Problemy Muzykal'noj Nauki / Music Scholarship最新文献

{"title":"Major Trends in the Development of Choral Music by the Western European Avant-Garde of the 1960s","authors":"Alexander S. Ryzhinsky","doi":"10.56620/2782-3598.2022.4.038-052","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.4.038-052","url":null,"abstract":"The article contains information on the main directions of the development of choral music of Western European avant-garde composers of the 1960s. The turning of attention to choral music of that particular decade is due to the considerable number of innovations that received dissemination in the musical compositions of Karlheinz Stokhausen, Luigi Nono, Mauricio Kagel, György Ligeti and a number of other composers associated with the Summer Courses of New Music in Darmstadt. Among these innovations are: phoneme composition, micropolyphony, stereophonic effects achieved by timbre modulation, by means of special dispositions of performers or by application of actually performed and previously recorded music. A study is made of the issues of texture organization, timbre-articulation techniques, as well as problems of interaction between words and music. The author aims not only to summarize the information on the vectors of the evolution of choral writing, but also to illustrate the connection between the experiments of the 1960s and the concrete solutions of choral composition in the following decades. For this aim, examination is made of the textual foundations of choral compositions, the phenomenon of phonemic composition, and the expansion of the techniques of vocal articulation, – which presented an important resource of development of the possibilities of choral timbres – as well as new textural solutions. As the result, the conclusion is arrived at that in the 1960s the composers rejected the traditional approach of “setting the literary source to music.” Instead of this, they combine simultaneously various verbal sets or “press together” the fragments of several initial source texts. A powerful source for disclosing the resources of traditional vocalization and intoning speech turned out to be a diverse incorporation of Sprechgesang. The multifaceted aspects in the correlation of music and the verbal text, the inclusion of the principles of phonemic composition and the development of techniques of speech also exerted their influence on the textural organization of the choral compositions. In their high textural-timbral mobility of vocal lines the author disclosed the dynamic stereo effect of stereomonody. The indicated innovation of the art of choral music of the 1960s make it possible to examine this decade as a focal point of solution of successful the multifarious artistic and technical aims which are conducive here to transforming the art of choral music into one of the most dynamic genres of the last decades of the 20th century and the early 21st century.","PeriodicalId":356478,"journal":{"name":"Problemy Muzykal'noj Nauki / Music Scholarship","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129611006","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":"A Retrospective Analysis of the Song Genres of Russian Folk Music","authors":"M. S. Zhirov, N. Kuznetsova, O.Ya. Zhirova, L. A. Kinash","doi":"10.56620/2782-3598.2022.3.109-119","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.3.109-119","url":null,"abstract":"The article presents an academic generalization made by scholars of authorial results of the work of expeditions devoted to study of the genre nature of folk songs. In entirety, these data made it possible to formulate the fundamental positions about traditional culture and also to carry out retrospective research of the genre makeup of folk songs, in particular, to reveal their regional specificity. The historical-cultural analysis of the material has demonstrated the spiritual world of the musical heritage. The dynamics of the development of the Russian song determines the vector directed towards cognition of the sphere of human existence and world outlook. In light of the expounded data that authors emphasize that the Russian folk song can and must provide a unique source which consolidated around itself the scholarly, creative and spiritual potential of the peoples of Russia, putting into force its best ideas.","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":"128878870","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: Dramatik","authors":"A. Demchenko","doi":"10.56620/2782-3598.2022.4.007-021","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.4.007-021","url":null,"abstract":"That figurative sphere which may be defined by the conception of Dramatik is presented in Johann Sebastian Bach’s music in a very broad range, spanning from elegiac moods to a condensed dramaticism and even certain tragic qualities of world perception. His elegiac qualities have been interpreted in the range from emphatic sadness to emphasized melancholy. Dramatic figurativeness asserts itself with the greatest amount of distinctness in Bach’s music when the motives of depiction of the struggle of lie are depicted. In contrast to the struggles of a proud titanic nature, Bach turned upon numerous times to depicting the perturbed human spirit, which was naturally connected with heightened expression and complex psychologism. The composer elaborated most frequently the idea of the path of life, which was his first artistic discovery. Comprehending perfectly well the entire drama of human existence, Bach brought out in his music a humanistic conception of stirring confrontation with darkness and grief, and also that which according to its semantic essence may be defined by such conceptions as the special tenderness of the soul and deep commiseration to the sufferings of man.","PeriodicalId":356478,"journal":{"name":"Problemy Muzykal'noj Nauki / Music Scholarship","volume":"8 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":"128053483","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":"About Pedagogical Innovations in the Context of the Metamorphoses of Contemporary Musical Culture","authors":"Galina R. Taraeva","doi":"10.56620/2782-3598.2022.3.196-208","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.3.196-208","url":null,"abstract":"Music theory in Russia and in other countries has substantially elucidated the contemporary academic music culture in its most diverse manifestations. However, educational practice which is focused on academic traditions has been realizing to a greater degree the lack of balance between pedagogy and culture. An evaluation of the situation as a critical one calls forth the ideas of a fundamental renewal of the strategies of musical teaching which are declared to be innovations. The article poses the question about the indispensability of the rectification of this conception, which is endowed with theoretical and practical value, but requires concretization in connection with the placed goals. The author examines the innovational educational principle of work on the advancement of the universal cultural background of students of higher educational institutions and colleges. In correspondence with such a phenomenon as the visualization of audial compositions permeating the network space, this involves a broad implementation of the visual element into the teaching of music theory disciplines. The principles of teaching must transform themselves from the positions of present-day culture and the new mechanisms of its existence.","PeriodicalId":356478,"journal":{"name":"Problemy Muzykal'noj Nauki / Music Scholarship","volume":"53 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":"122109645","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":"About Claude Debussy’s Harmony. Some Aspects of Tonality","authors":"V. V. Aleev","doi":"10.56620/2782-3598.2022.4.066-075","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.4.066-075","url":null,"abstract":"The article is devoted to certain issues related to harmony in Claude Debussy’s music, as well as their coverage in work with students of higher musical institutions. The focus of our attention lies on the categories of tonality and functionality as the most important aspects of the composer’s harmonic style. The tonality of his music is presented, on the one hand, based on traditions manifesting the late romantic tendencies of extended tonality; on the other hand, taking into account, the individual original musical solutions presented by the composer in some particular compositions of his. The latter are demonstrated in the close combination of tonal “states,” the application of the principle of “directing” tonality, and introduction of the elements of chromatic tonality. Attention is paid to Debussy’s special harmonic techniques, which became constructive for his work – the “autonomous” interaction between two different seventh chords which possess a multi-vector tonal-functional orientation, as well as “harmonic montage.” The article comes up with the conclusion that Debussy’s harmonic system is comprised of the synthesis of many of its particular manifestations, which make it possible for us to examine its most important specific features in a new way.","PeriodicalId":356478,"journal":{"name":"Problemy Muzykal'noj Nauki / Music Scholarship","volume":"250 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":"116717889","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 Inner Form of the Cinematic Text in the Aspect of Affectability)","authors":"P. Volkova","doi":"10.56620/2782-3598.2022.3.171-183","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.3.171-183","url":null,"abstract":"The article is devoted to research of the musical component of the Russian cinematograph and its role in the actualization of the inner form of the cinematic text combined with the category of affectability. Positioning the cinema text on the level of artistic integrality, the author of the article focuses her attention on the directorial works of Alexander Lapshin (Dialogue with a Continuation) and Kira Muratova (Ophelia). Turning to the musical accompaniment represented by the works of Bach-Gounod (Ave Maria) and Vassily Agapkin (the march The Slavic Woman’s Farewell), the author denotes an array of phenomena. Falling into the context of a synthetic artistic whole, the works of Bach-Gounod and Agapkin obtain the potential of the semantics of the cinema text, providing an outlet onto the inner form of the indicated directorial works. The commonality stipulating the possibility to examine the emotive potential of the nonverbal (musical) discourse, which demonstrates itself as an inalienable component of the synthetic artistic whole, the correlate of the inner form of the cinema text, is determined, on the one hand, by the dialectics of the part and the whole. On the other hand, both cases refer to emotional-volatile thinking as a concrete action of thought which stands against abstract thinking. What is referred to here is the experience of thought-activity outside of which the inner form cannot obtain its inner form, just as the emotive potential of non-verbal discourse would never be actualized/verbalized. The reference point in the study of the inner form of the cinema text in the aspect of affectability actualized in the domain of nonverbal artistic discourse was expressed by the conceptions of affectability of researchers in Russia and other countries: the conception of musical emotions developed by Valentina Kholopova (Moscow, Russia), the study of musical emotions developed by Wu Liang (Luoyang, China), as well as the school of affectability developed by Ekaterina Prikhodovskaya (Tomsk, Russia). The perspectivity of integrating linguistics and musicology are perceived by the author of the article in the possibility of creating precedents of work with such forms which, while not being ready-made, require active participation of the linguistic identity entering the space of artistic communication.","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":"121429575","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 Principle of Self-Contained Formation of the Musical Form: Functional and Semantic Aspects","authors":"Natalia V. Devutskaya","doi":"10.56620/2782-3598.2022.3.133-154","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.3.133-154","url":null,"abstract":"In the artistic process the task of creating an artistically integral and completed form is initially set and then solved by the artist who created it. A work of art appears as a result of the decisions made, the outcomes of which compel the recipients of the art work to interpret their role and meaning. Being present in a broad field of compositional possibilities induces the analyzing musician towards a search for the criteria of their arrangement. In the present research work the present function is assigned to two principles, universal in their nature, formulated in Russian musicology by O. Sokolov – those of progressive development and self-contained formation. Turning her attention on the second of them, the author of the work examines its manifestation in various genres – from small-scale works to cyclic forms. By the example of works by Mussorgsky, Debussy, Webern and Prokofiev, as well as Chopin’s Prelude No. 2 opus 28 (1831) and Shostakovich’s String Quartet No. 7 (1960), original variants of implementing the phenomenon of self-containment capable of expanding the perception of its functional-semantic potential. The chosen angle of research appeals not only to Sokolov’s terminology brought out into the article’s title, but is also relatable to the methodology of the scholar who diffuses the laws of musical form on literary writing. The present circumstance makes it possible to turn to verbal sources – Thomas Mann’s novel The Magic Mountain, Anton Chekhov’s novelette The Black Monk, and Alexander Pushkin’s The Tale of Tsar Saltan. During the process of studying the mechanisms of self-contained formation their dependence on the level of the complexity of the form and the particularities of style and genre is discovered. In the small-scale compositions the action of the principle is realized by means of intonational evolution on an inner-thematic level; the self-contained quality of the large-scale forms becomes the result of a special strategy of juxtaposition of themes. Frequently both processes are predetermined dramaturgically, which inevitably implicates not only functional, but also semantic waymarks into analytics.","PeriodicalId":356478,"journal":{"name":"Problemy Muzykal'noj Nauki / Music Scholarship","volume":"11 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":"134030323","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":"Early Italian Opera Within the Labyrinths of Postmodernity","authors":"Pavel V. Lutsker, Irina P. Susidko","doi":"10.56620/2782-3598.2022.4.087-095","DOIUrl":"https://doi.org/10.56620/2782-3598.2022.4.087-095","url":null,"abstract":"The article is focused on certain critical questions of the position of early Italian opera in contemporary culture. For a long time both performers and scholars considered it as an outdated genre meriting only historical interest. This state of affairs began to change in the 1970s, when a series of facsimiles prepared by Garland Publishing revealed a certain number of published opera scores and librettos. Over the past 50 years, three trends have emerged in the scholarly approach to early Italian operas. The first is that of deconstruction of the prevailing and largely erroneous stereotypes. The second is that of reconstruction, filling in the gaps of knowledge (compilation of encyclopedias, catalogues, works on the history of opera, and monographs about composers). The third is that of interpretation of the 17th- and 18th-century European musical and theatrical heritage in the context of culture and style. In this regard, a special position is held by the issue of performance interpretation. The postmodern era has transformed the early opera from an antique rarity into a topical musical and theatrical phenomenon. The dimension has opened up for directorial experiments aimed at projecting this genre onto the topical problems of today, bringing it closer to the perception of the mass of listeners – each and every one. The plotlines based on ancient myths and historical legends, conventional comedic and farcical situations referring to the earliest literary specimens are easily adapted to the realities of the modern theater: one convention becomes replaced by another, the wigs and camisoles of the 18th-century singers are replaced by army camouflage. Most of these productions provide interpretations not so much of the early opera as such, but particularly of us, bringing our own existential fears and ambitions onto the stage, playing on our political sympathies and antipathies. But there also exists an opposite side. It finds expression in the manner of singing and instrumental playing which comes close to the norms of three and four centuries ago, i.e., historical performing practice, which in our conditions is perceived by everyone as exquisite, designed for the refined taste of the elite, and in this sense of the “aristocratic” listener, rather than the general masses. Thus, in many cases there arises a combination, which is paradoxical in its essence – an unreasonable duality. Interpretation of the essence of early Italian opera is becoming acutely relevant as the path for this art to regain its previously lost artistic integrity.","PeriodicalId":356478,"journal":{"name":"Problemy Muzykal'noj Nauki / Music Scholarship","volume":"67 7","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120978560","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}