THE FORMATION OF THE VENETIAN SCHOOL OF VOCAL POLYPHONY AT THE TURN OF THE XV–XVI CENTURIES
E.V. Pankina
Abstract. The article is devoted to the formation of specific qualities of the Venetian school of vocal polyphony in the late XV – early decades of the XVI century, primarily characteristic of this tradition of the technique of polyphony (cori spezzati). The article describes the activities of the immediate predecessors of the founder of the Venetian school, Adrian Willart, as head of the chapel of the Basilica of St. Mark – Pietro de Fossis and Johannes de Quadris, whose compositions either have not been preserved or were created for a complete vocal composition in the traditional Franco-Flemish school technique of writing on cantus firmus. At the same time, signs of textural contrast are observed in the only surviving motet “Passio sacra nostri Redemptoris” by the author of the second half of the XV century Francesco d'Ana. In its full form, the cori spezzati technique appears in the works of musicians who worked in various church chapels in the cities of the Veneto region in the 1500s and 1510s: Fra Rufino, Francesco Santa Croce, Gasparo Alberti, Giordano Pasetto. As a rule, their eight-voice two-part masses, magnificats and psalms feature timbre-register contrasts, simple harmonic sequences, and short phrases, often organized by contrapunctus simplex, which displaces imitation writing.
Keywords: musical culture of the Renaissance, the Venetian school, vocal polyphony, cori spezzati
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Pankina, E.V. (2024), “The formation of the Venetian school of vocal polyphony at the turn of the XV–XVI centuries”, Journal of Musical Science, vol. 12, no. 4, pp. 9–18. DOI: 10.24412/2308-1031-2024-4-9-18.
THE ITALIAN MADRIGAL COLLECTION “IL TRIONFO DI DORI”: ITS HISTORY AND CONTENT
M.A. Mukhina, T.V. Smirnova
Abstract. The article is devoted to the collection including 29 Italian madrigals, published under the general title “Il Trionfo di Dori”. Research attention is focused on the circumstances of the occurrence and some features of the content of a certain type of Renaissance music publication. The madrigals “Il Trionfo di Dori” commissioned by Leonardo Sanudo, a Venetian nobleman, were presented as a wedding (or a wedding anniversary) gift to his bride (or a spouse) Elisabetta Giustiniani. The madrigals composed by many authors, were collected in one place and then published in the Angelo Gardano’s printing house in Venice 1592. Exactly, it was A. Gardano, who had arranged the lyric miniatures from the collection in a certain sequence bonded together by the contrasting refrain “Viva la bella Dori”. The madrigals “Il Trionfo di Dori’ are lined-up around the central character of the sea-nymph Dori, staying in a blaze of glory, around pleasant nature pictures, surrounded by singing and dancing mythological characters. All those features introduce the sustainable plot-motifs for idyllic-pastoral and triumphal topics. First translation into Russian the dedication from the publisher (Gardano) to the customer (Sanudo) has been done. The introduction of a new evidence to scientific circulation of Russian musicology allows expending formed ideas about the existence of madrigal genre and getting closer to understanding some of the secular life features of the Republic of Venice in the second half of XVI century.
Keywords: Renaissance, Italian madrigal, pastoral, triumph, Leonardo Sanudo, Angelo Gardano
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Mukhina, M.A., Smirnova, T.V. (2024), “The Italian madrigal collection «Il Trionfo di Dori»: its
history and content”, Journal of Musical Science, vol. 12, no. 4, pp. 19–30. DOI: 10.24412/2308-1031-2024-4-19-30.
I.S. BACH'S WELL-TEMPERED CLAVIER I VOLUME: HISTORY AND TIMEKEEPING
N.S. Bazhanov
Abstract. In the center of the article is the most famous work of J.S. Bach “Well-Tempered Clavier” with the longest life on stage – 300 years. However, its properties and algorithms responsible for self-development, updating, relevance of content remain unknown. Among the reasons for the long existence of in concert practice, the content-thematic diversity of the work is presented, which increases the complexity of its structure, and the variety of interpretation options. To study the sound form of “Well-Tempered Clavier”, records of 9 performers were selected: E. Fischer, R. Tyurek, G. Gould, S. Richter, A. Hewitt, E. Korolev, K. Lifshitz, T. Felner, T. Schwan. As a result of chronometry, the sound time of six "main" cycles from 1 volume, cis-moll, es-moll, f-moll, gis-moll, b-moll, h-moll. The total time of the "main" cycles for each performer, the total sound time of the entire “Well-Tempered Clavier” and some relationships of these data. The results of the chronometry of “Well-Tempered Clavier” Bach 1 volume showed an unexpected ordering of the time values of the "main" cycles in relation to the total sound time of the collection. Six main cycles in total take time from 38 to 48 % of the time from the sound of the entire collection, while waiting for a formal value in the region of 25 %. Bach's “Well-Tempered Clavier” is a diverse collection of preludes and fugues of various scales, non-nein logic of structure, with a predominance of crosslinks between plays. Crosslinks form many more combinations, their meaningful phenome potential is huge. Thus, many interpretations are provided in the co-temporal performance life of the work.
Keywords: Well-tempered clavier, Bach, musical sound, sound of musical work, comparative analysis of performances, musical chronometry, tempo
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Bazhanov, N.S. (2024), “I.S. Bach's Well-Tempered Clavier I volume: history and timekeeping”, Journal of Musical Science, vol. 12, no. 4, pp. 31–39. DOI: 10.24412/2308-1031-2024-4-31-39.
ON AN UNKNOWN INTERPRETATION OF CARL NIELSEN’S CONCERTO
G.A. Demeshko
Abstract. Today the theoretical analysis of Carl Nielsen’s works requires significant expansion and re-evaluation. This article is based on the translation of an unrenowned work of Douglas Monroe – Conflict and Meaning in Carl Nielsen`s Concerto for Clarinet and Orchestra. Monroe studies the instrumental essence of this opus in terms of its images and meanings, tones and harmony. Regardless of some “exaggerations” (the relation of the work’s emotional component to the composer’s biography, as well as the relation of its unhappy ending to the philosophy of so called “progressive tonality” are interpreted too straightforwardly), the work contains some reasonable insights and contributes to the study of works of this talented Danish master – the master whose personality and legacy are worthy of the most thoughtful and comprehensive consideration, for Nielsen appears not only as a brilliant clarinet player and a composer-orchestrator rare for musical practice at the turn of the 19th and 20th centuries. In his Concerto and other instrumental works, he demonstrates such an understanding of the world that raises him to the level of an artist and philosopher and that cannot be contained within the framework of any one unchanging theory. Monroe’s interpretation is also interesting from the viewpoint of author’s intuition in regard to the concerto genre, which resources by the 20th century were far from being depleted. Completing and at the same time serving as an alternative to the approach taken by the Russian experts, the interpretation may be useful for development of the modern theory of the genre.
Keywords: instrumentalism, progressive tonality, conflict, thematic invention, folklore, wind instrument, timbre
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Demeshko, G.A. (2024), “On an unknown interpretation of Carl Nielsen’s Concerto”, Journal of Musical Science, vol. 12, no. 4, pp. 40–52. DOI: 10.24412/2308-1031-2024-4-40-52.
L.V. Aleksandrova
Abstract. The article attempts to recreate the image of Jozef Geimanovich Kohn – an outstanding scientist, “an intellectual of a new type in musicology”, a teacher, a man of high spiritual qualities. To represent the scale of Yu.G. Kon's personality, fragments from observations of people who knew him personally, studied or communicated closely with him in different periods of his life – Tashkent, Novosibirsk, Petrozavodsk. The review of Yu.G. Kon's scientific activity is given. In the Tashkent period, Yu.G. Kon laid the foundations of national professional musicology, Novosibirsk was marked by the creation of works dedicated to the music of the twentieth century. In the Petrozavodsk period, a wide range of works was written – from Scandinavian, Karelo-Finnish subjects, articles on modern music to general theoretical topics on the problems of modern musicology. The scale of Cohn's talent, the scope of his knowledge, and his personality were directly reflected in his teaching activities. He organically combined traditional education and atypical character as a teacher. The article reconstructs some facts of the scientist's biography captured by the author of the publication in the Novosibirsk period, while studying at the graduate school of the N.A. Rimsky-Korsakov Leningrad Order of Lenin State Conservatory named after N.A. Rimsky-Korsakov, in rare meetings in subsequent years, as well as on the basis of personal data and contacts with him through correspondence and phone calls.
Keywords: Kon, biography, self-education, musicology, pedagogy, Tashkent, Novosibirsk, Petrozavodsk
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Aleksandrova, L.V. (2024), “Jozef Geimanovich Kon. Self-education, music science, pedagogy
(on the 105th anniversary of his birth)”, Journal of Musical Science, vol. 12, no. 4, pp. 53–65. DOI: 10.24412/2308-1031-2024-4-53-65.
CHORAL GENRES IN THE WORKS OF GRIGORY KORCHMAR
N.A. Marakhovskaya
Abstract. This article is dedicated to an overview of Grigory Korchmar’s choral works (1947), a contemporary composer from St. Petersburg. Choral music represents a significant aspect of the composer's creative legacy, which has been overlooked by researchers. The author attempts to show the diversity of choral music and to demonstrate the variety of compositional expressions. The article represents all the original choral compositions by G.O. Korchmar, with brief descriptions of the most striking and characteristic features. All genre definitions used in the text are copyrighted. Among the classical choral genres, we should mention a cantata, a mystery, a choral concerto, a gospel scene, a liturgical chant, a requiem, a mass, a litany, a choral suite, a ballad, song, poem, hymn, and others. There are special characteristic only for G.O. Korchmar: cantata-buffa, choral satire, secular litany, allegorical miniature, epic folk-songs. It is emphasized that the main choral works consist of cycles that range from two choirs to extended cyclic compositions such as the musical-dramatic mystery “The Tale of Boris and Gleb”, etc. The literary source plays a crucial role in the formation of the musical language. To embody the musical content, the author uniquely employs methods of polystylism, particularly stylistic modeling.
Keywords: choral music, cantata, mystery, choral concert, gospel scene, secular and liturgical chant, mass, litany, choral miniature, choral cycle
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Marakhovskaya, N.A. (2024), “Choral genres in the works of Grigory Korchmar”, Journal of Musical Science, vol. 12, no. 4, pp. 66–74. DOI: 10.24412/2308-1031-2024-4-66-74.
MUSICAL WORLDS OF ST. PETERSBURG COMPOSER IGOR DRUKH: ON THE ISSUE OF CREATIVE HANDWRITING
A.N. Papenina
Abstract. The article is devoted to the work of Igor Eduardovich Drukh (1966), a Saint Petersburg composer, pianist, member of the Union of Composers of Russia, winner of All-Russian and international professional awards. The purpose of the work is to introduce information about the modern author of the St. Petersburg school into scientific use, to identify the specifics of the expressive means of his music, the peculiarities of handwriting. The article provides an overview of I.E. Drukh's work, conducts a genre and style analysis of the works, identifies links with other types of art – literature, painting, architecture, sculpture. Chamber instrumental compositions form the basis of the composer's work. The imaginative and performance specifics of individual opuses are considered: Sonata No. 2 for piano "In Memory of the Mother", "Galatea" for solo cello, "The Sounds of Fuji" for cello and piano and others. The participation of I.E. Drukh in the activities of the Association of Contemporary Music at the Union of Composers of Saint Petersburg, which has been functioning since 1994, was noted. Attention is focused on the activities of Drukh as a jazz pianist and propagandist of jazz music. The main victories in professional composing competitions, musical compositions participating and winning in competitive programs are indicated. The connections with theatrical and film art are analyzed. It is concluded that the composer's creative handwriting is formed and recognizable.
Keywords: Igor Drukh, St. Petersburg composer, Association of Contemporary Music, expressive means, creative handwriting, figurative specificity
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Papenina, A.N. (2024), “Musical worlds of St. Petersburg composer Igor Drukh: on the issue of creative handwriting”, Journal of Musical Science, vol. 12, no. 4, pp. 75–81. DOI: 10.24412/2308-1031-2024-4-75-81.
THE REFLECTION OF HISTORY IN THE INSTRUMENTAL WORK OF VALERY ERMOSHKIN
I.G. Umnova
Abstract. Interest in the instrumental works of Valery Efimovich Ermoshkin (born 1948) is due to several reasons: the work of the Siberian composer, which includes more than a hundred opuses, has not yet attracted the close attention of musicologists, although his music is regularly performed on concert stages in Moscow and the Moscow region, St. Petersburg and Yakutsk, Tomsk and Krasnoyarsk, Kemerovo and Barnaul, in other cities. Genres of chamber and instrumental music predominate among the compositions, piano pieces for children occupy a special place. Large forms combine instrumental concertos and suites, a symphonic poem and a sinfonietta, and other works. The genre of music for the play is presented in the theatrical productions “Free Sky”, “Relatives”, “Romantics”, “Son of the Regiment” and others. In almost all of his compositions, the composer's interest in reflecting the events of history and modernity, the characters and actions of personalities of outstanding compatriots, and the desire to embody plots and themes important to contemporaries is obvious. The purpose of the article is not only to draw the attention of researchers to the rather extensive and diverse work of a modern author. For the first time, the article aims to characterize a number of Ermoshkin's works in the context of historical and heroic-patriotic ideas inherent in Russian art. For the first time, the composer's original understanding of one-part symphonic forms, demonstrating the genre synthesis characteristic of modern music, is also noted.
Keywords: Valery Ermoshkin's instrumental work, historical ballad for orchestra, sociocultural realities of thetime
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Umnova, I.G. (2024), “The reflection of history in the instrumental work of Valery Ermoshkin”, Journal of Musical Science, vol. 12, no. 4, pp. 82–90. DOI: 10.24412/2308-1031-2024-4-82-90.
“PERSISTENT TIN SOLDIER” BY S.G. TOSIN: THE SEARCH FOR А NEW POSSIBILITIES OF PERCUSSION INSTRUMENTS
L.L. Pylneva
Abstract. The end of the 20th and the beginning of the 21st centuries are characterized by a rethinking of the palette of means of musical expressiveness in musical art, including the material itself, the principles of its organization and methods of development, as well as the timbre component. Including the role of percussion instruments changes significantly. They also acquire a new semantic content, different from the semantics entrenched in the classical works of the twentieth century. The purpose of this article was to study the percussion function in the work of the Siberian composer S.G. Tosin. In the suite for percussion instruments “The Persistent Tin Soldier”, created by the composer based on the fairy tale by G.H. Andersen, he set a set of tasks. On the one hand, this is an obvious goal lying on the surface – to acquaint the children's audience with the timbres of the orchestra's instruments. On the other hand, it is necessary to expand the capabilities of percussion instruments, identify their function as solo instruments, as well as update the semantic role of the instrumentation. In four parts of the work, various complexes of percussion instruments and different genre models are presented: part 1 – march (drums), part 2 – waltz (metallophones), part 3 – chiming chimes (bells), part 4 – scherzo (wooden drums). The result is the individualization of timbre groups, their acquisition of an independent role.
Keywords: Tosin Sergey Gennadievich, Siberian composer, works for percussion instruments, function of percussion instruments, G.H. Andersen, Persistent Tin Soldier
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Pylneva, L.L. (2024), “«Persistent Tin Soldier» by S.G. Tosin: the search for а new possibilities of percussion instruments”, Journal of Musical Science, vol. 12, no. 4, pp. 91–99. DOI: 10.24412/2308-1031-2024-4-91-99.
DYNAMICS OF ORGAN ART IN NOVOSIBIRSK IN 2014–2024: CONCERT ACTIVITY
N.V. Baginskaya, A.A. Maltseva
Abstract. The article presents an overview of Novosibirsk's concert life in the field of organ performance. The authors examine in detail the dynamics of Novosibirsk organ culture based on the concert activities of such major cultural centres of the city as the Glinka Novosibirsk State Conservatory (the Great Hall, the Organ Lounge), the Novosibirsk State Philharmonic Society, the Catholic Cathedral of the Transfiguration of the Lord, and the Lutheran Cathedral in Novosibirsk Akademgorodok. The authors of the article, and one of them – a direct participant and often organiser of landmark events of the organ world in Novosibirsk – are focused on festivals, performances by guest organists (J. Trummer, A. Shmitov, A. Shevchenko and others), concert cycles (“Great Masters: Bach, Handel, Scarlatti”, “Famous Organs of Europe” and others), and performances of organ works by Novosibirsk composers (G. Nikulin, A. Molchanov). The large-scale celebration of the “Year of the Organ at the Conservatoire” (2018) is particularly noteworthy, and attention is paid to regular participants in ensemble performance with organ participation (M. Auns, Y. Mamonova, S. Ovchinnikov, A. Turygin and others). As a result, the authors convey to the reader a lively, multifaceted, dynamic image of the organ art of Novosibirsk, filled with a large number of creative events, in which the reliance on tradition, the realisation of potential and the birth of new ideas find their manifestation.
Keywords: musical culture of Siberia, musical culture of Novosibirsk, organ performance, Novosibirsk State Conservatory, Novosibirsk State Philharmonic Society, Novosibirsk Organ School
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Baginskaya, N.V., Maltseva, A.A. (2024), “Dynamics of organ art in Novosibirsk in 2014–2024: concert activity”, Journal of Musical Science, vol. 12, no. 4, pp. 100–109. DOI: 10.24412/2308-1031-2024-4-100-109.
E.S. Tsareva
Abstract. The article attempts an anthropological analysis of regional musical life with the involvement of an interdisciplinary fractal approach, which is being developed for the first time on the basis of musical and local history material. It contributes to the understanding of the human factor in historical research from a new perspective, more fully demonstrating the collective cooperation of personal efforts manifested in the anthropological mosaic of the musical life of the locus (on the example of the Yenisei province), characterized by the importance of each participant (conditional fractal), as well as mobility, conditional hierarchy and ambivalence of the overall structure. The above considerations, taking into account the sociological theories of E. Rogers and P. Shtompka, allowed us to present the typology of participants in the musical life of the Yenisei province through the consideration of the “human dimension” in the ongoing diffusion of pan-European academic musical traditions new to the Siberian – North Asian territories of Russia. The revealed title positions in the dissemination and development of new musical thinking for Siberia belonged to social leaders, innovators, early borrowers and the early majority, among whom there were direct (Europeans) and indirect (Russians) bearers of Western traditions. In relation to the Siberian locus, they, in turn, differentiated into exogenous (newcomers, migrants), endogenous (usually local, born and raised in the region) and rotational (Siberians who returned to their small homeland after studying in the metropolis) types and were filled with representatives of the intelligentsia (including exiled), officials and merchants. Fractal optics as a research tool allows us to see how one integral phenomenon is a huge variety of lines of action of individuals and to detect a pattern in the chaotic, at first glance, processes of regional musical life, as well as effectively interact macro and micro levels of consideration of the problem and constructively synthesize various foci of magnifying glass as the degree of approximation to the object of study.
Keywords: academic musical traditions, musical life of the Yenisei province, anthropological mosaic, fractal approach
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Tsareva, E.S. (2024), “Anthropological analysis of regional musical life through fractal optics (on the example of the Yenisei province)”, Journal of Musical Science, vol. 12, no. 4, pp. 110–123. DOI: 10.24412/2308-1031-2024-4-110-123.
E.E. Trufanova
Abstract. The article contains hypotheses regarding emergence of Greek Chant in liturgical practice of Russian Orthodox Church. The analysis of compositional, mode-and-melodic structures of Greek Chant’s ‘Moscow’ branch is based on the 6th mode stichera group “Gospodi Vozvah (Lord I Called Thee)” of Great Vespers service to St. Sergius of Radonezh. The material for the analysis was retrieved from Tikhomirov’s znamenny notation manuscript no. 460 (SPSL SB RAS collection). During the analysis, two levels of compositional organization were discovered – melodic formulas, corresponding with poetic text syntagmas, and invariable melodic phrases that make said formulas. There were 18 repeating melodic phrases found in analyzed stichera group, along with 9 melodic formulas. It was detected that melodic formulas exist in variants depending on melodic phrases compositions. The amount of melodic formulas’ variants differ from 1 to 10. The 4 stichera compositional structures are constructed through alternation of melodic formulas. There are common features in these formulas’ order – functional similarity of some of them, consistency of ending and beginning formulas, modal transitions plan. Nevertheless, every chant has its own unique traits. This allows us to conclude that analyzed stichera group has signs of a freely interpreted compositional model.
Keywords: Saint Sergius of Radonezh, Greek Chant, stichera, melodic formulas, compositional structures
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Trufanova, E.E. (2024), “Formula structures of 6th mode Greek Chant stichera «Gospodi vozvah (Lord I called thee)» to St. Sergius of Radonezh”, Journal of Musical Science, vol. 12, no. 4, pp. 124–135. DOI: 10.24412/2308-1031-2024-4-124-135.
SYNESTHESIA AND THE AESTHETIC IMAGE OF SPACE IN ART
S.V. Konanchuk
Abstract. The article examines various approaches to understanding the problem of spatiality in art. The aim of the study is to understand the synesthetic qualities of the phenomenon of spatiality. It is indicated that any artistic and aesthetic communication is carried out on the basis of symbolic and synesthetic codes reflecting the spatio-temporal characteristics of a work of art and the aesthetics of the author's worldview. The integrating role of synesthesia consists in the formation of the aesthetics of space, while such a property as integrity is revealed. According to P.A. Florensky, spatiality in works of any art can be studied from the point of view of understanding the space itself, as well as in relation to studying the methods and laws of depiction. A work of art can be considered as a certain integral space, and the property of integrity is one of its main synesthetic characteristics. The concept of integrity is associated with the problem of spatiality, but integrity is also the first sign of the symbolism of a work of art in the broad sense of the word. It is noted that in the modern media space, synesthesia plays the main role of uniting disparate elements into a single harmonious whole. As a result of the study, it is concluded that the aesthetics of any work of art (musical, poetic, pictorial, etc.) can be studied on the basis of a conceptual analysis of spatiality as a method of sensory-value experience that is directly related to synesthesia.
Keywords: aesthetics, artistic culture, spatiality in art, synesthesia, synthesis of arts
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Konanchuk, S.V. (2024), “Synesthesia and the aesthetic image of space in art”, Journal of Musical Science, vol. 12, no. 4, pp. 136–142. DOI: 10.24412/2308-1031-2024-4-136-142.
PATHS OF DEVELOPMENT OF MODERN UZBEK OPERA
Z.B. Khamzina
Abstract. From the early days of its formation, the specificity of opera art in Uzbekistan has been determined by the crossing of two often opposing artistic systems of thinking – monody and polyphony, semantically representing the national and the foreign. Decades later, the conflict between “the native and the foreign” gradually lost its force, with rationalism gaining the “victory” due to the inevitable process of gradual incorporation of foreign elements into the cultural code of national art, in which, being modified, they acquire new features, enriching their own culture. Today there is no question of monody or polyphony, composers do not have to limit or choose, they freely operate with different musical styles and their achievements, which, ultimately, forms the richness of culture as a whole. At the same time, the diversity of external influences has contributed to the heterogeneity of the internal processes of opera. On the basis of more than thirty opera opuses, it has been revealed that the modern image of Uzbek opera is characterized by adherence to traditions and canons on the one hand, and freedom of means of expression and continuous search for the new on the other. The first process corresponds to the national path of development of Uzbek opera, where the priority is the preservation of canonical features of the genre, while the second is an alternative path, characterized by the search for ways to reform and update the external and internal parameters of the genre. This dialectical coexistence is the peculiarity of opera's existence in the dynamic process of development of Uzbek musical culture.
Keywords: modern Uzbek opera, national path, tradition, Mustafo Bafoev, alternative path, renewal of the opera genre, Dmitry Yanov-Yanovsky, Felix Yanov-Yanovsky
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Khamzina, Z.B. (2024), “Paths of development of modern Uzbek opera”, Journal of Musical Science, vol. 12, no. 4, pp. 143–150. DOI: 10.24412/2308-1031-2024-4-143-150.
S.A. Aizenshtadt, Shi Xuze
Abstract. The relevance of the work is determined by the special importance of studying the process of the emergence of Russian-Chinese musical ties in modern conditions of constant growth of Russian-Chinese contacts in the field of musical art. The article examines little-known stages of musical activity of the Russian diaspora: the pedagogical activity of musicians of the Harbin Symphony Orchestra, associated with the training of Chinese performers on wind instruments. The authors prove that this activity was most active in the 1940s and 1950s, which is due to the previous educational work of the Harbin musical emigration among the Chinese population, as well as the growing demand for brass music in China during the period of patriotic and revolutionary upsurge after the end of World War II and the formation of the People's Republic of China. It is concluded that this activity had a significant impact on the adaptation of European musical culture to Chinese national soil. It is concluded that the pedagogical work of wind musicians of the Harbin Symphony Orchestra had a significant impact on the adaptation of European musical culture to Chinese national soil. A number of biographical data about musicians of the Russian diaspora and their Chinese students are introduced into Russian scientific circulation for the first time.
Keywords: China, Chinese musical culture, wind instruments, Russian musical diaspora, Russian Harbin, Harbin Symphony Orchestra
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Aizenshtadt, S.A., Shi Xuze (2024), “The role of the Harbin symphony orchestra wind players in the development of Chinese wind instrument performance”, Journal of Musical Science, vol. 12, no. 4, pp. 151–159. DOI: 10.24412/2308-1031-2024-4-151-159.
FUNERAL RITES IN THE SOCIO-CULTURAL AND MUSICAL SPACE OF SHANDONG PROVINCE
Shao Mingyang, A.M. Petrova
Abstract. Funeral rite in China as the last element of the life cycle is the most important among other ritualtraditions and of paramount importance in Confucian doctrine. Along with the natural processes of modernization of all spheres of human life, traditional musical culture has also undergone certain influences and transformations. However, funeral rites, as a system of spiritual representations and ritual actions in relation to the deceased, has survived relatively well. The musical design of funeral rites in its key points nowadays shows resilience to external socio-cultural factors, which is especially clear in Shandong Province. This is the great research value of funeral rites, especially in the context of the gradual decline of traditional culture in the modern world. This paper examines the most characteristic features of the musical and ritual features of funeral rites in Shandong Province. The musical component of the rite is an important part of it and functions in close interrelation with the main ritual action. At the same time, the authors reveal an adaptive feature of the musical content of the funeral rite in Shandong province – in its structure, in addition to historically established forms of performance and genres of funeral music included modern samples of mass musical culture of China, the most suitable for the psycho-emotional content of the ritual action and the specific situation. The study of funeral ritual music in Shandong Province has great practical significance and, at the same time, academic value, as it contributes to the understanding of local musical and cultural customs and the current state of folkloric traditions.
Keywords: funeral music, Confucian culture, drum and wind music, ritual system, folk music
Conflict of interest. The authors declarethe absence of conflict of interests.
For citation: Shao Mingyang, Petrova, A.M. (2024), “Funeral rites in the socio-cultural and musical space of Shandong Province”, Journal of Musical Science, vol. 12, no. 4, pp. 160–173. DOI: 10.24412/2308-1031-2024-4-160-173.
SYMBOLIC IMAGES AND PROGRAMMING IN THE PIANO CYCLE "SPRING JOURNEY" BY DING SHANDE
Sheng Xijie, I.P. Kladova
Abstract. This article is devoted to the study of the peculiarities of perception of the figurative and symbolic content of the piano cycle "Spring Journey" by the outstanding Chinese composer of the twentieth century, Ding Shande. The novelty is determined by the application of an archetypal approach, which allows analyzing the specifics of the author's concept, musical and figurative content, and the "symbolic programming" of the suite. To reveal the topic, the article uses a comprehensive methodology: research in the field of history, theory, philosophy and psychology of music, the work of Chinese scientists Sun Sisi, Dai Penghai, Jingjing Liu and Russian musicologists: L.P. Kazantseva, N.P. Kolyadenko, V.V. Medushevsky, O.I. Popovskaya, etс. The symbolic content of the composer's musical landscapes is particularly emphasized, since each of the pieces of the suite conveys not only an external, visual portrait of nature, but also its internal, deep, emotionally figurative, archetypal (unconscious) perception. The musical and pictorial images-symbols of nature in the plays "Waiting for Dawn", "In a Boat", "Willow Shore" and "Dance of the Dawn Wind" are considered, expressing the concept that can be understood and interpreted by referring to the history of China ("the period of liberation wars"). It is noted that the embodiment of the symbols of nature, picturesque, mythopoeic origin is reflected in the composer's use of certain semantic, archetypal means, sound-visual, ladoharmonic, timbral effects in the musical texture, dramaturgy of each play. Considering symbolic images, the author turns to the methodology of analytical psychology by K. Jung, as well as musicological studies by V.V. Budnikov, on the basis of which "archetypal types of timbre texture" are distinguished: Aero-texture (symbolism of air), Aqua-texture (symbolism of water), Terra-texture (symbolism of earth), Ignistexture (symbolism of fire), which allow us to analyze the peculiarities of the interpretation of the musical and figurative content of the cycle "Spring Journey".
Keywords: Ding Shande, piano cycle "Spring Journey", musical content, perception of music, symbolic programming, archetypal approach, symbols of nature, timbre-structured archetypes
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Sheng Xijie, Kladova, I.P. (2024), “Symbolic images and programming in the piano cycle «Spring Journey» by Ding Shande”, Journal of Musical Science, vol. 12, no. 4, pp. 174–189. DOI: 10.24412/2308-1031-2024-4-174-189.
Cui Hua
Abstract. The aim of the article is to study the performance approaches of a clarinetist to the interpretation of the Sonata for Clarinet and Piano by P. Hindemith. The performances of representatives of different national schools – D. Klöcker and L. Mikhailov – were chosen for analysis. The timbre quality of the clarinet sound can change the character of the first part and exacerbate the conflict between the themes. D. Klöcker uses a softer, matte timbre, characteristic of the German performing school, and compares the pastoral main part with the plaintive theme of the secondary part. L. Mikhailov has a brilliant and ringing sound, typical of the Russian performing school, and all the themes of the first part are brighter, more dynamic, sometimes dramatized. A wide palette of performance interpretations is distinguished by the second and third parts of the work: the performers do not adhere to the author's tempo instructions, and due to this they create unique images. In the second part, D. Klöcker presents a playful scherzo in a fast tempo, and L. Mikhailov – a march with elements of scherzo and a significantly slower tempo. In the third part, D. Klöcker’s tempo is also faster, and the sound is lyrical, emotional and reminiscent of the romantic style, while M. Mikhailov adheres to the original tempo and sharpens the philosophical-tragic, declamatory nature of the music. Only the fourth part gives the clarinetists the opportunity to come to a common denominator in their creative searches: they use an identical fast tempo, exceeding the boundaries set by the composer, and maximally emphasize the active, optimistic nature of the images. As a result, it was established that the considered interpretations of the Sonata for Clarinet and Piano by P. Hindemith are artistically convincing, mature, perfect, and can be used as a guide by representatives of modern brass performance.
Keywords: P. Hindemith, clarinet, sonata, interpretation, performing school
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Cui Hua (2024), “Questions of interpretation of Sonata for clarinet and piano by P. Hindemith on the example of performances by D. Klöcker and L. Mikhailov”, Journal of Musical Science, vol. 12, no. 4, pp. 190–196. DOI: 10.24412/2308-1031-2024-4-190-196.
CREATIVE FUNCTIONS OF A PIANIST-ACCOMPANIST IN INTERACTION WITH A VOCALIST
L.M. Karyakina
Abstract. The article examines the creative functions of communication between a pianist-accompanist and a vocalist in the everyday rehearsal process. The purpose of the study is to create a three-dimensional understanding of the creative functions of a pianist-accompanist as a complex system that ensures a high level of artistic full performance of a musical work. Of the many tasks that appear before performers, the achievement of a unified understanding of the figurative content of the music being studied and, logically thought out, the resulting creative functions of the pianist-accompanist, come to the fore. These are, first of all, such creative functions as performingtechnological, co-creative-ensemble, educational-pedagogical, psychological-communicative, figurative-artistic. They are analyzed in the article from the standpoint of mutual understanding and mutual enrichment based on the use of axiological and complex research methods. The article projects the creative functions of a pianistaccompanist onto the spheres of pedagogical, conducting, and cognitive activity, the elements of which are necessary for a high-quality work. The information equipment of the pianist-accompanist, revealed in the article, deep knowledge in various fields of science, contributes to the intellectual improvement of the vocalist. Fruitful cocreation in mastering musical works that are complex in performance and technical terms. Based on the historical world experience of outstanding pianists-accompanists, their scientific research, recordings, audio and video, as well as on their own accumulated performing experience and pedagogical experience of many years of professional work with vocalists and student pianists of the department of accompanist skills of the conservatory, the author of the article comes to the conclusion the significance of creative functions in the professional activity of a pianistaccompanist in improving the art of musical performance.
Keywords: pianist-accompanist, vocalist, creativity, cognitive development, communication process, interaction, strategy
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Karyakina, L.M. (2024), “Creative functions of a pianist- accompanist in interaction with a vocalist”, Journal of Musical Science, vol. 12, no. 4, pp. 197–206. DOI: 10.24412/2308-1031-2024-4-197-206.
Zhang Su
Abstract. The purpose of the article is to analyze the methodology of mastering the delayed pedal at the initial stage of training pianists in institutions of additional education when working on pieces written both in classicalromantic tonality and in folk music modes. It is pointed out that it is advisable to choose a lagging pedal as a means of mastering pedalization in piano class compared with a straight pedal. The algorithm of work on mastering the lagging pedal is presented. The preparatory stage is the performance of exercises aimed at automating each movement of the pedalization technology, combining all actions into a single whole. The main stage is represented by the student's work on the pedal in learned pieces, familiar melodies associated with classical-romantic means of harmony and texture. Exercises presented by playing only the left-hand parts in works with a pedal, as well as independent thinking by students of the delayed pedal in a particular piece of music, are useful. For the first time, the development of the delayed pedal in pieces related to folk music modes, diatonic scales (pentatonic scale) is considered using the example of “Sad Song” from the suite “Young People in the New Century” by Du Mingxin. The conditions for working on the pedal are careful auditory control and concentration on the artistic side of the performance. The presented methodological recommendations are based on the research of Russian pianists of the XX century and modern times, on the pedagogical experience of the author of the article.
Keywords: lagging pedal, initial stage of learning, piano class, exercises, ladoharmonic features
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Zhang Su (2024), “Methodological recommendations for the development of the delayed pedal by pianists in the piano classroom of institutions of additional education”, Journal of Musical Science, vol. 12, no. 4, pp. 207–216. DOI: 10.24412/2308-1031-2024-4-207-216.
