THE LIBRETTO OF CARL DITTERSDORF'S SINGSPIEL AND THE ITALIAN OPERA BUFFAAND BUFFA
S.B. Bubeeva
Abstract. The Viennese Singspiel occupy a central place in the composer's legacy and in many ways had a turning point in his creative path. They were created during the period of Joseph II's theatre reform, aimed at supporting composers in writing German comic opera as an alternative to Italian. However, despite attempts to create favorable conditions for the birth of the national opera, this process was largely hampered by the lack of a model that served as a guideline for the creation of a new genre. Unlike his contemporaries, Dittersdorf chose the Italian opera buffa as the basis, the traditions of which can be traced primarily in the features of the plot outline and the composition of the actors of his operas. This decision is very natural, since Dittersdorf worked with Italian opera before the appearance of the first singspiel. Paying attention to the librettos of all four German operas of this period (“Doktor und Apotheker”, “Der Betrug durch Aberglauben”, “Geizhals Hieronymus”, “Die Liebe im Narrenhause”), it is easy to find that the singspiel seems to be tailored according to a single template, where the masks of commedia dell'arte are recognized and numerous buffoonery tricks. Perhaps this is why the works were to the public’s taste, as they combined the best features of the buffa. However, in this case, a logical question arises: should Dittersdorf ’s operas be classified as Singspiels? Indeed, when comparing German librettos with Italian examples, many similarities are revealed, but we do not find absolutely identical repetitions. In addition, the composer manages to find original solutions, using standard, typical techniques in a new design.
Keywords: libretto, K. fon Dittersdorf, Singspiel, opera buffa, commedia dell'arte
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Bubeeva, S.B. (2025), “The libretto of Carl Dittersdorf 's Singspiel and the Italian Opera Buffa”, Journal of Musical Science, vol. 13, no. 1, pp. 9–18. DOI: 10.24412/2308-1031-2025-1-9-18.
“HOLGER THE DANE” BY F. KUNTZEN AND “HOLGER FEHDE”: PRO ET CONTRA
E.A. Khoniakina
Abstract. The article examines F. Kunzen's opera "Holger the Dane", which became one of the reasons for the beginning of the Danish-German socio-cultural conflict in 1789 under the name "Holger Fehde" – "Holger's Feud". A number of foreign sources cover this confrontation quite fully, and also pay attention to the history of the creation of the opera, while it is almost unknown to Russian musicology. This article aims to partially fill this gap. Fragments of works by foreign researchers are introduced into scientific circulation, based on which the author examines F. Kunzen’s opera in the context of the phenomenon of “Holger Fehde”. The figure of the legendary Danish hero Holger appears, playing his role in the history and culture of Denmark. The article presents the polar opinions of critics and witnesses of the opera production, and indicates their influence on the opinion of the Danish public regarding the activities of German masters, which included F. Kunzen. Based on the research of the Danish musicologist O. Kongsted, “On Holger the Danish and the Holger Conflict” (1996), information is drawn on the satirical play “Holger the German” by the leading Danish playwright of that time, J. Heiberg, and the opera parody of the same name by F. Kunzen himself. Conclusions are made that the opera "Holger the Dane" had a revolutionary character and was a harbinger of the era of romanticism. Thanks to "Holger's Feud", the Danes were able to define themselves in terms of national symbols, which would already be cultivated by leading composers of Denmark in the 19th century.
Keywords: F. Kunzen, Holger the Dane, Holger the German, Holger Fehde, "Holger's Feud", Danish-German conflict, Danish opera, 18th century, classicism
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Khoniakina, E.A. (2025), “«Holger the Dane» by F. Kuntzen and «Holger Fehde»: pro et contra”, Journal of Musical Science, vol. 13, no. 1, pp. 19–31. DOI: 10.24412/2308-1031-2025-1-19-31.
VOCAL AND CHORAL WRITING IN FRANZ SCHUBERT'S MASS Es-dur
Dong Yanjun
Abstract. The article is devoted to Schubert's Mass no. 6 Es-dur, D.950, the master's last work in this genre. Created shortly before his death, the mass became an example of the composer's artistic maturity, on the one hand, and reflected his special attitude to the church-Catholic canon, on the other. The mass is analyzed from the point of view of the specificity of Schubert's vocal and choral writing, revealed in direct interaction with the orchestra. Three choral fugues, traditionally composed by Schubert for certain sections in the Gloria, Credo and Sanctus movements, are considered as a manifestation of high polyphonic mastery and as a serious test for the conductor, choral and instrumental performers. The most expressive episodes of the mass – Domine Deus in Gloria and Agnus Dei – incorporated the best achievements of composer’s technique in the field of vocal and choral melody, harmony and timbre dramaturgy. At the same time, they reflected the existential and religious questions that troubled Schubert in the last months of his life. The emotional mode of the Gloria, Sanctus and Agnus Dei parts, which is atypical for masses of Austrian composers, allows us to conclude about an individual, deeply personal refraction of the ideas of Christianity and an equally individual musical and stylistic interpretation of the liturgy.
Keywords: Franz Schubert, Mass Es-dur, chorus, choral part, fugue, choral writing, performance
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Dong Yanjun (2025), “Vocal and choral writing in Franz Schubert's Mass Es-dur”, Journal of Musical Science, vol. 13, no. 1, pp. 32–42. DOI: 10.24412/2308-1031-2025-1-32-42.
TOPOSES OF NIGHT, WATER AND GARDEN IN ROMANCES OF S.M. LYAPUNOV
N.V. Medvedeva, Chen Liyin
Abstract. Sergei Mikhailovich Lyapunov, known primarily for his piano and orchestral music, left 53 romances marked by stylistic, semantic unity and similarity of images. The composer's romantices can be considered as an unated text, just as the romances of other Russian and foreign composers such as M.P. Mussorgsky, N.A. Rimsky-Korsakov, S.V. Rachmaninov and others were previously considered. The texts chosen by Lyapunov for romances find expression in music, however, an analysis of the word and music separately is also possible, and it gives interesting results. In the texts of Lyapunov's romances, there are three significant toposes that pass from opus to opus and are the subject of the composer's close attention: night, water, represented as a sea, river or stream, and also a garden. All three turn out to be interconnected and loaded with personal meanings for Lyapunov, associated with images of a happy childhood. All romances embodying these toposes have a certain set of musical and expressive means, in which one of Lyapunov's most significant ideas unfolds – the transition from the external to the internal. This process is illustrated by the example of several romances, where the mentioned toposes are presented.
Keywords: S.M. Lyapunov, topos, romance, poem, nocturne
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Medvedeva, N.V., Chen Liyin (2025), “Toposes of night, water and garden in romances of S.M. Lyapunov”, Journal of Musical Science, vol. 13, no. 1, pp. 43–51. DOI: 10.24412/2308-1031-2025-1-43-51.
LEVELS OF INTERPLAY BETWEEN JAZZ AND CLASSICAL IN GEORGE GERSHWIN'S CONCERTO IN F
Wang Kunhao
Abstract. This article analyzes the musical material of George Gershwin's Concerto in F. The author of the given research addresses the issue of how Gershwin's contemporaries perceived the combination of classical and jazz music in the composer's work, as the introduction of jazz elements into classical art in the early XXth century was often scandalous due to the negative connotations surrounding jazz music. Over time attitudes towards jazz music have changed; consequently, the modern approach to Gershwin's work, which recognizes the cultural value of jazz, requires an exploration of specific levels of interplay between jazz and classical music in the Piano Concerto in F. The research examines these interactions from the perspective of the concerto's structure, thematic material, harmony, communication between the orchestra and piano, and the timbral characteristics of different orchestral groups that help to highlight the jazz and classical elements of the musical material. The article demonstrates how this interaction reveals Gershwin's musical thinking and the composer's ability to create contrasts in different sections of the concerto while simultaneously transforming specific elements from jazz to classical and vice versa.
Keywords: jazz music, classical music, George Gershwin, piano concerto, American music
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Wang Kunhao (2025), “Levels of interplay between jazz and classical in George Gershwin's Concerto in F”, Journal of Musical Science, vol. 13, no. 1, pp. 52–59. DOI: 10.24412/2308-1031-2025-1-52-59.
N. DORLIAK – S. RICHTER: INTERPRETATIONS FEATURES OF RUSSIAN VOCAL MUSIC
Liu Chang, L.A. Skaftymova
Abstract. The creative tandem of singer N.L. Dorliak and pianist S.T. Richter is an unattainable peak of the Russian performing school. Similarity of musical interests and selfless service to music united the two masters of the stage. For many years, their repertoire included works of chamber vocal music, most of which was created by Russian composers of the 19th – 20th centuries. Based on the analysis of audio recordings of Dorliak and Richter, the article reveals the principles of interpretation of vocal music: timbre and articulation unity, the primacy of the voice. In the performance of cantilena romance lyrics by M.I. Glinka, A.S. Dargomyzhsky, S.V. Rachmaninoff, Richter fades into the background, giving Dorliak’s voice the opportunity to reveal itself in all its diversity. Wanting to emphasize the beauty of the vocal timbre, the pianist highlights individual notes in the piano part, imitating the crystal purity of Dorliak’s intonation. In their interpretations of the vocal works of M.P. Mussorgsky and S.S. Prokofiev, the performers are guided by the recitative nature of their musical language and theatrical potential. In the process of performing The Ugly Duckling or The Nursery, Dorliak and Richter act as full-fledged participants in the musical-theatrical action, each of whom has his own means for creating vivid images, the most important of which is expressive singing and instrumental intonation.
Keywords: N.L. Dorliak, S.T. Richter, accompanist, chamber music, Russian romance, Glinka, Mussorgsky, Prokofiev
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Liu Chang, Skaftymova, L.A. (2025), “N. Dorliak – S. Richter: interpretations features of Russian vocal music”, Journal of Musical Science, vol. 13, no. 1, pp. 60–70. DOI: 10.24412/2308-1031-2025-1-60-70.
PAOLA MAURICE AND HER “PAINTINGS OF PROVENCE”: AN EXPERIENCE OF PERFORMANCE ANALYSIS
A.V. Vanchugov, Duan Junhao
Abstract. The article examines the creative fate of the French composer Paola Maurice (1910–1967) and analyzes her key composition for the saxophone, the viola suite “Paintings of Provence”. Being a graduate of the Paris Conservatoire, she worked all her life at her native university, made a definite contribution to the development of composition and theoretical thought in her homeland. Among a number of her chamber instrumental and symphonic compositions, it is the “Paintings of Provence” that have gained international recognition, which have already become classics of saxophone performance in the 21st century. The composer embodies vivid images of the south of France through expressive melodic lines, tart harmonies inherited from C. Debussy and M. Ravel, as well as through refined rhythms originating from I. Stravinsky. The presented brief artistic and historical characteristics of each of the five parts and the detailed performance analysis make it possible to understand the composer's idea in as much detail as possible and realize their vision for both novice saxophonists – students of the middle and senior classes of the children's music schools / children's art schools, and already established masters studying at the graduate courses of conservatories and art institutes. Relying on the method of holistic analysis and a number of methodological works on playing the saxophone by Russian and English-speaking authors, the first appeal to music in Russian musicology becomes possible, which will help in further attracting researchers to study the work of composers such as P. Maurice.
Keywords: Paola Maurice, saxophone, suite “Paintings of Provence”, performance analysis
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Vanchugov, A.V., Duan Junhao (2025), “Paola Maurice and her «Paintings of Provence»: an experience of performance analysis” // Journal of Musical Science, vol. 13, no. 1, pp. 71–85. DOI: 10.24412/2308-1031-2025-1-71-85.
RUSSIAN SCHOOL OF PLAYING WIND INSTRUMENTS: ORIGINS, PRESENT, PROSPECTS
K.S. Serkov
Abstract. One of the central issues for any national academic instrumental school is the origins of its aesthetics in general and, first of all, ideas about the timbre features of each instrument. According to the author, this topic is currently one of the most significant for the domestic wind school, since in the second half of the 20th century there was a rather abrupt change in the vector of its development, which led, on the one hand, to many positive results, but a number of negative aspects that accompanied this process have not yet been completely overcome today. The proposed article notes the sources of the emergence of completely different approaches to understanding the sound of wind instruments in the framework of the formation of European performing schools in the 19th century, primarily French and German, which entailed the emergence of models that are very different in their designs and timbre characteristics. The influence of the German instrumental tradition on the Russian wind school is considered. The factors that influenced the crystallization of the "Russian sound" of wind instruments are systematized. The main problematic issues of the recent past and present of the domestic wind school are identified. A number of the most important tasks of modern musical performance are formulated, which should be reflected in the process of training Russian wind musicians. Practical ways of their solution are proposed within the framework of the educational process in secondary specialized and higher educational institutions. In particular, this concerns the formation of the necessary auditory representations in students, their study of the latest music using non-traditional playing techniques, and the development of solo and orchestral performance skills.
Keywords: Russian school of playing wooden and brass wind instruments, German wind school, French wind school, aesthetics of sound, timbre
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Serkov, K.S. (2025), “Russian school of playing wind instruments: origins, present, prospects”, Journal of Musical Science, vol. 13, no. 1, pp. 86–96. DOI: 10.24412/2308-1031-2025-1-86-96.
Yang Yi
Abstract. In this article, the author points out the need for specific methods and approaches in the study of chamber music for the European flute by Chinese authors. Briefly outlining the historical vector of the development of Chinese flute art (from the formation of instrumental art on traditional flutes to the introduction of the instrument of the European model), the author draws attention to the closest and inextricable connection of traditional ideas about the instrument and the music played on it in the creative practices of Chinese musicians on the flute of the Western model. In this regard, the author postulates some positions and approaches to the study of instrumental music (instrumental tradition), used by ethnomusicologists as the most effective methods of analytical work with chamber compositions by Chinese authors for the European flute. Thus, through the historical method of research, methods of analysis and generalization, the author formulates the need to update methodological tools in the study of Chinese chamber music for the European flute through the integration of methods and approaches of a related field of scientific knowledge – ethnomusicology. These methods and approaches of a related discipline (in contrast to the methods of academic musicology) are able to reveal the deep layers of the national tradition, not only not lost due to the Westernization of the flute art of China, but updated in its own exceptional power.
Keywords: сhamber music, Chinese flute, European flute, instrumental tradition, musicology, ethnomusicology, research methods
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Yang Yi (2025), “On the effectiveness of methodological tools in the study of chamber music for the European flute by Chinese composers”, Journal of Musical Science, vol. 13, no. 1, pp. 97–104. DOI: 10.24412/2308-1031-2025-1-97-104.
SPECIFICITY OF MINIMAL PITCH INVARIANTS IN MUSICAL FOLKLORE OF INDIGENOUS PEOPLES OF SIBERIA
N.M. Kondrat’eva
Abstract. The article describes in detail the structure of minimal pitch segments in Siberian music, which differs from European norms. The minimum segments are represented by pitch contours that reflect the process of significant changes in sound at the steps of the scale, which is important for Siberian cultures. The system of pitch contours identified by the author, which has the property of universality for the Siberian metaculture, is described in detail. It includes two classes, nine main types and twenty-four subtypes of pitch configurations. When describing the system of pitch contours, special attention is paid to differential features that distinguish types and subtypes of pitch contours and appear at different levels. In different ethnic cultures, genre traditions, and performance styles, pitch contours are connected to scale steps in different ways, forming different sets of minimal pitch invariants. However, in all Siberian cultures there is a fundamental possibility of realizing different contours at one step. This gives rise to a special structure of Siberian scales with very large step widths, which the author calls zonе scales. Another consequence of the specific structure of minimal pitch invariants is the irrelevance of intervallicity, which is clearly manifested in the phenomenon of “opening modes” discovered and described by G. Grigoryan and E. Alekseev. To illustrate the theoretical positions, two author's notations of Tuvan songs kozhamyk, performed in one tune by mother and daughter, are given. They are accompanied by diagrams of the zonе scales, established with the help of Speech Analyzer.
Keywords: ethnomusicology, musical culture of Siberia, methods of musical texts analysis, pitch contours, pitch invariants, zonе scales
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Kondrat’eva, N.M. (2025), “Specificity of minimal pitch invariants in musical folklore of indigenous peoples of Siberia”, Journal of Musical Science, vol. 13, no. 1, pp. 105–115. DOI: 10.24412/2308-1031-2025-1-105-115.
EDUCATIONAL ASPECTS OF ORGAN ART OF NOVOSIBIRSK IN 2014–2024
N.V. Baginskaya, A.A. Maltseva
Abstract. The article is devoted to the development of organ education in Novosibirsk as a multilevel system of teaching organ performance. The authors address the current stage of development of the Novosibirsk organ school, analysing facts and events over the period from 2014 to 2024. The authors focus on such aspects as the activities of organ teachers at the M.I. Glinka Novosibirsk State Conservatory, quantitative and qualitative positive changes in the achievements of students, and the activities of graduates of the Conservatory in Novosibirsk, which is an important factor in the sustainable development of the Novosibirsk organ school. The authors examine the activities of associate professor Gleb A. Nikulin and Professor Natalia V. Baginskaya in pedagogical, concert (tours, competitions, disc recordings) and methodological (participation on the jury of competitions, master classes) areas. Special attention is paid to the performance of works by Siberian composers and the organ works of G. Nikulin. The article examines in detail the development of the organ class in the decade under consideration (participation of students in competitions, master-classes, tours, employment of graduates in philharmonic society’s of the Siberian region), noting the high creative potential and enthusiasm of young musicians. In analysing the activities of organ class graduates in Novosibirsk, the authors note that the pedagogical and methodological work carried out at Children's School of Arts no. 20 (E. Danilova) and the “Quarter with a Point” studio (O. Kolesnikova) plays an important role for early organ training. At the end of the article, the authors conclude that the analysis of the above-mentioned aspects indicates that the system of organist education in Novosibirsk is firmly established in the period from 2014 to 2024 and outlines the prospects opened up after the restoration of the organ of the Great Hall of the Conservatory.
Keywords: musical culture of Siberia, musical culture of Novosibirsk, Novosibirsk State Conservatory, organ performance, Novosibirsk Organ School, education of organists
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Baginskaya, N.V., Maltseva, A.A. (2025), “Educational aspects of organ art of Novosibirsk in 2014–2024”, Journal of Musical Science, vol. 13, no. 1, pp. 116–125. DOI: 10.24412/2308-1031-2025-1-116-125.
THE THEME OF SU WU IN THE WORKS OF CHINESE COMPOSER HUANG HUI
Wu Jie
Abstract. The article is devoted to the vocal and symphonic cycle "Su Wu Herds Sheep" by the Chinese composer Huang Hui and the thematic connections with the school song of the same name by Tian Xihou (lyrics by Jiang Yingtang). The article presents the facts of the creation of the CD version and score of the cycle, the main artistic dominants of the composer's creative work, and analyzes the musical structure of the parts and the whole. The image of Su Wu has been perceived for many centuries as a symbol of loyalty to the Emperor, perseverance and fortitude, therefore it is widely represented in Chinese literature and music. In his cycle, Huang Hui offers a different look at the figure of Su Wu – from the point of view of the psychology of a person who has gone through difficult trials. The composer's methods of working with the invariant of the theme "Su Wu Herds Sheep" are studied. It is established that the variant-variational principle of development is the main one, which is associated with the features of an epic statement. The main techniques of working with thematic material are defined: rhythmic increase, compression, mirror inversion, modal modulations, tempo updates, re-instrumentation. The functions of some sections of the parts are defined from the point of view of their role in the dramaturgy of the cycle. Much attention is paid to the structural component of the parts – the article reveals the special role of rondalnost as one of the principles of form-building and three-part structure, which acquired a symbolic meaning in the context of the content of the composition.
Keywords: “Su Wu Tending Sheep”, Huang Hui, School song, vocal and symphonic cycle Conflict of interest. The author declares the absence of conflict of interests.
For citation: Wu Jie (2025), “The theme of Su Wu in the works of Chinese composer Huang Hui”, Journal of Musical Science, vol. 13, no. 1, pp. 126–134. DOI: 10.24412/2308-1031-2025-1-126-134.
Zhang Cheng
Abstract. The concerto for pipa and symphony orchestra “Steppe Sisters” by Wu Zuqiang, Wang Yanqiao, Liu Dehai, written in 1973, is a bright representative of the genre of "folk concert" that emerged in China in the 20th century. The composition demonstrates the qualities characteristic of all works of the Cultural Revolution period. It is based on the story of two girls who, risking their lives, protected a flock of sheep in the midst of a snowstorm. The concert uses themes of famous songs: from the cartoon of the same name and from the author's song “We wish Chairman Mao a long life”. The article examines in detail the methods of composer's work on the way to reflecting elements of Mongolian musical culture. The synthesis of song and dance and epic musical traditions, methods of working with quotation material, ways of embodying the stylistics of Mongolian song folklore and the timbre of folk instruments, features of conveying color, aesthetics and axiological components of culture are revealed. The first part of the concert reveals the features of two leading song traditions of the Mongols – urtyn-duu and bogino-duu, as well as their projection onto the musical fabric of the concert through the embodiment of the image of the wide steppe and the running of a horse. The third part of the concert reveals the features of Mongolian laudatory songs and epic tales, which directly affected the character of the melodic development. The conclusion states that the concert is a striking example of the harmonious combination of traditional elements of Mongolian musical culture and Western European logic of development. The authors' departure from ethnographism ensured the success of “Steppe Sisters” with listeners.
Keywords: Concerto for pipa and symphony orchestra, “Steppe Sisters”, Mongolian song tradition, Wu Zuqiang, Wang Yanqiao, Liu Dehai, urtyn-duu, boguino-duu, music by chinese composers
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Zhang Cheng (2025), “Concert for pipa and symphony orchestra «Steppe Sisters» by Wu Zuqiang, Wang Yanqiao and Liu Dehai: towards the problem of reflecting national”, Journal of Musical Science, vol. 13, no. 1, pp. 135–144. DOI: 10.24412/2308-1031-2025-1-135-144.
Zheng Dingqian
Abstract. This article provides information on the origins of Chinese military music, dating back to three millennia before the Western Zhou Dynasty, the development of military bands, their instrumental composition and role in the period from the Han Dynasty to the Qing Dynasty. However, with the late nineteenth and early twentieth century invasions of China by eight powers and the deepening of cultural exchanges between East and West, traditional Chinese drum marching music was eventually supplanted by Western drum marching music. Purpose of the paper: to present a brief history of Chinese military music. The article considers the compositions of orchestras of ancient China and modern ones, notes especially popular compositions and their authors, provides information about the first European-type orchestras. The role of the orchestra of the People's Liberation Army of China is noted not only in mastering European genres of military music, but also in strengthening the quality of aesthetic education in the country. The conclusion is that the Chinese military music appeared earlier than the Western one, but in the West for the first time wind instruments were improved, they sounded louder and were more effective on the battlefield, so the displacement of Chinese drum and brass military music was inevitable.
Keywords: military music, band, army, brass instruments, marching
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Zheng Dingqian (2025), “Chinese military band”, Journal of Musical Science, vol. 13, no. 1, pp. 145–151. DOI: 10.24412/2308-1031-2025-1-145-151.
O.V. Usacheva
Abstract. The article provides explanations to the translation of the conversation of four composers representing the Chinese musical culture of the period of "reform and openness" – Li Xian, Qu Xiaosong, Ye Xiaogang, Tan Dun. The published historical document reflects the discussion about the prospects for the development of Chinese musical creativity, which unfolded on the pages of the musical and academic press in the 80s of the XX century. The relevance of the translation of this document is due to the need to include it in full in the basic corpus of sources in Russian for studying the latest stage in the history of Chinese music, including the work of the "new wave" composers. "A conversation about the trends of modern musical thought" is considered in the context of the events that took place in the field of professional academic music in China in the first decade after the Cultural Revolution, which contributed to the intensification of the processes of renewal of the country's musical life, stimulated the formation of the Chinese musical avant-garde, and determined the vectors of creative formation of the younger generation of Chinese composers. Three representatives of this generation – renowned modern composers – are shown at a crucial moment in their lives: between graduation from the Conservatory and departure to study in the United States. The article provides a general description of the content of the conversation, identifies its main thematic lines, and address the issue of the experience of translation and link to the document in the Russian-language scientific literature.
Keywords: Li Xian, Qu Xiaosong, Ye Xiaogang, Tan Dun, “new wave” composers, the Chinese musical avantgarde, Chinese culture
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Usacheva, O.V. (2025), “A сonversation of the trends of modern musical thought (Li Xian, Qu Xiaosong, Ye Xiaogang, Tan Dun). Part I”, Journal of Musical Science, vol. 13, no. 1, pp. 152–165. DOI: 10.24412/2308-1031-2025-1-152-165.
A.S. Zvyagina
Abstract. The article examines the results of a fifteen-year collaborative creative process between film director Peter Greenaway and minimalist composer Michael Nyman. The evolutionary arc from the first film, The Draughtsman's Contract, to the last, Prospero's Books, eloquently testifies to the intensive development and gradual exhaustion of the initially unified creative concept. Several aspects are highlighted that indicate increasing differences in approaches to creating music for films and objects of bricolage processing, as well as in the very method of using musical material. If in The Draughtsman's Contract the musical material is an important, but still complementary factor of the audiovisual synthesis, providing psychological authenticity of the characters' behavior in the frame, then in Prospero's Books Nyman's music claims a special role in the deconstruction of Shakespeare's narrative, spiritualizing with its sound the panoramic views of the illusory world and displacing the few plot details that still connect what is happening on the screen with reality. The author comes to the conclusion that the bricolage technique applied by Nyman and Greenaway throughout their joint creative work to the music of H. Purcell and plots touching on the history and culture of Great Britain turned out to be so long-lasting and effective precisely because it represents a holistic and actively evolving artistic method.
Keywords: bricolage, film music, Peter Greenaway, Michael Nyman, “Draughtsman's Contract”, “Prospero's Books”, soundtracks
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Zvyagina, A.S. (2025), “«The Draughtsman's Contract» – «Prospero's Books»: the evolution of the joint creative method of P. Greenaway – M. Nayman”, Journal of Musical Science, vol. 13, no. 1, pp. 166–175. DOI: 10.24412/2308-1031-2025-1-166-175.
CAUCASIAN TURBO-FOLK AS A TREND IN DOMESTIC ETHNO-POP MUSIC
Yu.V. Antipova
Abstract. The article continues a series of the author's studies concerning the problem of bringing linguistic means of traditional music of the peoples of the world into the space of popular musical culture. Having become a striking phenomenon in the domestic pop mainstream, Caucasian turbo-folk (Caucasian chanson) is considered as an example of ethno-pop music and is characterized by the following features: like any ethnically colored pop music styles, it gives the most superficial idea of the traditional music of the region; throughout the 2010s and already in the 2020s Caucasian turbo-folk has become an increasingly representative segment of Russian show business; it compensates for the deficit of masculinity, brutality, patriotism, and family values. The relevance of the study is associated with the clarification of the textual and musical-stylistic features of the compositions of Caucasian pop songs: performed in Russian, they contain many linguistic inaccuracies; two main varieties of the genre reflect the main mental properties of the conventionally Caucasian - the lively lezginka ("Salam aleikum to the brothers" by I. Itlyashev) is responsible for the theme of the Brotherhood of the Caucasian peoples, and songs in the style of Latin American pop music ("She loved roses" by I. Itlyashev) assert adherence to current trends, important in conquering the rebellious Woman. It is proven that from the rich arsenal of traditional music of the North Caucasus, only some of its clichés are selected: recitation on one sound, playing with the t-VII turn in natural minor, inclusion of characteristic Caucasian ornamentation in the melody, rhythmic ostinato. Such selectivity and averaging of means does not allow us to speak about the belonging of Caucasian turbo-folk to the folklore layer, but as an original phenomenon of the global mass music market.
Keywords: pop music, ethno-pop, Caucasian turbo-folk, Caucasian chanson.
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Antipova, Yu.V. (2025), Caucasian turbo-folk as a trend in domestic ethno-pop music”, Journal of Musical Science, vol. 13, no. 1, pp. 176–182. DOI: 10.24412/2308-1031-2025-1-176-182.
