Music Scholarship / Problemy Muzykal'noj Nauki最新文献

{"title":"The Theme and Variation by Piotr Tchaikovsky: The Artistic Image and the Authorial Position","authors":"V. Shuranov, I. Levina","doi":"10.17674/1997-0854.2019.1.029-036","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.1.029-036","url":null,"abstract":"The article is devoted to the phenomenon of the authorial position in the structure of the content of the musical composition. The idea behind the research is connected with the further development of the conception of Russian musicologist Liudmila Kazantseva about the differentiation of the authorial stratum of the content of an art work into the author-creator and the artistic author. The proposed term “authorial position” is understood as one of the most important functions of the author-creator: it is the directing “point of view” embodied in the text, the intonationattitude. Special attention towards the function of the authorial element is evoked by its determination to create the general meaning. Literary studies have already mastered the conceptual meaning of the authorial position, which structurally organizes the descriptive plane of a musical composition. The analytical plane is presented by The Theme and Variations in F major (opus 19, No. 6) by Piotr Tchaikovsky, where the action of the authorial attitude (position) is discovered in the specificity of the structure of the traditional cycle of variations, a turn toward the baroque principle of variations in the interpretation of the lexical and genrerelated material. It is emphasized that the variations cycle, which has established itself in the works of the Romanticist composers as a succession of miniature pictures, is organized by the composer as an aggregative image of Russia, conceived in the unity of the national and religious elements. The artistic action of the authorial position was revealed: a) in the manifestation of the Russian realities of the second half of the 19th century through phenomena of artistic culture (the world of the author); b) in the special means of structuring of the musical lexis in which the individual angle of generalization of the genre stems not from the primary significations of genre, but already from those utilized by the city academic culture. The principle of application of a genre as a given element (model) of culture would subsequently spread widely in 20th century music. Keywords: musical content, the author-creator, the authorial position, The Theme and Variations by Piotr Tchaikovsky, musical image, the artistic world of music.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130984818","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":"Five Fugues from J. S. Bach’s Well-Tempered Clavier (Book II) “in the Rendition” of Mozart","authors":"Boris D. Napreyev","doi":"10.17674/1997-0854.2019.1.037-045","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.1.037-045","url":null,"abstract":"The second half of the 18th century is filled with events in the sphere of evolution of the musical language and means of form-generation. In the forefront of the sharp contradictions between the art of the baroque style (labeled the “old,” “learned” style by many contemporaries) and the principles affirmed by the gallant style a certain new style has been formed labeled “the Mozartian contrapuntal style” by Boris Asafiev. Naturally, the aspiration towards the renewal of the musical language and the means of form-generation occurs on all the “levels” of the music of those times and captures into its whirlwind many composers, but Asafiev, ascribing many of the artistic achievements of that time to Mozart, is justified in his position. In his turn, Mozart ended up being drawn into this evolutionary elemental force by the indisputable force of Bach’s achievements. One of the first actions of Mozart, who reacted with wonderment to the grandiosity of Bach’s music (and to the perfection of the latter’s artistic principles), was the creation of the Fugue “Fur Konstanze,” as well as the original transcriptions for string quartet of five of J. S. Bach’s clavier fugues. These compositions are perceived to be fundamental works not only for Mozart, but also for the epoch in general, when the question is that impetuous process of evolution of the fugue which was signified by the finale of the Jupiter Symphony by Mozart himself and gave a mighty impetus for the subsequent development of this contrapuntal forms for all times. Keywords: the evolution of the fugue, ricercar, ricercar qualities, contrapuntal style, gallant style.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"143 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115701031","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 Icelandic Subject Matter in the Biography of Carl Nielsen","authors":"V. I. Nilova","doi":"10.17674/1997-0854.2019.1.055-061","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.1.055-061","url":null,"abstract":"В 2017 году в Копенгагене опубликовано собрание писем и дневников Карла Нильсена. На основе материалов данного издания в статье исследуется сценарный план оперы «Гуннлауг и Хельга Красавица», оставшейся неосуществлённой. Сценарный план сопоставляется с исландской «Сагой о Гуннлауге Змеином Языке», имеющей любовную линию развития, и с содержанием последовавшей за ним дневниковой записи композитора. Становится очевидным, что в 1917 году Нильсен мыслил воплощение данного сюжета в драме. Главный акцент в статье сделан на пересечении оперного замысла и обстоятельств частной жизни музыканта. Когда в дневнике появилась запись сценарного плана (1917), Нильсен находился на грани развода с женой Анной-Марией. Приводятся выдержки из его писем разных лет, связанных с широкой гаммой чувств: любви, страдания, боязни расставания с любимой женщиной. Обращение к трагическому сюжету исландской саги связывается с глубиной личной драмы композитора. Подчёркивается, что мужские персонажи саги и сценарного плана – скальды Гуннлауг и Храфн – являются воплощением «концепции мужества» (Толкин) как наследия древней литературы Севера и имеют параллели в литературном творчестве Генрика Ибсена и Августа Стриндберга. В заключении статьи делается вывод о том, что Нильсен эмоционально прочувствовал исландский сюжет в проекции собственных переживаний и его «память сердца» раскрылась в музыке Пятой симфонии. Ключевые слова: Карл Нильсен, Эмилия Хансен, Анна-Мария Нильсен, «Гуннлауг и Хельга Красавица», исландские саги, «концепция мужества», Генрик Ибсен, Август Стриндберг.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"163 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131765754","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":"Music of the Netherlands Within the Orbit of British Interests of the Early 20th Century","authors":"Ekaterina D. Devyatko","doi":"10.17674/1997-0854.2019.1.062-069","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.1.062-069","url":null,"abstract":"The present work analyzes an article of British journalist and musical critic Herbert Antcliffe (1875–1964) “The Renaissance of Dutch Music” published in 1925. The interest in the cultural life of the Netherlands contemporary to him, a country bordering with Germany, which was hostile to the British, was an expression of the cultural polity of Britain. The development of the musical culture of the Netherlands of the late 19th and early 20th century turned out to be at the center of the critic’s attention. The cited period coincided with the movement of the “New English Musical Renaissance.” Antcliffe indicates the themes which are important to him as a critic, as well as to the ascent of the sense of national identity, premises of the emergence of a new Renaissance of Dutch music, and the advancement of its leaders, the most important events and phenomena in the culture of the country of his interest (foundation of the Wagner Society, the bloom of Dutch national literature, activation of concert life, etc.). Antcliffe characterizes a number of peculiarities of Dutch music, crucial, in his opinion, which reflected the ideal foundation of the New Renaissance in musical culture of “the land of tulips.” In historical perspective the examined article by Antcliffe is viewed not as a local event of his biography, but a manifestation of the tendency of English musical historiography in its juxtaposition to German musical historiography. Antcliffe’s work attracted attention to itself in the Netherlands by its attempt at studying the musical life of the country at the turn of the 19th and 20th centuries. Keywords: Herbert Antcliffe, sense of national identity, the Dutch musical culture, the Renaissance of Dutch music, leaders of the Renaissance of Dutch Music, Alphonse Dipenbrock.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133759183","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":"Film Music in the Aspect of Stylistic Modeling","authors":"Svetlana I. Khvatova, Tatiana F. Shak, Evgeny G. Shevlyakov","doi":"10.17674/1997-0854.2019.1.098-105","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.1.098-105","url":null,"abstract":"В статье рассматривается музыка кино с точки зрения стилевого моделирования как техники композиции в киномузыке. На уровне музыкального тематизма это предполагает свободный подход в работе с цитатным материалом, реализованным через стилизацию или аллюзию. Композиционный уровень структурируется посредством компилятивного (полистилистичного) способа организации музыкального ряда через сопоставление цитатного материала. Работа с точными и аранжированными цитатами рассматривается в аспекте композиторской техники, режиссёрской индивидуальности и жанровой специфики фильмов. Вскрывается видеоконтекст появления цитат классической музыки, целесообразность их введения, этичность соединения известных произведений классиков с видеорядом, диссонирующим с первичным содержанием музыки. Анализируется процесс создания саундтрека фильма и мера авторского волеизъявления в обработке и реинтерпретации тем композиторов-классиков. Задействована методология целостного и стилевого анализа, традиционного в российском музыкознании, и методы исследования с привлечением специального инструментария изучения музыки в структуре медиатекста, разработанного Т. Ф. Шак. Суть метода заключается в отказе от анализа традиционного нотного текста и замене его на аудиовизуальную форму с комплексным рассмотрением музыки в совокупности с визуальной и вербальной составляющей и с учётом контекста, в котором она существует. Предлагаемый подход к анализу основан на знании специфики прикладной музыки: её дискретности, вторичности, многофункциональности, компилятивности, контекстности, зависимости от монтажного ритма и подчинённости видеоряду. Ключевые слова: музыка кино, цитата, аллюзия, стилизация, режиссёр, кинокомпозитор, стилевое моделирование.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127865705","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 Theory of Variant Form in Russian Musicology: The Stages of Formation, the Conceptual Framework","authors":"E. R. Skurko","doi":"10.17674/1997-0854.2019.1.046-054","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.1.046-054","url":null,"abstract":"The article is devoted to the theory of variant form formed in Russian musicology in the 20th century, study of which makes it possible to comprehend more profoundly the broad circle of musical phenomena pertaining to various categories of folk and professional music. Three main stages of formation and elaboration of the theory of variant form are indicated, the most important categories revealing the specific features of the given phenomenon are examined and defined. The early stage (from the late 19th century through the first third of the 20th century) is marked by the introduction by Hugo Riemann – for the first time in the history of music theory – of the conception of the variant (1886), and the first generalizations about the variant form, as presented in Boris Asafiev’s monograph “Muzykal’naya forma kak protsess” [“Musical Form as a Process”] (1930), are analyzed. The second stage – the central or “classic” (from the mid-1950s to the late 1970s) – is determined by a rampant development of the theory of the variation and variant form, the appearance of the works of Leo Mazel and Victor Tsukkerman, Boris Sosnovtsev and Irina Lavrentyeva, Victor Bobrovsky and Vladimir Protopopov, Mikhail Tarakanov and other music theorists. As the result of study of compositional, depictive-dramaturgical, and intonational regular laws of vocal genres of Russian and Western European music, the theoretic foundations of variant form and its conceptual framework are formed definitively, the specific features of the variant method of development are determined. The third, contemporary period (from the late 20th century to our days) is characterized by a further expansion of the categorical apparatus, the creation of new textbooks in analysis of musical form, and research works in which the theoretical comprehension of the phenomenon of variant form, the variant method of development reflects the tendency of individualization of structures in the situation of stylistic pluralism (works by Vera Valkova, Vsevolod Zaderatsky and others). Keywords: variant, variant form, free-variant development-unfolding, variant intergrowth, method of thematically concentrated unfolding, dynamic contrast-variant form, variant integration of the highest order.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114893814","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 Formation of Creative Competency in the Process of Study оn the Basis of the Integrative Course “Choral Theater”","authors":"A. I. Yudina, I. V. Shorokhova, Anna O. Golskaya","doi":"10.17674/1997-0854.2019.1.150-156","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.1.150-156","url":null,"abstract":"The relevance of the subject of the article is stipulated by the challenges of contemporary musical education in the preparation of professional cadres possessing creative competency. The elaboration of innovative integrational courses, which develop the given professional quality among future specialist musicians in the process of their studies at the institutions of higher education, acquires special significance. The aim of the research is to reveal the potentials of the integrative course “Choral Theater” in the formation of creative competency of the student choirmaster. Analysis of scholarly works has made it possible for the authors to define the concept of the “creative competency of the musician” as the ability to create the situation of creative success, to solve in a productive manner nonstandard professional goals, thereby achieving maximal effectivity. The article presents the results of experimental work which was carried out by the methods of narrative interviews, observation and expert evaluation, as well as the study of the attempt of realization of the integrative course “Choral Theater” in the cycle of special disciplines for conductors-choirmasters. The research demonstrates the high pedagogical potential of active interaction between students and faculty members in the work on the projects of this course. Obviously, joint activities develop skills of command work and stimulates to the utmost degree the participants’ creative activities. As an example of their project activities the authors highlight the performance of the play “Promise me Love…”. Keywords: competency, creative competency, choral theater, integrative course, professional education.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124806446","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":"Rhythm Contradicts Contempt: Aesthetic Realism and The Rite of Spring","authors":"Edward Green","doi":"10.17674/1997-0854.2019.1.070-076","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.1.070-076","url":null,"abstract":"Ритм опровергает высокомерие: эстетический реализм и «Весна священная» This essay, which studies the rhythms of Stravinsky’s The Rite of Spring, does so from a new perspective: the philosophy of Aesthetic Realism, which was founded in 1941 by the great American scholar and poet Eli Siegel (1902–1978). The central principle of Aesthetic Realism – the key to understanding the relation of Art and Life – is his statement: “All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves.” In his many lectures and writings, Eli Siegel commented often about the technical necessity in successful rhythms (whether in music, poetry, any of the arts, and life itself) for opposites to be made one. Among these are Slowness and Speed; Change and Sameness; Obstruction and Flow; the Expected and the Unexpected; Foreground and Background (in the sense, musically, of accented sound and unaccented sound). Stravinsky’s great composition illustrates all this; it illustrates the primal meaning of rhythm as a making one of opposites. A second core idea of Aesthetic Realism, likewise explored in this essay, is that the greatest enemy of art, and of happiness in life, is the tendency in people to build a personality for themselves by having contempt for reality rather than respect for it, and for other people. Contempt, Eli Siegel explained, is the “disposition in every person to think we will be for ourselves by making less of the outside world.” It is the viewpoint of Aesthetic Realism – which the author of this essay fervently agrees with – that every successful instance of rhythm is a powerful refutation of the contempt state of mind. How this is true of the rhythms of The Rite of Spring is pointed to in this essay.","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129754609","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":"Extracurricular Forms of Activity in Institutions of Higher Education: From the Experience of the Work of the Music Theory Department at the Urals Conservatory","authors":"V. I. Vyalukhina, M. V. Gorodilova, A. G. Korobova, Elena E. Polotskaya","doi":"10.17674/1997-0854.2019.1.129-139","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.1.129-139","url":null,"abstract":"The article examines the extracurricular forms of students’ activities realized at the Urals State M. P. Mussorgsky Conservatory during the course of over two decades. The “extracurricular forms” are interpreted in this case not only as the most important means of upbringing, but also as activities directed towards the formation of a complex of the professional knowledge, abilities and skills of a future specialist. This indispensable constituent in mastering the cycle of music theory disciplines is present at the courses read at the Music Theory Department for students of all disciplines and directions of preparation. Three main groups of extracurricular events are illuminated in a consistent manner, – namely, those approaching the activities of scholarly profile (symposiums, round tables, debating clubs, work in libraries and archives, etc.); the so-called “calendar-ritual” variety, marking various stages of student life; a special group connected with the content and assemblage of an experimental integrated music theory course developed by the faculty members of the department. When this course is taken, considerable attention is focused particularly to the practical forms of teaching, which in many ways “shifts the accentuation” of the studies from “theorizing” to a practical mastery of historical and cultural styles by means of intonation-based immersion into each of them by means of various forms of music-making, singing, creative work, analysis of musical scores, etc. The described activities, being extra-curricular in their form, are directed in the recreation of living “contextual” models of existence of music in a certain historical period the theoretic familiarization of with which is taking place in the courses. Such are the “Musical Tournament” (improvising on the piano in the vein of dance of the Renaissance era), “Contest of Clavier Performers” (playing figured notation and demonstration of a chorale prelude composed on a given example), “Maytime Games” (a peculiar performance carried out by students who master various techniques, means of writing and perceptions of 20th and early 21st century music).","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"115 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114743689","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 Organ in the Kazakh Musical Culture: The Stages of its History","authors":"Tatiana V. Kharlamova","doi":"10.17674/1997-0854.2019.1.123-128","DOIUrl":"https://doi.org/10.17674/1997-0854.2019.1.123-128","url":null,"abstract":"","PeriodicalId":171243,"journal":{"name":"Music Scholarship / Problemy Muzykal'noj Nauki","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122503647","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}