ON THE FORMATION OF THE ANCIENT MUSICAL SYSTEM IN THE WORKS OF ANCIENT SCIENTISTS
L.V. Aleksandrova
Abstract. The musical art of the ancient Greeks is evidenced by the preserved small fragments of ancient Greek songs, images of instruments, poetic, poetic and mythological sources, as well as the very course of historical development, suggesting the expansion and deepening of certain properties of sound material at each particular turn of evolution. The formation of the ancient high pitch musical organization of ancient Greek music was consistently pronounced – from its origin, viewed through mythological evidence of the simplest quarto fifth scales to its mature form – the ancient perfect system that developed by the 5th–4th centuries BC, which has survived to our time thanks to the preserved (though not completely) treatise of Aristoxenus (IV century BC). The intermediate stages of the formation of a high pitched organization involve an appeal to gradually becoming more complex structural forms: this is a heptachord, the names of the tones of which are based on a planetary series, then an octave scale, 13 and 15 sound systems, then an 18 sound antique perfect system combining the forms of “separate” and “connected” sound systems. The final stage of the article makes a theoretical analysis of the structural late antique version of the full 28 perfect audio system, the audio volume of which is determined by the inclusion scale such as race (γένος), represented by three species – the diaton, the chromatics, enarmonia (διάτονος, χροματικός, ™ναρμόνιος). The described historical process, recorded in historical and theoretical sources, mainly late Antique (I–IV centuries A.D.) – Nicomachus, Ptolemy, Cleonides, Alypius, etc., considers musical and theoretical problems as part of general philosophical knowledge conditioned by the integrity of the perception of the world by the ancients.
Keywords: mythological evidence, octave scale, ancient perfect system, Aristoxenus, Late Antique scientists, Nicomachus, Ptolemy, Cleonides, Alypius
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Aleksandrova, L.V. (2025), “On the formation of the ancient musical system in the works of ancient scientists”, Journal of Musical Science, vol. 13, no. 4, pp. 9–21. DOI: 10.63219/2308-1031-2025-4-9-21.
I.S. BACH'S WELL-TEMPERED CLAVIER II VOLUME: HISTORY OF PERFORMANCES AND TIMEKEEPING
N.S. Bazhanov
Abstract. The “Well-Tempered Clavier” performance history contains several periods. The events of the periodization of this composition concert practice are: the first performance collections by I.S. Bach, the first sound recording performance of “Well-Tempered Clavier” is full (E. Fischer), the first performance of “Well-Tempered Clavier” in a concert (R. Tyurek), the first is-completion in a concert tour in 48 cities and on 6 continents (A. Hewitt). The timekeeping data of the second volume of the “Well-Tempered Clavier” given in the article allowed us to compare the of the first and second volumes with each other. The unexpected asymmetry of the performing scale of collections of preludes and fugues is confirmed by the measurement of the performing time of the sound. The significant superiority of the sound time of all minor cycles over major ones is of interest. In the performances of the “Well-Tempered Clavier” of the recording period, two types of interludes of the prelude and fugue cycle prevailed. In the first type, the center of the cycle was the prelude, performed intonationally expressively and meaningfully. In the second type, the center of the cycle was represented by a fugue, where counterpoint, polyphony formed the basis of the work. It is clear that these two types, in some is-complements, were often combined in a cycle in contrast logic. The variety (diversity) of musical material and its content, many genres, forms, types of texture of presentation served as the reason for its such a long interpretation by the performers. The diversity and diversity of the musical world of “Well-Tempered Clavier” is based on the complete absence of multiple replication of Bach's techniques and types of composition. It is these qualities that ensure the self-renewal and self-organization of this masterpiece of clavier art for 300 years.
Keywords: Well-Tempered Clavier, Bach, musical timekeeping, sound of musical work, tempo, comparative analysis of performances
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 II volume: history of performances and timekeeping”, Journal of Musical Science, vol. 13, no. 4, pp. 22–31. DOI: 10.63219/2308-1031-2025-4-22-31.
THE STRUCTURAL MODEL OF A FAIRY TALE IN THE COMPOSER'S WORK
S.S. Goncharenko
Abstract. The topic of the article is related to the urgent problem of studying structural analogues in verbal and musical texts in order to identify their semantic functions. The author examines the interaction of the refrain and mirror-symmetrical forms in the organization of fairy-tale plots in folklore and in musical and theatrical works. This is the first time that the theoretical aspect of the interaction of these formative principles and their implementation in literature and music has been addressed. The analytical method is based on the concept of V.Ya. Propp, a prominent Russian philologist and folklorist, who proposed a mirror-symmetrical compositional model for fairy tales, their mythological and ritual origins, and the structural variations of their less studied “multi-step” variety. The first section of the article provides a comprehensive analysis of the Russian folk tale “Ivan-tsarevich and Marya Morevna”. Being a contamination of several well-known plots, it recreates a multipolar picture of the world. The author examines several types of refrains embedded in her five-vertex mirror-symmetrical composition. The second section highlights the comedic reinterpretation of the described structural model in the fairy tale operas “The Golden Cockerel” by N. Rimsky-Korsakov and “The Love for Three Oranges” by S. Prokofiev. The complementary effect of two strong constructive principles: polyrefrence and mirror symmetry, contributes to the establishment of integrity in the multipolar system of the world order, which is recreated in their musical and stage dramaturgy.
Keywords: multi-step fairy tale, opera architecture, compositional model, mirror symmetry, refrain form, polyrefrain principle
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Goncharenko, S.S. (2024), “The structural model of a fairy tale in the composer's work”, Journal of Musical Science, vol. 13, no. 4, pp. 32–39. DOI: 10.63219/2308-1031-2025-4-32-39.
ENSEMBLE CONCERTATION IN THE WORKS OF THE COLLECTION “HARMONIC INSPIRATION” BY A. VIVALDI
M.N. Ostanina
Abstract. The relevance of this article is connected with intensive research of the works of the Italian master of the Baroque era Antonio Vivaldi, which have been conducted since the second half of the 20th century. The author for the first time addresses the genre of his concerto grosso – 12 Concertos op. 3 “Harmonic Inspiration”. The purpose of the article is to determine the techniques of ensemble concerting in the textural development and composition of the whole, to compare them with concerting in the music of some contemporary composers and to show the individual stylistic features of A. Vivaldi, manifested in this opus. The set tasks lead to a complex methodology, which includes analytical, system-structural and comparative approaches. The terminology is formed on the basis of theoretical provisions on baroque concerting, developed in the works of Russian musicologists (Yu. Kholopova, V. Kholopova, N. Zeifas, S. Bakuto and others). The article shows the variability of Vivaldi's ensemble concerting, systematizes various combinations in the comparison of individual instruments, in combinations of concertini and ripieni groups. As a result of comparing the concerting technique of A. Vivaldi and other composers (mainly A. Corelli), the author comes to the conclusion about the innovative significance of the collection "Harmonic Inspiration" for the period of the mature Baroque.
Keywords: baroque, Concerto grosso, A. Vivaldi, concertation, spezzati, variability of textural functions
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Ostanina, M.N. (2025), “Ensemble concertation in the works of the collection «Harmonic Inspiration» by A. Vivaldi”, Journal of Musical Science, vol. 13, no. 4, pp. 40–51. DOI: 10.63219/2308-1031-2025-4-40-51.
Tian Yayuan
Abstract. The article is devoted to the analysis of the musical and dramatic characteristics of the image of Lamea in the opera by Charles-Simon Catel and Étienne de Jouy “La Bayadères” (1810). The opera became the first theatrical production about bayadères – dancers of Hindu temples, called “devadassis” in India. Jouy, who devoted three years to military service in India, studied the dancing art of devadasis well and gave its realistic description in the preface to the libretto. Despite the detail of this “portrait”, surprising for that time, neither the librettist nor the composer sought to bring the concept of the opera closer to the religious and social justifications of the devadasi institution, and to reflect the figure of an Indian temple dancer in the character of the main bayadère Lamea. Instead of a seductive devadasi, experienced in the plasticity of the body, they created a tragic opera character, seized by national liberation aspirations, uncompromising in religious steadfastness and sacrificial in love. Although the dances of the bayadères occupy a significant place in the structure of the opera, the role of Lamea is not a dance one, but a vocal one. The musical characteristics bring Lamea closer to the tragic figures of Iphigenia and Alceste in Gluck's operas. At the same time, Katel's score bears the imprint of stylistic searches, and some pages anticipate the musical techniques of romanticism and European operatic orientalism of the second half of the 19th century.
Keywords: bayadere, devadassis, Étienne de Jouy, Charles-Simon Catel, opera, libretto, dance scene
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Tian Yayuan (2024), “Opera by Charles-Simon Catel and Étienne de Jouy «Les Bayadères»: the image of Lamea as the first bayadere on the theatre scene”, Journal of Musical Science, vol. 13, no. 4, pp. 52–64. DOI: 10.63219/2308-1031-2025-4-52-64.
IMAGES OF DIFFERENT COUNTRIES IN V. REBIKOV’S PIANO CYCLE “AROUND THE WORLD”
Yu.L. Fidenko
Abstract. The article is devoted to V.I. Rebikov's piano album “Around the World”. The pieces of this cycle are increasingly being included in the pedagogical repertoire, yet, unfortunately, have not attracted scholarly attention from Russian musicologists. The author of the article draws attention to the fact that V.I. Rebikov's children's piano music reflects the multifaceted world of a child at the turn of the 19th–20th centuries. At the height of Romanticism and the emergence of newer musical trends, the composer creates a kind of “guide” for a young pianist, in which each piece serves as a sketch of a musical impression from visiting a particular country or city. The article proposes the typology of representing different countries’ cultural archetypes in the “Around the World” album, reveals its educational and didactic functions. In the variety of images in V.I. Rebikov's cycle, several groups are distinguished: national folk genres (dances and songs), images of nature, musical portraits and genre scenes. It is noted that the composer artistically used such instruments as genre and theatricality to convey cultural diversity and enrich the musical experience of the younger generation. In the course of the analysis, it was found that familiarity with the culture of the native country and other states not only broadens the child’s cognition, but also serves as a certain form for the ethno-cultural identification of performers and listeners.
Keywords: musical image, V. Rebikov, “Around the World”, piano cycle, children's music
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Fidenko, Yu.L. (2024), “Images of different countries in V. Rebikov’s piano cycle «Around the world»”, Journal of Musical Science, vol. 13, no. 4, pp. 65–73. DOI: 10.63219/2308-1031-2025-4-65-73.
M. TARIVERDIEV'S INSTRUMENTAL CONCERTS: PROBLEMS OF ATTRIBUTION OF GENRE VARIETIES
N.V. Khorobrykh
Abstract. The author of this article focuses on the genre of instrumental concert in the legacy of M. Tariverdiev's. This academic field of creativity of the Soviet and Russian composer has not yet received a commensurate historical and theoretical coverage in modern Russian musicology. The Concerto for Voice, the First Violin Concerto, the organ concertos (“Cassandra”, “Polyphonic Notebook”, “Four Pieces for Organ”), the Second Violin Concerto and the Viola Concerto are united by a single genre name, however these compositions were created in different periods of the composer's life and are rely on different stylistic and compositional-dramatic principles. One of the possible approaches to the theoretical consideration of M. Tariverdiev's instrumental music is the research of genre specifics. The article presents methodological issues, raises issues of genre attribution of varieties of instrumental concertos, existing approaches to the typology of this genre in Russian musicology, and undertakes a multidimensional analysis of genre varieties of instrumental concertos of M. Tariverdiev's. The author comes to conclusions about the presence of genre hybridity in a number of works, about the combination of signs of a concert and concerto grosso, as well as a concert and romantic poem. Due to the application of a polycriteria approach, the article reveals the internal genre-forming interrelations of organ concerts by M. Tariverdiev's with concerts for orchestra and solo instrument, where the dominance of the idea of dialogue acts as the main line of development of the concert genre.
Keywords: Mikael Leonovich Tariverdiev, instrumental music, organ music, instrumental concert, musical genre, concerto grosso, poem, genre flexibility, music of the XX century
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Khorobrykh, N.V. (2025), “M. Tariverdiev's instrumental concerts: problems of attribution of genre varieties”, Journal of Musical Science, vol. 13, no. 4, pp. 74–83. DOI: 10.63219/2308-1031-2025-4-74-83.
E.E. Trufanova
Abstract. The article contains an analysis of 2nd mode Greek chant other stichera group “Gospodi Vozvah (Lord I Called Thee)” of Great Vespers service to St. Sergius of Radonezh. In the text, poetic form of three chants and rhetorical techniques as well as isocolic constructions used in them are examined. The main focus is on mode sound-structures in order to establish a possible model of stichera. The analysis is based on identification of melodic formulas and structures. As a result of the study, 60 melodic structures are found in the analyzed group, which form 12 formulas. The number of formula versions vary from 1 to 11. As a result, the following conclusions are made: poetic text has a automelon on which it’s based – an early Christian service of the Forty Martyrs of Sebaste; musical text, on the other hand, relies on a freely interpretable compositional model. Each chant has an individual melodic formulas composition, forms of different stichera have little to none concurrency in melodic lines, function wise. Melodic formulas’ commonality is conditioned by the fact that stichera belong to one mode. Based on the above, 2nd mode Greek chant ‘other’ stichera are proposed to be defined as ideomelon, not prosomoion.
Keywords: saint Sergius of Radonezh, hymnography, Russian greek chant, stichera, musical and poetic form, melodic formulas
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Trufanova, E.E. (2025), “Verbal-musical texts’ poetics of 2nd mode Greek chant other stichira “Gospodi Vozvah” to St. Sergius of Radonezh”, Journal of Musical Science, vol. 13, no. 4, pp. 84–97. DOI: 10.63219/2308-1031-2025-4-84-97.
SYLLABIC RHYTHMIC ORGANIZATION OF THE ULIGER “TOKHONOYN HANSA TOYLEN” BY BURA BARNAKOV
O.V. Novikova
Abstract. The article examines the syllabic-rhythmic organization of the Western Buryat epic tale “Tokhonoin Gansa Toilen”, recorded in 1961 from Bura Barnakov, whose publication is planned in the volume “Buryat Heroic Tales. Osodor Mergen. Tohonoin Hans Toilen” of the 60-volume series «Monuments of folklore of the peoples of Siberia and the Far East». The rhythm of singing musical and poetic lines in the uliger is determined by both verse and musical patterns. The conclusion is proved about the modal organization of Buryat folk versification functioning in the epic tale, which is realized in a limited number of rhythmic types of melodies. The existence of half-lines in musical-poetic lines is substantiated, the selection of which is carried out by a constant word division (text sign), a ban on the appearance of the shortest syllable note at the end of the first half-line, the division of the meloline into motifs, etc. (musical features). An analysis of the first 300 lines of the tale showed that normative melolines predominate (87.7 %), in which the first half-line is equal in duration to three, and the second to two quarter-lengths. In this material, 36 musical-rhythmic groups of normative melolines are distinguished, consisting of a combination of only 16 musical-rhythmic groups of the first and 5 musical-rhythmic patterns of the second half-lines. The found laws of the musical-rhythmic organization of the West Buryat epic are compared with the previously identified musical-rhythmic characteristics of the pentatonic songs of the Eastern Buryats. Conclusions are made about the genre specificity of the uliger and songs manifested at the rhythmic level, as well as about the musical and rhythmic thinking of the uligershin.
Keywords: musical folklore of the Buryats, singing poetry, folk versification of the Buryats, Bura Barnakov, musical-rhythmic organization of the epic, uliger
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Novikova, O.V. (2024), “Syllabic rhythmic organization of the uliger «Tokhonoyn Hansa Toylen» by Bura Barnakov”, Journal of Musical Science, vol. 13, no. 4, pp. 98–114. DOI: 10.63219/2308-1031-2025-4-98-114.
SONG INCLUSIONS IN KORYAK-NYMYLAN MYTHOLOGICAL TALES PERFORMED BY L.I. CHECHULINA
E.L. Tiron
Abstract. The article describes for the first time the song inclusions in Koryak-Nymylan tales. The material for the study is samples of songs by 14 tale personages recorded by Lidia Innokentievna Chechulina in 2021 by the staff of the Institute of Philology SB RAS T.A. Golovaneva and E.L. Tiron in Petropavlovsk-Kamchatsky. L.I. Chechulina is one of the excellent native speakers of the folklore tradition of the Koryaks-Nymylans of modern times. The author identifies three groups of personages with songs: personages of the Kutkynnyaku family, supernatural creatures and anthropomorphic personages of the animal world. The songs of tale personages are performed in vocal intonation or in a rhythmic speech manner, standing out vividly against the background of verbal storytelling and onomatopoeia signal shouts. A feature of most song inserts is the use of the 3rd person form in songs about oneself. In addition, it is also used in songs about others, in personage dialogues. The use of this form shows the figure of the narrator of a tales, for whom all the personages are inhabitants of another, fabulous, mythological world. The author discovers common features of song inserts in tales and personal songs of the nymylans (the use of direct speech in the lyrics of the song beginning with the words ӄjejӈun ivi ‘so he sang’; the situation of performing a song with a tambourine on a holiday, etc.). In the lyrics of tale personages, specific words appear-interjections that are not typical of the everyday speech of the Nymylans and are associated with specific personages, archaic words, onomatopoeia, and animal control signals are used. The article contains texts and translations of nine song inclusions made by T.A. Golovaneva. Each sample is accompanied by a qr-code, which allows you to view the video recording of the songs presented.
Keywords: Paleoasiats, Koryaks-Nymylans, mythological tales, song inclusions in tales, songs of tale personages,personal songs, types of intonation, narrator
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Tiron, E.L. (2025), “Song inclusions in Koryak-Nymylan mythological tales performed by L.I. Chechulina”, Journal of Musical Science, vol. 13, no. 4, pp. 115–124. DOI: 10.63219/2308-1031-2025-4-115-124.
THE IMAGE OF ANEKÈ IN THE FIRST YUKAGIR OPERA N. MIKHEEVA “YUKO AND ANEKÈ”
M.V. Shaposhnikova-Ivanova, L.P. Robustova
Abstract. The article is devoted to the first Yukaghir opera “Yuko and Aneke”, written by the Yakut composer Nikolai Mikheev. The opera is based on the poem “Black Cloudberry” by the Yukaghir literary classic Nikolai Kurilov, reworked into a libretto by Artem Zolotarev. Оpera, which embodies the voice of an ancient, disappearing Northern people, tell the story of two young lovers – Yuko and Aneke. In essence, the work is a Yukaghir version of the story of Romeo and Juliet from feuding clans. The plot of the opera is similar to Shakespeare's tragedy: here, too, there are young lovers from feuding clans. However, instead of the path to death, the authors turn to the Yukaghir philosophy of “nunni” – the idea of eternal rebirth, the cyclical connection of life and love, the immortality of the soul. This story is not about a victim, but about a hymn to life, which continues despite any losses. From the point of view of musicology, the opera, written in 2019, has not been studied and is being introduced into scientific circulation for the first time, since existing studies of N. Mikheev's music touch only on general issues of his work and features of style. Therefore, turning to the first Yukaghir opera simultaneously demonstrates both the relevance and novelty of the study. The article analyzes the plot and dramaturgy, provides a description of the features of the Aneke part, and formulates educational and methodological recommendations for its performance. In this process, the authors rely on monographs and articles by Russian researchers, theoretical materials on acting and vocal pedagogy, as well as interviews with composer N. Mikheev and the personal experience of M.V. Shaposhnikova-Ivanova in the stage performance of the part of Aneke on the stage of the D. K. Sivtsev-Suorun Omolloon Opera and Ballet Theatre.
Keywords: musical culture of Siberia, musical culture of Yakutia, Nikolay Mikheyev, the first Yukaghir opera, “Yuko and Aneke”, features of the composer's style, features of the part of Aneke, the first performer of Aneke
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Shaposhnikova-Ivanova, M.V., Robustova, L.P. (2025), “The image of Anekè in the first Yukagir opera N. Mikheeva «Yuko and Anekè»”, Journal of Musical Science, vol. 13, no. 3, pp. 125–138. DOI: 10.63219/2308-1031-2025-4-125-138.
A MUSICIAN INTOXICATED BY THE STEPPE. TOUCHES TO THE CREATIVE PORTRAIT OF LI SHIXIANG
Li Zhehao
Abstract. For the first time in Russian language musicology, a portrait of Li Shixiang (b. 1957), a prominent Chinese artist, composer, ethnomusicologist, teacher, and organizer in the field of musical culture, is presented. It is noted that Li Shixiang is the first researcher in China, who owns developments related to the understanding of the problems of Mongolian folk genres, the founder of the scientific school for the study of Mongolian music. Li Shixiang has created a large number of musical compositions demonstrating an organic synthesis of folklore traditions and Western composition techniques. It is symptomatic that an important niche in his work is occupied by vocal opuses, in which the author uses a rich intonational resource of Mongolian folklore, in particular, long-drawn songs (urtyn duu). He did a lot to develop the practice of scenic mastery of Mongolian national instruments. An important milestone in this regard was the “Uliger Ballad”, the first ever concert for xihu (huchira) and the symphony orchestra. His works on Mongolian folklore served as the basis for a joint application by Mongolia and the People's Republic of China to establish the art of urtyn duu as a national treasure. Li Shixiang made a great contribution to the formation of the Hohhot School of Composition and the development of the Inner Mongolia Music Academy.
Keywords: People's Republic of China, Inner Mongolia, Mongolian culture, composer's work, folklore
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Li Zhehao (2025), “A musician intoxicated by the steppe. Touches to the creative portrait of Li Shixiang”, Journal of Musical Science, vol. 13, no. 4, pp. 139–147. DOI: 10.63219/2308-1031-2025-4-139-147.
Shao Mingyang, A.M. Petrova
Abstract. The article is devoted to identifying the modes of interaction between the Model Revolutionary Theater (geming yangban xi) and contemporary Chinese national opera. It examines issues of artistic integration between these theatrical forms at the levels of musical dramaturgy, vocal stylistics, and stage realization. The study reveals the historical intersections between the Model Revolutionary Theater and Chinese national opera, based on which the authors conclude that the Model Revolutionary Opera continued its artistic existence after the end of the Cultural Revolution as one of the forms of modern Chinese opera. This is evidenced by the ideological and thematic specificities in the works of Chinese composers, the particularities of stage embodiment, and the distinctive approach to the portrayal of opera heroes. Using the examples of the operas Jiang Jie, Mount Yimeng, and The Long March, the article identifies elements of the Model Revolutionary Theater, particularly in the structural organization of the works (banqiang), the ideologically charged interpretation of heroic characters, and the synthesis of folk melody with Western European tonal-harmonic systems and orchestral writing. The methodology is based on ethnomusicology and the theory of cultural transmission. The work brings to the fore the issue of the limits of ideological heritage in the formation of China’s national musical identity and proposes a new direction for the comparative study of theatrical genres in Asia.
Keywords: Chinese national opera, Model Revolutionary Theater, artistic integration, Jiang Jie, The Long March, Mount Yimeng, banqiang
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Shao Mingyang, Petrova, A.M. (2025), “The role of the «Exemplary Revolutionary Theater» in the formation of a modern type of national Chinese opera”, Journal of Musical Science, vol. 13, no. 4, pp. 148–160. DOI: 10.63219/2308-1031-2025-4-148-160.
A.K. Shaikhmetova
Abstract. Namaz (Muslim prayer) is one of the main pillars of religious observance in Islam. It is the basis of a small weekly cycle (juma namaz - Friday collective prayer) and a large annual cycle (Eid al-Adha, Eid al-Adha). The musical and structural organization of juma prayer follows a given sequence of prayer texts, which are embedded in a hierarchical multilevel composition. A detailed study of the sound plan of the Muslim cult practice makes it possible to discover a number of patterns indicating the presence of a complex, finely graded system of musical and verbal pronunciation of prayer texts. The research focus of this article is on the short sacred prayer words that Muslims recite during Juma namaz and Eid namaz (festive prayer) (Eid al-Adha); their musical and structural organization is analyzed. The syntactic function of sounding speech is divided into segments and the intonational basic structure of one chant is distinguished from another. The research material was samples of the regional tradition of the cult practice of Muslims of the Krasnoyarsk Territory of Sunni Islam – the author's musical transcriptions of juma prayers (from beginning to end) in the cathedral mosque of Krasnoyarsk and in the mosque of the Tatar village of Kazanka Bolshemurtinsky district of the Krasnoyarsk Territory. The analyzed versions show, on the one hand, fidelity to tradition – at the level of collective prayer, body movements and prayer text, on the other hand, there are noticeable differences in the musical and speech pronunciation of the same texts.
These differences relate to the way of intonation and the pitch organization of the souding texts.
Keywords: juma prayer, short prayer formulas, takbir tashrik, istiaza, basmala, jumla
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Shaikhmetova, A.K. (2025), “Musical and structural aspects of short prayer formulas in the religious practice of Muslims (Krasnoyarsk and the village of Kazanka in the Krasnoyarsk Territory)”, Journal of Musical Science, vol. 13, no. 3, pp. 161–174. DOI: 10.63219/2308-1031-2025-4-161-174.
A.P. Nedospasova, A.P. Bayunov
Abstract. Harpsichord stringing plays the key role in the building process. The string material determines the sound and its timbre. It also influences the shape of the body. Previously, we proposed a new approach to building harpsichords, which is based on the use of original historical instruments building information in complex with modern materials and technologies. This approach makes it possible to create harpsichords that meet the demands of modern harpsichord players. It is important to find new alloys suitable for string making that could match the harpsichord sound aesthetics. The entire article describes the results of A.P. Bayunov's workshop work on selecting alloys and making harpsichord strings of the traditional and modern materials (steel, brass, silver, nickel silver, melchior, beryllium and silicon-manganese bronze). The development of the new nut pinning method was introduced for the first time in harpsichord building. It increases the difference between the scale lengths of two 8-foot string choirs.
Keywords: harpsichord, stringing, steel, brass, string materials, nickel silver, bronze, silver
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Nedospasova, A.P., Bayunov, A.P. (2025), “Modern string materials as a way to expand the tonal abilities of the harpsichord (using the example of domestic developments)”, Journal of Musical Science, vol. 13, no. 4, pp. 175–186. DOI: 10.63219/2308-1031-2025-4-175-186.
N.G. Fenina, V.V. Grudinskaya, S.V. Kermen
Abstract. The article discusses the issues of musical enlightenment in the system of higher musical education at the present stage of society’s development, as well as the role of foreign language teaching in this process. The article briefly describes the history of music education in Russia and analyzes various forms of education at the M.I. Glinka Novosibirsk State Conservatory. Particular attention is paid to extracurricular activities at the Humanities Department of the Conservatory, which aim to shape the educational orientation of future professional musicians. The article shows how various forms of extracurricular activities, such as musical theatrical performances, thematic concerts, and the poetry competition “Poetic Bridges”, used by the teachers of the department, contribute to the formation of students' valuable attitude to the world artistic heritage, the development of erudition, and the expansion of their cultural horizons. The article also analyzes the results of a survey conducted among students of the Novosibirsk State Conservatory, which confirm their awareness of the importance of the educational orientation of their future professional activities. The survey results support the opinion of the article's authors that creative projects and events at music universities, including those organized by the Humanities Department, are educational in nature and prepare graduates to carry on the tradition of musical enlightenment.
Keywords: music university, music education, enlightenment aspects, professional activity, foreign languages, creative projects
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Fenina, N.G., Grudinskaya, V.V., Kermen, S.V. (2025), “Formation of a student’s cultural and educational position in the process of teaching foreign languages at a music university”, Journal of Musical Science, vol. 13, no. 3, pp. 187–195. DOI: 10.63219/2308-1031-2025-4-187-195.
DANCING IN THE FUNERAL RITES OF THE MIAO PEOPLE
Zheng Nan
Abstract. The study of dance in the funeral rites of the Miao people is of interest for cultural and musicological research, as it combines elements not only of choreography and music, but also ideas about the supernatural. Since the Miao people do not have territorial unity, which causes cultural and linguistic differences between their communities, this study focuses on cultural elements common to most Miao groups. The purpose of the article is to study dance in the funeral rituals of the Miao people using the methodology proposed by Victor Turner. Specifically, with an emphasis on the concept of liminality, which is important for his theory. The psychological interpretation of the funeral dance is based on Pierre Bourdieu's theory of social magic. The importance of all aspects of dance for maintaining the liminality of the ritual has been revealed and prospects for further research have been developed due to changes in the social and cultural context. The key conclusion of the work is that, despite the preservation of the cultural features of dance in the funeral ritual of the Miao people, its liminality may be lost.
Keywords: Miao people, funeral rites, ritual dance, Lusheng, liminality
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Zheng Nan (2025), “Dancing in the funeral rites of the Miao people”, Journal of Musical Science, vol. 13, no. 4, pp. 196–201. DOI: 10.63219/2308-1031-2025-4-196-201.
THE HISTORY OF THE DEVELOPMENT OF BOOK STILL LIFE
N.S. Murashova
Abstract. Book still life is one of the genres of bibliography and a subgenre of still life. For the first time, an attempt is being made to examine its development from the period of its formation in the 17th century to the present and to determine the peculiarities of interpreting the book as an artistic image and as an element of the compositional solution of the painting. On the basis of the identified works by European, American and domestic authors, specific varieties of book still life have been established: vanitas, trompley, musical, allegorical, historical, vintage, interior still lifes. The formation of the genre is associated with the work of Dutch, as well as German and French masters of the 17th century. In the 18th century, it became widespread in other European countries and in Russia, and in the 19th century in America. It is possible to distinguish monopred and poly-subject book still lifes. In monopubject compositions, attention is focused on the formal features of the book (size, color, texture, image angle); in polyubject still lifes, on the figurative interpretation of the book, depending on the objects surrounding it and their combination. Throughout the history of the still life bible, the book attracted artists not only as an object of image with its formal features, which made it possible to diversify the compositional solution of the painting, but also as a multi-valued artistic image integrated into a different semantic context.
Keywords: Biblio-painting, still life, book still life, vanitas, trompley, musical still life, allegorical still life, historical still life, vintage still life, interior still life
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Murashova, N.S. (2025), “The history of the development of book still life”, Journal of Musical Science, vol. 13, no. 4, pp. 202–215. DOI: 10.63219/2308-1031-2025-4-202-215.
