K.M. Kurlenya, S.A. Ivanova
Abstract. The article examines the compositional techniques that form the chant variants of the exclamation “Hallelujah” in Chorus No. 42 “Hallelujah” from the oratorio “Messiah, HWV 56” by G.F. Handel, and in his“black” gospel cover “Hallelujah!”, included in the gospel album “Handel’s Messiah: A Soulful Celebration”, released in 1992 under the Warner Alliance label. Based on the presented information on the history of the formation of chants for the exclamation “Hallelujah!” it is shown that Handel departs from the traditional practice of extended jubilations, characteristic of spiritual compositions of earlier eras, and in his oratorio completely concentrates on the syllabic structure of this exclamation, changing its articulation through stress variations. By alternating the duration of the vocal pronunciation of the sung syllables and, thus, varying the rhythmic organization of the short chants of “Hallelujah”, Handel achieves a powerful, repeated over and over again collective ecstatic exclamation, enhancing the effect of prayerful thanksgiving in the context of the artistic demands of a secular musical work. Mervyn Warren, following Handel's original, mostly develops various variations of rhythmic patterns and syncopations, thereby experimenting with the transfer of stress, which distinguishes his individual understanding of the intonation of the exclamation “Hallelujah”.
Keywords: Hallelujah!, G.F. Handel, Mervyn Warren, chant, jubilations, alleluia, anthem, orthoepy
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Kurlenya, K.M., Ivanova, S.A. (2026), “Transmitting light and hope to the world. Regarding the vocal and phonetic distinctiveness of the intonations in the «Hallelujah» exclamation”, Journal of Musical Science, vol. 14, no. 1, pp. 9–24. DOI: 10.63219/2308-1031-2026-1-9-24.
Yu.V. Glazkova
Abstract. The figure of J.S. Bach, being almost unknown in France in the 18th and early 19th centuries, gradually became an important part of the musical life of this country in the second half of the century, and in particular, of its romantic organ school that was forming at that time. A most interesting document of the era is the preface of the outstanding composer and organist C.-M. Widor to the first French monograph on J.S. Bach – “The Organ of Johann Sebastian Bach” by A. Pirro (1895). Widor's introductory essay not only presents the “Leipzig cantor” through the eyes of a French organist of the late 19th century, but also gives a vivid idea of the perception of the organ in general by musicians of that time, as well as of the special organ performance principles that were formed during that period. Widor's views on the interpretation of the German Baroque repertoire, which are “outdated” today, nevertheless allow us to judge the specific approach to playing the instrument that formed the basis of the French romantic organ school. This knowledge is very important for modern performers concerned with the issues of historically informed interpretation of French organ music of the second half of the 19th – early 20th centuries, including Widor himself, his contemporaries and followers.
Keywords: C.-M. Widor, J.S. Bach, A. Pirro, A. Schweitzer, organ, French organ school, French organ, symphonic organ, Bachianism, Bach studies
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Glazkova, Yu.V. (2026), “«The Bach tradition» in French organ performance of the 19th century (based on the preface by Charles-Marie Widor to the monograph by André Pirro)”, Journal of Musical Science, vol. 14, no. 1, pp. 25–34. DOI: 10.63219/2308-1031-2026-1-25-34.
I.E. Bondarenko
Abstract. The purpose of this study is to identify the features of the organization of the theatrical ensemble in the Venetian opera of the mid-17th century, which is one of the first examples of the functioning of a public opera house. The most difficult issue in the modern reconstruction of performances of this period is the organization of their instrumental accompaniment. A study of the factors that influenced the staffing of theatrical ensembles showed that their quantitative and timbre composition was determined by the size of the theater premises, commercial feasibility, and the general artistic concept of the production. Characteristic features of the musical notation of opera scores of the mid-17th century are revealed, and the variability of the instrumental composition is noted. Using the example of the theatrical legacy of Francesco Cavalli, in the context of the specifics of holding public performances, it is possible to establish how the Venetian opera industry was organized. Surviving archival documents provide significant assistance in this regard, among which the most valuable are the inventories of performances made by Marco Faustini. Modern approaches to the reconstruction of opera performances take into account this specificity, which allows for the creation of very different production versions. The article examines the dramatic principles of the basso continuo group, the timbre features of the instruments and their role in the musical accompaniment of productions. The relevance of the topic is due to the growing interest in baroque theatrical art and the need for a comprehensive scientific understanding of the opera practice of the 17th century. The key conclusion of the publication: the variability of the instrumental accompaniment of opera performances, the multifactorial nature of the creative tasks facing the instrumental ensemble in the period under consideration are established.
Keywords: baroque opera, Cavalli, theatre ensemble, Seicento, reconstruction
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Bondarenko, I.E. (2026), “The organization of theatrical instrumental ensemble in the Venetian opera of the 17th century and modern experiments in reconstruction”, Journal of Musical Science, vol. 14, no. 1, pp. 35–45. DOI: 10.63219/2308-1031-2026-1-35-45.
ANALYSIS OF DRAMATURGICAL FEATURES OF THE SONATA, op. 2 BY J. BRAHMS
V.M. Petrov
Abstract. This article explores the dramatic features of one of the key works in Brahms's early career – the Piano Sonata op. 2. It reflects the complex transition from the classical tradition to romantic psychologism, shaping the characteristics of the young composer's harmonic language and the search for his own artistic style. Using a bar-bybar analysis, this study identifies characteristic stylistic features and comprehensively examines the compositional structure. Written in 1852, the Sonata embodies a profound internal conflict in which the protagonist's expression, passion, and search for integrity contrast with a tragic ending, which is particularly evident in the second and third movements. The paper thoroughly examines the structure and development of the thematic material of the first movement, the variable form of the second, the dramatic richness of the Scherzo, and the monumentality of the finale. It is demonstrated that in the Sonata op. 2, Brahms combines the rigor of Beethovenian form with the romantic imagery of Schumann, employing techniques of monothematicism, polyphonic development, and unconventional tonal juxtapositions. The study demonstrates the composer's intentional deviation from the traditionally affirmative conclusion of the sonata's movements to create additional psychological tension. New expressive means of reinterpreting the sonata-symphony cycle are revealed through the creation of a double compositional arc in the form of the thematic unity of the Allegro and finale, the Andante and Scherzo. The study highlights the importance of the Sonata op. 2 in the composer's oeuvre as a unique creative “laboratory” and reflects the characteristics of the transitional period in the development of the Romantic piano repertoire.
Keywords: dramaturgy, Sonata op. 2, interpretation, stylistic features
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Petrov, V.M. (2026), “Analysis of dramaturgical features of the Sonata, op. 2 by J. Brahms”, Journal of Musical Science, vol. 14, no. 1, pp. 46–57. DOI: 10.63219/2308-1031-2026-1-46-57.
E.A. Khoniakina
Abstract. At the end of the 18th century, the issues of implementing national historical and mythological stories became relevant in the Danish musical theatre. The first example of the embodiment of Scandinavian ideas in music was the sing-spiel “Baldur’s Death” by J. Hartmann, created based on the text of the play of the same name by J. Ewald in 1779, which is the subject of consideration in this article. The work was a response to the growing interest in national themes in Danish society. Since this opera has not yet received much attention in Russian musicology, this article aims to partially fill this gap. Fragments of the works of foreign researchers V.K. Ravn, K.O. Bruun, and J. Gissel are introduced into scientific circulation for the first time. A brief biographical note on I. Hartmann is provided. The opera is analyzed using the surviving 1876 piano score and the author's translation of J. Ewald's unpublished Russian drama. The figurative, substantive, musical and dramatic features of the opera are considered in their relationship with elements of archaic Scandinavian culture. The main motifs of musical Scandinavianism are identified, namely, hunting-racing, the flight of the Valkyries, and magical spells / rituals, which will become key to the manifestation of national Scandinavian themes in the music of 19th century Danish composers.
Keywords: Scandinavism, Denmark, 18th century, Johann Hartmann, Johannes Ewald, Baldr's Death, opera, singspiel
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Khoniakina, E.A. (2026), “J. Hartmann's opera «Baldr's Death»: The first attempt at incorporating Scandinavian style in Danish musical theatre”, Journal of Musical Science, vol. 14, no. 1, pp. 58–69. DOI: 10.63219/2308-1031-2026-1-58-69.
AN OPERETTA FOR STUDENTS? “CINDERELLA” BY PAULINE VIARDOT
Quan Jinxuan
Abstract. The article is devoted to the operetta “Cinderella”, created by the famous singer Pauline Viardot (1821–1910) in the late period of her career. The operetta based on the fairy tale by Charles Perrault was first performed in 1904 in a music salon in Paris by young vocalists who were Viardot's students. The article describes the history of the operetta's creation, presents unique photographs that captured the first performers during rehearsal work. An analysis of the collected information about the operetta revealed a number of problems related to 1) the genre definition of the operetta, created for staging in the atmosphere of a music salon, and not on a theater stage; 2) the specificity of exclusively piano accompaniment. An analysis of the most indicative vocal numbers in the parts of Cinderella, the Fairy Godmother, Count Barigul showed that Viardot approached their writing with a deep understanding of the nature of the human voice, as a teacher creating brilliant teaching material for her students. At the same time, it would be a mistake to perceive the operetta “Cinderella” exclusively as a “guide for vocalists”. It has all the qualities inherent in the works of masters and deserves attention from modern theater directors and vocal teachers.
Keywords: Pauline Viardot, Cinderella, operetta, vocal art, vocal and pedagogical practice
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Quan Jinxuan (2026), “An operetta for students? “Cinderella” by Pauline Viardot”, Journal of Musical Science, vol. 14, no. 1, pp. 70–79. DOI: 10.63219/2308-1031-2026-1-70-79.
P.A. Michkov, A.M. Lesovichenko
Abstract. The article examines the scientific activity of Nina Ivanovna Golovneva during her work at the Novosibirsk Conservatory, provides historical data on the main stages of the formation of the collections of the Novosibirsk Conservatory Museum as a unique collection of documents and materials. The role of Nina Ivanovna in the formation and development of one of the general research areas of the university - the history of musical culture of Siberia is noted. The funds of the Museum of the History of the Novosibirsk Conservatory, which were formed from the first years of the university's existence, have become an important component in supporting the line of study of the musical culture of Siberia. The history of the conservatory museum is traced, in which a chain of certain events gives reason to propose a periodization of the stages of formation of this scientific department of the university. The article analyzes the activities of N.I. Golovneva in terms of improving the forms of interaction with museum visitors, taking into account the specifics of the museum funds of the musical educational institution and the history of their formation. It is noted that during N.I. Golovneva leadership of the museum, it was formed as a scientific center, and its funds became the basis for a number of major scientific studies devoted to the study of the musical culture of Siberia.
Keywords: museum of the history of the Novosibirsk Conservatory, museum laboratory, Nina Ivanovna Golovneva, history of the Novosibirsk Conservatory, history of musical culture of Siberia, funds of the Novosibirsk Conservatory
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Michkov, P.A., Lesovichenko, A.M. (2026), “Memory keeper: about the scientific activities of Nina Ivanovna Golovneva and her role in the development of the museum of the Novosibirsk Conservatory. To the 90th anniversary of the Teacher”, Journal of Musical Science, vol. 14, no. 1, pp. 80–90. DOI: 10.63219/2308-1031-2026-1-80-90.
MONOGRAMMING IN THE WORKS OF SIBERIAN COMPOSERS
O.A. Yuferova
Abstract. Monogramma is one of the creative trends in the musical art of the twentieth century. The especially place it receive in the works of Siberian composers. The article presents a different genre of musical works, which include a monogram. The author identifies ways of creating monograms with the take into consideration the choice of a name basis for the cipher, methods of letter-sound “translation”, and use original construction techniques. The purpose of this article is to consider the practice of monogramming in the works of art in Siberian region. Siberian composers often used the monograms in the works of memorial genre. They are placed in the context of different compositional techniques, are included into the inter-style interactions and are become a subject to anagramming. They are an important intonational source of a works and implement a different compositional, dramatistic functions. The particular attention get to such non-textual monograms as BACH, DEsCH, AsFM(E). S. Kravtsov (“Monograms” for piano), S. Tosin (“Lines of Apollinaire”) address to the monogram ВАСН. The DEsCH cipher is found in the Fifth and “Tobolsk” symphonies of A. Murov, “Monograms” for piano by S. Kravtsov. The monogram of A. Murov is consistently used in the works of his students (E. Dzhagarova, S. Kravtsov, I. Saltykova-Girunyan). The monograms of I.S. Bach, D. Shostakovich and A. Murov appear in the music of Siberian composers not only as a sign of the composer's personality but also as a symbol of their creation, epoch, receive a high moral and ethical significance.
Keywords: monogram, cipher, code, cryptography
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Yuferova, O.A. (2026), “Monogramming in the works of Siberian composers”, Journal of Musical Science, vol. 14, no. 1, pp. 91–100. DOI: 10.63219/2308-1031-2026-1-91-100.
IMAGES OF BURYATIA IN THE WORKS OF L.N. SANZHIEVA FOR FOLK INSTRUMENTS
L.L. Pylneva
Abstract. The article is devoted to the consideration of works for folk instruments created by the Buryat composer Larisa Nikolaevna Sanzhieva. Textbooks, collections and anthologies for yataga, iochin, limba and morin-hur are taken into account. The figurative structure of works is associated with the specifics of traditional mythopoietic ideas about the world around them, rooted in Buryat polytheism. The deification of nature generates attention to both national and local legends. The program ideas of L.N. Sanzhieva are ambiguous in meaning: they refer to the landscape component, but each image, as a rule, is associated with any cults, events, symbols and traditions. These are, for example, “Yurt in the steppe distance”, “Serghe”, “The marsh tea in the glow of the sun”, “It's time for the flowering of marsh tea”, “Sagaalgan”, “What the Lily are singing about”, “Big Dipper”, “Suvinsky Castle”, “Silk Road”. In the musical embodiment, the reflection of the natural element associated with the landscape or with the image of movement becomes fundamental. An important role is played by the techniques of illustration, onomatopoeia, determined by characteristic texture-acoustic complexes. Examples are: 1) textured coloring (images of the flowering of nature and plants in the plays “It's time for the flowering of marsh tea”, “Awakening”); 2) rhythm formulas of horse racing (sections in the plays “Light of the Message”, “Deer Horn”, “On the Expanse of the Northern Slope”, fragments of the concert “Call of Izyubr”); 3) imitation of a murmur and a splash of water (“By the river”). Timbres of traditional folk instruments organically complement the content of opuses, strengthening contextual ties with national culture.
Keywords: musical culture of Buryatia, national traditional culture, creativity of L.N. Sanzhieva, Buryat folk instruments, repertoire for folk instruments
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Pylneva, L.L. (2026), “Images of Buryatia in the works of L.N. Sanzhieva for folk instruments”, Journal of Musical Science, vol. 14, no. 1, pp. 101–111. DOI: 10.63219/2308-1031-2026-1-101-111.
BALLET “SHAKUNTALA” BY HAZRAT INAYAT KHAN IN NOVOSIBIRSK: A BRIDGE BETWEEN EAST AND WEST
S.A. Ovchinnikov
Abstract. This article examines the ballet “Shakuntala”, a work by the Indian Sufi musician Hazrat Inayat Khan. Its conception, partially realised in pre revolutionary Russia, emerges as one of the earliest examples of dialogue between Eastern and Western musical cultures. Initially, the work was conceived as a cycle of arrangements of Indian melodies adapted for piano. Later, S. L. Tolstoy and V. I. Pol created orchestral versions of the material. The production was staged at the A.Ya. Tairov Theatre in a synthetic genre: dance was seamlessly integrated into the dramatic action. It was not until the 21st century that a full scale ballet production was first realised in Novosibirsk. The music was orchestrated and supplemented by R. Stolyar. This project marked an important milestone in the development of Russian Indian cultural ties. The author of the article provides a detailed analysis of the piano cycle (which served as the basis for the subsequent transformation into music for ballet), covering: the history of the work’s creation; features of its dramaturgical development; approaches to addressing the «East–West» and «monody–polyphony» issues at the early stage of synthesising Eastern monody (raga) with European polyphonic compositional traditions. The study identifies characteristic features of voice leading: prevalence of fifths, parallelisms, pedal points, countermelodies. Additionally, the following elements are noted: modal harmony, ostinato, subordination of the melos to the principles of harmonic texture (which is frequently observed). Analysis of both the early and late versions of the musical text reveals connections with Indian epic tradition, sufi spirituality. The article also presents observations on the embodiment of Hazrat Inayat Khan’s spiritual and aesthetic views in the musical material. Particular emphasis is placed on Russia’s significant role in fostering and developing intercultural dialogue.
Keywords: Hazrat Inayat Khan, ballet “Shakuntala”, Novosibirsk productions, Sufism in music, Indian raga, monody–polyphony
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Ovchinnikov, S.A. (2026), “Ballet «Shakuntala» by Hazrat Inayat Khan in Novosibirsk: a bridge between East and West”, Journal of Musical Science, vol. 14, no. 1, pp. 112–122. DOI: 10.63219/2308-1031-2026-1-112-122.
A.M. Petrova
Abstract. The synchronous study of the musical cultures of the Far Eastern countries (Japan, China, and Korea) is currently a highly promising area of research, but it is fraught with a number of objective challenges. Among them is the uneven understanding of the elements of the national compositional system, which significantly complicates the use of the comparative method and often dictates the research trajectory. The integration of Western European genres into the context of the formation and development of national composition schools in the Far East requires special attention from musicologists, as it clearly demonstrates the specific nature of their historical trajectory. The author focuses on the string quartet genre in the initial stages of the formation of the compositional schools of Japan, China, and South Korea. Through the works of three national composers – Yamada Kosaku, Xiao Yumei, and Na Un-yong – the author presents the conditions for the creation and specific musical language of their quartet works. Using a comparative approach to the problem, the author identified a number of similarities, including common stylistic guidelines and the educational and experimental nature of the first quartet works, justified by the composers' desire to find their own signature style and master the Western European model of the cycle and ensemble writing technique. The quartets under study belong to the initial stages of the development of compositional schools, according to research periodizations.
Keywords: string quartet, Yamada Kosaku, Xiao Yumei, Na Un-Yeon, national composition schools
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Petrova, A.M. (2026), “The specifics of the development of the string quartet genre in the works of composers from Japan, China and South Korea”, Journal of Musical Science, vol. 14, no. 1, pp. 123–131. DOI: 10.63219/2308-1031-2026-1-123-131.
THE FOLK CONCERT GENRE AS A REFLECTION OF THE SPECIFICS OF THE CHINESE MUSICAL TRADITION
Zhang Cheng
Abstract. The study is devoted to the Chinese variety of the concert genre – the so-called “folk concert”, currently very popular among national authors. The article considers the stages of the genre's formation, the history of its development in the creative work of the classics of Chinese music. A research view of the problem of interpretation of works written in the genre of folk concert is presented. The author suggests her own periodization of the formation and development of the folk concert, considers the structural features and some individual problems of genre ontology (programmatic nature, forms-structures, principles of form-building, etc.). The author highlights the key characteristics of the genre: 1) synthesis of Chinese and Western European musical traditions; 2) variabil ity of forms (including the influence of the Tang daqu structure); 3) dominance of programmatic nature, reliance on cultural symbolism and historical plots; 4) use of national instruments (pipa, erhu, guzheng, etc.) as soloists. Particular attention is paid to the comparative analysis of the genre folk concert with the Kazakh Symphonic Kui and Japanese symphonic Nagauta, which helps to identify the uniqueness of the Chinese model. The study demonstrates how free form-building and improvisation are combined with the preservation of national identity. The problem of existence and interpretation of the genre is revealed using the example of iconic works (concerts “Little Sisters of the grassland” and “Liang Zhu”).
Keywords: folk concert, programmatic, Symphonic Kui, Symphonic Nagauta, national Chinese instruments, cultural dialogue, musical tradition
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Zhang Cheng (2026), “The folk concert genre as a reflection of the specifics of the Chinese musical tradition”, Journal of Musical Science, vol. 14, no. 1, pp. 132–146. DOI: 10.63219/2308-1031-2026-1-132-146.
Wu Jie
Abstract. The story of the diplomat Su Wu, who lived during the Han Dynasty, is quite popular in China and continues to attract the attention of national cultural figures and musical scholars. This historical figure embodies the best qualities of the ideal man and citizen: loyalty, fortitude, integrity, and patriotism. The purpose of this article is to identify the distinctive interpretations of Su Wu in the long-form works of Zhang Xiaohu and Huang Hui. The relevance of this study lies in the intersection of the reflection of national identity in the work of Chinese composers and the individual stylistic approach to embodying cultural and philosophical ideas. The article identifies an important component of the national school of composition: the reflection of Confucian ideas through references to a famous figure and their story. Su Wu's life has been interpreted in various musical forms throughout history. In 1945, Chinese composer Zhang Xiaohu created a symphonic poem of the same name, musically embodying the heroic image of an official devoted to the Emperor, which resonated with the mood of the country's post-war population. In 1997, Huang Hui created the cycle “Su Wu Herding Sheep”. His interpretation aligns with modern philosophical and aesthetic notions of personality. The composer revealed the hero's rich inner world, revealing his humanity and pain. These two works reflect very different philosophical ideas. This study examines the image of the diplomat from various philosophical perspectives, identifies key personality traits, and explores the evolution of Su Wu's interpretation.
Keywords: Su Wu, Zhang Xiaohu, Huang Hui, Confucian ideas in music, ideas of existentialism, symphonic poem, vocal and instrumental cycle, Chinese school of composition
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Wu Jie (2026), “The embodiment of philosophical ideas in the large-form works of Zhang Xiaohu and Huang Hui on the story of Su Wu”, Journal of Musical Science, vol. 14, no. 1, pp. 147–158. DOI: 10.63219/2308-1031-2026-1-147-158.
“THE BALLAD OF PIPA” BY ZHOU LUNG: THE MEANS AND WAYS TO EMBODY A FANTASTIC BEGINNING
Su Yalin
Abstract. The poem “Pipa” by Bo Juyi – the poet of the Tang era, has become a landmark for the artistic culture of China, and its heroine, a wonderful pipa performer, is one of the most popular female characters. Zhou Long is an American composer of Chinese origin who tends to reflect on complex philosophical themes in his work. This is his vocal composition “The Ballad of Pipa”. The purpose of the work is to use the example of the study of Zhou Long's “The Ballad of Pipa” to identify techniques for embodying unknowable, irrational, and fantastic beginnings in music. The research methods are historical-stylistic, cultural, hermeneutic approaches, the method of musicological analysis. As a result of the research, it is established that in music, the fantastic features of the image are created by a number of techniques, including poly-harmony, tonal duality, leveling the tonal center by harmonic and intonational means. The composer skillfully combines the characteristic structure of the motifs of various Chinese modes included in the structure of pentatonics with Western European diatonics. At the same time, the composer introduces an abundance of ornaments, specific articulation techniques – vibrato, vibrato with glissando in the pipa part; in the accompaniment there are quartaccords, effects of tonal duality realized by juxtaposition of parallel and eponymous dur–moll, organ points, thematic ostinate motifs. All these techniques in music recreate the effect of blurring the boundaries between the worlds modeled in the work – the real and the fantastic.
Keywords: Zhou Long, image-symbol, the ballad of pipa, fiction, stylistic techniques
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Su Yalin (2026), “«The Ballad of Pipa» by Zhou Lung: the means and ways to embody a fantastic beginning”, Journal of Musical Science, vol. 14, no. 1, pp. 159–168. DOI: 10.63219/2308-1031-2026-1-159-168.
P. V. Lopatin
Abstract. The article investigates ambient aesthetics as a cross-media paradigm in the art of the late 20th and early 21st centuries. While the phenomenon of ambient music, theoretically framed by Brian Eno, serves as the starting point, the central problem addressed is the terminological diffusion that occurs when this concept is applied to adjacent artistic disciplines. Drawing upon contemporary art theory, including G. Böhme's concept of atmosphere, H.-T. Lehmann's theory of postdramatic theatre, and the principles of intermedial analysis, the study identifies the invariant elements of the ambient strategy. These core characteristics include the decentralisation of compositional form, the prioritisation of the perceptual qualities of the material, and an orientation towards creating an immersive environment. The article emphasises that the fatigue with avant-garde strategies, characteristic of the second half of the 20th century, found expression in various movements, including musical minimalism and postdramatic theatre, which created the prerequisites for the formation of the ambient paradigm. The analysis traces the transformation of these invariants within the specific languages of choreography, visual arts, cinema, theatre, and literature, examining works by P. Bausch, W. Forsythe, O. Eliasson, J. Turrell, A. Weerasethakul, among others. In conclusion, the study positions ambient as a key vector in the development of contemporary art, signalling a transition from the work-as-object to the work-as-environment, and outlines avenues for further research into its genealogy and its interplay with digital technologies.
Keywords: ambient, ambient aesthetics, ambient strategy, ambient paradigm, philosophy of art, sound environment, intermediality, immersiveness, cross-medial analysis, modern art
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Lopatin, P.V. (2026), “Ambient as an artistic strategy: cross-medial paradigms in the art of the second half of the 20th – early 21st century”, Journal of Musical Science, vol. 14, no. 1, pp. 169–175. DOI: 10.63219/2308-1031-2026-1-169-175.
ON THE INTENTIONALITY OF THE PIANO TEXTURE
I.R. Khananov, T.V. Smirnova
Abstract. The aim of the article is to provide a theoretical observations concerning the intentional (phenomenological) meaning of piano texture. The material chosen for study is the piece “The Montagues and the Capulets” from Sergei Prokofiev’s cycle “Ten Pieces from ballet «Romeo and Juliet»”. The methodological basis consists of the ideas of M.G. Karpychev and M.A. Arkadiev regarding the reflection, in the texture of a piano composition, of the pianistic principles of its author and, consequently, the use – to varying degrees – of clichéd methods of exposition. Behind these methods lie specific signals pointing to motor-performative, pianistic actions, which are deciphered by the performer in the process of music-making. This openness of piano texture to performative-creative interpretation provides a key to determining the principal performing task and contributes to revealing the musical image. A number of factors influence this process: first, the particular features of Prokofiev’s pianism (conditioned by the antinomic nature of his personal compositional aspirations and his pianistic “background”); second, the interaction within Prokofiev’s piano writing of Baroque, Classical, and Romantic lexemes, which in many ways determine the specificity of twentieth-century music and reflect its urbanistic tendencies; and third, the performer’s need for a “conductor-like” sense of time, dictated by a multi-level “Baroque” metric pulsation and the decisive role of the marking pesante. On this basis, a hypothesis is proposed regarding the reason (i.e., the artistic logic) for Prokofiev’s alteration of the title of the piano piece compared to its original orchestral version.
Keywords: Prokofiev, piano texture, pianism, intentionality, playing techniques, musical time, metrical pulse, articulation
Conflict of interest. The authors declare the absence of conflict of interests.
For citation: Khananov, I.R., Smirnova, T.V. (2026), “On the intentionality of the piano texture”, Journal of Musical Science, vol. 14, no. 1, pp. 176–188. DOI: 10.63219/2308-1031-2026-1-176-188.
CHINESE PIANIST YUJA WANG IN DIALOGUE WITH OUTSTANDING CONTEMPORARY CONDUCTORS
N.L. Ruban
Abstract. The author of this article presents his personal experience in expanding the methodological potential of contemporary performing style. This is crucial for comprehending all facets of the artistic practice of some of the most renowned musicians of our time. The core of this approach lies in comprehending the unique creative exchange that takes place between the conceptual interpretation of a musical composition and the collaboration between a soloist and a symphony conductor. To achieve this, the author selected three prominent figures from the contemporary music scene as subjects of study: Wang Yujia (王羽佳), a Chinese pianist; Claudio Abbado, an Italian conductor; and Valery Gergiev, a world-renowned conductor, composer, and artistic director. Considering Sergei Rachmaninoff's Piano Concerto No. 2 in C Minor performed by Wang Yuja with Claudio Abbado and Valery Gergiev, the author of this article gradually and systematically reveals, on the one hand, the consistent qualities of the soloist's performance style (inherent artistry, desire for dramatic showmanship and decorative colorfulness, pianistic virtuosity, and love for Russian music). On the other hand, they also reveal the dynamic aspects of her artistic approach - willingness and ability to engage in an equal artistic exchange, while also demonstrating a desire for creative leadership. The fusion of these diverse characteristics and interpretative approaches of the pianist and conductors invariably results in a multi-dimensional, ever-changing, yet always vibrant artistic outcome.
Keywords: contemporary performance, Chinese piano art, Yuja Wang, Rachmaninoff's early concerts, Claudio Abbado, Valery Gergiev
Conflict of interest. The author declares the absence of conflict of interests.
For citation: Ruban, N.L. (2026), “Chinese pianist Yuja Wang in dialogue with outstanding contemporary conductors”, Journal of Musical Science, vol. 14, no. 1, pp. 189–198. DOI: 10.63219/2308-1031-2026-1-189-198.
