Music Scholarship / Problemy Muzykal'noj Nauki最新文献

{"title":"Algorithmic Compositions are a Phenomenon of Electronic Music","authors":"E. N. Piryazeva","doi":"10.17674/1997-0854.2019.2.105-110","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.2.105-110","url":null,"abstract":"Electronic music can be subdivided into a number of varieties. They include music composed for electronic musical instruments; music the basis of which is the transformation by electronic means of sounds surrounding the human being; music created by means of sounds automatically generated by electronic means, as well as music programmed on the computer, or algorithmic music. The present article is devoted to examining an experiment in the sphere of algorithmic music which during the course of a long time is carried out by composer, scholar and writer David Cope – a researcher of musical artificial intellect. Cope is the developer of programs for analysis and creation of musical compositions in the styles of well-known composers. The article applies the method of comparative analysis for comparing a musical composition by Hungarian composer Bela Bartok and its model created by means of algorithmic composition with David Cope’s program. Creation of style according to a model is an enthralling experiment making it possible to perceive in an adequate manner the music of famous masters, to carry out competent interpretations in musicological analyses, to establish the components of a composer’s style, observing important components of his mannerisms, and to perfect oneself in computer programming. Nonetheless, a composition created by a master still surpasses the mechanical version by the presence of inimitable creative enlightenment inspiring in its solution of the posed creative goal, which is impossible to recreate automatically. Keywords: electronic music, algorithmic composition, contemporary music, musical style, David Cope.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130447900","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 Bylina Tradition and its Existence on the Territory of the Saratov Near-Volga Region","authors":"M. V. Bondarenko","doi":"10.17674/1997-0854.2019.2.045-054","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.2.045-054","url":null,"abstract":"The article is dedicated to an overview of publications of musical compositions of the epic genre – bylinas. The period of the activity of collection of specimens of the bylinas begins in the first third of the 19th century, continuing up through the second half of the 20th century, due to the extensive work of representatives of regional folklore studies – philologists and ethnographers. Analysis of published and unpublished material shows that the main hotbed of dissemination of the genre is concentrated in the north-eastern districts of the Saratov gubernia (region). This territory is a zone of repopulation. The basic process of migration took shape in the second half of the 16th century and finally ended towards the second half of the 19th century. Notwithstanding the heterogeneous migrating processes, during the course of several centuries on the territory of the Saratov region the researched areal was highlighted by a single stratum of population according to both temporal and ethnic factors. Still back in the beginning of the previous century the well-known Saratov researcher, director and organizer of numerous ethnographic expeditions on the territory of the boundary of the Lower and the Middle Volga Boris Sokolov remarked that the Saratov bylina tradition presents a link between the Upper and the Lower Volga, and there is no doubt that the bylinas arrived to the area along the Volga from the northern Russian settlements. Keywords: the Saratov bylinas, musical folklore, the Saratov Near-Volga Region, Boris Sokolov, publications of bylinas, ethnography.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115988651","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 the Aleatory Technique in the Performing Process in Sergei Slonimsky’s Antiphons","authors":"Natalia L. Sokolvyak","doi":"10.17674/1997-0854.2019.2.139-146","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.2.139-146","url":null,"abstract":"The article is devoted to Sergei Slonimsky’s string quartet Antiphons – one of the brightest examples of this genre of the last third of the 20th century, which possesses a unique string quartet phonosphere. This composition has paved the way for the search of modern Russian composers in the direction of reinvention of the sound of this classical musical ensemble, its characterization as a single timbre endowed with rich coloristic possibilities. The original concept of this work, implicated by the contrast of sound in time and space inherent in it, is artistically manifested by means of avant-garde stylistic traits of musical language, where a substantial position is endowed to the aleatory technique. The element of chance is an important part of the artistic design of Antiphons, not only on the level of the creation of a musical composition, but also at the stage of its realization in performance. From the standpoint of the aleatory element of the performing process, the author examines various parameters of the musical language, which are established by each of the performers of the string quartet, according to the composer's instructions, as well as those components which pertain to the performers’ range of techniques: the musicians moving around on stage, intonating as a means of artistic expression, the organization of quantal rhythm, as well as individual playing techniques and methods of sound production. They are conducive to creating the antiphonic sounds of the string quartet ensemble endowed with a wide range of sonorous colors and bright coloristic effects, which creates the impression of a living, permanently changing musical fabric and total freedom of the performing process taking place on the stage. As a result, the author of the article asserts that due to the aleatory technique of the performance present in the Antiphons, the musicians in the string quartet act as sort of co-authors of the composition, each time creating a new version of it during every performance of it. This variety of act of collaboration between the composer and the performers presents a confirmation of the fact that the musical composition is living material capable of a multitude of performance interpretations. Keywords: Sergei Slonimsky, Antiphons, string quartet, aleatory technique, the process of performance, instrumental performance.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126485095","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":"Claude Debussy’s La Mer : The Timbral-Acoustical Image of the Aquatic Element","authors":"A. V. Limitovskaya","doi":"10.17674/1997-0854.2019.2.147-154","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.2.147-154","url":null,"abstract":"Among the characterizations of sound exerting influence on the processes of sonic perception, timbre presents itself as the most important. Intrinsic to any of the acoustic phenomena of the physical world, it not only determines its specific individual coloration, but also, endowed with the immanent property of generalizing and concentrating the fundamental traits of the objects and phenomena of animate and inanimate nature, forms integral auditory image on their basis. The designated capability of the timbre expands the boundaries of the traditional perception about it as exclusively about a qualified characteristic feature of a concrete musical instrument or voice. It is widely used in programmatic instrumental music for artistic manifestation of the natural world surrounding man. In this connection special interest is aroused by analysis of timbral components involved in the musical-artistic depiction of the sound image of the sea by Claude Debussy. The author choses a methodology of art studies, psychology of perception and musical acoustics as her point of departure. The main accent in the process of analysis is the disclosure of techniques of the recreation of the aggregate of the characteristic acoustic signals of the calm sea in the first movement of the symphonic triptych La Mer. The author comes to the conclusion about the dominating role of timbre in the formation in human perception of an integral artistic image, similar to its natural analogy in its physical characteristics. Keywords: Claude Debussy, timbre, image of the sea, musical acoustics, musical-artistic reconstruction.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127364102","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 Logic of Maqom Composition","authors":"F. Azizi","doi":"10.17674/1997-0854.2019.2.063-075","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.2.063-075","url":null,"abstract":"The phenomenon of maqom composition takes up a central position in the maqom musical tradition. Its comprehension is assisted by maqom thinking, which, unfortunately, is gradually becoming extinct. This is stipulated by the weakening of the maqom canons, the changes of the process of cognition of the maqom and the methodological notions of the traditional school of ustod-shogird. The treatise “Bayozi Shashmaqom” by the famous Tajik maqom player Fazliddin Shakhobov (1911–1974) presents a most important source containing a classical interpretation of this question. It is the only work written during the Soviet period by a representative of the classic school of the Shashmaqom. The merit of Fazliddin Shakhobov’s position lies in that it brings a procedural interpretation of the maqom scalar modes in a maqom composition, demonstrating the logic of its formation. The main conditions of its development are represented by the ability and skill of using maqom scalar modes in the maqom dramaturgy. With the aid of several examples, the article demonstrates a procedural interpretation of maqom composition in adherence with the canons of modality, rhythm and form-generation. The information contained in Shakhobov’s treatise serves as a foundation for drawing conclusions that the chief compositional method in maqom is the asl-far. This method hearkens back into medieval traditions, the hidden theory of the maqom, and profound knowledge of the parda/maqom. It is the asl-far in particular which is capable of reviving maqom musical thinking. Keywords: the musical culture of Tajikistan, Shashmaqom, maqom, asl-far, Khororang, Chorgokh-Mukhayar, Uzzolrang, farsaqil, aslparda.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114944770","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 World and the Human Being of the Beginning of the 20th Century Reflected by the Art of Music in Russia. Second Essay","authors":"A. Demchenko","doi":"10.17674/1997-0854.2019.2.120-131","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.2.120-131","url":null,"abstract":"The World and the Human Being of the Beginning of the 20th Century Reflected by the Art of Music in Russia. Second Essay При всей весомости героического начала, о котором шла речь в первом очерке (ПМН, 2019, No 1), несравненно больше с точки зрения раскрытия деятельно-преобразующего характера новой эпохи значил динамизм, который стал одной из важнейших констант современного жизнеощущения. Причём в любом своём варианте энергетизм начала ХХ века отличался склонностью к мощному динамическому прессу, упругостью, остротой, ударностью, горячим возбуждением и учащённой пульсацией. Принадлежность такой энергии, как и динамизма вообще, ХХ столетию во многом определялась её конструктивно-урбанистической сущностью. При всей распространённости понятия антиромантизм, часто адресуемого искусству того времени, господствующим вектором происходящего были тяготения именно романтического толка, чему отвечали два основополагающих и взаимосвязанных принципа – принцип экстремальности и принцип антитез. Один из магистральных процессов начала ХХ века был связан с устремлением к всемерному высвобождению и раскрепощению. Отсюда – и столь значительная роль стихийности, что неизбежно сопровождалось разного рода деструктивными явлениями. На волне процесса раскрепощения, отказываясь от ограничений и сдерживающих начал, человек неизбежно переходил в область негативного, что стало для рассматриваемого периода нормой. Среди подобных проявлений наиболее угрожающим оказалось развёртывание комплекса агрессивности.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"159 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115401050","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":"Interaction of the Russian and Ukrainian Traditional Cultures in the Sudzhan District of the Kursk Region","authors":"Svetlana A. Filonovich","doi":"10.17674/1997-0854.2019.2.055-062","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.2.055-062","url":null,"abstract":"The singularity of the traditional musical culture of the Sudzhan District of the Kursk Region is defined by the cohabitation on its territory of two ethnical groups – Russians and Ukrainians, between whom there occurred processes of both ethnic differentiation and integration. Each of these groups formed its own musical culture and system of musical genres demonstrating a great degree of difference from one another. At the same time, the musical language remained an important means of cultural self-identification. The system of musical genres of the Russian villages pertains to the local tradition of the bordering areas between the Kursk and the Belgorod Regions, where the centralizing component is provided by the round khorovod song. It affects such genres of the traditional stratum as tanochnye and the wedding songs, forming a special repertoire of instrumental-choreographic types – the karagodny refrain tunes. The genre system of Ukrainian villages is comprised of a strata of traditional genres inconspicuous in its scope – glorification of winter and congratulatory songs and wedding ritual refrain tunes, whereas the main song array of the Ukrainians is comprised of lyrical songs. The interaction between the cultures is actively displayed in the late stratum of folk music. It is the existence of late-traditional lyricism, of general Russian chastushka tunes and dances of urban origin in both the Russian and the Ukrainian ethnic milieus. Such a rapprochement of traditional cultures is stipulated by the change of the ethnical self-determination of Ukrainians and the overcoming of cultural insularity, which at an earlier period provided the condition of independent development of two separate musical traditions. Keywords: the Kursk Region, the Sudzhan District, Russian and Ukrainian folklore, traditional culture, ethnomusicology.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117102179","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":"Sonification: How Everyday Physical Activity “Sounds”?","authors":"Alexei V. Krasnoskulov","doi":"10.17674/1997-0854.2019.2.111-119","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.2.111-119","url":null,"abstract":"The sonification of physical activity, including the everyday variety, is an intensively developing sphere of scholarly research. The present project is concentrated on a complex way of using algorithmic music with the availability of the subject-wise and the compositional structures – musification. The basis is comprised of means of parametric sonification of data – the most broadly used technique, transforming the multidimensional space of the data in sound. The various meanings of physical activities obtained with the use of the Xiaomi Mi Band activity during the process of studies of sonification as a practical and creative domain of science and art made it possible to carry out a few experiments carrying the aim of sounding out the data of the fitness bracelet in such a way as to depict the everyday activities of several users within the limits of the resulting musical composition. Various means of transformation of the meanings of the fitness bracelet into musical parameters were examined within the frameworks of this research work. Approbation was made of several variants of parametrical mappings transforming the four-dimensional space of the meanings of the tracker of activities into a multidimensional space of musical parameters – from the different variants of the four-dimensional to the sixdimensional. The latter approach turned out to be the most convincing from the perspective of the aims set forth in the present project. Keywords: sonification, parametrical mapping, interactivity, sonar reflection of information.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130530118","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 Particularities of Compositional Work in Ernst Krenek’s “Sechs Vermessene”: Interconnection between Serialism and Aleatory Technique","authors":"E. Okuneva","doi":"10.17674/1997-0854.2019.2.017-028","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.2.017-028","url":null,"abstract":"Ernst Krenek happily accepted the ideas of integral serialism in the 1950s testing them in their musical practice (“Spiritus Intelligentiae, Sanctus” орus 152, “Sestina” орus 161, “Sechs Vermessene” орus 168, “Quaestio temporis” opus 170). The peak of this interest on his part concurred with the period when total serial determinacy experienced a crisis, and contemporary composers directed their attention to the opposite musical pole – the aleatory technique. Krenek’s theoretical elaborations on the issue of serialism, as well as on the interactions between the predetermined and the random elements found their reflection in the article “Extents and Limits of Serial Techniques” (1960). The resulting musical manifestation of these thoughts was the piano cycle “Sechs Vermessene” орus 168 (1958), the title of which imprinted the untranslatable pun of two conceptions: the German word “vermessen” can be translated simultaneously as “measured” and “self-willed.” The serial expansion in this composition encompasses the spheres of pitch and rhythm, as well as density, intensity and register. The article analyzes in detail the first four pieces of the cycle. The author draws parallels with the compositional procedures of Milton Babbitt (the method of registral delamination), Pierre Boulez (the counterpoint of parameters), Olivier Messiaen (the technique of symmetrical permutations) and John Cage (the method of random actions), reconstructs the pre-compositional sound material of the fourth piece, and demonstrates the mistakes and inaccuracies arising upon the realization of the serial schemes in the piece. The analysis reveals the close interconnection between the determined and undetermined elements in the compositional process of the “Sechs Vermessene.” For example, the mathematical computations carried out by the composer for the precise fixation of rhythm leads to the necessity of making use of a new means of notation (wavelike stems), which in the end reflects the precise meanings only approximately. Study of Krenek’s piano cycle, as well as of the composer’s theoretical works, makes it possible to reevaluate the traditional correlation of serialism with the aleatory technique. The transition to composition using the method of random actions must not be considered a reaction to total determinacy; moreover, these methods must not be presented as being opposed to each other. The aleatory technique is, in essence, a natural and inevitable consequence of serialism. Keywords: Ernst Krenek, “Sechs Vermessene,” Pierre Boulez, John Cage, Olivier Messiaen, Milton Babbitt, serial music, serialism, aleatory technique.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"198 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126061391","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":"Semantic Transformations in the Musical Themes of Domenico Scarlatti’s Clavier Sonatas","authors":"Liudmila N. Shaymukhametova","doi":"10.17674/1997-0854.2019.2.087-096","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.2.087-096","url":null,"abstract":"","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127810075","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}