E.O. Predvechnova
Abstract. This article presents for the first time a semantic analysis of the program, structural-genre invariant and mythopoetic symbolic images in the Concerto for Piano and Orchestra in E minor, op. 60 No. 3 (Ballad) by N.K. Medtner. Mythopoetic symbolic images are studied at the level of text, context and intertext. The features of the symbolic program, conditioned by the content of M.Yu. Lermontov's poem “The Mermaid”, are considered. The extra-musical semantics of the themes of the Concerto, op. 60 is formed on the basis of the influence of the literary genre of the ballad, conditioned by the symbolic, mythopoetic thinking of the composer. Intertextual parallels are drawn with the ballads of F. Chopin, I. Brahms, where manifested the idea of a romantic dual world, narrative, epic. At the text level, the dramaturgy of symbolic images is expressed in an idyllic chronotope, the specificity of which is determined by the interaction associated with mystical (water, Mermaid), real (fire, Knight), and sacred (timeeternity, earth, Author) symbolic spheres. Analysis of the intramusical semantics of the themes revealed lyricalepic, psychological, dramatic, genre-dance figurative spheres. In the process of studying the semantic content of the text, it is noted that the image-symbol of the Mermaid is presented by the themes of appeal, stormy wave, playful dance, the image-symbol of the Knight is expressed by the themes of will, fate, exclamation, jubilation, bells. Time-eternity of the Author is represented by the theme of memories, which performs the function of a leitmotif, a semantic dominant of the composer's work at the intertextual level. It is noted characteristic properties of the composer's musical thinking, such as mythopoeticism, syntheticity, symphonicity, and theurgicity. The specificity of the structural and semantic genre invariant of the Concerto is expressed in the concept of “Theurgic Man”.
Keywords: N.K. Medtner, piano concert, semantic of programm, image-symbol, structural-semantic genre invariant
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Predvechnova, E.O. (2025), “On the semantics of mythopoeic image-symbols in e-moll Piano Concerto, op. 60, no. 3 (Ballad) by N.K. Medtner”, Journal of Musical Science, vol. 13, no. 2, pp. 9–18.
DOI: 10.63219/2308-1031-2025-2-9-18.
E.V. Medvedeva
Abstract. The article is devoted to the work of Alexander Borisovich Goldenweiser (1875–1961) – an outstanding teacher, pianist, composer, editor and prominent public figure. At the center of the study is Poem for violin and piano, op. 38, which vividly represents features of A.B. Goldenweiser's authorial style. However, its expressive properties and algorithms that stimulate updating, the relevance of the content, remain unexplored. The author of the article examines in detail the content-thematic structure of the work, which opens up new opportunities for understanding it and inspires musicians to new interpretations. The purpose of the article is to comprehend information about the author's style of Goldenweiser, to identify the specifics of the expressive means of his music, the features of the composer's handwriting. The essence of the concept of the Poem, op. 38 is considered in line with the figurative-semantic component and the tonal-harmonic organization due to it. It is proved that in the work of A.B. Goldenweiser organically combined traditional classical thinking and innovative breakthroughs of the early twentieth century. The conclusion concluded that the composer's style is not only distinctive, but also largely anticipates the art of future generations.
Keywords: A.B. Goldenweiser, author's style, chamber-instrumental creativity, poem
Conflict of Interests: The author declares the absence of conflict of interest.
For citation: Medvedeva, E.V. (2025), “Features of author's style in chamber-instrumental creativity A.B. Goldenweiser on the example of the «Poem», op. 38”, Journal of Musical Science, vol. 13, no. 2, pp. 19–28.
DOI: 10.63219/2308-1031-2025-2-19-28.
SONATA no. 12, op. 69 “ANTIQUE” BY DMITRY TOLSTOY: THE SPECIFICS OF THE GENRE'S IMPLEMENTATION
Li Jinchang
Abstract. St. Petersburg composers of the second half of the twentieth century continued their creative reinterpretation of the legacy of the piano sonata genre. In particular, Dmitry Alekseevich Tolstoy (1923–2003) made a characteristic contribution. His writings are filled with an original figurative, meaningful and stylistic component. Of the greatest interest from the point of view of understanding Dmitry Tolstoy's author's quest is Sonata No. 12 “Antique”, op. 69. It is an example of enriching the established canons of the emotional and meaningful component of the classical piano sonata with imagery that combines a simultaneous appeal to the past (the times of antiquity) and modernity. The article reveals D. Tolstoy's original treatment of various effects of music stylization: from ancient modes and the simplest intonations to elements of musical neoclassicism. The work clearly shows the influence of S.S. Prokofiev's work, which is also reflected in the presented study. Among other things, attention is paid to the combination of vocal and instrumental intonations; the texture of the harmonic warehouse; the use of consonances in the key of the sonata; the rhythm of the sonata drawing; the structural clarity of the composition; the tendency to chamber and lyrics in expressing musical experiences. The article reveals the richness of the emotional and meaningful saturation of the sonata through the subjective composer's interpretation of perfection and beauty.
Keywords: music of the twentieth century, St. Petersburg School of Composition, Dmitry Tolstoy, piano sonata genre, neoclassicism, Sonata no. 12 “Antique”
Conflict of interest. The author declares the absence of conflict of interest.
For citation: Li Jinchang (2025), “Sonata no. 12, op. 69 «Antique» by Dmitry Tolstoy: the specifics of the genre's implementation”, Journal of Musical Science, vol. 13, no. 2, pp. 29–37.
DOI: 10.63219/2308-1031-2025-2-29-37.
ROCK OPERA BY A. KRUGLOV AND E. KHANPIRA “THE LAST TEST”: MUSICAL AND DRAMATURGICAL ORGANIZATION
O.V. Novikova, A.E. Ivanova
Abstract. The article is devoted to the analysis of the musical and dramatic organization of the rock opera by composer Anton Kruglov and librettist Elena Khanpira “The Last Test” (2009), which is a significant phenomenon in contemporary Russian culture. Parallels are established between “The Last Test” and other works of art – in particular, with the rock opera by E.L. Webber “Jesus Christ Superstar”, classical-romantic opera legacy, works of classical literature and cinema. For the first time, musical and expressive means of embodying the images of the main characters and the concept of the composition as a whole are considered. Systems of musical and stylistic characteristics are revealed that contrast the characters: each of them has an intonation and stylistic layer and type of intonation, as well as instrumental timbres. The concept of the opera is realized at the level of the system of leitmotifs and intonation connections between numbers and actions. The principles of form-building, the significant role of intonation arches, reprise, three-part, rondo-likeness are also of great dramatic significance in the opera. It is concluded about this rock opera as a complex musical and stage work, although it belongs in its stylistic characteristics to the “music of the third layer”, but at the same time based on the achievements of academic classical and contemporary opera art.
Keywords: A. Kruglov, E. Khanpira, The Last Test, rock opera, musical, musical drama
Conflict of interest. The author declares the absence of conflict of interest.
For citation: Novikova, O.V., Ivanova, A.E. (2025), “Rock opera by A. Kruglov and E. Khanpira «The Last Test»: musical and dramaturgical organization”, Journal of Musical Science, vol. 13, no. 2, pp. 38–51. DOI: 10.63219/2308-1031-2025-2-38-51.
O.V. Usacheva
Abstract. The second part of the conversation between the four Chinese composers is devoted to discussing a number of issues relevant to the musical culture of China during the period of “reform and openness”, including: the uniqueness of Chinese music, the comparison of Eastern and Western types of musical thinking, the problem of individual and national, original and ordinary in modern compositional work, the role of culture of small nationalities in the renewal of Chinese music, ways and the prospects for the development of contemporary Chinese arts. The composers reflect on the peculiarities of the Eastern concept of musical time, the modern interpretation of melody, and the possibilities of enriching the timbres of Chinese and European musical instruments. Traditional and modern Chinese music is considered in the context of the philosophical problem of the relationship between man and nature, culture and civilization. According to the participants of “Conversation...” the uniqueness of Chinese music is due to its reflection of such key concepts for the Asian worldview as static, silence, peace, and emptiness. Composers discuss their creative plans, ideas and approaches to composing music, reflect on the role of various aesthetic and stylistic influences in their own work, and share the difficulties they face on their way to find one’s own creative method. In conclusion, the problem of the national culture integrity in conditions of pluralism and extreme individualization of creativity is raised, and the idea of a “returning” to the origins of Huaxia culture is put forward and regard as an inevitable stage in the development of modern Chinese arts.
Keywords: Chinese music, Chinese arts, Huaxia culture, Eastern concept of musical time, melody, timbre, traditional culture of Chinese ethnic groups
Conflict of interest. The author declares the absence of conflict of interest.
For citation: Usacheva, O.V. (2025), “Conversation of the trends of modern musical thought (Li Xian, Qu Xiaosong, Ye Xiaogang, Tan Dun). Part II”, Journal of Musical Science, vol. 13, no. 2, pp. 52–63.
DOI: 10.63219/2308-1031-2025-2-52-63.
THE “RUSSIAN TRACE” IN THE CHAMBER AND INSTRUMENTAL WORKS OF XU SHUYA
N.V. Sannikova
Abstract. The article examines the features of A.N. Cherepnin's compositional technique, which are reflected in the quartet “In Nomine III” by Xu Shuya. “In Nomine” means “in the name”, “dedication”. Xu Shuya's earliest music, presented under this name, was the trio for flute, clarinet and strings “In Nomine I”. The trio participated in the competition of the Alexander Cherepnin Association for the creation of a work dedicated to the Russian composer and musical figure, who left a noticeable mark on the culture of the East. In 2005 Xu Shuya wrote the string quartet “In Nomine II”, which was not related to the figure of Cherepnin, and in 2012 – “In Nomine III” for flute, clarinet, violin and cello commissioned by the Beijing Contemporary Music Festival. The quartet is subtitled “Tribute to Alexander Cherepnin” and reflects the features of his compositional method. In 1910–1920 Cherepnin developed his own system of composition and built it on the idea of synthesizing the principles of major minor and symmetrical fret formations: the “nine-step scale” or “Cherepnin's scale” is formed by combining two hexachords of the same major and minor. The consonances of the scale are divided into third, major-minor, and tone-neutral third-less. The use of this method in “In Nomine III” allowed Xu Shuya to achieve a special artistic effect, when, thanks to the compositional technique of merging Western and traditional musical elements, a high level of naturalness was obtained. By developing the Cherepnin method, the composer blurs the boundaries of the concepts of “academic music” and “traditional art”, Xu Shuya's compositions become truly multicultural.
Keywords: Xu Shuya, Alexander Cherepnin, Cherepnin's gamma, nine-step scale, quartet, dedication, actual Chinese music Conflict of interest. The author declares the absence of conflict of interest.
For citation: Sannikova, N.V. (2025), “The «Russian trace» in the chamber and instrumental works of Xu Shuya”, Journal of Musical Science, vol. 13, no. 2, pp. 64–70.
DOI: 10.63219/2308-1031-2025-2-64-70.
MYTHOPOETICS AND THE STRUCTURE OF THE ARTISTIC WORLD IN THE OPERA “MADAME WHITE SNAKE” BY ZHOU LONG
Su Yalin, S.A. Mozgot
Abstract. The appeal to the opera “Madame White Snake” by Zhou Long is due to the actualization of the fantasy sphere in the artistic culture of modern China and the weak degree of study of this sphere in the music of the 20th – first quarter of the 21st century. The purpose of the study is to establish the influence of mythopoetics on the structure of the artistic world and the specifics of the musical language in the opera “Madame White Snake” by Zhou Long. Research methods are historical-stylistic, cultural, hermeneutic approaches, the method of musicological analysis. As a result of the study, it is established that the basis of the organization of the artistic world of the opera is a three-tiered structure representing the lower, middle and upper world. They are represented by the images of fantastic characters – the demons of the Green and White snakes, abbot Fahai; the real world is represented by the image of Xu Xian – the lover of the White Snake (Madame White); the upper world – images of souls, drowned children, as well as the action of mythological principles of cyclicity – the motive of violation of the prohibition and death-reincarnation. The simultaneous image of the world modernizes the script and musical dramaturgy of the opera, determining the use of the techniques of stylistic allusion (French allusion – hint) and stylistic synthesis, creating compression of meanings and the intersection of various chronotopes. The extra-plot motives of violation of the prohibition and death-reincarnation perform the functions of structural invariants, linking the plot of the opera “Madame White Snake” with both ancient myths and the attitudes of the Buddhist worldview, expressed by the categories of love, truth, freedom, righteousness, Nirvana, the comprehension of which is relevant for the composer. The antagonism of the worlds leaves its mark on the musical characteristics of the characters, who are characterized by musical affect through an image-role, which combines the expressive means of Western European theater with the traditions of Beijing opera performances.
Keywords: Zhou Long, mythopoetics, fantastic characters, Sprechstimme technique, bel canto style, image-role
Conflict of interest. The authors declare the absence of conflict of interest.
For citation: Su Yalin, Mozgot, S.A. (2025), “Mythopoetics and the structure of the artistic world in the opera «Madame White Snake» by Zhou Long”, Journal of Musical Science, vol. 13, no. 2, pp. 71–82. DOI: 10.63219/2308-1031-2025-2-71-82.
THE SYMPHONIC POEM “SU WU” BY ZHANG XIAOHU IN THE CONTEXT OF THE NATIONAL SCHOOL OF COMPOSITION
Wu Jie
Abstract. Zhang Xiaohu's Su Wu Symphonic Poem is the first example of the symphonic poem genre in the history of Chinese music. This work is a synthesis of Western European form-structure, developmental methods and national content. The work was inspired by the story of a diplomat living in the Western Han period. The poem's thematic material is based on Tian Sihou's “Su Wu Shepherds the Sheep”, a well-known school song in China, which is the main theme here. In addition, the symphonic poem features three other themes that are variants of the main theme: “The rumble of the strong north wind and the sound of hujia”, “Hunnu Dance” and “March”. All of them reflect different stages of the hero's life. The process of form formation is built on the principles of motive and variant-variation work with the themes. An analysis of the musical material of the work and its semantic and content side has revealed some important features that make it possible to speak of the composer's individual approach to the interpretation of Su Wu's character. In particular, the hero is interpreted from the point of view of Confucian ethics and morality. For him, duty and service to the Emperor are paramount. This can be clearly seen in the dramaturgy of the poem, where the theme of Su Wu after his “return” to the Han Empire sounds solemn, full-sounding and triumphant.
Keywords: Su Wu's story, Zhang Xiaohu, school song genre, symphonic poem, tonal dramaturgy, personality psychology
Conflict of interest. The author declares the absence of conflict of interest.
For citation: Wu Jie (2025), “The symphonic poem «Su Wu» by Zhang Xiaohu in the context of the National School of Composition”, Journal of Musical Science, vol. 13, no. 2, pp. 83–93. DOI: 10.63219/2308-1031-2025-2-83-93.
A.K.I. Zabulionite, Jiang Tao
Abstract. In contemporary Chinese pop music, there is a noticeable tendency to refer to images and themes of traditional Chinese musical tradition, called chinoiserie. A polemic has arisen among pop music researcher, whether the aesthetic trend of chinoiserie has a positive influence on modern listeners, introducing them to traditional culture, or whether this trend is a manifestation of postmodernism, which distorts classical images, fragments the Chinese national tradition, thus having a negative impact on culture. The analysis of this controversy presented in our previous article “Chinoiserie as a Trend in Chinese Pop Music and as a Concept in Musicology” showed that the discussion was not concerned with identifying the essential characteristics of either the aesthetics of chinoiserie or postmodernism. The article advanced the idea that both of these aesthetic movements, chinoiserie and postmodernism, appeal to the classical tradition, but in fundamentally different ways. When dividing these aesthetic trends, it is important to pay attention to the fact that the spiritual roots of postmodernism are associated with crisis processes, which fundamentally distinguishes it from chinoiserie, which emerged on the wave of recognition of the value of traditional culture, its comprehension in the context and from the point of view of modernity. Based on the distinction made between these aesthetic directions, we turn to the analysis of the pop song ‘The New “Drunken Beauty”’ in order to show that the way it reinterprets traditional cultural forms allows us to attribute it to chinoiserie aesthetics. The article analyzes the text of the song written by Hu Li, reveals the shifts of emphasis through which the vocabulary and images of traditional literature acquire new semantic shades that do not lead to the deformation of images, as they do not violate the very principles of classical Chinese aesthetics. It is concluded that the peculiarities of the interpretation of classical images in Hu Li's text allow us to say that in this case we are dealing with stylization, i. e. the song should be attributed to the aesthetics of chinoiserie, but not to the aesthetics of postmodernism.
Keywords: pop music, chinoiserie, postmodernism, stylisation, traditional Chinese culture, contemporary Chinese music
Conflict of interest. The authors declares the absence of conflict of interest.
For citation: Zabulionite, A.K.I., Jiang Tao (2025), “Reinterpretation of the classical tradition in the song of Hu Li and Li Yugang «The New “Drunken Beauty”». Part 1”, Journal of Musical Science, vol. 13, no. 2, pp. 94–104.
DOI: 10.63219/2308-1031-2025-2-94-104.
GENRE AND STYLISTIC FEATURES OF WEDDING SONGS OF THE TURKIC PEOPLES OF THE VOLGA-CASPIAN REGION
A.R. Usmanova
Abstract. The topic of this article is driven by the fact that the Turkic musical culture of the Lower Volga region is among the least studied in terms of its comprehensive representation and historical development. The research aims include an attempt to reconstruct the overall picture of the wedding musical traditions of the Turkic peoples inhabiting the Astrakhan region – Yurt Tatars, settler Tatars, Nogais (Karagash), Turkmens, Kazakhs, and descendants of Uzbek-Sarts – and to identify the common regional and supra-dialectal features within the musical traditions of the region's peoples. Through the application of comparative-historical and typological methods, it is revealed that, while each culture maintains its unique identity, commonality at the level of genre and stylistic features is possible. This commonality is determined by the contact-based dialogue between peoples and ethnic groups. Wedding ritual practices, functioning as a stable social institution within the ceremonial culture of each ethnic group, serve as a focal point for musical genres, with identifiable parallels found across the cultures of various Turkic peoples. Based on the analysis of modal patterns, pitch, intonation vocabulary, and rhythmic structures of the wedding songs of the Turks of the Volga-Caspian region, it is demonstrated that two modalintonation systems are established in this area: the diatonic (characteristic of early samples) and the angimetonic (characteristic of later layers of the vocal tradition).
Keywords: wedding songs, Yar-Yar, Turkic peoples and ethnic groups, Volga-Caspian, pitch organization, genrestylistic features
Conflict of interest. The author declares the absence of conflict of interest.
For citation: Usmanova, A.R. (2025), “Genre and stylistic features of wedding songs of the Turkic peoples of the Volga-Caspian region”, Journal of Musical Science, vol. 13, no. 2, pp. 105–115.
DOI: 10.63219/2308-1031-2025-2-105–115.
IRKUTSK MUSIC AND THEATER CRITICISM ON THE PAGES OF THE NEWSPAPER “SIBERIA” (1873–1887)
O.A. Svetlova
Abstract. The problem of the article lies in the mainstream of Siberian music criticism and is related to the study of an array of theatrical and critical publications in the newspaper “Siberia”, published in Irkutsk in 1873–1887. The main subject of the analysis is notes, reviews, feuilletons and articles by Irkutsk correspondents devoted to productions of operettas and operas. Considering that a new theater building was erected in the city in 1873, the newspaper published in the same year from the first issues paid considerable attention to musical and theatrical events, the functioning of the theater, the activities of entrepreneurs, changes of troupes, the performing level of artists, and repertoire policy. The involvement of readers in the cultural agenda and the critical orientation of musical and theatrical reception can be traced in Siberia throughout the entire period of its publication. The article presents the most revealing materials reflecting the polemical statements of opponents, evaluative characteristics of singers, and comparisons of problematic aspects of the local theater with similar ones in the capital. Among the publications about operetta, the educational works of P. Suvorov, who advocates this genre, stand out. The chronological perspective allows us to observe the process of the relationship between the press and the theater in the article, identifying crisis points in it. The chronological perspective allows us to observe the process of the relationship between the press and the theater in the article, identifying crisis points in it. As a result of the research, it is noted that in the development of Irkutsk music and theater criticism, which is sensitive to the updating of the enterprise and repertoire, 1886 becomes a turning point, when the entrepreneur K.O. Malevsky staged opera scenes and operas, and the newspaper Sibir published reviews and reviews on them, thereby opening up prospects for local opera criticism.
Keywords: musical culture of Siberia, newspaper “Siberia”, musical and theatrical criticism, operetta, opera criticism, Irkutsk theater, K.O. Malevsky
Conflict of interest. The author declares the absence of conflict of interest.
For citation: Svetlova, O.A. (2025), “Irkutsk music and theater criticism on the pages of the newspaper «Siberia» (1873–1887)”, Journal of Musical Science, vol. 13, no. 2, pp. 116–126.
DOI: 10.63219/2308-1031-2025-2-116-126.
G.A. Eremenko
Abstract. The issues of strengthening the professional base of musicology education in music universities are discussed. The formation of the skill of conscious interaction of musical-historical and special theoretical knowledge seems promising in the training of future specialists (teachers, lecturers, music critics). In addition to a well-thought-out organization of the academic disciplines of the main cycle, this can be facilitated by the introduction of a number of courses aimed at studying and practically mastering universal and new approaches to the substantive aspects of music of the New European period and modernity. The main practical goal in the complex of disciplines should be to master the meaningful analysis of music. The article considers the procedure of system analysis of the phonic, intonation-thematic, compositional-dramatic and conceptual plans of the studied works of composition. The principles of the organization of author's programs (separate sections of interdepartmental programs) in the courses “The content of music”, “Introduction to musicology”, “Methodology of musicology”, which have been tested in the educational process of the Novosibirsk Conservatory, are presented. he importance of the practical orientation of the education of a music specialist and the importance of a holistic understanding of the phenomenon of music is confirmed by the opinions of reputable Russian scientists. The search for different ways to solve the problem, highlighted in numerous publications, testifies to its relevance.
Keywords: actualization of musicologist's education, historical and theoretical disciplines, meaningful analysis of music, educational programs
Conflict of interest. The author declares the absence of conflict of interest.
For citation: Eremenko, G.A. (2025), “The procedure for the meaningful analysis of a musical composition in the musicologist university education”, Journal of Musical Science, vol. 13, no. 2, pp. 127–136.
DOI: 10.63219/2308-1031-2025-2-127-136.
PROBLEMS OF THE EDUCATIONAL PROCESS IN THE CONTEXT OF DIGITALIZATION
L.L. Pylneva
Abstract. The article discusses the processes related to the enrichment of music education with Internet resources. The aim was to analyze the reasons that prevent the full use of digitalization opportunities in the education system. As practice has shown, the digital environment has brought both positive and negative trends to the field of science and education. The first ones include: expansion of the information space; greater availability of remote resources and databases, as well as high speed of obtaining them; remote format capabilities when participating in events of various scales; availability of developed online trainings and self-study programs. The second is the abundant and sporadic non–systematic increment of information in the digital space in all fields of knowledge, some of which are unscientific and unreliable; difficulties in finding and selecting correct data; the frequent existence of information isolated from the scientific system; insufficient mastery of students' search skills. A special problem is the substitution of creative and critical work with information sources recommended by teachers, downloading data from various sites without critical assessment and reflection, which is practiced by a number of students. This approach causes the greatest harm to students of research faculties, as it does not contribute to the development of scientific thinking and personal research experience, and leads to a decrease in the qualifications of graduates.
Keywords: digitalization, information technology, distance learning, electronic databases, Internet resources
Conflict of interest. The author declares the absence of conflict of interest.
For citation: Pylneva, L.L. (2025), “Problems of the educational process in the context of digitalization”, Journal of Musical Science, vol. 13, no. 2, pp. 137–145.
DOI: 10.63219/2308-1031-2025-2-137-145.
G.R. Taraeva
Abstract. The article discusses video clips and slide shows, which are types of visualization of classical music works widely available on the Internet. Researchers are interested in the general socio-psychological typology of such products in the absence of attention to the methods of their implementation. The author in the article describes the technique of using these formats in the theoretical disciplines of a music university – two types: a video clip and a slideshow as a creative project. Three types of music videos are presented: arbitrary accompaniment of music with visual objects and visual commentary on the emotional nature of music in accordance with the logic of musical structures, forms of presentation of thematic material (motifs, phrases, sentences), two visualization options for one piece of music, replacing a scene from a movie with classical music. The technique of a creative project – about the performer and the performing group, the work, musical events – declares the need to choose an approach to the “story”, the presence of intrigue, the widespread use of music, the modesty of the verbal text. Analytical samples of student projects posted on the author's channel “Galina Taraeva” are presented. The necessity of studying the formats of classical music sound in modern culture is emphasized, with the types of creative tasks for search, display, and analysis.
Keywords: classical music video, video clip technique, video clip in musician training, slide show in musician training
Conflict of interest. The author declares the absence of conflict of interest.
For citation: Taraeva, G.R. (2025), “Creative work with information and communication technologies in the theoretical disciplines of a music university”, Journal of Musical Science, vol. 13, no. 2, pp. 146–153.
DOI: 10.63219/2308-1031-2025-2-146-153.
Yu.V. Glazkova
Abstract. One of the important problems of organ performance has been and remains the issue of technique of playing on the pedal keyboard. As is known, any aspects of performance, sometimes related to purely “technological”, nevertheless influence the artistic and aesthetic side of interpretation. Many organists and teachers not only Russian, but also foreign are still convinced that in the pedal technique of the Baroque era only the toes were used, and the use of the heel became the achievement and prerogative of romantic performance. The aim of the article was to prove the historical and artistic validity of the use of the heel in the pedal fingering for the works of the German Baroque, including the organ opuses of J.S. Bach. The main material for the study was the detailed preface to the “Book of Chorales for the Land of Schleswig-Hollstein” (1803), written by one of Bach's direct students – J.Ch. Kittel. The pedal fingering variations given by Kittel in this preface demonstrate the use of the heel, a technique which the author himself describes as suitable for “old music”. The textural elements for which Kittel calls for the use of both the toes and the heels of the feet are also often found in Bach's organ works, which serves as further evidence of the possibility of using this type of fingering in interpreting the works of the Leipzig cantor. The author of the study identifies cases where the use of the heel is not only possible, but also artistically justified: for example, when playing in the very high or low part of the keyboard – where using only the toes would lead to either technical problems or to the instrument not sounding correctly. Whereas a fingering chosen properly, including taking into account historical information about the performance traditions of the era, ensures good contact between the musician and the action of the instrument, resulting in precise articulation, expressive phrasing and high-quality sound of the organ pipes.
Keywords: organ, historically informed performance, pedal, pedal keyboard, organ building, J.S. Bach, J.Ch. Kittel
Conflict of interest. The author declares the absence of conflict of interest.
For citation: Glazkova, Yu.V. (2025), “«The Book of Chorales for the Land of Schleswig-Hollstein» by J.Ch. Kittel as evidence of the principles of pedal fingering in the organ music of J.S. Bach”, Journal of Musical Science, vol. 13, no. 2, pp. 154–161.
DOI: 10.63219/2308-1031-2025-2-154-161.
OVERCOMING THE DEFICIENCIES IN VIOLIN PLACEMENT USING THE ALEXANDER TECHNIQUE
L.B. Zuy, A.V. Vanchugov
Abstract. This article examines the application of F.M. Alexander's technique in the physiological training of violinists. The relevance of the topic is due to the widespread occurrence of motor dysfunction and occupational disorders among string instrument performers. The study analyzes issues within the traditional approach of domestic pedagogy, particularly the process of transferring the mechanics of movements from teacher to student. The focus is placed on the key principles of Alexander’s method, including inhibition of automatic motor responses, primary control (the relationship between the head, neck, and torso), and direction technique (mental guidance of movement trajectories). The article discusses typical cases of muscular tension that arise during violin training and their potential correction through deliberate modification of movement patterns. A set of exercises is provided to restore physical balance and reduce excessive tension during performance. The effectiveness of the proposed approach is supported by the authors’ personal observations and by reference to international educational institutions where the Alexander Technique is regularly applied. The article concludes that integrating the Alexander Technique into the educational process is advisable as a means of preventing physical disorders and improving the quality of performance training.
Keywords: violin pedagogy, Alexander Technique, performance coordination, body awareness, occupational disorder prevention
Conflict of interest. The authors declare the absence of conflict of interest.
For citation: Zuy, L.B., Vanchugov, A.V. (2025), “Оvercoming the deficiencies in violin placement using the Alexander Technique”, Journal of Musical Science, vol. 13, no. 2, pp. 162–175.
DOI: 10.63219/2308-1031-2025-2-162-175.
Ren Yaobin
Abstract. The introduction of Chinese singers to the world vocal experience and the preservation of their individual singing style with Chinese characteristics is one of the trends in the vocal art of China in the second half of the 20th – early 21st centuries, which determines the relevance of this study. The purpose of the article is to analyze the performance creativity of Chinese tenors from the point of view of individual style, formed in the integration of the traditions of the Italian bel canto school and Chinese national culture. The scientific novelty of this work is determined by the desire to differentiate these features using the example of the singing style of Chinese tenors Shi Hong'e and Wang Hongwei. It seems that one of the sources of such specificity is the correlation of the timbre qualities of the original national style of singing, inherent in the role of xiaosheng in Beijing Opera, briefly described in the article, and Western-type tenor singing. The combination of descriptive and comparative methods and elements of performance analysis make it possible to focus on the common and different aspects of the vocal art of Shi Hong'e and Wang Hongwei. It was revealed that the specificity is rooted in the environment of formation, features of creative abilities and temperament, the nature of education, individual features of the timbre characteristics of voices and features of the performing style. Like many Chinese tenors, both singers received their musical training abroad or from foreign teachers in China. The interaction of Western teaching methods and principles of vocal performance with national singing traditions is demonstrated through the examples of Shi Hong'e and Wang Hongwei's interpretation of several examples of the chamber genre of Chinese artistic song. It is shown that the individual refraction of Western and national influences allowed both vocalists to achieve unprecedented prosperity and reach the global level.
Keywords: vocal art, tenor, bel canto, China, performance style, Shi Hong'e, Wang Hongwei
Conflict of interest. The author declares the absence of conflict of interest.
For citation: Ren Yaobin (2025), “Performing creativity of outstanding Chinese tenors Shi Hong'e and Wang Hongwei: features of singing style”, Journal of Musical Science, vol. 13, no. 2, pp. 176–185.
DOI: 10.63219/2308-1031-2025-2-176-185.
