Tonchuk P.
Fugue in the context of non-European musical culture: the problem of «monody-polyphony»
«Monody-polyphony», a major problem arising in the study of creativity of composers national non-European schools. In the context of this problem are considered features of the implementation of the genre Fugue in space monody Oriental musical culture. Among the factors that allowed for adaptation Fugue in new cultural conditions, specified noticed the composers themselves proximity monody to polyphonic than for the harmonic polyphony. An important aspect of the consideration of the article are laid down in monody traditions prerequisites to polyphony. These assumptions and the resulting characteristics the construction of votes in non-European fugues not depend on national culture, they are universal for all Eastern fugues. National specificity, primarily in intonation, tonality and rhythmic sphere. Analysis of specific features of its themes of non-European fugues related to their mono sources, showed the important role of improvisation, which resulted in a significant increase in the length of the themes.
The least affected national beginning is the sphere of form construction (among the rare exceptions – Fugues by Т. Kurbanov, G. Mushal (Uzbekistan), D. Dustmukhamedov (Tajikistan)).
The study was concluded that originated in European culture, Fugue successfully migrated to Eastern culture. In the fugues of non-European composers indicated flexibility tonality, intonation parameters, but deviation from European norms of the construction of votes (the latter is related to features of monody music). But in the same time the rigidity of form construction and principles of development are remain although in separate works there is the desire to overcome the severity of the laws of the European form construction.
Keywords: fugue, monody, polyphony, Oriental musical culture, adaptation genre.
Guseva E.
Binarity in composer’s thinking: cognitive examination experience
In this article, experience of binary oppositions’ cognitive understanding in structural-semantic organization of musical texts is being made. Based on installation of dialectical interdependence of language and thought recognition, binary oppositions are considered as cognitive sense-presupposing models produced by composer’s consciousness. It is noted that cognitive models get reflected in «image-schemas» and composite models made up by composers and having visual or verbal expression.
On example of musical texts analysis of the XX century composers («Running Music» by P. Dyussapin, «Ode» by Denisov, «Continuous Creation» by P. Hamel) observation is made that composite models and «image-schemes» can be structured according to binary relations logic and have binary configuration. On example of the author analysis and composers’ comments to their own works it is shown that binary «image-schemes» and compositional models imprint in themselves a mechanism of composer’s mental activity. It is noted that the «image-schemes» and compositional models serve as one of inline-text meaning-making and morphogenesis factors.
In the XX century composers creativity, attention is drawn to tendency of veering from binarity principle in musical texts structural-semantic organization. Along with that it is shown that binary archetype in composer’s thinking retains its effect in meditative (conflict-free) dramaturgy, as well as under conditions of rhizome and collage principles of musical texts organizing.
Keywords: composer’s thinking, cognitive models, compositional models, «image-schemes», binary oppositions, binary logic, binarity principle, music of the twentieth century
Akushevich M.
Forms of artistic synthesis and their manifestation in the works of M. Falla
The paper proposes a classification of interspecific interaction, the characteristic mechanisms of each of them: integration, subordination, symbiosis of different arts that complement synthesis, synesthesia, or inter-modal synthesis. The theoretical section is based on literature aesthetic and artistic profile. The author’s aim is to develop terminology for the analysis of forms of artistic synthesis in music. On the material of the creativity of Spanish composer of the twentieth century Mfali the mechanisms genre, stylistic and stylistic synthesis. The characteristics of theatrical works attention is paid to the principles of mixed genres. Synthesis in instrumental music examined in relation to the semantic dictionary of musical language, his «modulating» the iconic nature. Emphasizes national specificity of synthetic thinking Falla in unity with the European trends of style and genre search of music of the twentieth century
Keywords: synthesis, integration, symbiosis, synesthesia, semantics, musical style, musical genres.
Zhaleeva R., Pankinа E.
Provencal influence in the spanish-portuguese cantiga
The article is devoted to cantiga of Galician-Portuguese troubadours – a song genre of the Middle Ages, formed under the influence of Provencals’ creativity. This effect was caused by service of Provencal musicians at the Catalan and Castilian kings’ courts. Troubadours from Catalonia, Aragon, Galicia were noticed in Spain along with migrants, they were as persons of humble origin and high. The author gives information about three main (de amigo, de amor, de escarnio y maldecir) and less common genre varieties of cantiga. Provencal impact most fully manifested in the cantigas de amor, cantigas de escarnio y maldecir, cantigas de seguir, and in such kinds as tenzón, pranto, descordo, pastorela, lai, alba. Cantiga de amigo is probably originated from the Spanish romance. Supposedly cantigas were created by contrafactum, in reliance on the Provençal and Spanish folk melodies. A process of adaptation of Provencal genre models is noted in the Spanish song culture.
Keywords: cantiga, troubadour, Provence, Galicia, cancionero.
Kirichenko O., Pankinа E.
Italian influence in German polyphonic song of the XVI century
The article is devoted to the question of the influence of the Italian song culture in the style of German polyphonic songs of the XV-XVI centuries. The relevance of the article due to the fact that secular polyphonic Lied, unlike other European vocal genres of the Renaissance, became the object of special consideration in the context of foreign influences. In comparison with song genres Italy, German polyphonic song is characterized by a relatively late emergence and delayed, but intensive development, as evidenced, in particular, the advent of the Assembly, similar to Italian, collective ontologicheskie and author. Along with enhancing technology letters on a cantus firmus, the active use of citation material, songs appear in a simplified chord texture c uncharacteristic for Germany microreference «falala». Bright representative of the Italian directions in German the song is Hans Leo Hassler, which belong to the collections of German polyphonic songs with Italian genre designations. The combination of the borrowed Italian songs with German, simultaneous sounding of different languages was clearly reflected in the German genre of quodlibeta.
Keywords: Germany, Renaissance polyphonic Lied, song collection, «atenolola» choral Lied, contracture, Quodlibet.
Leonova N.
«The cuckoo cuckooed» by A. Murov: work of the composer with folklore sources
Askold Murov is the outstanding Siberian composer of the second half of the 20th century. Style number of his works (among its – choral music and composition for Russian Orchestra) was formed under the influence of folklore. Devices of the composer’s work with the folk material are considerer in this article. As an illustration – the Part Two from cantata “Five ritual songs” for voice and Russian Orchestra. For this work Murov tsed two published, not related to each other sources: verbal text of Russian wedding song, recorded in Siberia in 1971, and epic chant, recorded in the Arkhangelsk region in 1901. During the works the coposer had to solve various problems. The actually artistic task was to identify and fully realize the potentiality of folk song’s semantic. It needed to overcome the emotional and structural homogeneity and monotone of folk verbal text, than it needed to differentiate narrative and dialogic fragments. At the same time the composer had to make some technological methods to connect differently organized verbal text and folk melody. For this Murov purposefully transforms the folk sources. Initial narrative verbal lines it makes more extensive, it converts the rhythmic and structural organization of the epic melody. Based on the folk song’s intonations composer creanes his own melodic constructions. All this enabled to create a bright work, having an original artistic style.
Keywords: Siberian music, Askold Murov, folklore texts, way of creation of musical work.
Maksimova A.
To the question of the effects of the russian composers ‘ experience on creativity Kosaku Yamada
Russian musical art has extended the sphere of its influence on Japanese Symphony. This is reflected in the spiritual, aesthetic and musical and stylistic preferences of the founder of the Japanese composer school – Kosaku Yamada. The composer spent his life experienced the deepest reverence for Russian culture. Not surprisingly in this case that the experience of the national musical art in some of its points was borrowed Japanese composer. The traditions of Russian musical culture manifested in symphonic compositions Yamada kind of far from all the orchestral works of the composer. Russian influence is most evident in the symphonic poems “Madara but Khan” and “Kurai tobira” where were able to identify the influence of A. Skryabin. The motivation to create a Symphony of Nagauta “Tsuruhama” was a personal acquaintance Yamada with representatives of the Russian composers ‘ hall. Thus, the Russian musical art has had a direct impact on the creativity Yamada as a symphonist.
Keywords: Kosaku Yamada, Russian school of composition, A. Skryabin, symphonic poems, “Tsuruhama”, the composer follo-tourism.
Grazhdanova M.
Piano cycle Z. Mirshakar «Beads for Saidochka» in the context of Tajik national music traditions.
The article is devoted to the features of the implementation of the genre of children’s piano album in the works of Tajik composers on the example of the cycle of Zarrina Mirshakar. It tasked to consider this aspect in the implementation work of the Tajik national music traditions. In the article of the special moment of the interaction of European and Oriental traditions in the genre. On the basis of imagery and thematic analysis of child album «Beads for Saidochka», was found a link with the peculiarities of the traditional music of Tajiks, such as: improvisation, originality metro-rhythmical and harmony structures, textured techniques in the presentation polyphonic material, that showing monophonic.
Keywords: Children’s piano album, Tajik music, folklore and national traditions.
Zenina L.
Mikhail Ivanovich Levitov and its role in the development of children’s musical education, Novosibirsk
The article highlights the problems of development of children’s music education, Novosibirsk (Novonikolaevsk) in connection with the opening of the Children’s music school No. 1, which celebrates 2014 its 80th anniversary. The first headmaster was a wonderful educator, musician, composer Mikhail Ivanovich Levitov, devoted to the work of the school more than 24 years. His contribution in the development of musical culture of the city invaluable: he was also the first Director of the Novosibirsk music College, the first Chairman of the Board of the Union of Siberian composers. The representative of the «old intelligentsia of Russia, he passed on cultural traditions to a new generation of Siberians, selflessly serving the development of national culture and education.
Keywords: M. I. Nevitov, music education in Novosibirsk, the Siberian composers.
Pronina A.
Organ culture of Siberia between XIX – 1st quarter of the XX century in the context of religious and artistic activities of western Christian immigrants
The article is devoted to the problem of organ culture history in pre-revolutionary Siberia and the role of Latin and Lutheran church representatives, one among actual problems of musicological Siberian studies, which have not been explored yet. The incipience of organ culture in Siberia have been determined by processes of the settlement of the region with Catholics and Lutherans. The important moment of their adoptation in Siberia has been closely connected with the establishment of their spiritual life: building of Latin and Lutheran churches; exercise of spiritual rites. Such settlers have retained their cultural identity in conditions of an unfamiliar socio-cultural environment. At the same time, Catholic and Lutheran settlers in Siberia have moved traditions of organ playing to Siberia.
From 1st quarter of XIX century, for decades, basic components of the organ culture (instruments, performance, education, etc.) have been formed in Siberia. At the turn of the XIX – XX centuries, the activity of Catholic and Lutheran settlers have led to the expansion of organ existence sphere in Siberia far beyond Catholic and Lutheran communities. Spiritual concerts featuring organ, which have been hold in Latin and Lutheran churches of Siberian cities, have become the impetus to such rapprochement. Organ doers in Siberia, had being first an adscititious phenomemon, gradually has become a natural part of the regional culture.
Keywords: organ culture, organ, catholic, lutheran, settlers, Siberia.
Karelina E.
R. Mironovich’s contribution in the development of musical culture of Tuva (to the 110 anniversary from the birth of the musician)
The article is about an importance of R. Mironoviches creative activity for development of the Tuvinian music culture in 1943–1946. He left a noticeable trace in the history of the Tuvinian theatre, national orchestra and music education. R. Mironovich was a brilliant graduate of the Moscow Conservatoire (classes of flute and conducting). Before coming in Tuva he received the necessary experience as an orchestral musician and Opera-symphonic conductor. Working in Tuva, he collided with many unexpected difficulties, but he managed to leave behind faithful followers among Tuvinian students. Numerous archival documents show that the pedagogical talent of Mironovich was exceptional. His experience in composition of the national Opera was the first in Tuva, however, in the history of the Tuvinian music Mironoviches Opera was unjustly forgotten. His steps in creation of the national orchestra were innovative for Tuvinian culture, but brought the full results much later, in the era of post-Soviet Tuva.
Keywords: Tuva, creative activity, theatre, opera, national orchestra, music education.
Belonosova I.
Musical and educational activities of KSAMaT teachers – graduates of the Leningrad Conservatory (1978–2013 years)
The article deals with the role and importance of graduates of the Leningrad Conservatory in the development of musical culture not only of Krasnoyarsk, but the region as a whole. The author emphasizes the importance of teaching activities of musicians of all specialties, specifies the role of their live performances, education, composing art.
Keywords: The Leningrad Conservatory, Krasnoyarsk State Academy of Music and Theatre, concerts of teachers, musicologists and composers of Krasnoyarsk.
Romanovskaya E., Rozhkova Yul.
Some questions of Genesis piano school in Novosibirsk state Conservatory
The article is devoted to some issues of Genesis of the piano school of the Novosibirsk Conservatory. The authors consider piano school as a kind of cultural traditions which arise and continue to evolve through the leader of the school and its students for many years. On the basis of transmitted traditions are formed other piano school. The survey results, the authors tried to present in the table, which traced the origins of the Russian piano school in whole and, in particular, Novosibirsk. At the end of the article the authors analyze the pedagogical principles of the leading professors of the Novosibirsk Conservatory of M. S. Lebenzon and D. L. Shevchuk, who not only continue to develop the best achievements of other piano schools, but also realize their own pedagogical program that have a clear practical success.
Keywords: Genesis, piano school, tradition, interaction, pedagogical methods and techniques, Novosibirsk Conservatory.
Mishchenko M.
Performance of the Concerto for piano and orchestra in a minor by Edvard Grieg in class piano: guidelines
The article is devoted to peculiarities of the text of the piano Concerto by Edvard Grieg in class piano. In the process of sequential consideration of all sections, the author offers performing technical solutions focused on quality development works, the most complete revelation of his textural, melodic-harmonic and metro-rhythmical features.
Keywords: Edvard Grieg, piano Concerto in a minor, piano pedagogy.
