Music Scholarship / Problemy Muzykal'noj Nauki最新文献

{"title":"Practical Music Making in the Context of the Educational Process of the Musical Classes of the Imperial Russian Musical Society in the South of Russia","authors":"A. V. Krylova","doi":"10.17674/1997-0854.2018.4.120-126","DOIUrl":"https://doi.org/10.17674/1997-0854.2018.4.120-126","url":null,"abstract":"The article examines the activities of the Musical Classes of the Rostov and Novocherkassk Sections of the Imperial Russian Musical Society (IRMS) from the perspective of the role of practical music-making in acquiring knowledge of the art of music. The statistics of the student concerts is brought in, the consistency in their organization is marked, on the basis of which the conclusion is arrived at that the main particular feature of the Musical Classes affiliated with the IRMS was the practical orientation of the instruction. Various forms of music-making are examined: solo performances, as well as those as part of ensembles and symphony orchestras. The repertoires of the student concerts were comprised predominantly of works by the composers of the Classical-Romantic period. The program of the student chamber ensemble morning and evening concerts were distinguished by the diversity of their programing, their cognitive constituent, as a rule, was connected with a panorama of names, genres and forms. The programs of the student orchestral concerts are perceived to have been more organic in their constituency. They were also frequently comprised according to the principle of contrast. Of great significance were the student opera productions. As the result of active work of the Opera Classes of the IRMS, the students mastered in a practical way large strata of Western European and Russian opera classics. In the general educational process a significant role was also played by the “adult” concerts, especially in such formats as monographic and historical concerts, as well as concert-lectures. Keywords: musical education, the musical life of Rostov, the musical life of Novocherkassk, student concerts.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114948252","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"About Valentin E. Khanetsky’s book “The Resounding...”","authors":"S. P. Shlykova","doi":"10.17674/1997-0854.2018.3.126-127","DOIUrl":"https://doi.org/10.17674/1997-0854.2018.3.126-127","url":null,"abstract":"","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115021456","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Early 20th Century Tatar Gramophone Recording: Ibragim Adamantov","authors":"Idris M. Gaziev","doi":"10.17674/1997-0854.2018.3.094-098","DOIUrl":"https://doi.org/10.17674/1997-0854.2018.3.094-098","url":null,"abstract":"","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115544639","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Evolution of the Method of Teaching Playing at Sight in Piano Classes","authors":"Tatiana I. Karacharova, O. N. Khmelnitskaya","doi":"10.17674/1997-0854.2018.3.109-117","DOIUrl":"https://doi.org/10.17674/1997-0854.2018.3.109-117","url":null,"abstract":"The ability of a piano pupil to read from sight, to perform compositions that are new for him is considered to be an extremely important skill of a musician. The first guidebooks for musical pedagogy appeared in Western Europe in the 16th and 17th centuries, however reading from sight had not been singled out as a separate issue. The active search for the most effective ways of teaching sight-reading in the piano class began from the mid-20th century. Since the 1970s there have appeared works of musician scholars who comprehended theoretically the process of reading from sight. In them the essence of this skill is revealed with a reliance on psychophysical regular occurrences, which are examined also from the positions of the level of the preparation of the pupils. What becomes characteristic is the activization of the integral process of perception and sounding out of sight-reading in non-traditional creative forms. Among these are classes in small groups, in which special conditions are created for effective consolidation of skills. They make it possible for a pedagogue to apply interactive methods of instruction, including didactic games. Innovative forms of ensemble sight-reading on the basis of semantic structures of the composer’s musical text developed at the Laboratory for Musical Semantics of the Ufa Institute for the Arts present a system of methods of non-traditional ensemble musicmaking, where reading musical texts in piano classes is done on the basis of role playing with the use of keyboard synthesizers. Keywords: piano, reading the musical score text, sight-reading, the creative methods of musical education, intonation etude, Laboratory of Musical Semantics.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126919216","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Contextual Approach in the System of Musical Education in Institutions of Higher Education","authors":"O. Pervushina, N. V. Kryuchkova","doi":"10.17674/1997-0854.2018.3.137-143","DOIUrl":"https://doi.org/10.17674/1997-0854.2018.3.137-143","url":null,"abstract":"The article examines the conditions of the organization of the context-based education of graduate students in the direction students in the category of “53.00.00. The Art of Music” in institutions of higher education from the angle of the productivity of development of a professionally integrated personality combining analytical, pedagogical, performance and creative components within himself. The requirements for the content of graduate school training in instrumental performance are examined in their application to the professional milieu – the context presenting itself in the role of the space of involvement into the activities of the performing musical ensemble in the primary states of instruction. Attention is accentuated towards the results of the educational process, which are revealed beyond the limits of auditory forms of instruction. The significance of the context-based approach lies in the fact that in the process of its application there occurs a transformation of the graduate student’s educational activities into professional activities on the basis of actualization of his independent word. When the educational program is realized the graduate student’s independent work is perceived as one of the forms of carrying out the context-based approach. The meaning and purpose of independent work placed into a context-based milieu of the educational variety are analyzed. Its organization becomes effective if it is realized in a creative and productive milieu, beyond the frameworks of auditory classes and lessons, by means of involvement of the performing musician into the creative process (rehearsals, instruction, performance and analysis) connected with the activities of professional musical ensembles, organizations or communities. Professional musical ensembles are perceived to possess the indispensable potential for formation of professional integrated personalities. Keywords: musical education, professionally integrated personality, contextual approach, independent work of a student, musical performance activity.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115942081","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The St. Petersburg Theme and the “Unknown Mily Balakirev” of Tatiana Zaitseva","authors":"A. Demchenko","doi":"10.17674/1997-0854.2018.3.118-122","DOIUrl":"https://doi.org/10.17674/1997-0854.2018.3.118-122","url":null,"abstract":"“The Musical St. Petersburg: the Past and the Present” – this is the broad boundless theme which has been arduously developed by the well-known St. Petersburg-based scholar Tatiana Zaitseva. Most impressive are Zaitseva’s monographic works which testify of the broad spectrum of her scholarly interests: “Tvorcheskie uroki M. A. Balakireva. Pianizm, dirizhirovanie, pedagogika” [“The Artistic Lessons of Mily Balakirev. Pianism, Conducting, Pedagogy”] (St. Petersburg: Kompozitor – St. Petersburg, 2012), “Sokrovishcha Rossii: Dukhovnaya muzyka M. A. Balakireva” [“The Treasures of Russia: The Sacred Music of Mily Balakirev”] (Moscow: Muzyka, 2013), “M. A. Balakirev. Polnoye sobranie dukhovnykh sochineniy” [Mily Balakirev: A Complete Compilation of Sacred Works”] (Moscow: Muzyka, 2015), “Vladimir Nilsen: Mysli vslukh” [“Vladimir Nilsen: Thoughts Out-Loud”] (St. Petersburg: Kompozitor, 2016). The author has prepared a third compilation of articles and materials from the series initiated by her “Balakirevu posvyashchayetsya” [“Dedicated to Balakirev”] (St. Petersburg: Kompozitor, 2014), where she appears both as an editor-compiler and an author of articles. Moreover, she has written numerous articles in various publications about outstanding St. Petersburg-based musicians which promise the creation of new monographs. Zaitseva’s books attract attention not only by their scholarly thoroughness and freshness of perspective of what seem to be textbook figures of Russian music, which are revealed by new, unusual sides. Her fundamental scholarly discoveries are expounded in an engrossing manner, which make them accessible not only to scholars, but also to students and music fans.  Keywords: The Musical St. Petersburg, Mily Balakirev, Russian musicology.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125214758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Christian Metatext of the Sermons of the Gospel in the History of Liturgical Practice Singing","authors":"G. Alekseeva, Galina N. Dombrauskene","doi":"10.17674/1997-0854.2018.3.026-035","DOIUrl":"https://doi.org/10.17674/1997-0854.2018.3.026-035","url":null,"abstract":"In all the Christian denominations, the Sermons remains an important factor for the preservation and dissemination of the Biblical values, concepts and symbols. Forming an integral part of the liturgical domain (the hierotopy of the church), it forms the Christian meta-text. An important channel for transmission of the religious experience in Orthodox Christianity, as well as in Catholicism and Protestantism, are the historical texts of the Gospels formatted into chant prior to the separation of the churches. Despite the confessional differences, the structure of the body of their musical texts comprises a unified axiological space within the Christian church in all of its hypostases. The homiletics of the historical Biblical texts is immutable. In the article the actualization of the sacred texts in historically and religiously different traditions is demonstrated on the material of the Great Doxology “Glory to God in the highest, and peace on earth, good will towards men.” A comparative analysis of the melodical lines of the incipits (beginings) of the Orthodox Christian, Catholic and Protestant chant “Glory to God in the highest!” demonstrates visibly the analogies in the constructions of the rocking melodies set to this text. In all these traditions the melody involves an ascending line followed with a reverse descending line, which is directly connected with the text which proclaims the harmonious unity of two worlds – the Divine (celestial) and the human (earthly). Keywords: texts of the Sermon in the Gospel, the Christian metatext in various traditions, the Great Doxology, analogy of melodic constructions.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130332744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Concerning the Question of Interpretation of Sergei Prokofiev’s Piano Compositions","authors":"T. Safonova, Zinaida V. Fomina","doi":"10.17674/1997-0854.2018.3.171-178","DOIUrl":"https://doi.org/10.17674/1997-0854.2018.3.171-178","url":null,"abstract":"In this article an analysis of performing interpretations of Prokofiev’s piano compositions is carried out from the positions of a hermeneutical approach. Interpretation is examined as a means of existence for the musical composition demanding an active creative co-participation of the performer in the recreation of the composer’s artistic conception. Special importance is attributed to the question of the boundaries of interpretation: the necessity of penetration into the innermost semantic strata of the performed composition, the aspiration towards the comprehension of the composer’s conception and the infeasibility of willful treatment of the musical text. The notion is elaborated on that the character of interpretation, its adequacy and convincing qualities depend not only on the musician’s professional level, but also on the magnitude and significance of the personality of the performer. The assertion is made that the analysis of various interpretations of any particular musical composition makes it possible not only to define the performer’s spiritual reference points and value preferences, but also the spiritual atmosphere of the society in which he or she is artistically active, as well as the demand for certain moods or meanings which the composer’s music conveys. The presumption is expressed that the active interest in the music of Prokofiev on the part of performers is stipulated by the character of the intense historical situation in the world creating the feelings of alarm and blight: in Prokofiev’s music especially attractive for musicians are the aspiration towards light, self-assuredness and optimism. The renditions of the piano compositions by Svyatoslav Richter, Maria Grinberg, Emil Gilels, Marta Argerich, Nikolai Petrov, as well as by contemporary pianists, Andrei Gavrilov, Evgeny Kisin, Daniil Trifonov and Grigory Sokolov. Keywords: Sergei Prokofiev, piano compositions, performer’s interpretation, composer’s conception.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128139296","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Interpretation of Texts in Other Languages in Dmitri Smirnov’s Vocal Cycles","authors":"O. Nikiforova","doi":"10.17674/1997-0854.2018.3.016-025","DOIUrl":"https://doi.org/10.17674/1997-0854.2018.3.016-025","url":null,"abstract":"The author of the article examines twelve chamber-vocal cycles written by Dmitri Smirnov from 1973 to 2017 to texts by William Shakespeare, William Blake, Samuel Taylor Coleridge, James Joyce, Kathleen Raine, Matsuo Basho, Kobayashi Issy, Friederich Holderlin. A large portion of text in other languages in music by Smirnov by the fact that the problem of intersemiotic translation, which is most significant for the composer, is realized in it by various means. The article analyzes the lexical and semantical peculiarities of the poetical texts of the vocals cycles, which are performed in English, Japanese and German, and the influence of these peculiarities on the choice of certain musically expressive means and compositional techniques. Thus the parallel between verbal and musical poly-linguity is found, the impact of the lexical-semantic field of “nature” on broad usage of sound-depictive, sonar and aleatory techniques, the reflection of the aspiration of the poets towards myth-creation and symbolism in the usage of visual signs and elements of instrumental theater. An important role in the formation of the special fascination on the part of Smirnov to the serial technique was played by his lessons with Philip Herschkowitz, the continuer of the traditions of the composers of the Second Viennese School. The methodology, means of work with the twelve-tone series, the contrapuntal qualities, and the miniature forms demonstrate the manifestation of the influence of the music of Anton Webern. Keywords: composer Dmitri Smirnov, song cycle, poly-lingual text setting, serialism, modality, sonorism, soundpictorial quality, instrumental theater, William Blake, Matsuo Basho.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"94 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121576240","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Structure of the Symphony Orchestra in the Context of the World Perception during the Time Period from the 18th to the Early 20th Century","authors":"Galina V. Rybintseva","doi":"10.17674/1997-0854.2018.3.164-170","DOIUrl":"https://doi.org/10.17674/1997-0854.2018.3.164-170","url":null,"abstract":"","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129967530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}