Problemy muzykal'noi nauki / Music Scholarship最新文献

{"title":"Mono-Element Compositions in the Musical Art of the 20th Century","authors":"A. Molchanov","doi":"10.56620/2782-3598.2023.2.177-190","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.2.177-190","url":null,"abstract":"The article is devoted to the study of two types of mono-element compositions in 20th century music: those based on a single pitch and on a single chord. The author of the article ties their significance with the achievements of avant-garde music, the search for new “sound ways,” and the emancipation of particular means of the musical language. The article focuses on the works of Siberian composers Askold Murov and Sergei Tosin, who created original sound conceptions based on single pitches and single chords. The article notes the evolution of one-pitch compositions in academic music, from the idea of demonstration of various capabilities of sound to its symbolic interpretation (Alban Berg, Ivan Wyschnegradsky, and Giacinto Scelsi). It is emphasized that in Askold Murov’s composition Monophony Rethe idea of unisonance expands towards creating the setting of historical and stylistic dialogue. The development of chordal mono-element structures can be traced from the late period of Alexander Scriabin and the music of Nicolai Roslavets and continues in musical works by Alfred Schnittke and Sergei Tosin. The analysis of Tosin’s composition highlights the use of textural-timbral, rhythmic, dynamic, and electroacoustic means, the introduction of “open” material by pianists, which demonstrates the tendency to multivariate functioning of musical works. It is emphasized that Siberian composers Askold Murov and Sergei Tosin, as the result of their interest in new techniques, have made a perceptible contribution to the dissemination of sound ideas pertaining to the avant-garde trend in Russian culture and were able to demonstrate the immense micro-world of sound.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129323616","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":"British Choral Music at the Turn of the 19th and 20th Centuries: the Phenomenon of the English Musical Renaissance","authors":"Alexander S. Ryzhinsky","doi":"10.56620/2782-3598.2023.2.053-067","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.2.053-067","url":null,"abstract":"The article is devoted to the phenomenon of the English musical renaissance, little studied in Russian musicology — a movement under which presently the formation of the British national compositional school of the turn of the 19th and 20th centuries is comprehended. The author turns to the musical heritage of the leading composers of that period — Alexander MacKenzie, Hubert Parry, Charles Stanford and Sir Edward Elgar — with the aim of demonstrating the sources of the English musical renaissance and determining, what significance was exerted by the choral heritage by its main representatives on the subsequent evolution of choral music in Great Britain. Among the chief factors which influenced the English musical renaissance, the following are highlighted: the development of the choral festival movement, the establishment of the Royal College of Music, the directedness of the British professional education on the formation of the national school of composition, as well as Parry’s and Stanford’s active work in musical criticism and research. The peculiarities of the choral writing of each of the aforementioned composers are analyzed on the example of the most well-known works in the genres of the cantata and the oratorio. The author brings to light the general tendencies in the organization of the choral texture and timbre and the unique techniques the discovery of which is capable of making adjustments to the existent perceptions about the evolution of the choral music of the early 20th century. In particular, study of Elgar’s choral works makes it possible to confirm the composer’s interest in the textural and timbral techniques typical for the composers of the first and the second avant-garde in Europe, such as diagonal texture and non-standard unisons. The author’s conclusions make it possible to form a perception of the works by the composers of the “first renaissance trio” (Parry, Stanford, MacKenzie) and their younger contemporary Elgar as the greatest impulse of the formation of 20th century British choral music, which in the second half of the century became among the most on demand in world performance.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127876461","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 Music of the Animated Cartoon Film Repka [The Turnip] in the Aspect of the Cinematic Text: Experience in Art Criticism","authors":"Zizhan Chen","doi":"10.56620/2782-3598.2023.2.150-161","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.2.150-161","url":null,"abstract":"Within the focus of the author’s scholarly interest is the animated cartoon film Repka [The Turnip], created in 1936 at the Mosfilm cinematic studio. The invitation of film director Sarra Mokil and composer Vassily Shirinsky, whose curator was Alexander Ptushko, was stipulated by the special role music played in the conception of the film. Not limiting itself to illustrating the visuals of the film, the musical component of the cinematic text provides the opportunity to observed the instrumental theater manifested within its space, simultaneously carrying out the characteristic and the dramaturgical functions. The sound of the music does not cease for even a second, which bears witness to the undoubted skill of the composer, who was able to place the music on the same high level as the visual element. As the author presumes, it is particularly the distinguished status of the musical speech which brought to the reduction to a minimum of the verbal element in the cinematic text, which is realized on the level of written and oral utterances. Against the background of contemporary animated movies addressed to the young generation of Russians (the televised project Mashiny skazki[Masha’s Fairy Tales], Luntik, Mi-mi-mishki, etc.), the work of the creative team with Ptushko at the head is seen as being etalon. Such an experience makes it possible to evaluate the collective work of the film director, the composer and the group of actors as a unique example of actualization of the ethical canon – the semantic core of the Russian folk fairy tale.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127678655","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 Theory and Musical Psychology: Quests and Discoveries","authors":"Elena M. Alkon","doi":"10.56620/2782-3598.2023.2.068-078","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.2.068-078","url":null,"abstract":"In the sphere of integration of various disciplines and the development of interdisciplinary research music has held a special position as a phenomenon of culture and a sign system distinct for the special role of the emotional, continual-energetic and unconscious elements. The article examines the tendency of interaction between music theory and musical psychology connected with the conceptualization of the unconscious which has been existent for over a century. The author highlights the most important moments of this process, directed at forming the perception of musical thinking as a central category connecting music theory and music psychology. Observations are expressed about the character and the dynamics of the examined tendency in Russian and American musicology, about terminological conceptualization of the unconscious in musical thinking, and information is recounted about significant musicological projects connected in one way or another with this issue.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133408314","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 Imperishable Johann Sebastian: Postict","authors":"A. Demchenko","doi":"10.56620/2782-3598.2023.2.008-023","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.2.008-023","url":null,"abstract":"The term Postict is used here to denote the conclusive perceptions addressed to Bach’s music. And the first of them pertains to that unique phenomenon which the Bach dynasty represents. Having evolved during the course of three centuries, it has brought in an invaluable contribution to the German art of music. A distinguished fact is that Johann Sebastian Bach as the most significant representative of the family brought up four sons (Wilhelm Friedemann, Carl Philip Emmanuel, Johann Christoph Friedrich and Johann Christian), who obtained broad recognition as composers. To the inclusivity of amplitude of styles so characteristic to Johann Sebastian himself related to the past and to his contemporaneity it is necessary to add the broad spectrum of stylistic prognoses for the future programmed by the great composer. Bach’s insights most of all touched that epoch which came up to take the place of Bach’s era — it is referred to the Era of Enlightenment and the figures so essential to it such as Domenico Scarlatti, Gluck, Mozart and Beethoven. It also envisaged certain overtones of the Romantic Era associated with the styles of Schubert, Mendelssohn, Brahms and a number of other composers. If we are to discuss the forestalling of 20th century music, first of all we must highlight the Neo-Bach movement as the most influential branch of neoclassicism.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130292109","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":"Bent Sørensen’s Sounds Like You as a Phenomenon of Contemporary Musical Theater","authors":"E. Okuneva","doi":"10.56620/2782-3598.2023.1.062-076","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.1.062-076","url":null,"abstract":"The article focuses on the processes of renewal of the musical and theatrical genres taking place at the beginning of the 21st century. The object of the study is formed by a composition for orchestra, chorus, actors and audience participation, Sounds Like You (2009) written by Danish composer Bent Sørensen in collaboration with librettist Peter Asmussen commissioned by the Danish Broadcasting Company. In the article attention is focused on the genre and the compositional-dramaturgic laws of this work the musical material of which is based on Sorensen’s earlier orchestral piece Exit Music (2007). In the content of Sounds Like You the author distinguishes two lines of narration — the lyrical, related to the history of the relationship of love between man and woman, and the philosophical, reflecting the composer’s contemplations about the past, the flow of time, the role of music and its impact on human beings. Both lines are united by the common theme of departure and disappearance. The article emphasizes the specificity of the composition’s synthesis of genre, which combines music for symphony orchestra, instrumental theater and dramatic performance, and also accentuates Sørensen’s desire to find opportunities for an immersive type of impact on the listener. The author of the article also analyzes the features of the musical language of Sounds Like You, combining sonorics and elements of tonality, and discloses the stylistic allusions of the basic thematic material, which form an independent semantic layer of the composition. At the end of the article, the author arrives at the conclusion that Sounds Like You reflects the general trends in the development of contemporary musical theater; nonetheless, Sørensen offers a purely individual solution for these trends.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","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":"117346467","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 History of one Song: Concerning Study of the Musical Heritage of the Soviet Period","authors":"Yaroslav V. Gloushakov","doi":"10.56620/2782-3598.2023.1.106-114","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.1.106-114","url":null,"abstract":"The article is devoted to David Tukhmanov’s song Victory Day set to Vladimir Kharitonov’s text, which became a symbol of the momentous victory of 1945 in the Great Patriotic War. Reconstructing the history of the development of this song, the author examines the mechanisms of the formation of the genre of the mass song. The article raises the problem range of applying various scholarly approaches for studying the musical heritage of the Soviet period. Examination is made of the sociocultural context of creating the song, as well as the performance aspect of its existence in the political and ideological discourse which formed in the 1960s and 1970s in Soviet society. Analysis is applied to the composition’s musical and poetic text and the peculiarities of the genre-related features. The leading tendencies of the musical text are traced out: the interpenetration of the genres in the form of synthesis of the march and the tango; a rejection of the established canons of the mass song. It is highlighted that the poetic text corresponds to the conceptions of the composer and the poet: to create an artistic image which simultaneously combines in itself social cohesion and humanism in correspondence with the demand of society’s movement towards civil consolidation. In his conclusions arrived upon in his article the author discloses the nature of the mechanism of the birth of the mass song and the means of its functioning and also outlines the facts which shows the topicality of the given type of mass culture at its present stage.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"2016 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":"114733457","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":"Interparadigmality as a State of Contemporary Musical Culture","authors":"","doi":"10.56620/2782-3598.2023.1.128-139","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.1.128-139","url":null,"abstract":"The aim of this article is to define the problem of the “laminary” state of contemporary musical culture, in which various paradigms of artistic experience that have emerged and established in different periods of cultural history coexist and actively interact with each other. The cultural paradigm is comprehended as a complex hierarchical integrity formed by an internal unity of ideas, intuitions, and feelings that permeate the entire vertical of life. The classical and non-classical universal models of culture with their local-historical and metahistorical dimensions are present at the highest level of paradigmatic generalization. The internally heterogeneous classical paradigm reflects the demand for a creative attitude towards clarity, completeness, perfection, rationally comprehensible order and harmony. The non-classical paradigm, marked in musical creativity from the first modernist experiments to the postmodernist playing with the near and distant past, manifests the setting of “breaking down” traditions, overcoming the inertia of the past, as well as bringing in radical experiments in the field of sound and its organization. Against the background of the “fatigue” from postmodernism at the turn of the 20th and the 21st centuries in music scholarship, there are broad discussions currently happening of such concepts as post-postmodernism, metamodernism, and postnonclassics, all of which assert a breakthrough toward new strategies of art. At the same time, none of these tendencies that lays claim to paradigmatic significance reflects a holistic picture of the art of music in its aesthetic, stylistic, and linguistic plurality. Perhaps the important reason for this is the tendency to remain in the simultaneity of the different models of artistry. This way, it seems natural to examine the borderline artistic phenomena in the direction of interaction of paradigms. In order to determine the relevant processes in music culture, the productivity of the introduction of the term “interparadigmality” is substantiated. Among the key parameters of interparadigmality, the author identifies the simultaneous relevance of various cultural modes, aesthetic values, and genre-style models. Interparadigmality, which fixates the openness and mobility of the boundaries between different cultural models, corresponds with the concept of crisis (as being at the border), with the idea of “creolization” and “creolized systems” (the definition of Yuri Lotman), and the terminology of the “philosophy of instability” created by Ilya Prigozhin. At the same time, it is particularly interparadigmality, by bringing chaos to the borderline areas of paradigm interaction, which becomes applicable to the search for a holistic approach to contemporary musical realities.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"24 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":"131864622","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":"Sergei Prokofiev’s Music for Mikhail Romm’s Film The Queen of Spades","authors":"Yang Yu","doi":"10.56620/2782-3598.2023.1.178-190","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.1.178-190","url":null,"abstract":"Among the artists-creators who have turned to the musical-theatrical or musical-cinematographic interpretation of Alexander Pushkin’s The Queen of Spades and thereby risked to enter into a dialogue, or even into polemics with Piotr Tchaikovsky’s immortal opera, Sergei Prokofiev presents a striking example. His artistic tandem with cinema producer Mikhail Romm was formed in 1936, however, the film The Queen of Spades for various reasons turned out to be inaccessible to the viewing audience. The music to the film project, which failed to be realized, was almost completed by the composer and has for many years attracted conductors and film producers. Within the focus of the scholarly interest of the author of the present article is the story of the creation of the music for the film, as well as its analysis based on art studies. This work of the composer turns out to be simultaneously quite organic for the master’s legacy, possessing the traits of his style, and quite original, when compared to other works connected with Pushkin’s immortal novelette. Research experience has made it possible to compensate for the prior perceptions of Prokofiev as a cinematic composer, and also to make a certain contribution in the questions connected with the dialogue of the arts and, more broadly, with the cultural dialogue. Developing itself within the framework of musical Pushkiniana, the sought dialogue overcomes space and time, initiating the invisible connection between past, present and future.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"5 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":"134530741","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":"Choral Writing in Iannis Xenakis’ Late Compositions","authors":"Alexander S. Ryzhinsky","doi":"10.56620/2782-3598.2023.1.047-061","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.1.047-061","url":null,"abstract":"The article is devoted to the peculiarities of choral writing in the compositions of the outstanding representative of the postwar avant-garde Iannis Xenakis (1922–2001) created during his final creative decade. Examination is made of the questions of the correlation between the music and the words, the use of techniques of “phonemic composition” (Konstantin Floros) in the composer’s works Nekuia, Serment-Orkos, Knephas, Pour la paix, and Sea Nymphs. Special attention is given to a unique case of encoding of Arthur Rimbaud’s literary text in Xenakis’ composition Pu wijnuej we fyp. The vocal-orchestral work Nekuia, a central composition in the evolution of the composer’s choral writing, signified, along with the theme of Greek Antiquity, the existential problem range connected with the images of death, war and violence against personality. The present subject matter becomes determinative in Xenakis’ late choral compositions. As part of textural analysis of the work the following parameters are disclosed as the main textural varieties: the newest techniques of “artificial reverberation” (Iannis Xenakis), elements of “diagonal texture” (Valentina Kholopova), types of exposition which are characteristic for the romanticist composers, the classical techniques of juxtaposition of soli — tutti. The main resources of the parameter of timbre include changes of the vocalization of the tone by means of a continuous transition from one vowel to another, sounded out successions of inhalations and exhalations, juxtapositions of ordinary and laryngeal singing, glissando, both in alternation with tremolo and carried out by means of overlapping. At the same time, starting with the composition Pour la paix, certain elements of Xenakis’ early writing return — “sound clouds” (Iannis Xenakis), the image of which is created by non-standardized cries, complementary contrapuntal texture characterized by thematic and rhythmic resemblance of independent voices. In total, all of this stipulates the bright individuality of Xenakis’ artistic method.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"21 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":"120961263","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}