of a musical work is ensured by the self-development of a system of its general forms based on the inclusion of the musical and artistic consciousness of the performer, supported by the anthropocentrism of the system of general forms, all kinds of musical knowledge, competition of performers and the movement of the work towards completeness, the highest perfection and content. Regarding the theory of the form of a musical work, there is a problem – to what extent "musical-thinking operations", "musical thinking", "transformations" of musical consciousness form the intonation form of a work at the last, final stage of its existence.
Keywords: piece of music, finality, intonation form, musically artistic consciousness
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Bazhanov, N.S. (2024), “The final form of a piece of music”, Journal of Musical Science, vol. 12, no. 1, pp. 45–53.
DOI: 10.24412/2308-1031-2024-1-45-53.
MANDOLIN AND RELATED INSTRUMENTS IN THE MUSICAL LIFE OF NAPLES IN THE 18th CENTURY
K.L. Zaitseva
Abstract. The article reveals the peculiarities of the existence of the mandolin and related instruments in Naples in the 18th century. According to historical sources and ancient reference books, during this period, stringed instruments such as colashione, pandura, mandola, and Spanish guitar were popular. However, the mandolin was in greatest demand due to the similarity of its structure with the violin, which significantly expanded the mandolin repertoire. It was in Naples during the period under review that significant design changes were made to the mandolin: the body was enlarged, a broken soundboard appeared, which made it possible to use metal strings. The leading role in the process of modernization of the mandolin was played by the Vinaccia family of masters, as well as by masters D. Filano and G.-B. Fabricatore. The instruments created by members of the family had a brighter and more expressive timbre. Constructive changes also influenced the development of the repertoire, which is gradually becoming more diverse. Such masters wrote for the mandolin as Gasparo Gabellone, Domenico Caudioso, Emanuele Barbella, Carlo Cecere, Giuseppe Giuliano. Their compositions, among other things, contributed to the formation of professional mandolin performance. The purpose of this article was to systematize information about the development of mandolin art in Naples in the 18th century. The names of composers and mandolin players during this period are presented.
Keywords: mandolin, Naples, 18th century, mandolin performance, plucked string instruments
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Zaitseva, K.L. (2024), “Mandolin and related instruments in the musical life of Naples in the 18th century”, Journal of Musical Science, vol. 12, no. 1, pp. 54–61.
DOI: 10.24412/2308-1031-2024-1-54-61.
ABOUT ONE UNIQUE ARTISTIC SOLUTION BY BORIS TCHAIKOVSKY
S.S. Korobeinikov
Abstract. The article examines the originality of the first movement of Boris Tchaikovsky's Piano Concerto. It lies in an extremely consistent combination of end-to-end rehearsal and total squareness. The rehearsal structure of the thematic structure of the first part of the concert determines its monotony and genre tendency towards toccata. At the same time, the intonation organization is based on the principle of variant ostinatism, which forms two large variation waves at the level of the form as a whole. In the pitch line, the composer purposefully overcomes the feeling of support in the close-up, maintaining support at the micro level and, thus, avoiding atonality. In dramatic terms, the intonation process is perceived as a long search for a fulcrum and movement towards a goal, which is achieved only in the last bars. Within the framework of the five-part structure of the cycle, the toccata rehearsal of the first movement has a primary representative role and influences the music of the entire composition. In parts 2-5, rehearsal to one degree or another becomes an important textural and melodic-rhythmic device. The second feature of the first part of the concert is the dominance of equal-scale eight-bar structures. This became the leading structural idea of the first part. The search for parallels to this idea among the works of the twentieth century led to the conclusion about its uniqueness. The combination of squareness and rehearsal in the context of a large part of the instrumental cycle seems to be an interesting artistic discovery of the composer.
Keywords: Boris Tchaikovsky, concert, rehearsal, squareness, artistic innovation
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Korobeinikov, S.S. (2024), “About one unique artistic solution by Boris Tchaikovsky”, Journal of Musical Science, vol. 12, no. 1, pp. 62–71.
DOI: 10.24412/2308-1031-2024-1-62-71.
SYNESTHESIA AND IMAGINATION: AESTHETIC APPROACHES TO RESEARCH
S.V. Konanchuk
Abstract. The article examines the problem of studying the phenomenon of synesthesia as one of the forms of active creative imagination (imagination). The purpose of the study is to clarify the role and characteristics of the functioning of synesthesia in the field of modern artistic culture and art based on a comparison of its characteristics with the phenomenon of imagination. This study analyzes the historical origins of the formation of modern scientific ideas about the phenomenon of imagination, starting from the philosophy of Antiquity and Modern times to the present. A comparison of the functioning features of synesthesia and the phenomenon of imagination revealed such general patterns as participation in the meaning-forming activity of consciousness, integration of the sensory and rational-generalizing principles, symbolization of an artistic image, etc. It can be noted that the play of imagination, the dialogue of modalities, the dialogue of the sensual and rational, characteristic of synesthesia, contribute to the display of a living connection between the artistic image and the surrounding space in dynamics, allowing one to achieve depth of perception and aesthetic expressiveness. In the context of the constant expansion of the virtual component of modern culture, the role of synesthesia in the processes of artistic and aesthetic communication is steadily increasing, since synesthesia contributes to the unification of diverse heterogeneous elements into a single harmonious whole. Thus, synesthesia performs the function of preserving the integrity of sensory experience in the conditions of modern “media culture”. The article notes the effectiveness of using synaesthetic methodologies in the field of aesthetic education with the aim of developing creativity and creative imagination. Among the current synesthetic methodologies in the field of musical art, the most popular are the developments of B.M. Galeev and I.L. Vanechkina, N.P. Kolyadenko, L.P. Prokofieva, I.A. Trofimova, E.O. Zelenina, S.V. Kamyshnikova and others.
Keywords: aesthetics, art culture, synesthesia, synthesis of arts, imagination, creativity
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Konanchuk, S.V. (2024), “Synesthesia and imagination: aesthetic approaches to research”, Journal of Musical Science, vol. 12, no. 1, pp. 72–78.
DOI: 10.24412/2308-1031-2024-1-72-78.
T.G. Kazantseva, E.A. Omarova
Abstract. In this article, based on the generalization of the research experience of studying timbre in acoustics, vocal pedagogy, ethnomusicology, and also taking into account the main provisions of the articulatory classification of timbres of V.V. Mazepus, a comprehensive description of the timbre-articulation phenomena of Old Believer liturgical singing is proposed on the basis of material recorded during the first musical-archaeographic expeditions on the territory of Tuva (1969–1970) from one of the representatives of the chasovennye community. Such aspects as liturgical pronunciation and dialectal features of the speech of the bearer of the tradition, phonetic phenomena that arise directly in singing, melismatic techniques due to the peculiarities of articulation, dependence of the pitch level of the realization of the church scale on the type of voice are considered. As a result of the study, the following timbre-articulation signs were established: a special orthoepic norm, dictated by the rules of the Church Slavonic language, vocalization of consonants and the replacement of reduced ones by full-vowels allophones, general nasalization, a number of stable melismatic techniques, down of the level of church scale by an interval within a fourth. Most of the signs can be interpreted as characteristic of the Old Believer singing in general or its regional variant, a few – as individual features. Further research involving a wider range of audio materials will make it possible to clarify whether the latter are unique to this singer or also characterize the local tradition as a whole.
Keywords: Siberian Old Believers, chasovennye community, liturgical singing culture, performing tradition, timbre, articulation
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Kazantseva, T.G., Omarova, E.A. (2024), “The experience of describing the timbre-articulation phenomena of the liturgical chant of the Old Believers chasovennye community of the Upper Reaches of Little Yenisei River (based on the material recorded from G.F.R.)”, Journal of Musical Science, vol. 12, no. 1, pp. 79–88.
DOI: 10.24412/2308-1031-2024-1-79-88.
PROBLEM AND METHODS OF PITCH SEGMENTATION IN ETHNOMUSICOLOGY
N.M. Kondrat’eva
Abstract. The article discusses the basic problem of identifying minimum height segments in the sound stream. It is very relevant, since the information content of analytical models depends on the quality of segmentation. An engineering and technical approach to segmentation based on quantization is characterized. Its strength is the exact determination of heights in each sample. However, as a result, the researcher receives a huge set of height elements from which an analytical text cannot be compiled. The second approach is the “boundary evaluation” method. It involves consciously constructing a simpler model in order to highlight a particular aspect of a complex phenomenon. Statistical and grammatical regularity is highlighted as the main criterion for establishing minimal pitch invariant units. The statistical method developed by the author, together with V.F. Dmitriev, for establishing an invariant scale is described. It provides for the transposition of all samples into an interval with a minimal shift of all steps, and the construction of a chrono-altitude graph. The author's conclusions about the fundamental importance of height contours of different types are presented. It is the natural connections of contour types with scale steps that form systemically significant invariant units of pitch organization. The need to use an iterative approach is emphasized both in notation and in the process of establishing altitude invariants.
Keywords: ethnomusicology, musical culture of Siberia, methods of musical texts analysis, statistical segmentation, invariant pitch scale
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Kondrat’eva, N.M. (2024), “Problem and methods of pitch segmentation in ethnomusicology”, Journal of Musical Science, vol. 12, no. 1, pp. 89–96.
DOI: 10.24412/2308-1031-2024-1-89-96.
THE USE THE QUDI FLUTE IN THE KUNQU OPERA: SPECIFIC FEATURES
Leng Tianze
Abstract. The article is devoted to the traditional Chinese opera – Kunqu Opera, which is considered the "progenitor" of the famous Beijing Opera. It is included in the UNESCO Intangible Cultural Heritage List. The relevance of the study is determined by the fact that a large number of productions of the Kunqu Opera are now being staged in China and abroad. Also the research interest in it has been growing since 2010. At the same time most of the studies are general historical research or are just a mention of this opera type in works on a related topic. This study focuses on the peculiarities of the use of the QuDi flute in the Kunqu Opera. The purpose of the article is to determine the principles of using the QuDi flute in opera, the features of its interaction with the voice and instrumental ensemble, as well as the skills which are necessary for a flutist. The study was conducted using historical and analytical methods. The results of the study show that the imitation of singing is clearly expressed in the melodic material of the QuDi flute in Kunqu Opera, and therefore the performer needs special skills, which include not only the ability to play the flute, but also knowledge of the plot of the opera and the peculiarities of opera singing of the opera, as well as possession of the skill of reading notation and the ability to coordinate other performers.
Keywords: Peony Pavilion, principle of “interpretation of hieroglyphs”, Chinese traditional opera, Kunqu opera, Kunqu, QuDi flute
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Leng Tianze (2024), “The use the Qudi Flute in the Kunqu Opera: specific features”, Journal of Musical Science, vol. 12, no. 1, pp. 97–103. DOI: 10.24412/2308-1031-2024-1-97-103.
A.N. Papenina, Zhang Cong
Abstract. The article examines the specifics of the process of formation in China of the art of composition for the accordion and button accordion. This is a relatively young art for the country; it is no more than a century old. It is noted that the original compositions of Chinese authors for these instruments appeared only after 1949; previously they were variable performances, stylizations of foreign melodies and transcriptions for accordion and button accordion of folk or urban songs of their region. It has been proven that the path to the development of this art for Chinese composers was more difficult than in other countries, in particular, due to ideological prohibitions during the Cultural Revolution. The majority of composers received their education in Europe, but upon returning to their homeland they reconsidered the features of playing the instrument through the prism of Chinese culture. Thus, today, in the works of Chinese authors, national motifs are actively used, including imitation of the sound of national instruments (for example, pipa, erhu, guzheng), the use of pentatonic, heptatonic and hexatonic. However, in a large number of Chinese works the influence of European and Russian musical cultures is clearly visible. It was discovered that the process of formation of national art in China in the field of composition for accordion and button accordion is only at the beginning of a long journey.
Keywords: accordion, button accordion, Chinese composers, accordion repertoire, national specifics, foreign influences
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Papenina, A.N., Zhang Cong (2024), “Specificity of works for accordion and button accordion by Chinese and European composers: on the issue of influences and self-identity”, Journal of Musical Science, vol. 12, no. 1, pp. 104-109.
DOI: 10.24412/2308-1031-2024-1-104-109.
CHINESE CELLO ART IN THE TWENTIETH CENTURY: STAGES OF FORMATION AND DEVELOPMENT
M.N. Drozhzhina, Gong Shiyue
Abstract. The article is devoted to one of the least investigated areas of formation of academic (European type) art in Chinese musical culture – cello art. The differentiation of the stages of its development is based on the principle of revealing the specifics of socio-cultural and artistic tasks solved: the first stage (up to 1949) is designated as “the stage of formation of two paths” passing through two spaces – traditional art (intensive use of traditional music in ensembles and orchestras) and the new – academic art. The second stage is “academic” (from 1949 to 1980, including a separate period of social cataclysms 1966–1976, which slowed down cultural processes). The definition is conditioned by intensive mastering of European methods of training specialists on the material of foreign classics, increasing attention to technical equipment of performers. This is facilitated both by training abroad and the introduction of the Soviet training system. It is emphasized that there is a problem of nationalization of cello music, the solution of which is connected with the emergence of a new generation of cello musicians who combine the skills of performer, teacher and composer (San Tun, Wang Liansan, Situ Jiwen). The starting point of the third stage – “entering the international arena” – is 1980. Through its first – “organizational” period – until the beginning of the 21st century (1980 – the beginning of preparations for the establishment of the National Association of Cello Teachers; 1984 – the foundation of the designated association; 1986 – the establishment of the Cello Society of the Performing Arts Committee of the Association of Chinese Musicians; 1992 – the First Symposium on Cello Teaching), the second period demonstrating the results of this organizational activity is provided. It continues up to the present time and due to the intensity and diversity of processes (in the sphere of pedagogy, performance, composer and touring activities, international contacts) deserves a separate characterization. The main vectors of development of cello art in the twentieth century are outlined: comprehensive popularization, nationalization, production and improvement of musical instruments, awareness of the need to distinguish between the training of specialists and amateurs. The conclusion emphasizes: the cello, an instrument generated by a foreign culture, has firmly established itself in Chinese society.
Keywords: Chinese cello art, three stages of development, San Tong, Wang Liansan, Situ Jiwen, cello adaptation
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Drozhzhina, M.N., Gong Shiyue (2024), “Chinese cello art in the twentieth century: stages of formation and development”, Journal of Musical Science, vol. 12, no. 1, pp. 110–118.
DOI: 10.24412/2308-1031-2024-1-110-118.
ON THE ISSUE OF INTERCULTURAL COMMUNICATION IN RUSSIAN AND CHINESE MUSICAL SCIENCE
Wang Zhang
Abstract. The article examines intercultural communication as one of the pressing problems of Russian and Chinese musicology. This concept is currently interpreted very broadly and includes various aspects of bilateral cultural exchange. The author notes that the research of Russian and Chinese musicologists devoted to intercultural interaction, as a rule, is adjacent to two main directions, where the first is manifested in works devoted to the peculiarities of the existence of specific musical phenomena within the framework of a different musical culture. The second direction includes works devoted to individual theoretical issues of musical art. What is common is mutual recognition of the special importance of Russian musicians in the process of formation and development of academic forms of musical art in China. Currently, research by Russian and Chinese musicologists devoted to the problems of cultural interaction and exchange occupies an important place in the musical science of the two countries. Meanwhile, there are still a number of problems of a general theoretical and historiographical nature: priority of attention to the events of the past and insufficient interest in the music of the 20th and 21st centuries; unsystematic historical compilation; insufficient knowledge of the history of reception. Chinese researcher Liu Jingshu believed that research into the problems of musical exchanges in its future can only rely on the principles of cross-cultural thinking. This led him to the concept of "cross-cultural musicology".
Keywords: intercultural communication, cross-cultural musicology, Russian emigration, Russian-Chinese cultural exchange
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Wang Zhang (2024), “On the issue of intercultural communication in Russian and Chinese musical science”, Journal of Musical Science, vol. 12, no. 1, pp. 119–124.
DOI: 10.24412/2308-1031-2024-1-119-124.
RICHTER, SCHNABEL, HOROWITZ: CONTRASTING SHADES OF INTERPRETATIONS OF SCHUBERT'S SONATA B-dur
Liu Chang
Abstract. The B-dur sonata is the core of F. Schubert's late style, whose music is not simple for a performance and in its time has been underestimated by many Soviet pianists. S. Richter chose his own, independent path in comprehending Schubert's music and managed to demonstrate the outstanding artistic merits of the sonata. The performing reassessment of Schubert's music gave impetus to the scientific interest of musicologists in the work of the composer. The work was also performed by A. Schnabel, V. Horowitz and other pianists. The article analyzes the sonata not only because it is excellent and each was performed in its own way by outstanding pianists, but because it embodies a special imaginative-semantic concept and reflects the features of Schubert's late style, the study of which does not lose its relevance today. The purpose of the study is analysis of the imaginative-semantic concept and features of the sonata style, which allows to understand this work more deeply, determine the specifics of the performing interpretations of Schubert's opus and highlight the one that is closest to author's idea. The methods of study were a holistic musicological and performing analysis of the sonata, as well as a comparison of its interpretations by S. Richter, A. Schnabel and V. Horowitz. Richter's performance seems to be the most accurate and close to the author's idea of the Sonata. Schubert's music in Richter's performing art was not only equalized in rights with the rest of the authors of piano compositions, but also raised it to the level of I.S. Bach in depth of content and L. van Beethoven in strength of emotional utterance.
Keywords: Schubert, Sonata B-dur, piano, Richter, Schnabel, Horowitz, interpretation, performing arts
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Liu Chang (2024), “Richter, Schnabel, Horowitz: Contrasting shades of interpretations of Schubert's Sonata B-dur”, Journal of Musical Science, vol. 12, no. 1, pp. 125–134.
DOI: 10.24412/2308-1031-2024-1-125-134.
Yu.A. Finkelstein, Nguyen Bao Yen
Abstract. The vocalist's repertoire is extremely important in shaping a singer's career. A large proportion of the compositions in a number of works for soprano are the roles of characters from operas by Russian composers. The problem of mastering Russian cultural traditions by Eastern vocalists is comprehended. The task of the article is to identify the performance features of Lyudmila's part from the opera “Ruslan and Lyudmila” by M.I. Glinka. To understand its features, it is necessary to comprehend the part in connection with the history of the creation of the opera, its dramaturgy, the vocal and methodological views of the composer. In creating the musical material of Lyudmila's part (as well as the entire opera), the composer's views on his contemporary vocal education, repertoire, as well as his experience of studying in Europe were reflected. The heroine's vocal part demonstrates a combination of features of the bel canto tradition of the composer, using the features of the Russian national melos. To perform it requires possession of a high singing technique. Besides the fact that inconvenient fragments of the party are associated with its virtuosity, difficulties cause phonetic and linguistic features of the text, the need to understand the meaning of the action. The image of Lyudmila, created by Glinka in the opera, requires from the artist a special emotional brightness, inner strength, a quick switch between gradations of feelings. These features of the character lead to the need to use a wide arsenal of means of acting and reincarnation.
Keywords: M.I. Glinka, Ruslan and Lyudmila, Lyudmila's part, opera, soprano, vocalist's repertoire
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Finkelstein, Yu.A., Nguyen Bao Yen (2024), “Creative tasks of the performer of the role of Lyudmila from the opera by M.I. Glinka «Ruslan and Lyudmila»”, Journal of Musical Science, vol. 12, no. 1, pp. 135–145.
DOI: 10.24412/2308-1031-2024-1-135-145.
FEATURES OF THE CONDUCTOR’S IMPLEMENTATION OF DOUBLE AND TRIPLE FUGUES BY S.I. TANEYEV
E.V. Rudzey, S.N. Shebalin
Abstract. The article reveals important aspects of conducting analysis and practical approaches to the interpretation and realization of the most complex musical forms in Russian choral academic culture – double and triple fugues of choral works by S.I. Taneyev. Representing the pinnacle of the development of the choral genre, such works require a special professional approach, taking into account formative, dramatic, directorial, spatial and acoustic phenomena. The article aims to help and guide students of higher educational institutions, as well as professional musicians, conductors and performing groups in comprehending and revealing the depth of the composer's idea, achieving the maximum level of realization of performing and artistic tasks. Special approaches in the implementation of choral fugues by S.I. Taneyev, the use of such methods as the application of the principles of "timbre dramaturgy and choral orchestration", as well as the principle of "director-spatial" vision of fugues are dictated by the colossal level of generalizations, the scale of ideas embodied in the top works of the composer. Based on their research and practical experience, the authors of the article identify those "strong points" that students of higher educational institutions should pay attention to, because at the most prestigious and difficult domestic competitions, it is the double and triple fugues of S.I. Taneyev that are mandatory compositions for performance.
Keywords: the structure of multi-themed fugues, dramatic shaping, timbre dramaturgy, choral orchestration, director-spatial vision
Conflict of interests. The authors declare the absence of conflict of interests.
For citation: Rudzey, E.V., Shebalin, S.N. (2023), “Features of the conductor’s implementation of double and triple fugues by S.I. Taneyev”, Journal of Musical Science, vol. 12, no. 1, pp. 146–152.
DOI: 10.24412/2308-1031-2024-1-146-152.
DEVELOPMENT OF STUDENTS' INDEPENDENCE IN THE CLASSROOM ON THE PIANO COURSE
L.L. Zenina
Abstract. The article discusses the issues of formation of the most important personal quality among students of a music university – independence, without which musical and performing activity is impossible. Based on the theoretical definitions of this concept in the works of teachers and methodologists, the author comes to the conclusion that there is a large diversity and dispersion due to their correlation with various categories related either to the problems of developing musical abilities, or to the peculiarities of artistic thinking, or to the organization of educational work, etc. Considering the conditions for the formation of independence, the author notes that the necessary attitude that determines its success is reflection and self-assessment of trainees in the process of their own activities. An individual approach in the system of music education creates favorable pedagogical conditions aimed at the formation of self-esteem and education of a future professional musician. At the same time, it is necessary to rely on the development of his motivational, operational, cognitive and evaluative spheres. The piano course is a performing discipline designed to participate in the comprehensive education of musicians of different specialties. The methodology of his teaching is closely connected with entering the interdisciplinary field, since the piano is a necessary participant in all performing and theoretical disciplines and serves as an integral part of any musical profession. In the course of the course, qualities and methods of activity are developed that are invariant with respect to many other disciplines. For example, independence as a personality trait is a necessary component in any field of musician education leading to self-improvement. The Department of General Piano conducted a survey of former graduates of NSC, during which questions were offered concerning the role and significance of the piano course in their practical work. The answers and wishes of the graduates are now taken into account in the programs for students of the piano course.
Keywords: independence, reflection, self-improvement, self-assessment, piano course, questionnaire
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Zenina, L.L. (2023), “Development of students' independence in the classroom on the piano course”, Journal of Musical Science, vol. 12, no. 1, pp. 153–160.
DOI: 10.24412/2308-1031-2024-1-153-160.
Zhang Su
Abstract. The purpose of the article is to concretize the significance of the polyphonic repertoire for the development of a pianist in the modern music and educational space. The article highlights the criteria by which the polyphonic repertoire should be selected. It must have developmental potential for the formation of polyphonic thinking and the development of the pianist’s polyphonic hearing, and have a positive impact on the development of various aspects and qualities of the individual, including attention, memory, volition, and emotional responsiveness. The polyphonic repertoire must have artistic value, and, at the same time, the need for stylistic diversity, its expansion and renewal through little-known, modern, innovative works is emphasized. At the same time, the choice of polyphonic works must meet the criterion of compliance with the individual capabilities and needs of students. The article presents methodological recommendations for choosing a polyphonic repertoire for pianists at all levels of music education, related to the principles of continuity in teaching and modern educational trends. It has been established that the importance of the polyphonic repertoire for a pianist lies in the formation of performing skills, mental qualities of the individual, stylistic understanding of music, one’s own correct attitude to the choice of repertoire, and the harmonious development of musical abilities.
Keywords: pianist, polyphony, repertoire, selection criteria, modern educational trends
Conflict of interests. The author declares the absence of conflict of interests.
For citation: Zhang Su (2023), “Polyphonic repertoire and its significance for the development of a pianist in the modern music educational process”, Journal of Musical Science, vol. 12, no. 1, pp. 161–168.
DOI: 10.24412/2308-1031-2024-1-161-168.
ACTIVITIES OF THE STROGANOVS IN THE FIELD OF RUSSIAN CULTURE AND ART
A.D. Sosnova, O.A. Svetlova
Abstract. The article is an overview of the historical role of the Stroganov family in the development of Russian culture and art. The authors review existing research on this topic and present various evidence of the Stroganovs' significant contributions to various fields of art, including architecture, painting, church singing and decorative arts. The article examines unique works of art created by order of representatives of the Stroganov family. These works reflect the richness and diversity of artistic creativity of that time, and their study allows us to better understand the role of the aristocracy in the development of Russian culture and art. The authors highlight the role of the Stroganovs in supporting and shaping talented artists of their time, as well as their significant contribution to the development of collecting and philanthropy. Particular attention is paid to the interaction of the Stroganov family with other representatives of the cultural and political elite, as well as to the analysis of their role in the formation of cultural values and traditions of Russia. The authors consider examples of cooperation between the Stroganovs and other aristocratic families and artists, and conclude that the Stroganovs’ contribution to the formation of national identity and the preservation of the country’s cultural heritage has had a significant impact.
Keywords: Stroganovs, collecting, patronage, history of Russian culture
Conflict of interests. The authors declare the absence of conflict of interests.
For citation: Sosnova, A.D., Svetlova, O.A. (2023), “Activities of the Stroganovs in the field of Russian culture and art”, Journal of Musical Science, vol. 12, no. 1, pp. 169–176.
DOI: 10.24412/2308-1031-2024-1-169-176.
