E.V. Gordeeva, V.M. Skobyolkin
Abstract. The musical text of a symphonic work in the structural and semantic perspective reveals certain regularities and unique features. In modern orchestral opuses these regularities and peculiarities are vividly traced and revealed. In a multilayered polysemantic context, there interact constituent, synthesizing components, textural formations, structural models, intonation and rhythmic patterns, rhetorical and ornamental figures, affective signs, motive symbolism, semantic formulas, etc. On the example of the symphonic elegy “Aurora Chaos” by the contemporary Ufa composer Valery Skobyolkin, the above properties, as well as the meaning and significance of musical-textual structures, conceptual, situational and narrative, and content characteristics are considered. Also, on the basis of the theory of musical text, methods of practical semantics, semantic analysis, an attempt is made to find correspondence, interrelation of composer's (author's) sign structures and interpreter's (performer's, researcher's) conceptual meanings. The musical text of works of different epochs and styles contains typical and original structural interactions. In this article, the angle of research attention is focused on the identification of compositional and content structures, innovative, pioneering properties based in a traditional, at first glance, multiline score. The space of meanings that fills the symphonic fabric of the opus under consideration is embedded in the epic of modern acoustic expression of sound states, in the orchestration that conveys the play of thought images.
Keywords: modern composition, acoustic space, musical text, compositional structures, meaningful and semantic structures, plot-situational signs, intonation-rhythmic turns, textural formulas, semantic context, artistic and epic paintings, the space of meanings
Conflict of interests. The author claims to have a personal conflict of interest.
For citation: Gordeeva, E.V., Skobyolkin, V.M. (2024), “The space of meanings and the “Chaos of Aurora” by Valery Skobyolkin: compositional and meaningful structures”, Journal of Musical Science, vol. 12, no. 2, pp. 9–24.
DOI: 10.24412/2308-1031-2024-2-9-24.
COMPOSER'S HERITAGE OF M. TARIVERDIEV IN THE ASPECT OF STUDYING HIS INSTRUMENTAL WORKS
N.V. Khorobrykh
Abstract. In Russian musicology at the beginning of the XXI century, there is an increase in interest in the compositional work of the Soviet and Russian composer Mikael Leonovich Tariverdiev. To a greater extent, this trend is manifested in relation to his film music, chamber-vocal and musical-theatrical compositions. The researchers emphasize the uniqueness of his musical style, expressed primarily in musical intonation. It is noteworthy that M. Tariverdiev began his career in the 1950s by creating both vocal and instrumental compositions, but it was music with a word in musicology that received more attention. While instrumental, including organ works by M. Tariverdiev, need further study and understanding. The composer's first biographer, A.M. Zucker, concludes the monograph with a mention of the Concerto for Violin and Orchestra. This work of M. Tariverdiyev was a natural milestone of the early compositional period, after which he created two more instrumental concertos, a symphony for organ, a trio and several organ concertos. The article presents a panorama of the themes and problems of studying the work of M. Tariverdiev in Russian musicology through historiographical research. The author of the article observes a lacuna in the study of the composer's instrumental works, argues for the need for a holistic view of the instrumental, including organ, field of creativity, and also builds a research perspective for further study of M. Tariverdiev's music.
Keywords: Mikael Leonovich Tariverdiev, instrumental music, organ music, instrumental concert, musical intonation
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Khorobrykh, N.V. (2024), “Composer's heritage of M. Tariverdiev in the aspect of studying his instrumental works”, Journal of Musical Science, vol. 12, no. 2, pp. 25–32.
DOI: 10.24412/2308-1031-2024-2-25-32.
EDISON DENISOV'S CHAMBER SYMPHONIES: GENRE-STYLE FEATURES
Niu Jingjing
Abstract. The relevance of the research topic is due to the lack of scientific works devoted to the genre and style features of E. Denisov's chamber symphonies. The work attempts to characterize the interpretation of the symphonic genre and the individual orchestral style of the composer. Research methods have become complete, including a comparative analysis of elements of the musical language and methods of working with material (changes in the properties and qualities of sonaries, including color, density, volume, duration, dynamics, intonation structure), techniques of composition (including synthesis of free seriality and sonoric, imitation-canonical and contrapuntal techniques), the figurative-semantic content of these works (the concept of light and beauty served as the figurative-semantic core of the artistic concepts of Denisov's works throughout the entire creative life). The results of the study were the characterization of the properties and qualities of sonorities as elements of Denisov's musical language, methods of exposition and development of material, features of the formation of chamber symphonies. These compositions represent a new stylistic direction in the development of the genre, which is lyrical symphony in sonoric technique. The composer develops his own dictionary of the musical language in the conditions of sonoric orchestral writing. The original genre feature of this type of symphony is the coexistence of concertedness, timbre colorfulness and variety of color of sound on the one hand and soulful lyrics, intimate statement, monologue, deepening into the inner world, psychological saturation on the other.
Keywords: Edison Denisov, chamber symphony, orchestral work, genre, style, composition technique, concept, light
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Niu Jingjing (2024), “Edison Denisov's chamber symphonies: genre-style features”, Journal of Musical Science, vol. 12, no. 2, pp. 33–41.
DOI: 10.24412/2308-1031-2024-2-33-41.
INTERPRETATION OF THE MYTH OF ORPHEUS AT MONO-OPERA "EURYDICE" BY D. KURLYANDSKY
T.A. Belyaeva
Abstract. The article examines D. Kurlyandsky’s mono-opera “Eurydice” (2019), which continues the series of responses by masters of the academic and non-academic tradition to the legendary plot. Written to the verses of A. Rodionova, the mono-opera reveals the complex inner world of a woman who has lost her memory and the usual ways of interacting with the surrounding reality. The narrative is extremely distantly connected with the ancient myth: in search of herself, Eurydice feels only the invisible presence of Orpheus. By means of absurdist poetry, Rodionova turns to the area of the subconscious, through vague associations and numerous symbols, revealing the painful fears, experiences of the heroine, and the painful search for her own Self. While preserving the text of poem, Kurlyandsky seriously strengthens the psycho-emotional impact and exacerbates the manifestations of extreme individualism, depression and phobias. This is facilitated by the consolidation of resources and techniques 1) electronic music (high-frequency whistling electronic sonors-noize sounds that appear as a background; permanently present stationary noise (so-called white noise); the live electronics program, for which the performer's part is recorded in advance in the studio conditions for further interaction with the singer's voice during the performance); 2) acoustic music (the piano performs two functions: a tuning fork, which helps the soloist to stay within the tempered scale; in addition, an independent piece is performed on it with the effect of so-called unmanifest music). The vocal part unfolds as a free physiological process, independent of a soundpitch organization, and gives creates the composer's special unsonor style. Turning to myth allowed the authors of the production to raise acute problems of modern European society related to the search for the meaning of life, total alienation, personal self-identification, and also touch upon the motive of Eurydice’s «destruction» for Orpheus (a look at her is the path to the obscurity of Orpheus as the Creator).
Keywords: modern opera, mono-opera, Dmitry Kurlyandsky, Anastasia Rodionova, myth, Eurydice, Orpheus, “Eurydice”
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Belyaeva, T.A. (2024), “Interpretation of the myth of Orpheus at mono-opera «Eurydice» by D. Kurlyandsky”, Journal of Musical Science, vol. 12, no. 2, pp. 42–49.
DOI: 10.24412/2308-1031-2024-2-42-49.
“PERSIAN THEME” IN THE WORKS OF EUROPEAN COMPOSERS OF THE 19th – 20th CENTURIES
D.A. Rakhimova, E.A. Gushchina, T.S. Orlova, V.S. Gavrilova Aslan
Abstract. This article deals with the implementation of the “Persian theme” in Russian and Western European art culture during the 19th – 20th centuries. The reasons for the appeal of creative personalities to this country are revealed, the traditions of using Persian motifs are indicated. In particular, it is said that this process was influenced by the aesthetic principles of romanticism, consisting in a special interest in national and foreign themes and plots. In addition, the military-political events taking place in the countries of the East are also named as reasons: the Crimean-Turkish and Russian-Persian wars in the Caucasus. Hence, there is an increased interest of writers, artists, musicians in the history, culture and art of such eastern countries as India, China, Persia, as well as the Caucasus. In the works of composers, an artistic-figurative, genre, melodic refraction of this theme is traced. The article draws attention to the fact that in Russian music the tradition of using Persian motifs comes from M.I. Glinka, and from Western European composers one of the first to address this topic was I. Strauss (son). The authors of the article analyzed various aspects of addressing the topic under study, special attention was paid to related types of arts (in particular, literature and poetry), it was concluded that the eastern theme reflects new means of expression that are not characteristic of European music for a certain period of time.
Keywords: Persian themes, Russian music, orientalism, genres of vocal and instrumental music
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Rakhimova, D.A., Gushchina, E.A., Orlova, T.S., Gavrilova Aslan, V.S. (2024), “«Persian theme» in the works of European composers of the 19th – 20th centuries”, Journal of Musical Science, vol. 12, no. 2, pp. 50–56.
DOI: 10.24412/2308-1031-2024-2-50-56.
"SOUND AND SYMBOL". ABOUT THE THEORETICAL CONCEPT OF VICTOR ZUCKERKANDL
A.S. Molchanov
Abstract. The article comprehend the main theoretical theses of the first volume of the monograph of the Austrian musicologist Victor Zuckerkandl "Sound and Symbol" (1956). The relevance of the appeal to this publication is dictated by two factors. Firstly, Zuckerkandl raises global theoretical issues of music organization in his work, referring to such categories as space and time, the problem of musical motion, and the peculiarities of music perception. Secondly, despite the already sufficient time distance, the theoretical conception of Zuckerkandl's works remain little known. During the analysis of the main 4 parts of the monograph, which are devoted respectively to musical sound, problems of motion, time and space, the author of the article focuses on the formation in Zuckerkandl's theoretical views of a special Look of music as a form of cognition of the world, where musical experiences are given in the most accessible form and show the side of phenomena that from the position of the modern man usually appears hidden. At the same time, three sources turn out to be decisive for the scientist: the theory of G. Schenker, gestalt psychology and German phenomenology, through which he enters into related fields of knowledge, into a psychological and cultural-philosophical context, speaking about the laws of hearing and comprehending music in accordance with the nature of man himself. The limiting factor of the Zuckerkandl concept is its focus exclusively on tonal music, without affecting the whole range of compositional innovations of the second half of the twentieth century. This also applies to the selected analytical material of the study. From the point of view of the historical context, this monograph stands on a par with other significant works of the middle of the last century, such as "Emotions and meaning in music", "Music. Art and Ideas" by Leonardo B. Meyer, who developed the theory of Gestalt and pragmatists, as well as works of a cultural type, such as the "Tree of Music" by G. Orlov.
Keywords: Victor Zuckerkandl, musical movement, musical space and time, musical sound, musical phenomenology, gestalt psychology, theory of G. Schenker
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Molchanov, A.S. (2024), “«Sound and symbol». About the theoretical concept of Victor Zuckerkandl”, Journal of Musical Science, vol. 12, no. 2, pp. 57–66.
DOI: 10.24412/2308-1031-2024-2-57-66.
SYNESTHETIC AND ARCHETYPAL METHODS IN MUSICOLOGY: CORRELATION AND INTEGRATION
N.P. Kolyadenko
Abstract. The article discusses the methods of “psychomusicology” that implement a hermeneutical-interpretative strategy for understanding musical meanings, synesthetic and archetypal. The aim is to consider their relationship and identify the elements of integration in the process of interpreting musical texts. The connection of synesthesia and archetypes with deep nonverbal logical thinking and with eidos as primary principles in the Platonic tradition is noted. The difference in the specifics of the subject of each method is emphasized. The orientation of intersensual association in the synesthetic approach to the textural-phonic level of the text creates the fixation of intramusical semantics. The proximity of the archetypal method to the theory of musical content reveals the extra-musical semantics of musical images. At the same time, the article traces some ways of integrating the two methods in the process of musical analysis. It is shown that there is an archetypal component in the synesthetic interpretation of musical texts, which implements the hermeneutic principles of G. Gadamer (compilation of a projective synesthetic model of the composer's work, procedures for the intersensible fixation of musical sound in the works of K. Debussy, I. Stravinsky, O. Messiaen). The diverse ways described in musicological works of the participation of intersensual associations in the application of the archetypal method are demonstrated: the establishment of archetypal meta-plots, the analysis of the semantics of situational, communicative, natural archetypes. As the most illustrative examples, the fixation of deep intermodality coordinates of musical and linguistic means of embodying archetypal images – fret and textured archetypes is given. It is concluded that the integration of two hermeneuticalinterpretative methods indicates possible vectors for the further development of musical science.
Keywords: hermeneutical-interpretative direction, synesthetic, archetypal methods, integration
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Kolyadenko, N.P. (2024), “Synesthetic and archetypal methods in musicology: correlation and
integration”, Journal of Musical Science, vol. 12, no. 2, pp. 67–76.
DOI: 10.24412/2308-1031-2024-2-67-76.
SONATA, op. 28 S. RACHMANINOFF: ARCHETYPAL ASPECT
V.V. Budnikov
Abstract. The article is devoted to the analysis of the symbolic content of the First Piano Sonata by S. Rachmaninoff. It is proposed, based on the teachings of K. Jung, to attribute Rachmaninov's work to a visionary type capable of embodying the sphere of archetypal imagery in music. The reasons why the composer did not publish the sonata program are considered. The possibility of interpreting the sonata in an archetypal context is shown. The deep connections of Russian symbolism and analytical psychology of K. Jung are revealed. The influence of E. Medtner's ideas on the work of A. Bely and K. Jung, in particular, the provisions of I. Kant's transcendentalism, which formed the “noumenal” interpretation of the “living symbol” and the archetype, is evaluated. It is proposed to use the structure of the archetype interpreted in the article in the Jungian system of concepts to fix the inner content of the symbol. The sonata program voiced by K. Igumnov is critically interpreted. It is proposed to interpret the finale of the sonata visionarily (archetypically) as an explication of the archetype of the Spirit (active creative principle), including through Jung's idea of “first experience”. To do this, the analysis of the rhetorical figures and symbols used in the finale is carried out. The composition of the sonata reflects the search for an answer to the pressing question of the meaning of human existence.
Keywords: archetypal aspect, interoception, Rachmaninov's sonata op. 28, rhetorical figure, visionary type
of creativity, archetype, living symbol
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Budnikov, V.V. (2024), “Sonata, op. 28 S. Rachmaninoff: archetypal aspect”, Journal of Musical Science, vol. 12, no. 2, pp. 77–86.
DOI: 10.24412/2308-1031-2024-2-77-86.
OPERAS BY COMPOSERS OF BURYATIA, TUVA AND YAKUTIA: EXISTENCE OF THE GENRE IN THE PAST AND PRESENT
L.L. Pylneva
Abstract. The article discusses the problems of the existence of national operas in Buryatia, Tuva and Yakutia. It has been determined that only a small part of the works written and staged in the 1940s–1960s has remained in the modern repertoire: including “Nyurgun Bootur” by M.N. Zhirkov – G.I. Litinsky, “Lookut and Nyurgusun” by G.A. Grigoryan, “Enkhe-Bulat Bator” by M.P. Frolov. The purpose of the article was to identify the reasons for the rare performance of theatrical works by Buryat, Tuvan and Yakut authors. As a result of the analysis, it was discovered that the creativity of composers who created works was influenced by both all-Russian cultural processes and the specifics of regional art. Accordingly, the prospects for staging operas in the republics and beyond are determined by these two factors. The general processes of changing the views and needs of society, leading to a decrease in the relevance of the works of the past, are fundamental. An obstacle is the loss or insufficient knowledge of certain performing techniques and styles borrowed from traditional cultures. The ways to overcome the performing crisis lie in a possible rethinking of the most representative operas as an integral complex, including both the updating of the content and the novelty of directorial and performing decisions. This would make it possible to stage a number of interesting works in the Siberian republics, such as “Lullaby” by Z.K. Stepanov, “Unquenchable Flame” by N.S. Berestov, “Epiphany” by B.B. Yampilov, and the collective opera by Tuva composers “Monge Ayalga”.
Keywords: operas by Siberian composers, composers of Buryatia, composers of Tuva, composers of Yakutia,
musical theater of Siberia, crisis of the opera genre
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Pylneva, L.L. (2024), “Operas by composers of Buryatia, Tuva and Yakutia: existence of the genre in the past and present”, Journal of Musical Science, vol. 12, no. 2, pp. 87–95.
DOI: 10.24412/2308-1031-2024-2-87-95.
K.M. GOLODNIKOV’S MUSICAL AND THEATRICAL CHRONICLE IN THE “TOBOLSK PROVINCIAL VEDOMOSTI”
O.A. Svetlova
Abstract. In the history of Siberian music journalism in the last third of the 19th century, there are many figures who are not considered to belong to the cohort of its outstanding figures. Nevertheless, their preserved heritage requires study at the present stage of regional musicology, which, in turn, allows us to expand our understanding of the cultural realities of Siberian centers. The object of consideration of this article is an array of publications by Kapiton Mikhailovich Golodnikov (for the period 1872–1891), a historian, local historian, author and editor of the unofficial part of the “Tobolsk Provincial Vedomosti”, about whose activities and his role in the fate of the newspaper there is an ambiguous opinion in modern humanities. It is noted that in the conditions dictated by the program of the government publication, K.M. Golodnikov in 1877 resumed informing readers about the cultural events of Tobolsk – concerts, performances, literary and musical evenings, public festivities with music, celebrations of state dates. The materials were placed under the heading "Local Chronicle", which determined the genre features of the publications. The vast majority of them relate to information notes about concerts, reports and reviews of performances by the local society of lovers of dramatic art, made according to a compositional cliche. It is concluded that Golodnikov, who does not have knowledge in the field of musical art, could not act in the newspaper as a musical theater reviewer and critic. At the same time, his simple publications, thanks to the fixation of complete concert programs and performances, the names of artists and patrons, contribute to the reconstruction of the chronicle of cultural events and the sound atmosphere of Tobolsk at that time.
Keywords: music journalism, musical and theatrical chronicle, K.M. Golodnikov, Tobolsk, Tobolsk Provincial Vedomosti
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Svetlova, O.A. (2024), “K.M. Golodnikov's musical and theatrical chronicle in the «Tobolsk Provincial Vedomosti»”, Journal of Musical Science, vol. 12, no. 2, pp. 96–104.
DOI: 10.24412/2308-1031-2024-2-96-104.
EMBODIMENT OF IMAGES OF THE GREAT SILK ROAD IN THE WORK BY MUSTAFO BAFOYEV
E.I. Mustafina
Abstract. The purpose of the article is to consider the works of the modern Uzbek composer Mustafo Bafoev about the Great Silk Road, created at the turn of the 20th–21st centuries in the aspect of the embodiment of historical images and the revival of the spiritual values of the cultural heritage of the East in their interaction with the culture of the West. Theese are show-ballet “Great Silk Road” for piano, folk instruments, voice and synthesizer (1995), concert “Silk Way in my imagination” for cello, string quintet, percussion and piano (2002) and 10 poems “Great Silk Way” for piano (2008). Each of these works is self-sufficient and at the same time they form a triad, designated by the author of the article as a large-scale holistic ideological and creative artistic concept. In the process of considering these opuses, the author of the article solves the problems of individual embodiment of images of the Great Silk Road and commonality factors that allow covering works of different genres as components of a single macrocycle. On the basis of analysis in the article peculiarities of musical expressive means, form formation, reflecting traits of national style and composer’s thinking are revealed. The valuable ideas expressed by the composer contributed to the scientific generalization of the main theoretical provisions of this article and allowed to reach conclusions, which affirm the positive position of the composer in his individual interpretation of the embodiment of the images of the Great Silk Road as an integral part of Uzbek national and world music culture in general.
Keywords: Great Silk Road, image embodiment, compositional technologies, means of musical expression, showballet, concert, poem
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Mustafina, E.I. (2024), “Embodiment of images of the Great silk road in the work by Mustafo Bafoyev”, Journal of Musical Science, vol. 12, no. 2, pp. 105–112.
DOI: 10.24412/2308-1031-2024-2-105-112.
L.A. Abdurashidova
Abstract. The article draws attention to the relevant and insufficiently researched topic of restoration and implementation of the traditional ustod-shogird ("teacher – student") training system in modern musical education in Tajikistan, which for centuries has been the leading principle of education in Muslim cultures of Central Asia. The author considers the problematic functioning of the ustod-shogird system in the last decades of the twentieth century in the field of classical music of the oral tradition of Shashmaqom, focusing on its revival in a private school – the Academy of Maqom in the Republic of Tajikistan (Dushanbe). The author's research has shown the lack of experience in the modern era, similar to that in the countries where the the system of maqomat is spread – ajikistan and Uzbekistan. This motivates the need to analyze and describe the restored and updated ustodshogird tradition as the basis of the educational process at the Academy of Maqom, established in 2003 by Full Professor, Candidate of Art Criticism and People’s Artist of the Republic of Tajikistan Abduvali Abdulmajidovich Abdurashidov. The novelty of the article lies in the fact that the specifics of preserving and transferring traditional knowledge and skills at the Academy of Maqom and the creative prospects for spreading this system in the modern musical process are being considered for the first time.
Keywords: system of ustod-shogird, traditional musical education, Academy of Maqom, aruz, tanbur, Shashmaqom
Conflict of interest. The author claims a conflict of interest (kinship/family relationship).
For citation: Abdurashidova, L.A. (2024), “The ustod-shogird tradition as the leading principle of education at the Maqom Academy of the Republic of Tajikistan”, Journal of Musical Science, vol. 12, no. 2, pp. 113–122.
DOI: 10.24412/2308-1031-2024-2-113-122.
THE GENRE OF CHINESE ART SONG AND ITS INFLUENCE ON THE DEVELOPMENT OF MODERN MUSICAL CULTURE
Shao Minyan, A.M. Petrova
Abstract. This article examines the versatile development of contemporary Chinese art song and their role in the country's modern mass music culture. It examines the historical evolution of the genre, analyzes the diversity of styles and compositional solutions, as well as the features of regional varieties, and verbal and musical texts in the context of the influence of elements of Western European tradition on them. The influence of art songs on the diverse development of modern Chinese musical art and education is examined in detail. The role of the genre in the process of enhancing the competitiveness of the national music market, its significance in the field of composer music, and its role in the process of popularizing Chinese culture are revealed. The article points out the key importance of early Chinese musicians who laid the foundations for the modern strategy of music education and, at the same time, song genres. It is revealed that in the XX century art song has reached a new level of development due to the freedom of creative guidelines presented to Chinese composers. At the same time, it is noted that the genre has entered the context of modern mass music culture, which ensured the relevance and competitiveness of art songs among other song genres.
Keywords: contemporary art song, pluralistic development, stylistic diversity, music industry, cross-cultural contacts
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Shao Minyan, Petrova, A.M. (2024), “The genre of Chinese art song and its influence on the development of modern musical culture”, Journal of Musical Science, vol. 12, no. 2, pp. 123–129.
DOI: 10.24412/2308-1031-2024-2-123-129.
FACTORS FOR THE FORMATION OF THE CHINESE NATIONAL STYLE OF VOCAL MUSIC
Chen Yuehan
Abstract. The article studies the historical roots of the formation of the Chinese folk vocal tradition. This topic actualizes the issue of preserving the intangible song heritage of the Chinese people. One of the problems is insufficient knowledge of those factors that will help develop the folklore tradition and national style of vocal music in the future. The purpose of the study is to emphasize and analyze individual factors that shape the Chinese vocal style. Among the research methods are cultural-historical, linguistic analysis, classification, generalization, abstraction, and direct observation. The article analyzes the specifics of vocal folklore that exists in the work, leisure, and other activities of the Chinese people, with the anonymity of authorship, variability, and oral methods of transmission characteristic of folklore. The main types of Chinese folk songs are identified, including: songs of general themes, field songs, shepherds' work chants, and holiday songs. The problem of teaching Chinese folklore songs is touched upon, considering the complex phonetic features of the language. The importance of preserving, developing, and transmitting traditional vocal culture from generation to generation is noted to strengthen the sense of national identity and form a unique (and positive) image of China in the eyes of representatives of the international community.
Keywords: folklore, Chinese folk songs, national music, vocal phonetics, Chinese phonetics
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Chen Yuehan (2024), “Factors for the formation of the Chinese national style of vocal music”, Journal of Musical Science, vol. 12, no. 2, pp. 130–136.
DOI: 10.24412/2308-1031-2024-2-130-136.
ORGANIZATION OF SOUND SPACE IN THE VOCAL CYCLE BY WANG JIANZHONG “FIVE POEMS OF LI QINGZHAO”
M.G. Dolgushina, Wang Juntang
Abstract. The purpose of the article was to analyze the harmonic and tonal organization of musical material in the vocal cycle of the Chinese composer Wang Jianzhong Five «Poems by Li Qingzhao». This piece of music is well known in China and demonstrates the style of this composer. Wang Jianzhong's vocal cycle is examined for the first time from the proposed point of view. This determines the relevance and novelty of this research. The authors of the article used methods generally accepted in Russian musicology for analyzing modern harmony. The article briefly describes the structure of the cycle and the features of its literary source – poems in the qi genre by the poet Li Qingzhao, who lived during the Song Dynasty. The main attention is paid to the analysis of musical language. In all five songs of the cycle, there is a combination of national features characteristic of the composer’s style with elements of modern harmony. Elements of Chinese music are usually present in the vocal part, which is based on the pentatonic scale. European features are concentrated in the piano accompaniment part. The cycle contains interesting discoveries in the field of harmonic and tonal-sound organization related to the specific use of tonality, varied use of modal structures, complication of chords, and original textural solutions. The authors come to the conclusion that the composer imparts not only a organizational, but also a figurative and dramatic meaning to all the techniques used. Wang Zjinzhong's music convincingly conveys the movement of the heroine's feelings: from slight sadness to deep despair.
Keywords: vocal cycle, Wang Jianzhong, composer, mode, chord, harmony, structure
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Dolgushina, M.G., Wang Juntang (2024), “Organization of sound space in the vocal cycle by Wang Jianzhong «Five poems of Li Qingzhao»”, Journal of Musical Science, vol. 12, no. 2, pp. 137–145.
DOI: 10.24412/2308-1031-2024-2-137-145.
NATIONAL TRADITIONS IN WANG LISAN'S CHILDREN'S PIANO SUITES
O.V. Usova, Ren Weihua
Abstract. The article examines the children's piano suite “Paper decorations on the window” by Wang Lisan. Being one of the most famous composer and pianist both in China and abroad, Wang Lisan has created a large number of compositions for piano of various genres. In recent years, his work has begun to be actively studied in Russianlanguage musicology. Among his compositions, children's music is of particular importance, which organically corresponded to his professional activities and personal qualities. One of the most striking opuses for Wang Lisan's children was his piano suite “Paper Decorations on the Window”. It is an example of a harmonious combination of Chinese and European musical traditions. Turning to the genre of the children's suite, Wang Lisan embodies in it the traditional art of Jianzhi, which represents the cutting of various figures out of paper. The composer successfully creates vivid national images presented through the prism of children's perception. Such compositions are seen as useful for teaching young musicians in Russia, expanding their musical horizons, allowing them to get acquainted with the cultural and musical traditions of different countries, new musical and performing solutions.
Keywords: Chinese piano art, Wang Lisan, Chinese children's music, children's suite, creativity of Chinese composers, piano in China
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Usova, O.V., Ren Weihua (2024), “National traditions in Wang Lisan's Children's Piano Suites”, Journal of Musical Science, vol. 12, no. 2, pp. 146–152.
DOI: 10.24412/2308-1031-2024-2-146-152.
PROBLEMS OF VIOLIN EDUCATION IN CHINA
Wu Yuzhen, N.V. Sannikova
Abstract. For a century and a half, the violin art in China has gone through a rapid development path from the first acquaintance with the instrument to the advancement of a whole galaxy of Chinese virtuoso performers on the world stage. The process of mastering the violin was not smooth and experienced periods of acceleration and stagnation, which was due to various historical and socio-cultural circumstances that formed a special profile of Chinese violin art, including in the educational aspect. The concept of “Sinification” has become very representative in its characterization, which has been firmly in scientific use for almost a century and reflects the mutually directed process of assimilation of Western academic experience and, rethinking and enriching it with national features and values, broadcasting the best achievements of Chinese violin art (composing, performing) in the world cultural space. Vocational education is one of the fundamental factors in the development of violin music in China, meanwhile, a number of problems are found in this area, which are outlined in the article. An analysis of the historical features of violin education in China, as well as the currently widespread educational models and systems, leads to conclusions about the need to overcome the total dominance of Western musical culture and strengthen the processes of Sinification of the violin.
Keywords: sinification of the violin, violin education, violin in China, higher musical education, national violin repertoire
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Wu Yuzhen, Sannikova, N.V. (2024), “Problems of violin education in China”, Journal of Musical Science, vol. 12, no. 2, pp. 153–161.
DOI: 10.24412/2308-1031-2024-2-153-161.
MUSIC THERAPY IN THE PROCESS OF PSYCHOCORRECTION OF PRESCHOOL CHILDREN
E.P. Demidova
Abstract. Music therapy, as one of the methods of psychocorrection of behavioral disorders in preschool children, is becoming increasingly in demand. The study of this method has more than a 100-year period of observations and analysis by such outstanding scientists as V.M. Bekhterev, A.A. Osipova, E.A. Medvedeva, etc. Despite this, this topic does not cease to need coverage and popularization. Modern living conditions, with its rapidly changing technical component, dictate new approaches to solving psychological problems of children. The models of psychotherapeutic activities proposed in the article have practical confirmation. Several years of successful work of the author, as a composer and musician, together with psychologists on the basis of one of the children's neuropsychiatric dispensaries in Novosibirsk proved the prospects of the method of individual and group music therapy. The article examines the prerequisites for various kinds of psycho-emotional problems of children and provides schemes for practical music therapy classes. The patterns of classes vary easily, which allows a musician working in tandem with a psychologist to adapt musical material in accordance with his professional level. An important quality of the schematics of the proposed classes is the freedom of the music therapist in a creative approach to solving the main task, which requires careful consideration of the individual characteristics of the child and, as a result, building a successful psychocorrection strategy.
Keywords: music therapy, preschool age, psychocorrection, passive form of classes, active form of classes
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Demidova, E.P. (2024), “Music therapy in the process of psychocorrection of preschool children”, Journal of Musical Science, vol. 12, no. 2, pp. 162-174.
DOI: 10.24412/2308-1031-2024-2-162-174.
THE PHENOMENON OF “OTYKEN”: TOWARDS THE STUDY OF WORLD ETHNO-POP MUSIC
Yu.V. Antipova
Abstract. The problems of preserving and transmitting the experience of traditional musical cultures are fundamental: in modern civilizational conditions they often disappear, transforming into new forms of mass (popular) art. As an example of the global market of world ethno-pop music and as a segment of World Music, the article examines the work of the Krasnoyarsk group “Otyken”, whose members (Chulyms, Kets, Selkups, Khakass, Dolgans) claim to belong to the cultural traditions of indigenous small ethnic groups of Siberia. The relevance of the study is related to the clarification of strategies for representing ethnicity in pop music: leveling (overcoming) the local properties of folk music, which in the case of “Otyken” is due to the practical loss of many traditions (in particular, Chulym); symbiosis of markers of ethnicity of various musical cultures of the world; application of show business technologies and marketing strategies; creation of a “product” that combines the resources of music, dance, word magic, and stylized national costumes. It is proved that understanding the problems of preserving the culture of endangered northern ethnic groups – with their highly relevant ecological principles of existence for modern society – can be accompanied by a unique tactic of modeling folklore elements, recreating a new quasiethnic “matrix”, the tracks of which are far from real folklore samples, but satisfy the needs of millions of “Otyken” listeners around the world.
Keywords: World Music, ethnic, ethno-pop, “Otyken”
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Antipova, Yu.V. (2024), “The phenomenon of «Otyken»: towards the study of world ethno-pop music”, Journal of Musical Science, vol. 12, no. 2, pp. 175–188.
DOI: 10.24412/2308-1031-2024-2-175-188.
VIRTUAL TRADITIONAL MUSICAL INSTRUMENTS
A.V. Kharlov
Abstract. The article examines the phenomenon of virtual instrumentation from the perspective of a modern approach to traditional music making. The author raises the problem of the development and application of such technology in ethnomusicology and modern composing practice. The purpose of the work is to introduce the appropriate terminology into the scientific use of ethnomusicologists, as well as an attempt to legitimize traditional instruments created with the help of modern software virtualization technologies as an object of study by folklorists. The author has set the task of expanding the sphere of existence of such traditional instruments, in connection with which the article highlights the technical specification of various types of sound synthesis that allow creating clones of academic instruments. Practical examples of the use of virtual tools, the possibility of an empirical method of teaching master games without prior skills are shown. The elementary basics of controlling a piano-type midi keyboard as the simplest control controller are given. The features of playing music on the “zhaleika Harlov”, in the creation of which the author took part, are considered, practical recommendations for the development of such an instrument are offered. The method of using artisan sound formulas-ornaments with a two-handed method of making music is described, the role of each hand in the case of performing a one-voice melody is revealed. The possibility of ensemble playing of a virtual copy and academic instruments in the usual tempered system is noted, which is difficult in the case of using an original aerophone, the scale of which can only be conditionally called tempered. The algorithms of studio sampling and simulation of the phonic side of the original traditional sound field, which includes the category of natural acoustic environment as part of traditional music making, are revealed. In this study, the author uses an interdisciplinary complex research method based on the developments of domestic experts on acoustics problems, as well as on his many years of experience in studying electronic instruments.
Keywords: virtual traditional instruments, sampler libraries, principles of sound synthesis, folklore, traditional musical culture
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Kharlov, A.V. (2024), “Virtual traditional musical instruments”, Journal of Musical Science, vol. 12, no. 2, pp. 189–196.
DOI: 10.24412/2308-1031-2024-2-189-196.
