Problemy Muzykal'noj Nauki / Music Scholarship最新文献

{"title":"Play: A Historical and Cultural Approach","authors":"Ekaterina I. Vasileva","doi":"10.56620/2782-3598.2022.3.078-086","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.3.078-086","url":null,"abstract":"The article examines the historical dynamics of the theoretical and methodological approaches to the essence of play and their significance in modern scholarship and culture. The role of play in the philosophy of ancient times is highlighted. Classical playing theories are presented: Friedrich Schiller’s and Herbert Spencer’s theories of surplus forces, Richard Lazarus’ theory of recuperation, Karl Groos’ theory of exercise and G. Stanley Hall’s theory of recapitulation. Play (as a way to achieve pleasure) is examined through Karl Bühler’s theory. We pay attention to Freud’s psychodynamic theory in the context of understanding play, as well as the views of Erickson and Winnicott. Bateson’s metacommunicative theory is singled out separately. The theory of cognitive development by Piaget and Vygotsky pays special attention to the consideration of approaches to the understanding of play. The role of play in the context of pedagogical, cultural, and anthropological research is presented. Due to the analysis of the presented theories, we made the conclusion about the role of play in present-day culture. The study aims to find out the meaning of play in the representation of modern youth. To solve the tasks set, we used the sociological research method. As a result, we surveyed the young people of the city. This survey allowed us to understand the place of play in modern young people’s lives and reveal its attitude to gaming activities. With the help of a survey, we identified such essential functions of play as relaxation and entertainment. The least important of these was the psycho-technical function. Computer and desktop games were recognized as the most popular types of play among modern young people. The least interest among respondents is caused by such a type of play as gambling. This work is only an initial stage in the study. We plan to continue the study on a representative sample.","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":"124304460","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":"Rhyme and Rappability: Synthetic Isochrony in Russian and English on the Example of Lermontov","authors":"T. Beavitt","doi":"10.56620/2782-3598.2022.3.087-108","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.3.087-108","url":null,"abstract":"Structured auditory forms such as verse, oratory speech and song may be seen as forming a continuum with natural spoken utterances and written language. Spoken, recited and sung text performances can be distinguished in terms of memorability and spontaneity. Previously conducted research into “singability” as a criterion for verse translation adequacy has been extended to include the concept of “rappability”. A theoretical overview and a review of developments in English and Russian poetry over the last two centuries culminates in a concise assessment of the works of three contemporary rap artists. The isochrony hypothesis predicting that utterances will be temporally organised into segments perceived as of equal or equivalent duration is evaluated for English and Russian on the example of a project to translate a poem by Lermontov into English and perform both versions against the same composed background track. A synthetic approach to investigating isochrony in language evaluates the flow of a text performed against a constant tempo background track. A discussion is presented of the issues involved in translations which attempt to preserve the original rhythm and phrasing. The process of performing “rapped” recitals of the Russian and English texts is described. The comparison of rhythmic features of Russian and English can inform future research and the preparation of texts for various functions, helping to predict their memorisability and effectiveness in eliciting the attention of audiences or interlocutors.","PeriodicalId":356478,"journal":{"name":"Problemy Muzykal'noj Nauki / Music Scholarship","volume":"77 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":"114649317","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":"Mass Culture of the Postmodern Epoch in Light of the Philosophy of Postmodernism","authors":"N. A. Tsareva","doi":"10.56620/2782-3598.2022.4.136-146","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.4.136-146","url":null,"abstract":"Mass culture presents the most important phenomenon of society without which it becomes difficult to perceive the realities of the 21st century. The postmodern era has exerted influence on the qualities of the mass culture of the metamodern age. In order to understand its new characteristic features and forms of existence it is important to indicate the connection with the philosophy of postmodernism. The aim of the present article is to research the rhizomatic model of culture of philosophy of postmodernism and to reveal in it the bases of the transformation of mass culture in the metamodern epoch. The author systematizes the evaluations of 21st century mass culture, defines its peculiarities in the paradigm of the culture of the metamodern age with the use of rhizome-analysis as a scholarly approach. On the basis of comprehension of the rhizomatic model of culture in the philosophy of postmodernism the conclusion is arrived at: the ideas of decentration, multiplicity and plurality explain in many ways the new characteristic features of mass culture. It may be examined as an open system endowed with the creative potential of self-organization and acquiring new features in various sociocultural systems. The contradictory evaluations of contemporary mass culture in the 21st century make it possible to reveal both its negative (its entertaining character, commercialization, creation of virtual reality, manipulation of consciousness, a threat to national culture, etc.) and its positive characteristic features (its democratic quality, accessibility, mass character, etc.). Application of the concept of the rhizome as a method makes it possible to study the particularities of mass culture, to open up new verges of the phenomenon of the metamodern epoch. The transformation of mass culture expressed in synthesizing the elite and mass cultures, art and mundanity, the real and the ideal.","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":"122831126","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":"Soviet Musicology: Pro et Contra. Work on Archival Materials from the Soviet Era","authors":"Tatiana I. Naumenko","doi":"10.56620/2782-3598.2022.4.022-037","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.4.022-037","url":null,"abstract":"The article describes the process of work on researching Soviet musicology of the time period from the 1920s to the 1940s. The study was carried out under the RFBR project “The Phenomenon of Soviet Musicology and Its Influence on the Formation of Russian Musical Culture.” The history of Soviet musicology is studied on the basis of archival documents that make it possible to reconstruct little-known historical events, and also to characterize the peculiarities of musicology in the context of each decade. The first post-revolutionary decade passed under the sign of the search for its own academic scholarly institutions, which were alternately made available and then closed down, in accordance with the state policy. However, it was during this period that the fundamental foundations of 20th century Russian musicological thought were laid. Of special interest is the work on creating a complex of tutorial literature. Starting from 1936 (since the time of the creation of the All-Union Committee for the Affairs of Art), work on creating textbooks has become one of the main forms of scholarly activity of the musicological departments of the Moscow and Leningrad Conservatories, later the Gnesins’ State Musical Pedagogical Institute and the Institute of Art History of the USSR Academy of Sciences (presently, the State Institute of Art Studies), both established in 1944. Discussions of issues of paramount importance – such as the historical periodization of Russian music history, the content and methodology of training courses, – frequently took place for many days in a row, with the results of the discussion reflected in the central newspapers and magazines. The transcripts of these sessions, in certain cases, exceed 1,500 pages. An important direction of this research was also the study of the main directions in the development of musicology. Along with the creation of textbooks, monographs and other academic works, dissertation work began in the 1930s–1940s. This contributed to a great extent to the integration of musicology into the general scholarly humanitarian field. In the same period, numerous discussions of new Soviet compositions began – primarily, operas and symphonies.","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":"128441200","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":"Timbral Innovations in Heinz Holliger’s Choral Music: from Dona nobis pacem to Die Jahreszeiten","authors":"Alexander S. Ryzhinsky","doi":"10.56620/2782-3598.2022.3.045-058","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.3.045-058","url":null,"abstract":"The article is devoted to the three most famous works for chorus by contemporary Swiss composer Heinz Holliger (b. 1939) composed during the course of ten years – from 1969 to 1979. Departing from the field of experiments in the field of vocal articulation of the representatives of the post-war avant-garde, Holliger was able to enrich to a considerable degree the timbral element of vocal composition with new performance techniques. The latter include singing through inhalation, singing with emptied lungs, voiced exhalation, etc. The systematization of Holliger’s timbral techniques presented by the author of this article sets as its goal the continuity between Holliger’s choral works and those by his older colleagues. While the analysis of Dona nobis pacem demonstrates the development of the techniques of phonemic composition which are present in the works of Mauricio Kagel, Luciano Berio and Gyӧrgy Ligeti, in Psalm and in the cycle Die Jahreszeiten Holliger generates new methods of vocal articulation, which were later reflected in the works of not only his younger, but also his older contemporaries. The main accentuation in this article is placed by the study of the cycle Die Jahreszeiten – Holliger’s largest and most significant choral composition. Analyzing the timbral and textural structure of the pieces comprising the cycle, the author arrives at the conclusion about the composer’s wish to approach the reflection of the automatized “impersonal” writing of Scardanelli (which was Hölderlin’s pseudonym in the late period of his poetical creativity, when he was suffering from mental affliction) by means of his compositional resources. The phenomena of the soundless word and fragmented statement of the musical material bring a number of pieces from Holliger’s cycle closer to the identical musical discoveries by Luigi Nono in his works from the 1950s and 1960s, as well as in his late works composed from the influence of reading Hölderlin-Scardanelli’s poetic works. Thereby, the study of Holliger’s musical compositions makes it possible for us to examine the Swiss composer’s choral works not only as an organic continuation of his colleagues’ experiments, but also as a genuine culmination in the development of Western European choral writing in the 1970s manifested in the greatest amount of enrichment of the timbral side of modern choral composition.","PeriodicalId":356478,"journal":{"name":"Problemy Muzykal'noj 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":"117157454","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: Sapiens","authors":"A. Demchenko","doi":"10.56620/2782-3598.2022.3.017-028","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.3.017-028","url":null,"abstract":"In J. S. Bach’s artistic legacy an absolutely special position is held by what is connected with the conception of sapiens, defining therewith the sphere of meditativeness in its extremely broad range: from the unpretentious pages of light reflection to profound philosophical revelations. The article examines the most capacious spectrum of the boundaries of interpretations of this figurative system along the line of acceleration of intensification of the corresponding states of being and their saturation of the presence of problems. This includes the moods of pastoral contemplation, reflectivity carried out in the vein of tenebrous elegy, as well as mournful lamentations permeated with a feeling of the hopelessness of the path of life, which very often brought Bach’s meditative music close to the borderline of tragic utterances. Of the highest value are the composer’s philosophical verses, which convey the heights of the thinking spirit, the pinnacle of self-centricity, a maximal tension of the intellectual process, immersion into thought about what is most important in the life of the human being, i.e., everything which sums up in itself the concept of homo sapiens in its intimate meaning. It follows that in the historical perspective Johann Sebastian appeared in the musical art of his time as a genuine artist and thinker, while the level of what he achieved in this regards shall remain a touchstone forever.","PeriodicalId":356478,"journal":{"name":"Problemy Muzykal'noj 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":"126985540","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":"Operetta Theater in the Far East in the Period between Two Wars (1906–1914)","authors":"I. I. Krylovskaya","doi":"10.56620/2782-3598.2022.3.120-132","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.3.120-132","url":null,"abstract":"The author highlights the period of the pre-revolutionary operetta theater in the Far East, spanning the years between two Wars – the Russo-Japanese War and World War I, characterized by an intensive development of the given sphere. Both the inner and the overall Russian tendencies find reflection in this process. This is revealed in forming the repertoire with the fundamental musical compositions, including operettas by contemporary composers from Russia and from other countries. The cameo theaters which spread in the region at that time stipulated the appearance of one-act performances, as well as “shortened” versions of classical and Viennese operettas in the programs of the non-repertory theaters. Among the regional traditions of musical theater, we can observe “competitional” productions and incorporation of inserted numbers, which enhance the multicultural character of operetta. When comparing the dynamics of the functioning of the operetta theater in the country’s central and southern provinces, the conclusion is formed about the leadership of the peripheral territories in this sphere. The cities of the Far East, Harbin, Khabarovsk and Vladivostok broadened the geographical areas of activity of the operetta theater in the remote territories of the Russian Empire.","PeriodicalId":356478,"journal":{"name":"Problemy Muzykal'noj Nauki / Music Scholarship","volume":"131 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":"126806608","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":"Le marteau sans Maître by Pierre Boulez as a System of Cycles","authors":"Natalia P. Khilko","doi":"10.56620/2782-3598.2022.3.155-170","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.3.155-170","url":null,"abstract":"The article presents the results of the cyclical organization of Pierre Boulez’s Le Marteau sans maître in the aspect of combining the principles of linear and non-linear organization. The composer created a work of a probabilistic type, in which dispersed and localized sub-cycles coexist with each other. Their core is formed by the vocal movements in which René Char’s poems are interpreted. The number of compositional units in these structural-thematic groups coincides with the quantitative factor of the segments of the composition’s main series. The embedding of sub-cycles homogenous in their content into a linear set is analogous to the procedure of interpolation. In the dispersed sub-cycles Char’s title poem stipulates the system of expressive means which is replicated in all the movements at various levels of fullness, but always in recognizable ways. In the localized structural-thematic groups the wholeness is formed in the process of ascertainment of the substantial images and the common elements of musical expressivity in the movements pertaining to various sub-cycles. Here the vocal movement becomes the “point of convergence” which brings to light the coincidences and activates the additional semantic overtones present in the poem. In his Le Marteau sans maîtreBoulez demonstrated the possibilities of compositional variability in the conditions of the system of cycles created by them presuming the simultaneous activity of the linear and non-linear organization with various types of connection.","PeriodicalId":356478,"journal":{"name":"Problemy Muzykal'noj Nauki / Music Scholarship","volume":"258 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":"133400208","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":"Ferruccio Busoni’s Doktor Faust: Features of the Aesthetics","authors":"Xiangze Wu","doi":"10.56620/2782-3598.2022.3.029-044","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.3.029-044","url":null,"abstract":"The article presents a musicological and artistic analysis of Ferruccio Busoni’s Doktor Faust. The author discovers the points of connection between Busoni’s final work with Goethe’s tragedy Faust, Dmitri Merezhkovsky’s novel “Voskresshiye Bogi. Leonardo da Vinci” [The Resurrected Gods. Leonardo da Vinci], a number of musical compositions by Mozart, Alban Berg and Richard Strauss, as well as Ferruccio Busoni’s own Second Sonatina and the opera Arlecchino, oder Die Fenster. The questions are examined of Busoni’s opera aesthetics, the philosophical-religious context of Doktor Faust, and the peculiarities of the composition’s libretto, the musical dramaturgy and thematicism. The assumption is expressed that the opera Doktor Faust, which presents the composer’s spiritual bequeathal, may present an interest for Russian producers who are interested in contemporary musical theater.","PeriodicalId":356478,"journal":{"name":"Problemy Muzykal'noj Nauki / Music Scholarship","volume":"23 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":"116712131","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":"What the Finch Sang About: Nature in the Narrative of Nikolai Sidelnikov’s Children’s Piano Album","authors":"Elena A. Shefova","doi":"10.56620/2782-3598.2022.4.156-166","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.4.156-166","url":null,"abstract":"The article examines the specificity of manifestation of the images of nature on the material of children’s piano album What the Finch Sang About by Nikolai Sidelnikov (1930–1992). The image of nature is own of the predominant features in the composer’s musical output. In the narrative such aspects as landscapes, the vegetative and animal worlds, weather conditions, water, and the heavenly hosts are reflected. An analysis of the miniatures makes it possible to see the ambiguousness of the image, and also reveals the emotional-psychological significance which reveals itself in the pieces. The author comes up with the conclusion that the image of nature in the composer’s narrative is presented on the level of the musical-expressive means – genre, figurativeness and theatricality, which creates a particular mood and is conducive for expansion of the concert and pedagogical repertoire.","PeriodicalId":356478,"journal":{"name":"Problemy Muzykal'noj Nauki / Music Scholarship","volume":"23 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":"115716074","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}