Arts education and science最新文献_第5页

WITOLD SZALONEK. LITTLE SYMPHONY B.A.C.H. IN THE CONTEXT OF SYMPHONIC WORKS OF POLISH COMPOSERS OF THE SECOND HALF OF THE XXTH CENTURY 维特尔SZALONEK。在二十世纪下半叶波兰作曲家交响乐作品的背景下，小交响乐B.A.C.H.

Arts education and science Pub Date : 1900-01-01 DOI: 10.36871/hon.202104016

T. N. Krasnikova

{"title":"WITOLD SZALONEK. LITTLE SYMPHONY B.A.C.H. IN THE CONTEXT OF SYMPHONIC WORKS OF POLISH COMPOSERS OF THE SECOND HALF OF THE XXTH CENTURY","authors":"T. N. Krasnikova","doi":"10.36871/hon.202104016","DOIUrl":"https://doi.org/10.36871/hon.202104016","url":null,"abstract":"The article is dedicated to the memory of Witold Szalonek, a prominent Polish composer and teacher, acclaimed in Poland and several European countries, such as Denmark, Finland, Germany and Slovakia. The composer passed away twenty years ago, in Berlin in October 2001. The aim of the study is to characterize the style of the Little Symphony B.A.C.H. in the context of symphonic works by composers of the second half of the XXth century. Using comparative methods, the author identifies stylistic peculiarities of the work, as well as general stylistic indicators, typical for some trends in the development of the symphonic genre. The author also covers the dramaturgical peculiarities of the work, monogramming and anagramming techniques, sonorous effects based on skillful combination of articulation techniques with principles of timbre coordination of the textural components of the musical piece. The author emphasizes that this combination produces the unique language used to create the symphony's text, capturing in it the \"moment of truth\" that emerged in the composer's dialogue with the genius of Bach. The article also substantiates the sonorous effects as truly artistic phenomena in Witold Szalonek's music.","PeriodicalId":228633,"journal":{"name":"Arts education and science","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122983642","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

J. S. BACH'S CELLO SUITES FOR GUITAR, ARRANGED BY KOJIRO KOBUNE: COMPARATIVE ANALYSIS 巴赫的吉他大提琴组曲，由小本小二郎编曲:比较分析

Arts education and science Pub Date : 1900-01-01 DOI: 10.36871/hon.202203006

D. Tatarkin

{"title":"J. S. BACH'S CELLO SUITES FOR GUITAR, ARRANGED BY KOJIRO KOBUNE: COMPARATIVE ANALYSIS","authors":"D. Tatarkin","doi":"10.36871/hon.202203006","DOIUrl":"https://doi.org/10.36871/hon.202203006","url":null,"abstract":"This article is devoted to the textual analysis of the arrangement of J. S. Bach cello suites for guitar. Japanese composer and conductor Kojiro Kobune was the first to transcribe the entire cycle. The purpose of the article is to reveal the extent of Kobune's \"interference\" in the original text of the suites, to emphasize the author's successful arrangements, as well as to identify discrepancies with the original. The paper analyzes the reasons why Kobune made certain decisions, modifying the text of the original. Kojiro Kobune's immediate predecessors, the guitarists who made significant contributions to the history of the arrangements of Bach's music for guitar, are noted. The research focuses on the problems faced by the author of the transcription, in particular, the appropriateness of adding tempo notation and deviations, dynamic indications, strokes, the character of performance, bass and chord notes to the original musical text. Finally, the conclusions are drawn about the need for a guitar transcription of the cello suites, which would be as close to the original as possible, relying on currently available handwritten sources, transcriptions, and based on the principles of a historically informed approach which would preserve all elements of Bach's musical fabric — the unique musical graphics, the voice science, the register of the original and the chords' arrangement.","PeriodicalId":228633,"journal":{"name":"Arts education and science","volume":"200 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122345888","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

СARVERS OF GINGERBREAD BOARDS: TRADITIONS OF THE PAST AND THE PRESENT Сarvers姜饼板:过去和现在的传统

Arts education and science Pub Date : 1900-01-01 DOI: 10.36871/hon.202001019

M. I. Sergeeva

{"title":"СARVERS OF GINGERBREAD BOARDS: TRADITIONS OF THE PAST AND THE PRESENT","authors":"M. I. Sergeeva","doi":"10.36871/hon.202001019","DOIUrl":"https://doi.org/10.36871/hon.202001019","url":null,"abstract":"This article is devoted to the traditions and features of the craft of gingerbread boards' carvers of Tver. As known, the history of the emergence and the development of the printed gingerbread is inextricably linked with the folk cultural tradition. From the first steps, the gingerbread started to be actively introduced into the folk ritual practice, not only in the calendar agrarian ritual zone, but also in the family household ritual circle, often replacing other forms of ceremonial baking. The whole process of making gingerbread was sacred, including the manufacture of a carved board, the preparation of the gingerbread and its functioning in the ceremony. That is what explains the high status of the printed gingerbread, which it acquired in the social life of our compatriots, although its meanings have partly changed nowadays. The importance of making a gingerbread board was due not only to the sacred nature and patterns that the carver applied, but also to the price of work and material. However, the value of gingerbread was provided primarily by the magical role of dough ingredients, such as flour (obtained from grain), honey, floral spices, but at the same time it was largely determined by the cost of gingerbread. Unfortunately, the cultural zones of the folk gingerbread tradition are poorly and unevenly understood. One of the little-studied pages in the history of printed gingerbread is the work of masters-carvers of gingerbread boards, who largely determined the plan for expressing the mythological and poetic sacred meanings of the traditional gingerbread.","PeriodicalId":228633,"journal":{"name":"Arts education and science","volume":"59 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120924492","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 BALLET "THE LITTLE HUMPBACKED HORSE" BY CESARE PUGNI: BORROWINGS AND CITATIONS OF MUSIC MATERIAL 塞萨尔·普格尼的芭蕾舞剧《小驼背马》:对音乐材料的借用和引用

Arts education and science Pub Date : 1900-01-01 DOI: 10.36871/hon.202004018

E. V. Panova

{"title":"THE BALLET \"THE LITTLE HUMPBACKED HORSE\" BY CESARE PUGNI: BORROWINGS AND CITATIONS OF MUSIC MATERIAL","authors":"E. V. Panova","doi":"10.36871/hon.202004018","DOIUrl":"https://doi.org/10.36871/hon.202004018","url":null,"abstract":"The article is devoted to one of the central works of creative heritage of the composer Cesare Pugni — the ballet \"The Little Humpbacked Horse\", which premiered on the stage of the Saint Petersburg Imperial Bolshoi (Stone) Theater in 1864 with choreography by Arthur Saint-Leon. \"The Little Humpbacked Horse\" was one of the ballets that survived the October Revolution of 1917 and was firmly established in the repertoire of Soviet theaters. For more than one hundred years, this work was very popular with the public, but due to the appearance of the ballet of the same name by R. K. Shchedrin, it was performed much less. This article analyzes the musical text of the ballet by C. Pugni on the basis of the clavier \"The Little Humpbacked Horse\", published during the author's lifetime, and reveals the features of the composer's approach to writing music for choreographic performance. Particular attention in this work is paid to the composer's method of working with musical material. C. Pugni not only skillfully stylizes and enriches the score with the genre features of Russian folklore, but also weaves quotations from popular works by other authors into the original musical fabric. In the ballet \"The Little Humpbacked Horse\" the composer uses the leitmotif system. In conclusion, the ballets are briefly characterized, which use Russian folk tales or their literary stylizations as the basis for the libretto. The significance of \"The Little Humpbacked Horse\" as the first choreographic performance in the history of Russian musical theater is assessed, in which such a plot is interpreted.","PeriodicalId":228633,"journal":{"name":"Arts education and science","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116146646","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

PIANO PIECES OF A. S. ARENSKY ON THE EXAMPLE OF THE CYCLE OP. 36 a·s·阿伦斯基的钢琴曲，以作品36为例

Arts education and science Pub Date : 1900-01-01 DOI: 10.36871/hon.202003009

A. M. Gorshkova, Moscow Russian Federation Moscow State Tchaikovsky Conservatory

{"title":"PIANO PIECES OF A. S. ARENSKY ON THE EXAMPLE OF THE CYCLE OP. 36","authors":"A. M. Gorshkova, Moscow Russian Federation Moscow State Tchaikovsky Conservatory","doi":"10.36871/hon.202003009","DOIUrl":"https://doi.org/10.36871/hon.202003009","url":null,"abstract":"The article is dedicated to the piano works of Anton S. Arensky (1861–1906), one of the most famous Russian composers of the late XIXth – early XXth centuries. Throughout his career, the composer turned to various genres (he created three operas, a ballet, a lot of symphonic and chamber pieces), but compositions for piano solo were among his favorites. This genre in many ways corresponded to the specifics of the composer's talent, his inclination towards chamberness and lyricism, and became a kind of \"creative laboratory\", where many tendencies, later used in other genres, were worked out. It was in piano pieces that the most attractive qualities of his music were revealed — an amazing melodic gift, finesse and detailed elaboration of all aspects of composition. The author pays particular attention to the cycle of 24 piano pieces Op. 36. Due to embodiment of many melodic, texture, and harmony features typical for Arensky, it became a kind of quintessence of his piano style. It is also important that many features of the composer’s style influenced musicians of the next generation, including Sergey Rachmaninoff and Nikolay Medtner.","PeriodicalId":228633,"journal":{"name":"Arts education and science","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116681324","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

FORMATION OF THE TRADITIONAL UNDERSTANDING OF THE PIANO MINIATURE GENRE (historical aspect) 钢琴微缩体裁传统认识的形成(历史方面)

Arts education and science Pub Date : 1900-01-01 DOI: 10.36871/hon.202103010

Ke Meili

引用次数: 0

FEATURES OF THE FORMATION OF FUTURE MUSIC TEACHERS PROFESSIONAL COMPETENCE IN CHINESE UNIVERSITIES 我国高校未来音乐教师专业能力的形成特点

Arts education and science Pub Date : 1900-01-01 DOI: 10.36871/hon.202203002

H. Shuang

{"title":"FEATURES OF THE FORMATION OF FUTURE MUSIC TEACHERS PROFESSIONAL COMPETENCE IN CHINESE UNIVERSITIES","authors":"H. Shuang","doi":"10.36871/hon.202203002","DOIUrl":"https://doi.org/10.36871/hon.202203002","url":null,"abstract":"In the context of the integration of Chinese education into the world educational space, the requirements for training future music teachers, who play a leading role in shaping students' interest in this kind of art, the implementation of music education at the level of modern requirements, the realization of aesthetic, spiritual and moral development of the individual, are significantly increasing. In the light of this, the problem of increasing the level of professional competence of teachers of this profile becomes particularly acute. In the search for effective ways to solve this problem, not only Russian, but also relevant modern pedagogical findings of Chinese specialists can be useful, especially considering that the issues of forming professional competence of future teachers of music art are in the focus of attention of Chinese scientists, statesmen and teachers-practitioners. The purpose of the article is to summarize theoretical and practical achievements in the formation of professional competence of future music teachers in the higher school of the People's Republic of China for its possible creative application in the Russian system of higher education. The novelty of our research lies in the presentation of the conceptual provisions of competence characteristics of teachers-musicians, formed and successfully functioning in the educational environment of the People's Republic of China based on the European and Qatari experience, which are presented to Russian music teachers for the first time.","PeriodicalId":228633,"journal":{"name":"Arts education and science","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131179442","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

LIBRETTO OF THE OPERA THE MAGIC FLUTE BY W. A. MOZART IN THE GENRE OF FAIRY-TALE 莫扎特童话风格歌剧《魔笛》的歌词

Arts education and science Pub Date : 1900-01-01 DOI: 10.36871/hon.202001007

O. Plotnikova

{"title":"LIBRETTO OF THE OPERA THE MAGIC FLUTE BY W. A. MOZART IN THE GENRE OF FAIRY-TALE","authors":"O. Plotnikova","doi":"10.36871/hon.202001007","DOIUrl":"https://doi.org/10.36871/hon.202001007","url":null,"abstract":"The Magic Flute by W. A. Mozart occupies a special place in the treasury of the world musical art. The article for the first time explores the specifics of the embodiment of the genre model of the fairy-tale underlying the libretto. The reconstruction of its basic, static and dynamic elements is based on methodological approaches developed in the study of folk and literary fairy-tales. The analysis of the verbal text of the opera demonstrates: canonized set of personages that possess the definite semantic functions in the plot-syntagmatic line, invariant fairytale situations, typical parameters of the fairy-tale space-time continuum. In the semantics of the fairy-tale by W. A. Mozart the categories of paths (wanderings), trials, value indicators and the totemic rite of initiation acquire conceptual meaning. The plot line of the libretto, as well as of the fairy-tale, reflects the theme of marriage and family relations but in the cosmic foreshortening. The deep symbolic paradigm witnesses the mythical, cosmogonic gist of the fairy-tale plot. The semiotic model of the artistic world of the fairy-tale singspiel is organized by the binary oppositions of Light and Darkness. Darkness is metaphorically personified in the anthropomorphic image of the fundamental constant of being — Queen of the Night. The world of the sage Zarastro personifies Light. In the verbal artistic text of the opera the composer and the librettist exhibit deep and bright knowledge of the genre canons of the classical folk and literary fairy-tale and reflect the idea of the spiritual search of perfection in the world.","PeriodicalId":228633,"journal":{"name":"Arts education and science","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131646695","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 SPECIFICITY OF CHAMBER VOCAL GENRES IN CHINESE CULTURE 中国文化中室内乐流派的特殊性

Arts education and science Pub Date : 1900-01-01 DOI: 10.36871/hon.202201018

Wang Huanyu

引用次数: 0

FEATURES OF MUSIC TEACHER TRAINING IN FRENCH UNIVERSITIES: INTERVENANT MUSICIAN 法国高校音乐教师培养的特点:介入式音乐家

Arts education and science Pub Date : 1900-01-01 DOI: 10.36871/hon.202201001

L. A. Buryakova

{"title":"FEATURES OF MUSIC TEACHER TRAINING IN FRENCH UNIVERSITIES: INTERVENANT MUSICIAN","authors":"L. A. Buryakova","doi":"10.36871/hon.202201001","DOIUrl":"https://doi.org/10.36871/hon.202201001","url":null,"abstract":"The study attempts to comprehend the foundations of an effective metamorphosis in one of the branches of the modern system of music teacher training in French universities. The versatility of the new relevant specialty “musicien-intervenant”, comparable to the concept of universalism, calls for a holistic study of all aspects determining its evolution. Without resorting to the profound social basis of the commitment of contemporary society in general and music education in particular to a revival of the phenomenon of universalism (which, according to some philosophers and futurologists, is to some extent a sign of the so-called New Middle Ages), we examine the organization of the profession and its implementation. We take into account two pragmatic arguments of the relevance of the universal musician profession, which arose, on the one hand, as a response to public demand for a teacher-educator, versed in all musical styles, capable to build broad intercultural and interpersonal relationships, ultimately breaking conservative stereotypes of mass musical and pedagogical consciousness; and on the other hand, as the desire of French music universities to solidarize with the European strategy of music and pedagogical education aimed at the free movement of students from one university to another thanks to a common system of credit units, expanding educational opportunities and employment prospects.","PeriodicalId":228633,"journal":{"name":"Arts education and science","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134027501","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