Problemy muzykal'noi nauki / Music Scholarship最新文献

{"title":"Folk Music Wedding Genres of the Meadow Maris","authors":"Alevtina A. Voitovich","doi":"10.56620/2782-3598.2023.1.115-127","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.1.115-127","url":null,"abstract":"The traditional weddings of the Meadow Maris, known as süàn is a multiphase ritualistic complex consisting of various ritual actions extended in time and carried out in a definite succession of events. Many aspects of the Mari spiritual culture accumulated in them: the sacred-magical ritual elements, the symbolism of traditional clothes, food, poetry, music, and dance, as well as the semantics of ancient pagan thinking. The present article examines the folk music genres of the weddings of the Meadow Maris concisely specified in the wedding ritual and being a part of the acoustic code. The acoustic code of the Meadow Mari wedding is characterized by an unfolded system of intonational behavior of the participants of the ritual and includes verbal genres — prayers and expressions of good will pronounced by the kart(the priest); musical genres — the wedding songs süàn múro and pochésh múro, performed by the participants of the wedding procession, from the directions of the bridegroom and the bride, folk tunes played on ritual instruments — the shúvyr (bagpipe) and the túmyr (drum) strictly established in the structure of the ritual; and musical-choreographic genres presented by solo dances of the main characters of the ritual and mass dances of the participants of the wedding procession. The musical code of the traditional wedding of the Meadow Maris organically includes “corpora music”: sounding pendants on the wedding costumes of the female participants of the wedding processions, stamping in rhythm, clapping hands, exclamations, interjections, and whistling all carried out by the participants of the weddings. The peculiarities of conducting rituals with their musical components make it possible to classify the weddings of the Meadow Maris to the type of “merry weddings” characteristic to the cultures of the peoples of the Volga embankments.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"126 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":"116503884","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":"Vladimir Georgievich Ehrenberg: A Mocker’s Fate","authors":"","doi":"10.56620/2782-3598.2023.1.035-046","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.1.035-046","url":null,"abstract":"The article presents for the first time in Russian music scholarship an artistic portrait of one of the theater-related musicians of the Silver Age — Vladimir G. Ehrenberg. The composer contributed almost fifteen years of his artistic life serving in cameo theaters, the most significant of which was Krivoe zerkalo [Distorted Mirror]. Together with Alexander Kugel and Zinaida Kholmskaya, Ehrenberg stood at the origins of this St. Petersburg cabaret, and subsequently (with a few interruptions) he carried out the duties not only of a composer, but also a conductor and the head of the music department. The aesthetic platform of Distorted Mirror was determined with Ehrenberg’s participation. It was particularly after the production of his opera parody Vampuka, the African Bride that the theater set a course for dethroning the clichés of various theatrical genres. The composer took an active part in the so-called anti-opera campaign launched by the leaders of the Distorted Mirror, and created a number of plays that were very successful among his contemporaries. Among them were Rychalov’s Tour, The Cruel Baron, The Action on the Protested Promissory Note and others. Operetta and pantomime, cantatas and romances, and symphonic music also came in his view (The Modern Symphony, Schumette of Digestion). An ironic view of musical and theatrical clichés has made it possible Ehrenberg to become virtually the chief musical parodist of his time. In his experiments, Ehrenberg, possibly unwittingly, forestalled certain techniques intrinsic to music of later times, including elements of instrumental theater (in his “memo-melo-tragi drama” When knights were Valiant) and the use of non-artistic texts for artistic purposes (The Action on the Protested Promissory Note).","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"33 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":"116453270","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":"Emotions as a Phenomenon of Vocal and Opera Music","authors":"A. A. Kostyuk, G. Alekseeva","doi":"10.56620/2782-3598.2023.1.168-177","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.1.168-177","url":null,"abstract":"The article examines the phenomenon of emotions as one of the leading patterns of creation of the vocal score of the singer-actor, the communicative intermediary between the composer, the librettist, the singer-actor and the listener-viewer. Opera as a synthetic art unites together music, poetry, production, scenography, the art of face-paint and costumes. By means of melody, its rhythmical and intonational texture builds up and ciphers those emotions which the singer must arouse from the listener-viewer. Frequently composers in the piano-vocal scores of their operas have provided descriptions of the stage settings, as well as nuances of stage motion and plastic, in order to bring out emotional colors to a greater degree by means of pantomime. In such situations it is important to research the means of operatic expression not merely from the point of view of musicology or theater studies. The phenomenon of opera requires study in a direct connection with psychology, physiology and sociology of culture. The authors of the article update the concept of the emotional score of the vocal parts of the operatic composition presenting a completed form from the positions of psycho-physiology of emotions and emphasizing the importance of its examination. The vocal part of Herman from Tchaikovsky’s The Queen of Spades is chosen as the object of studies.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"2 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":"131804800","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":"Liturgical Musicology in Belarus: Pro et Contra","authors":"","doi":"10.56620/2782-3598.2023.1.157-167","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.1.157-167","url":null,"abstract":"The article presents the field of musicological research, which was designated as “liturgical musicology” in the famous monograph by Ivan Gardner Liturgical Singing of the Russian Orthodox Church. The author provides various variants of the name of the object of study of liturgical musicology and emphasizes the development of research-related interest in the music of the Orthodox Church in its different regions. In a broad sense, “liturgical musicology” signifies musicological research in the field of the liturgical (church) chanting practice and liturgical (church) singing. In a narrow sense, this definition is interpreted as musicology the object of study of which is formed by musically sounded out (chanted) church (liturgical) canonical texts. The article presents an interpretation of the concept of “liturgical musicology” as a method of research, and also describes the operations of its application. Among the large number of research works by scholars in Russia and other countries, liturgical musicology is most vividly represented by the study of Ivan Gardner and the collective works of The Knight of Cantorial Ministry, Father Matthew (Mormyl) and Archpriest Michael Fortunato. Spiritual Testament. The article examines a number of research works devoted to the study of the Belarusian liturgical singing practice of the Orthodox Christian tradition and presents a retrospective analysis of the development of Belarusian liturgical musicology. Russian and Soviet researchers laid the foundation of Belarusian liturgical musicology in the 19th and 20th centuries. They systematized the available historical and archaeological information about church singing in the Kiev Church Metropolis and provided characterization to Belarusian (Lithuanian) church music manuscripts. Present-day Belarusian scholars have reconstructed the history of the development of the national liturgical singing practice formed on the basis of the intonational reinterpretation of the Byzantine, folksong, Polish-Latin and Russian traditions; they have demonstrated its intonational independence and ethnic identity which is determined by the peculiarities of pronunciation of the consonants and the prosody of the sung text. The article provides characterization to the regional peculiarities of the liturgical singing practice and its influence on the formation of personality and examines the individual stylistic features of the musical work of cantorial and church composers which contribute to the diversity of the aural element of church worship. The author analyzes the works of Belarusian scholars in the context of the liturgical musicological method of research.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"7 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":"128818928","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":"An Interview with Composer and Pianist Nina Siniakova","authors":"","doi":"10.56620/2782-3598.2023.1.077-087","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.1.077-087","url":null,"abstract":"The journal Problemy muzykal'noi nauki / Music Scholarship would like to present its readers with an interview with Nina Siniakova, a composer and pianist of a diverse cultural background and broad interests. Her music explores the eternal subjects of beauty, love, life, and death. Her colleagues describe her style as “unique and refined,” (Mark Hagerty, composer, USA) and that in their opinion makes Nina Siniakova “one of the most interesting composers of her generation.” (Krzysztof Meyer, Professor Emeritus, Cologne Hochschule für Musik) Her interests in musical genres span from music written in the contemporary classical style to minimalism, jazz, easy listening, and music for children. Nina Siniakova is active as a composer, pianist, educator, and a sales representative at Cunningham Piano Company in Philadelphia. A Doctor of Musical Arts, she was born in Minsk, the capital of Belarus, received her education at the Minsk Glinka Music College, the St. Petersburg State Rimsky-Korsakov Conservatory and the Musikhochschule in Cologne. Besides having developed her activities in music she has also studied theatrical acting professionally. Siniakova is a recipient of numerous awards, including the First Prize and the People’s Choice Award at the XII Open Competition of Composers named after Andrei Petrov in St. Petersburg, Russia (in the nomination “symphonic music” for her Concerto for Two Violins and Orchestra), a stipend from the DAAD (the German Students’ Exchange Service), a stipend of Exploring the Metropolis program NYC and many others. As a pianist and a composer, she has appeared at the Carnegie Weill Recital Hall, Symphony Space in New York, Harvard University, the Beethoven House in Bonn, the Academy of Music in Philadelphia, the St. Petersburg Philharmonic and the Zink jazz Bar in New York. With such an assortment of diverse accomplishments in music, Nina Siniakova appeared to be the perfect musician to take an interview from which the readers of the journal would find of great substance.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"68 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":"134154609","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":"Joseph Haydn and Ignaz Pleyel: The Teacher and His Student","authors":"Dana A. Nagina","doi":"10.56620/2782-3598.2023.1.023-034","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.1.023-034","url":null,"abstract":"The article is devoted to the history of the mutual relations of two eminent Austrian composers — Joseph Haydn and his student Ignaz Pleyel. And although presently Pleyel is much less known than his instructor, his contemporaries perceived him as one of the most significant composers of his time. Moreover, he achieved his fame as an outstanding musical activist, the founder of the music publishing house Chez Pleyel, as well as a piano manufacturing company, which exists up to the present day. Examining the various stages of Haydn’s and Pleyel’s artistic biographies, the author exerts special attention to the moments of their conflux after the period of study. One such interconnection may be considered by the indications in the editions of Pleyel’s compositions on his pedagogical relations with Haydn. These margin notes served as a means of expression of acknowledgement to the teacher, as well as advertisement, which was conducive to the growth of interest towards the master’s pupil. The occasion for the composers’ interaction was also served by a legal argument around Haydn’s Trio opus 40 (Hob. XV: 3–5) which began in 1785 and extended for a few years. The article shows how the evaluations of this situation by research have changed up to the present time. An important landmark in the composers’ mutual relations was expressed in their engagements in London in 1792. Through the efforts of the impresarios who invited them, Johann Peter Salomon and Wilhelm Kramer, both Haydn and Pleyel turned out to be drawn into an artistic competition against their wills. The picture of their famous contest is recreated with a reliance on the utterances of the witnesses of their events (primarily, Haydn, as well as the reporters of the London press), as well as relevant musicological research works. In the conclusion to the article the author aims to show that the composers were able to preserve excellent relations with each other, despite everything, and showed support for each other.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"37 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114020157","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 in Cinema: Concerning the Question of the Internal Form of the Film Text in the Aspect of Emotiveness","authors":"","doi":"10.56620/2782-3598.2023.1.191-202","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.1.191-202","url":null,"abstract":"The focus of the article is emotiveness, which in the research work of Viktor Shakhovsky and Polina Volkova has acquired the status of a universal methodology relevant for both verbal (poetry and literature) and non-verbal discourses (painting and music). Turning to synthetic works in the domain of cinematography, the authors analyze the films of Alexander Lapshin (Dialogue with Continuation) and Kira Muratova (Three Stories. The Second Story). From a new scholarly point of view, examination is made of the musical accompaniments to the designated films, represented by the musical compositions of Bach — Gounod (Ave Maria) and Vasily Agapkin (the march Farewell of Slavyanka). It is the music that determines the turn to the inner form of artistic expression, acting as the emotive potential of the semantics of the film text. It is emphasized that the indicated emotive potential determines both the ethical and aesthetic essence of the verbal sign and its emotional richness, awakening the formation of spiritual energy. The indicated attitudes demonstrate the prospects for the interaction of linguistics and musicology, creating precedents for working with such forms that require active participation from the communicants of artistic expression. As a result, the category of emotivity, developed in a field different from linguistics, acquires new characteristics. Ensuring its viability, emotivity demonstrates the obvious priority of the human factor in the era of digitalization and artificial intelligence.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"36 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":"133183231","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 Aspects and Problems of Musicology in the 21th Century in the Republic of Moldova","authors":"","doi":"10.56620/2782-3598.2023.1.140-156","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.1.140-156","url":null,"abstract":"The author of the article highlights as the main issue the development of musicology in the former Soviet Republic of Moldova in the context of “cultural transfer” between Russia, Moldova and Romania. The solution to this is based on methods of historical comparative analysis, taking into consideration the transnational approach to the close-knit historical ties of Moldova, Russia and Romania. The analysis of inter-ethnical connections has conditioned the principle behind the drafting of this article, which combines a historical, chronological and geopolitical perspective. It is divided into two parts. The first part describes the development of professional musical culture in Moldova prior to its gaining independence in 1991, and consists of three time periods, including Moldova (Bessarabia) as part of the Russian Empire, Moldova as part of the Kingdom of Romania and the MSSR (the Moldavian Soviet Socialist Republic) as part of the USSR. The necessity for such an introduction is explained by the fact that prior to gaining independence Moldova experienced several waves of “cultural transfer,” which have anticipated the pressure points and aspects of musicology of the 21th century. The second part focuses on the development of musical scholarship in independent Moldova, which has had the opportunity to establish transnational ties with other countries. After the dissolution of the USSR, the radical metamorphosis of the country’s social and geopolitical structure was accentuated by issues caused by poverty and the change of the official language. At the same time, this part of the article provides an overview of music scholarship, covering the development of the musical education in higher educational institutions, on the example of the Academy of Music, Theater and Fine Arts, and its impact on the evolutionary process of musical scholarship through the activity of the graduates of the leading Russian higher education establishments — the Moscow State P. I. Tchaikovsky Conservatory and the Gnesin Russian Academy of Music, as well as a brief description of the founders of these schools of musicology. Concurrently, a process of “cultural transfer” with Romanian musicology experts and composers has taken place, and the beneficial influence of the latter on the development of professional education and musicology in Moldova is also examined.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"12 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":"133426375","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: Universum","authors":"A. Demchenko","doi":"10.56620/2782-3598.2023.1.008-022","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.1.008-022","url":null,"abstract":"The semantic space examined in the present article under the aegis of the philosophical term Universum signifies the world as a whole, i.e., the summation of all things existing in the world and in human beings and, in the broad sense of the word, is synonymous to the category of the Universe. Moreover, this German word is also connected with the concept of the universal and the all-encompassing, and both of these observed gradations are applicative to Johann Sebastian Bach’s artistic heritage. In truth, one can only be astounded by the inclusiveness of the artistic content presented in the immense corpus of music written by the composer expressing practically everything that is essential of what forms the image of the world and man, where the truly boundless diversity of all sorts of thoughts and observations, emotional manifestations and effectual inner states in their individual and mass interpretations are imprinted in sounds. The composer’s music abounds with the strongest contrasts, which are presented in all possible oppositions: fantasy vs. canon, the spiritual vs. the mundane, the massive vs. the personal, etc.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"305 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":"134186116","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}