Problemy Muzykal'noj Nauki / Music Scholarship最新文献

The Listener and the Work as the Dualistic Basis for the Morphological Analysis of Music 听者与作品:音乐形态分析的二元基础

Problemy Muzykal'noj Nauki / Music Scholarship Pub Date : 2022-12-26 DOI: 10.56620/2782-3598.2022.4.110-126

V. Glivinsky

{"title":"The Listener and the Work as the Dualistic Basis for the Morphological Analysis of Music","authors":"V. Glivinsky","doi":"10.56620/2782-3598.2022.4.110-126","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.4.110-126","url":null,"abstract":"In morphological analysis, the musical work and the listener are seen as elements of one communicative duality. Each element of this duality may play the role of either subject or object. This paves the way for a more flexible approach towards analyzing a musical text. The morpheme, one of the cornerstones of morphological analysis, can be defined as a sound construction with a typical set of characteristic features. The other cornerstone, the morph, transforms a morpheme into a genеriс, stylistic “flesh and blood” of a specific musical text, on the basis of polymorphism. One bright example of the depth and rapidity of morphic transformations in Tchaikovsky’s music is the finale of his First Piano Concerto. From the point of view of morphological analysis, the musical development in the “Introduction” to Stravinsky’s The Rite of Spring is based on a step-by-step approach to an externally existing object, making it possible for us to perceive (see or hear) its details. The object itself is polymorphic, i.e., similar to an embryo; it contains within itself, from the start, every element it needs for further development. The starting point of the “Introduction,” the high-register bassoon melody accompanied by the supporting line of the horn, can be defined as a forest viewed in a distance, from where the sound of a shepherd’s horn can be heard. The ten intonational elements of the initial three measures of the ballet provide the base from which the form of the “Introduction” is developed.","PeriodicalId":356478,"journal":{"name":"Problemy Muzykal'noj Nauki / Music Scholarship","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129104486","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

Electronic Music in St. Petersburg: An Overview. Interview with Composer Alexander Kharkovsky 电子音乐在圣彼得堡:概述。采访作曲家亚历山大·哈尔科夫斯基

Problemy Muzykal'noj Nauki / Music Scholarship Pub Date : 1900-01-01 DOI: 10.56620/2782-3598.2022.4.096-109

A. Rovner

引用次数: 0

Towards the Ontology of Orthodox Christian Art 论东正教艺术的本体论

Problemy Muzykal'noj Nauki / Music Scholarship Pub Date : 1900-01-01 DOI: 10.56620/2782-3598.2022.3.059-069

G. Alekseeva

{"title":"Towards the Ontology of Orthodox Christian Art","authors":"G. Alekseeva","doi":"10.56620/2782-3598.2022.3.059-069","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.3.059-069","url":null,"abstract":"The art of the Orthodox Christian Church conveys the special thinking intrinsic to believers, which does not fit into standard ideas. This type of thinking is characterized by a deep penetration into all aspects of artistry: icon painting, church singing and church action. Researchers have been paying attention to this for a long time. At the same time, only in the present day with the careful study of the works of St. John of Damascus and the Church Fathers, the veil of secrecy has been lifted. The integrality of this thinking becomes clear, and it is achieved solely in the synthesis of the constituent parts of the rite and its artistic means. The ontology of Orthodox Christian art is revealed in the article by means of approaches to the analysis of the works of St. John of Damascus and examples of the implementation of the synthesis of arts in icon painting and church chants which are close to the content of the icon. The works of Father Pavel Florensky, Yuri Lotman, Alexei Lidov, Sergei Averintsev and Nikolai Mikhaltsov have become the impetus for careful reading of St. John of Damascus’ guidelines on such a concept as perichorisis, which, as it becomes clear, is important for the interpretation not only in the Christological key, but also as the most important ontological basis of the entire artistic heritage that accompanies worship in church. The synthesis of the color scheme of the icon image, the color model of the text of the accompanying chant, the construction of melodic formulas in accordance with the metatext points of the chant – altogether this creates a unique complex of artistic means of Orthodox Christian art.","PeriodicalId":356478,"journal":{"name":"Problemy Muzykal'noj Nauki / Music Scholarship","volume":"17 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":"117146259","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 Art of Academic Music in the Context of Academization 学院化背景下的学术音乐艺术

Problemy Muzykal'noj Nauki / Music Scholarship Pub Date : 1900-01-01 DOI: 10.56620/2782-3598.2022.4.147-155

D. I. Varlamov

{"title":"The Art of Academic Music in the Context of Academization","authors":"D. I. Varlamov","doi":"10.56620/2782-3598.2022.4.147-155","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.4.147-155","url":null,"abstract":"The article observes the present-day increase of interest in the comprehension of the conceptions, related to art studies, such as “academic art,” “academization,” etc.: several definitions are provided and their scholarly evaluation is formulated. The authorial conception of the academization of the art of music and the education which is closely connected with it is given: new definitions of the indicated conceptions are demonstrated and substantiated, methodological approaches are contemplated, the contours of the main regular occurrences (such as desyncretization, unification and natural selection) and tendencies (positive and negative), allocations are made of various types (the natural and the artificial), perspectives (the global and the individual) and technologies (subtraction, gravitation, socialization) of academization of art and education, the substance and paradigms of folklore and academic art are disclosed, a model of academization is elaborated. Definitions are also given of new conceptions: “post-academic syndrome,” “desyncretization,” “subtraction,” “socialization,” etc. The main conclusions of this research are concentrated around the prospects of studying the processes of academization of the art of music, since both the positive and the negative tendencies discovered by the author (the most important of which are the reduction of the communicative function of contemporary art, the dedemocratization and the leveling of the national traits of art) ae capable of influencing its future substantially, which means that their regulation may become the instrument of formation of this future.","PeriodicalId":356478,"journal":{"name":"Problemy Muzykal'noj Nauki / Music Scholarship","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":"129172100","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

Author Function in the Poetics of Contemporary Music 当代音乐诗学中的作者功能

Problemy Muzykal'noj Nauki / Music Scholarship Pub Date : 1900-01-01 DOI: 10.56620/2782-3598.2022.4.053-065

Yuliya N. Panteleeva

引用次数: 0

Sound Design as an Educational Trend of Higher Education: Issues and Perspectives 高等教育的声音设计趋势:问题与展望

Problemy Muzykal'noj Nauki / Music Scholarship Pub Date : 1900-01-01 DOI: 10.56620/2782-3598.2022.3.184-195

I. Gorbunova, S. Mezentseva

{"title":"Sound Design as an Educational Trend of Higher Education: Issues and Perspectives","authors":"I. Gorbunova, S. Mezentseva","doi":"10.56620/2782-3598.2022.3.184-195","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.3.184-195","url":null,"abstract":"This work researches the issues of instruction of the specialist sound designer in the sphere of work with sound who is endowed with present-day competence. Sound design is examined as a special type of artistic activity and as an educational direction in Russian higher education. Creation of sound by means of digital design already possesses its own history, theory and sphere of practice in the domain of education. The authors illuminate the new profile of the Master’s program “Information Technologies in Music and Sound Design” available at the Herzen State Pedagogical University of Russia. The quality of the process of education must provide the necessity of instruction of high-level specialists on demand. Sonar design requires specific skills and complex attainments from the specialist. Offered for discussion are the professional competencies which are necessary for the sound designer to master as a specialist capable of applying the attained knowledge in various present-day spheres of professional activity. Characterization is provided for the complex of required disciplines of the examined educational program within the frameworks of the educational program within the frameworks of instruction of “Informational Systems and Technologies.” The experience of work of the tutorial methodological laboratory “Musical Computer Technologies” of the Herzen State Pedagogical University of Russia in this field are disclosed. The prospects of the development of the new educational direction are determined.","PeriodicalId":356478,"journal":{"name":"Problemy Muzykal'noj Nauki / Music Scholarship","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":"116183291","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

Interview with Composer and Pianist Sergei Oskolkov 采访作曲家和钢琴家谢尔盖·奥斯科尔科夫

Problemy Muzykal'noj Nauki / Music Scholarship Pub Date : 1900-01-01 DOI: 10.56620/2782-3598.2022.3.070-077

A. Rovner

引用次数: 0

Swing Era’s Jazzing the Classics: Pro et Contra 摇摆时代的爵士乐经典:支持与反对

Problemy Muzykal'noj Nauki / Music Scholarship Pub Date : 1900-01-01 DOI: 10.56620/2782-3598.2022.4.076-086

Inga A. Presnyakova

{"title":"Swing Era’s Jazzing the Classics: Pro et Contra","authors":"Inga A. Presnyakova","doi":"10.56620/2782-3598.2022.4.076-086","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.4.076-086","url":null,"abstract":"The birth of jazzing the classics – the practice of jazz transcriptions of classical music – dates back to the Swing Era (from the second half of the 1920s to the first half of the 1940s). The most pronounced trend in jazzing the classics of the era of Swing was the transformation of themes from classical musical compositions (mostly, of a song-like romantic nature) into pop song and dance compositions. The high classics were losing their status of music for serious performance and listening, turning into “foot music” and a commodity for the music business. At the same time, some of the musical samples from the era from the 1920s to the 1940s anticipated such fundamental features of the practice of jazzing as a new stage in the history of jazz, which began at the turn of the 1950s and the 1960s, namely: the involvement of baroque and classicist music, concert types of performance, and the preservation of the entire music of the original composition in the resultant music. Despite its widespread distribution, jazzing the classics has long remained in the shadow of research attention. Meanwhile, it can become the subject of a multi-vector study – from techniques of transcription to major issues of a socio-cultural nature. The present article focuses its attention on expanding the documentary and historical base. An analysis of materials from the American periodicals from the 1920s to the 1940s makes it possible to recreate the pro et contra situation of the Swing Era in relation to jazzing the classics. The scholarly originality of the article lies in the expansion of the factual base associated with the history of jazzing the classics, the introduction of previously unknown names, compositions, and other materials of the American periodicals of the 1920s and 1930s into Russian musicology, and the identification of the influence of the jazzing practice of Swing Era on its subsequent stages.","PeriodicalId":356478,"journal":{"name":"Problemy Muzykal'noj Nauki / Music Scholarship","volume":"69 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":"126434126","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 Golden Sequence: The History and Pre-History of the Term on the Pages of Russian Musical Guiding Manuals 黄金序列:俄罗斯音乐指导手册页面上的术语的历史和前史

Problemy Muzykal'noj Nauki / Music Scholarship Pub Date : 1900-01-01 DOI: 10.56620/2782-3598.2022.3.007-016

Inga A. Presnyakova

{"title":"The Golden Sequence: The History and Pre-History of the Term on the Pages of Russian Musical Guiding Manuals","authors":"Inga A. Presnyakova","doi":"10.56620/2782-3598.2022.3.007-016","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.3.007-016","url":null,"abstract":"The golden sequence is one of the most widespread harmonic techniques in music history. Its creation coincides with the Baroque era, and having entrenched itself in the musical language of which it subsequently became an “evergreen” term, examples of which may be found in works from different time periods, styles, genres and sociocultural strata. The article examines the two-hundred-year-old history of presenting the golden sequence as a term and a harmonic technique on the pages of Russian musical guide manuals, where it appeared not only long before having acquired its “proper name,” but also noticeably earlier than the term “sequence” appeared in scholarly use. The author examines diachronically the conceptual-terminological construct, while the reconstruction of the progression of theoretical cognition of the aforementioned musical phenomenon makes it possible to establish its key positions. The Russian presentation of the golden sequence took place in the first guide manual to be translated into Russian – Georg Simon Loehlein’s The Clavichord School (1773–1774) in the form of figured bass ciphering and its brief description. Subsequently, the characterization of the golden sequence was supplemented by new positions: indication of expressive possibilities, technical details of voice-leading in harmonic practice, as well as functional and linear interpretation. The article provides information about the authorship of the term “golden sequence” belonging to Viktor Berkov. Its first fixation took place on the pages of a special harmony course in 1966. The reference to the history of the terminology is perceived to be a relevant vector of one of the mainstream directions of present-day Russian musicology connected with the comprehension of the processes of the formation of the language of music scholarship and its conceptual-terminological construct.","PeriodicalId":356478,"journal":{"name":"Problemy Muzykal'noj Nauki / Music Scholarship","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":"131162526","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

Interpretation of Genre in Tan Dun’s Opera Nine Songs 谭盾歌剧《九歌》的体裁解读

Problemy Muzykal'noj Nauki / Music Scholarship Pub Date : 1900-01-01 DOI: 10.56620/2782-3598.2022.4.127-135

Elena V. Kiseyeva, Vasily Yu. Kiseyev

{"title":"Interpretation of Genre in Tan Dun’s Opera Nine Songs","authors":"Elena V. Kiseyeva, Vasily Yu. Kiseyev","doi":"10.56620/2782-3598.2022.4.127-135","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.4.127-135","url":null,"abstract":"The article is devoted to the issue of studying Tan Dun’s music in light of the theory of performativity. By the example of the composer’s early composition Nine Songs the changes which have appeared in the genre of opera under the impact of live art performance as a new type of theatrical performance. The composition has designed artistic precepts which are also characteristic for other musical-theatrical oeuvres by the composer: specific work with the poetic text directed at destroying the linear logic of the subject and the cause and effect connections; vocalization based on connecting the techniques of the Italian operatic bel canto and the traditional Chinese qupai; a synthesis of music, an abstract poetic text and motions, gestures permeated with symbolism. The authors of the article come to the conclusion that the interpretation of the genre presented in Tan Dun’s Nine Songs goes far beyond the boundaries of academic traditions of representation of opera. In the poetic text of the libretto the composer deliberately dilutes the meanings encumbered in the primary source, which is achieved by means of infringement of the logic of narration, by accentuating the musicality in the sound of words detrimentally for their communicative function. In the dramaturgy, built with a reliance on the collage method and with an absence of a storyline narrative, the culminations and falls occur spontaneously. The music is endowed with suggestive traits indispensable for creation of an effect of emergence and together with the poetic text and the scenography does not call for conveying any concrete meanings. In this composition the role of the audience is interpreted specifically. The latter assumes the position of active participants of the events, rather than passive observers, and experience a liminal state, the departure from which is connected with an independent construction of the composition’s meanings.","PeriodicalId":356478,"journal":{"name":"Problemy Muzykal'noj Nauki / Music Scholarship","volume":"18 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":"132437703","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