Music Scholarship / Problemy Muzykal'noj Nauki最新文献_第4页

The Artistic Action “The Conquest of the Winter Palace” for Celebrating the Anniversary of the October Revolution in the History of the Formation of Performative Arts 表演艺术形成史上庆祝十月革命周年“攻陷冬宫”的艺术行动

Music Scholarship / Problemy Muzykal'noj Nauki Pub Date : 2020-06-01 DOI: 10.33779/2587-6341.2020.2.037-044

Vera N. Dyomina

{"title":"The Artistic Action “The Conquest of the Winter Palace” for Celebrating the Anniversary of the October Revolution in the History of the Formation of Performative Arts","authors":"Vera N. Dyomina","doi":"10.33779/2587-6341.2020.2.037-044","DOIUrl":"https://doi.org/10.33779/2587-6341.2020.2.037-044","url":null,"abstract":"The article is devoted to the issue of formation of performative art in the context of development of spectacular forms of Soviet state holidays. While examining the time and space of official festivities, the author traces the process of design of texts of symbolic pictures narrating on the advent of “the happy life” of the new socialist era in the history of humankind. The theatrical pageantry replicating the chief events of Soviet history, being a significant component of mass holidays, is researched by the author within the dynamics of the process of formation of new forms of culture occurring during the course of the entire specified stage of research. In the variety of the mass shows of 1920 the most large-scale is the grandiose stage work “The Conquest of the Winter Palace” replicating the events of October 1917 in real time and space, accompanied by the performance of the proletarian anthem, revolutionary songs, marches and gunshots. This constructed quasi-military atmosphere unified the sound space of the festivity, singling it out from the everyday routine spatial/temporal domain. The application of performative means created the conditions for the perception of the developed action as a real-time historical event. These were the means by which the sacred chronotope of the Soviet holiday was created: the traditional spatial/temporal dimension of the holiday received an innovational interpretation through the implementation of new symbols which are significant for the formation of the Soviet state. The publication is prepared within the framework of scholarly project No. 20-012-00366–А “Performative forms of musical art as a phenomenon of modern culture” supported by the RFFI.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"51 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":"116773191","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}

引用次数: 0

The Singing Intonation and the Physical Actions of an Opera Artist: an Interdisciplinary Analysis 歌剧艺术家的唱腔语调与肢体动作:跨学科分析

Music Scholarship / Problemy Muzykal'noj Nauki Pub Date : 2020-06-01 DOI: 10.33779/2587-6341.2020.2.176-185

E. Yarkova

{"title":"The Singing Intonation and the Physical Actions of an Opera Artist: an Interdisciplinary Analysis","authors":"E. Yarkova","doi":"10.33779/2587-6341.2020.2.176-185","DOIUrl":"https://doi.org/10.33779/2587-6341.2020.2.176-185","url":null,"abstract":"meanings of intonations researched by contemporary stage direction in work with actors. It becomes established that a significant amount of progress in the understanding of the art of intonating in 20th century theater has been achieved by the actor and stage director Antonin Artaud. The author of the article turns to the outstanding research work about musical intonation written by Boris Asafiev, who seriously approaches the theory of musical perception, which becomes impossible without such “physical” elements of creativity as the performer’s “perceptions” appearing in the process of living in an imaginary reality, “thinking by means of music” and “actions by means of singing.” The article demonstrates several techniques of stage direction and means of forming intonation, the definition of the voice’s “texture,” as the “corporeal vibrations of the spirit” of the role and the part. The author emphasizes that academic research of the issue of singing intonation becomes possible only from the perspective of systematic theory, where the self-organization of complex living system undergoes a contemporary scientific and humanitarian analysis.","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":"130948188","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}

引用次数: 0

Music Scholarship / Problemy Muzykal'noj Nauki Pub Date : 2020-06-01 DOI: 10.33779/2587-6341.2020.2.126-142

T. Bramantyo

{"title":"Malay Popular Songs of Deli, Minang and Minahasa: The Dynamism of Song Characteristics, the Identities of Linguistic, and Musical Expression","authors":"T. Bramantyo","doi":"10.33779/2587-6341.2020.2.126-142","DOIUrl":"https://doi.org/10.33779/2587-6341.2020.2.126-142","url":null,"abstract":"One of the varieties of popular music of Indonesia is the so-called Nyanyian Populer Daerah (regional pop songs) which usually employs areal dialect, as well as characteristic melodic styles and expression. The number of these genres in Sumatra and the Malay Peninsula is countless, since there exist so many local dialects, and musical expression can be found in all of these regions. This research focuses only on three areal pop songs, two found on the Sumatra Islands and one found in North Sulawesi. The two genres found on the Sumatra islands (Deli and Minang) are exceptional as being the chief genres which received its influences from the characteristics of the original Malay songs, while the other one comes from Minahasa, the music of which has possesses its own peculiar different melodic styles, but provides the same type of expression in singing. This research employed fieldwork, as well as study of the selected recordings available on various types of social media, including Youtube, etc. During the fieldwork, informal interviews were taken from a number of selected local musicians and singers. The collected data from the fieldwork then was interpreted and analysed (in the form of object analysis) by means of musical theory perspectives and aesthetical criticism. As it is presented here, this research is not in the least comparative, but allows the readers to enjoy the similarities and the differences of the genres. It was discovered that all the genres shared similar Malay musical idioms in traditional narratives, as well as oral cultures which demonstrate the dynamism of changes and sustainability of the local dialects as linguistic expression. Suggestions for further research is quite vital, since there are still many musical and aesthetical values waiting their turn to undergo research for future documentation and enhancement of shared values.","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":"133941610","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}

引用次数: 0

About the Carnival Features of Street Music: Festivity and Work 论街头音乐的狂欢特征:节日与工作

Music Scholarship / Problemy Muzykal'noj Nauki Pub Date : 2020-06-01 DOI: 10.33779/2587-6341.2020.2.018-026

Sergei S. Sokovikov, E. Kaminskaya

{"title":"About the Carnival Features of Street Music: Festivity and Work","authors":"Sergei S. Sokovikov, E. Kaminskaya","doi":"10.33779/2587-6341.2020.2.018-026","DOIUrl":"https://doi.org/10.33779/2587-6341.2020.2.018-026","url":null,"abstract":"method shows the interconnection between street music and the phenomenon of carnival. The basic characteristic features of this interconnection are disclosed: expansion of public space into loci and their transformation; the “corporeal” reality of action; the playing character; the creation of conditions of utopian freedom; the removal of the usual limitations; supra-ordinary conviviality; a specific modus of farcicality; stage appeal and poly-genre qualities. A functional approach is applied for characterizations of manifestation of carnival features in the activities of street musicians. Evidence is provided that with the disappearance of traditional folk carnival forms street music replicates carnival features in contemporary cultural space, carrying out the pertinent compensatory and creative functions: spontaneous aestheticization of public space; the creation of conditions of vivacious unmediated communication and co-authorship; the formation of a supra-ordinary festive mood. Critique is administered to approaches which absolutize in street music the tendencies of resistance to the standard social orders. Application of the contextual approach helps substantiate the specific features of the value of street music in the artistic and extra-artistic contexts. The validity and fruitfulness of application of the concept of carnival features is validated in the analysis of the interaction between street music and the institutions which regularize the ways of public space. Carnival features are shown as comprising one of the characteristic features providing the irremediableness of street music from out of the space of culture.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"7 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":"126496394","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}

引用次数: 0

A Brief Narrative of the Third Position as the Initial Position for Beginning-Level Violin Instruction 浅谈第三位作为初级小提琴教学的起始位

Music Scholarship / Problemy Muzykal'noj Nauki Pub Date : 2019-12-01 DOI: 10.17674/1997-0854.2019.4.065-072

Eylem Arıca

{"title":"A Brief Narrative of the Third Position as the Initial Position for Beginning-Level Violin Instruction","authors":"Eylem Arıca","doi":"10.17674/1997-0854.2019.4.065-072","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.4.065-072","url":null,"abstract":"О третьей позиции как базовой для начального обучения игре на скрипке The necessities of education and human nature call for different pedagogical approaches, schools and methods to be used in beginning-level violin instruction. The choice of the initial position for beginning-level instruction of playing string instruments holds an important place among these differences, and the first position is generally used at the initial stage of traditional violin instruction. It is, however, only one of the chosen methods, which also include the technique of third position for beginning instruction. The focus of this study is to discuss the advantages and disadvantages of the technique of beginning with the third position and studies related to its which have extended from the early 20th century to the present day while placing it within its historical context as much as possible. The study aims to reveal the technique's historical process so as to contribute to its development and diffusion. As a result, it can aid in the increase of awareness of the technique as well as production of material related to it for the benefit of both educators and students. The use of third position for beginning instruction began to attract interest in the early 20th century, which is when its benefits began to be mentioned. Some pedagogues have, in fact, written method books which make use of this technique, applied it in their classrooms and shared the positive results which they experienced. Despite the ongoing debates between educators and performers in the 21st century regarding its advantages and disadvantages, the technique of beginning with the third position has not received much interest as an academic topic, nor has it been adequately studied. An important conclusion from the examination of its historical process and an evaluation of views expressed is that the lack of relevant material creates an obstacle to the use of the technique. As such, there is a need for studies based on the use this technique which also produce related material.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114865941","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}

引用次数: 0

Concerning the Question of the Interpretation of the Tragedy of Karl Gutzkow “Uriel Acosta” in Valentina Serova’s Opera of the Same Title 论瓦伦蒂娜·谢罗娃同名歌剧中卡尔·古茨科夫《乌列尔·阿科斯塔》悲剧的诠释问题

Music Scholarship / Problemy Muzykal'noj Nauki Pub Date : 2019-09-25 DOI: 10.17674/1997-0854.2019.3.082-092

Angelina V. Shcheveleva, E. R. Skurko

{"title":"Concerning the Question of the Interpretation of the Tragedy of Karl Gutzkow “Uriel Acosta” in Valentina Serova’s Opera of the Same Title","authors":"Angelina V. Shcheveleva, E. R. Skurko","doi":"10.17674/1997-0854.2019.3.082-092","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.3.082-092","url":null,"abstract":"Статья посвящена неизвестной опере «Уриель Акоста» Валентины Серовой, русского композитора так называемого «второго ряда», общественного деятеля, музыкального критика, автора пяти опер, произведений для симфонического оркестра, циклов инструментальных миниатюр. Сопоставляются оперное либретто и литературный первоисточник, рассматриваются особенности содержания и драматургии произведения. Анализируются идея, содержание и драматургия одноимённой трагедии немецкого писателя, драматурга и общественного деятеля Карла Гуцкова, послужившие источником либретто. Подчёркивается наличие двух сюжетных линий: социально-религиозной и лирической; показываются различия в соотношении данных линий – доминирование первой в пьесе и второй (тема трагической любви) – в либретто. Прослеживаются изменения, внесённые композитором в первоисточник, отражающие смещение драматургических акцентов: замена имён главных героев, состава действующих лиц, купюры некоторых действующих лиц и сцен; введение новых сцен; сокращение текста в отдельных сохранённых эпизодах; иная трактовка сценических ситуаций и др. Выявляются связи с оперными концепциями П. И. Чайковского (ведущая роль лирической линии, стремление к психологизации образов, волновая драматургия). Ключевые слова: Валентина Серова, трагедия Карла Гуцкова, опера «Уриель Акоста».","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128332862","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}

引用次数: 0

The Musical Nietzscheana of Alphons Diepenbrock

Music Scholarship / Problemy Muzykal'noj Nauki Pub Date : 2019-09-01 DOI: 10.17674/1997-0854.2019.3.021-032

Ekaterina D. Devyatko

引用次数: 0

The Style of Arioso Singing in Bashkir National Opera 巴什基尔民族歌剧中阿里奥索的演唱风格

Music Scholarship / Problemy Muzykal'noj Nauki Pub Date : 2019-09-01 DOI: 10.17674/1997-0854.2019.3.044-052

G. Galina

引用次数: 0

Variants of the Musical Text of Sergei Rachmaninoff’s Sonata No. 1 for Piano 谢尔盖·拉赫玛尼诺夫第一钢琴奏鸣曲音乐文本的变体

Music Scholarship / Problemy Muzykal'noj Nauki Pub Date : 2019-09-01 DOI: 10.17674/1997-0854.2019.3.062-070

A. N. Merzlov

{"title":"Variants of the Musical Text of Sergei Rachmaninoff’s Sonata No. 1 for Piano","authors":"A. N. Merzlov","doi":"10.17674/1997-0854.2019.3.062-070","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.3.062-070","url":null,"abstract":"Variants of the Musical Text of Sergei Rachmaninoff’s Sonata No. 1 for Piano Несмотря на всё более возрастающий интерес к музыке Сергея Рахманинова, в его фортепианном творчестве до сих пор остаются произведения не в полной мере изученные. К таким сочинениям относится Соната для фортепиано No 1 ор. 28 d moll. В статье сопоставляются различные варианты нотного текста произведения, включая три сохранившихся автографа. Рассматриваются следующие нотные тексты: рукопись, принадлежащая Константину Игумнову (датированная 14 мая 1907 года); два автографа (от 17 сентября 1907 года и от 30 марта 1908 года); ранние издания Сонаты (первое издание 1908 года фирмы «А. Гутхейль»; английское издание 1908 года «Hawkes & Son») и наиболее популярные российские издания (1948, 1964, 1981 и 2012 годов). Автор анализирует также некоторые моменты биографии композитора, дающие возможность разобраться в причинах фрагментарно кардинального отличия рукописей. Используемые методы позволяют приблизиться к объективному пониманию авторского замысла и возникающих сомнений в подлинности нотного текста, которые могут появиться у пианиста в процессе работы над Сонатой для фортепиано No 1 Рахманинова.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129164680","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}

引用次数: 0

About the Organization of the Sound Space in the Prologue to Arthur Honegger’s Dramatic Oratorio “Jeanne d’Arc au bûcher” 论阿瑟·奥涅格戏剧清唱剧《贞德·阿德·布<s:1>切尔》序中声音空间的组织

Music Scholarship / Problemy Muzykal'noj Nauki Pub Date : 2019-09-01 DOI: 10.17674/1997-0854.2019.3.150-158

V. Azarova

{"title":"About the Organization of the Sound Space in the Prologue to Arthur Honegger’s Dramatic Oratorio “Jeanne d’Arc au bûcher”","authors":"V. Azarova","doi":"10.17674/1997-0854.2019.3.150-158","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.3.150-158","url":null,"abstract":"Целью исследования является обнаружение пути к «действительному синтезу» в прологе драматической оратории «Жанна д’Арк на костре» Артюра Онеггера. Анализ композиции, драматургии и музыкального языка Пролога как обобщающего по смыслу крупного раздела произведения приводит к пониманию закономерностей взаимодействия структурных элементов драматической пьесы и вокально-симфонической формы. Автор рассматривает смысловые и композиционные функции диалога как особой формы высказывания, характерной для пьес драматического театра и для известных разновидностей литургической музыки X–XV вв. (тропы, «священные драмы», миракли, мистерии). В результате анализа выявляются композиционные особенности вокально-симфонических и вербальных эпизодов Пролога, определяются смысловые и музыкально-драматургические функции его структурных единиц, связанных с музыкальным воплощением молитвенного текста Клоделя «Из бездны я вознесла свою душу...» и начального стиха на латыни из Псалма 129 «De profundis clamavi ad Te, Domine». В звуковом пространстве Пролога «Жанны д’Арк на костре» выявлена драматургическая многоплановость, определено значение связующих композиционных элементов (межтекстовых связей). Сделаны выводы: о временно́й многомерности как форме преодоления композитором линейности сюжетного повествования, позволившей современникам 1930–1940-х годов воспринимать смысл «Жанны д’Арк на костре» как актуальный; о методах развития полифонической музыкальной ткани в вокально-симфонической композиции Пролога драматической оратории; о претворении в композиции Пролога баховских принципов «контрапункта аффектов» и «централизующей силы равнодействия аффектов». Важными оказались наблюдения над драматургическими рифмами в композиции Пролога; о смысловой значимости литургической сферы в музыкально-драматургическом развитии произведения; о духовном измерении времени и вечности, раскрывающем в Прологе драматической оратории смысл явления, определённого Артюром Онеггером как «действительный синтез».","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"206 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121634178","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}

引用次数: 1