Music Scholarship / Problemy Muzykal'noj Nauki最新文献

{"title":"The Vocal Symphony in the Interpretation of Leif Segerstam and Pehr Henrik Nurdgren","authors":"I. V. Koposova","doi":"10.33779/2587-6341.2020.4.225-240","DOIUrl":"https://doi.org/10.33779/2587-6341.2020.4.225-240","url":null,"abstract":"The present article analyzes the approach toward the genre of the vocal symphony of two contemporary symphonic composers – Leif Segerstam and Pehr Henrik Nurdgren; analysis is given to Segerstam’s Symphony No.14 “Moments of Peace III” and Nurdgren’s Sixth Symphony “Interdependence” (1999–2000), which have different orchestral ensembles and structure. Segerstam’s symphony presents a 16-movement cycle for tenor and symphony orchestra and discloses a spectrum of feelings of its lyrical hero. The symphony combines sonoristic and aleatory techniques, reflecting the features intrinsic to Segerstam of the authorial “technique of free pulsation.” In this case the specificity of its realization is connected with the special role of the verbal text in the overall composition. According to the composer’s indications, the aphorisms of John Brown, which lie at the symphony’s foundation, have the option of not being sounded, since the soloist’s timbre during the process of performance is variable (either a voice or one of the instruments). Consequently, the text here preserves its connection with verbal notation: Segerstam used it in his first oeuvres created in his technique. Nurdgren’s symphony draws different performance means: an orchestra, a chorus and two solo vocalists (a soprano and a tenor). The massive ensemble is determined by the composition’s theme: it is written on the text of the “Declaration of Interdependence,” the document which states the basic principles of environmental law. The symphony consists of three movements; all of their particular features (its composition, applied means of vocalization, etc.) are determined by the vocal text, since the directives of the “Declaration” serve as the predominating element in the composition. Thereby, the analyzed compositions demonstrate the fluency of the vocal symphony, its ability to embody diverse types of content and artistic conceptions. At the same time, they demonstrate two paths along which this genre can develop. Being a hybrid genre in its nature, it brings in the means of a vocal cycle (Segerstam’s symphony) or a cantata or oratorio (Nurdgren’s symphony). Keywords: vocal symphony, Leif Segerstam, Symphony No. 14 “Moments of Peace III,” John Brown, Pehr Henrik Nurdgren, Symphony No. 6 “Interdependence,” David Suzuki, Jan Sibelius, “Kullervo” symphony.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121018624","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":"Mythological Models and Ritual Forms in Contemporary Musical Theater Performance","authors":"Elena V. Kiseyeva, Vera N. Dyomina","doi":"10.33779/2587-6341.2020.4.077-087","DOIUrl":"https://doi.org/10.33779/2587-6341.2020.4.077-087","url":null,"abstract":"Performativity as one of the essential qualities of the present-day art of music has created an important role in the process of renewal of its leading genres. Drawing its sources in the theatrical experiments in the mid-20th century, toward the end of the century musical performance has imbedded itself not only into the sphere of art practice, but also created an impact on such a conservative sphere of academic music as musical theater, and in particular, on the genre of opera. The article sets the issue of manifestations of mythological models and elements of ritual characteristic of theatrical performance in operas by contemporary music. Basing themselves on the theory of performativity, the authors explain the innovations in the production from the point of view of the presence of liminality in them. At the center of attention are compositions insufficiently studied in Russian musicology the analysis of which makes it possible to indicate the direction of development of the opera genre: its revival from within by means of a search of a new form of synthesis by introducing new dramaturgical regularities and also as a result of connection of art with elements of real actuality. From the perspective of the authors of the article, performance becomes one of the forms of theatrical presentation, replacing the traditional theatric demonstration built according to the laws of drama. This position is actively developed in the sphere of contemporary theater studies in Europe in the works of Hans-Thies Lehmann, Erika Fischer-Lichte and Richard Schechner. Such formulation of the question explains the aesthetic foundations of the innovative aspirations of opera composers.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"88 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123374306","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 Complex Model of the Semantic Space of Music: Structure and Features","authors":"I. Gorbunova, Mikhail S. Zalivadny","doi":"10.33779/2587-6341.2020.4.020-032","DOIUrl":"https://doi.org/10.33779/2587-6341.2020.4.020-032","url":null,"abstract":"The Complex","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121945833","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 Issue of the Main Protagonist in 17th Century Italian Oratorio","authors":"G. R. Konson","doi":"10.33779/2587-6341.2020.4.173-186","DOIUrl":"https://doi.org/10.33779/2587-6341.2020.4.173-186","url":null,"abstract":"The aim of the article is to examine the phenomenon of the main protagonist from the perspective of his tragic nature as an expression of the concentrated essence of baroque ethics and aesthetics as manifested in the culminating stage of the development of 17th century oratorio (San Giovanni Battista by Alessandro Stradella) and on the stage of the genre’s exhaustion (Agar et Ismaele Esiliati by Alessandro Scarlatti). The principle of “relative clarity” (to use the expression of Heinrich Wolfflin) became fundamental in considering the features of baroque aesthetics in music. This principle manifested itself in various aspects of the oratorio: in its concept, drama, interpretation of the main characters, and the very genre. Conceptually, this principle is expressed in the chief protagonist’s moral hesitation about a decision which was made (as in the oratorios Herode and Abramo). Dramatically, it manifested itself in the move made by the developmental functions upon the expositional ones – as in the oratorio San Giovanni Battista – or in the application of two different focuses of vision on the part of the same protagonist, such as Herode (Herod), Salome, Abramo (Abraham) or Sara (Sarah): this is shown most vividly in the expositions of the first and second acts of the oratorio Agar et Ismaele Esiliati. In the interpretation of the main characters the transmission of the principle of “relative clarity” was demonstrated in the interpersonal conflict: in Stradella’s oratorio, it is directly expressed between John the Baptist, on the one hand, and Herod and Salome, on the other hand, and indirectly – between San Giovanni Battista (John the Baptist), on the other hand, and Herodiade (Herodias) and the Consigliere (Herod’s counselor), on the other hand; in Scarlatti’s work – between Abramo and Sara, on the one hand, and Agar (Hagar) and Ismaele (Ishmael), on the other hand. At the same time, the psychological state of most characters is characterized by explosive emotions, which often reach the level of intrapersonal conflict. In Stradella’s work, Herode experiences such feelings (there are indications that Salome undergoes them in some of their aspects, as well); and in Scarlatti’s oratorio a similar “counter-feeling” (a term coined by Lev Vygotsky) is crystallized in the actions of Abramo. The principle of “relative clarity” was also reflected in a peculiar mutation on the part of the oratorio as a genre, in which the chorus (featuring one of its main attributes) is reduced to a minimal level – as in the oratorio San Giovanni Battista, or is completely absent – as in the oratorio Agar et Ismaele Esiliati. Keywords: Alessandro Stradella, Alessandro Scarlatti, Italian oratorio, tragic, baroque hero, San Giovanni Battista (John the Baptist), Herode, Herodiade, Salome, Abramo, Sara, Agar, Ismaele, intrapersonal conflict, “relative clarity.”","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116692163","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 Performative Features of Steve Reich’s Documentary Musical Video Theater","authors":"A. Shornikova","doi":"10.33779/2587-6341.2020.2.027-036","DOIUrl":"https://doi.org/10.33779/2587-6341.2020.2.027-036","url":null,"abstract":"The article is devoted to the comprehension of the processes of instauration of contemporary musical theater under the impact of documentation activities and performativity. Proceeding from the fact of intensive growth of communicative activity in contemporary society, the author asserts the formation of the public’s demand for the actualization of content of contemporary art and the opportunity of interactive cooperation in the process of its presentation. Drawing on Richard Schechner’s theory of performance, the author analyzes Reich’s documentary video-operas from the perspective of performative features in the transformation of theater. In connection with this the author examines the question of the performative features of opera librettos, special techniques of work with the voice and the text – such as convergence of visual-graphic and audio forms of presentation of the text, its construction from discreet fragments of the respondents’ verbal actions, the play nature, consisting of endowing speech with melodic qualities and the transferal of verbal intonational manifestations into instrumental ones, replacement of the semantics of the word by its phonic form, etc. In addition, analysis is given to the following question: how is the traditional structure of opera performance transformed under the impact of such features of performative art as the creation of special spatial and temporal coordinates which enhance the force of suggestibility. The widespread use of screens makes it possible for us to unlock the conditional-theatrical space into everyday reality and change the character of experiencing time. The result of the examined particularities is the transformation of the habitual conditions of perception of theatrical performances, in connection with which the audience becomes permeated with the so-called borderline state, which bears a most significant meaning in the aesthetics of performativity. Keywords: opera, performance, documentary musical video theater, suggestion, ritual, Steve Reich, Richard Schechner.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115184246","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":"Musical Quotation as a Semantic Factor in the Cinematic Texts of the 20th and 21st Centuries (by the Example of Johannes Brahms’ Rhapsody opus 79 No. 2)","authors":"A. A. Komarova","doi":"10.33779/2587-6341.2020.2.045-054","DOIUrl":"https://doi.org/10.33779/2587-6341.2020.2.045-054","url":null,"abstract":"Исследование посвящено цитированию музыки Рапсодии op. 79 No 2 немецкого композитора-романтика И. Брамса в трёх кинофильмах: «Песнь Любви» (1947), «Призрак свободы» (1974), «Моё сердце биться перестало» (2005). Эти фильмы сняты выдающимися режиссёрами К. Брауном, Л. Бунюэлем и Ж. Одиаром, относятся к жанрам биографии, комедии абсурда и драмы. В статье ставится цель выявить смыслы, возникающие при взаимодействии музыкальной цитаты с кинотекстами фильмов. Анализ трёх кинофильмов доказывает, что музыка рапсодии И. Брамса, помещённая в различные по жанру, стилю и времени создания кинотексты, сообщает единое поле смыслов, образов и эмоций, в одном из примеров выводит кинотекст на символический уровень. В некоторых примерах наблюдается синтез музыкальной цитаты с видеорядом, в других примерах, наоборот, музыкальная цитата вступает в звукозрительные и смысловые контрапункты с кинотекстами. Также музыкальная цитата создаёт интертекстуальные диалоги между источником цитирования и кинотекстами, подчёркивает смену экранных хронотопов, отражает чувства и мысли героев, усиливает эмоциональное восприятие реципиентом событий в кадре, фокусирует внимание реципиента на кульминационных разделах фильмов, влияет на композиционное строение кинофильмов.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128309878","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":"Rodion Shchedrin’s Opera “Lolita”: About the History of the Perm Production","authors":"S. Platonova","doi":"10.33779/2587-6341.2020.2.166-175","DOIUrl":"https://doi.org/10.33779/2587-6341.2020.2.166-175","url":null,"abstract":"Rodion Shchedrin’s Opera “Lolita”: About the History of the Perm Production Статья посвящена анализу первой в России постановки оперы Родиона Щедрина «Лолита» по одноимённому роману Владимира Набокова, состоявшейся в 2003 году в Пермском академическом театре оперы и балета имени П. И. Чайковского. Уточняется по рукописной авторской партитуре дата создания оперы. Ставятся вопросы специфики режиссёрского решения Георгия Исаакяна, дирижёрской трактовки Валерия Платонова, сценографии Елены Соловьёвой, а также аспекты взаимодействия режиссёра и дирижёра. Характеризуется процесс освоения пермскими музыкантами непростого языка оперной партитуры. Оценивается исполнение главных ролей – Лолиты Татьяны Куинджи и Гумберта Александра Агапова. Выявляется генеральная идея пермского спектакля – защита детства от посягательства взрослых, показано её осуществление: введение новой группы персонажей – детей – на протяжении спектакля. Используется сравнение российской постановки в городе Перми с мировой премьерой, прошедшей в Стокгольме. Привлекаются оценки пермской постановки, данные Родионом Щедриным, музыковедом Екатериной Власовой, а также рецензии прессы. Суждение об опере Валентины Холоповой – «бередение жизни ради жизни» – рассматривается как реализованная позиция пермских постановщиков.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120966525","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 Concerto and Symphonic Principles in the Scherzo from Mahler’s Ninth Symphony","authors":"Vadim Rakochi","doi":"10.33779/2587-6341.2020.2.075-083","DOIUrl":"https://doi.org/10.33779/2587-6341.2020.2.075-083","url":null,"abstract":"","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125592816","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 Melodicism of Azerbaijani Folk Songs","authors":"Leila R. Zokhrabova","doi":"10.33779/2587-6341.2020.2.186-194","DOIUrl":"https://doi.org/10.33779/2587-6341.2020.2.186-194","url":null,"abstract":"Azerbaijani folk songs, presenting one of the basic genres of traditional music, possess an abundant melodic style. These works of art, created back in early historical times, have also exerted considerable influence on the melodic development of other musical genres: the mugam’s dyastgyakh, the zerbi-mugam, the small-form mugams, the tesnifs, the ryangs and Ashug music. While researching and discerning several types of melodicism in the songs, we have discovered various examples of melodic motion: singing around a central pitch, sequences, anticipations and repetitions. The basis of folk songs is formed by descending melodic motions in which the most significant role is played by the conclusion of the phrase. Upon analysis of folk songs, a type of sequence is revealed which may label as “a sequence within a sequence.” One of the types of melody is a manifold repetition, in which the following types may be encountered: precise, variational, sequenced, sequenced-variational and ornamental. The melodic style and types of melodies in Azerbaijani folk songs depend directly on the foundations of the national modes. The tonic and the basic stable scale steps of the seven Azerbaijani modes (rast, shur, segyakh, shyushter, bayaty-shiraz and humayun) with the help of singing around the stable pitch find their complete realization. The frequently used type of melodic development – the melodic anticipation, also depends on the intonational particularity of one of the national modes (the segyakh). Keywords: Azerbaijani folk songs, traditional music, types of melody and sequence in Azerbaijani song.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131959636","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":"Karlheinz Stockhausen’s Choral Writing in his Heptalogy Licht","authors":"Alexander S. Ryzhinsky","doi":"10.33779/2587-6341.2020.2.084-097","DOIUrl":"https://doi.org/10.33779/2587-6341.2020.2.084-097","url":null,"abstract":"","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"349 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125776453","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}