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S. V. Rachmaninoff’s Works on the Posters of the Choir of the Tambov State Musical Pedagogical Institute named after S. V. Rachmaninoff in the Context of the Music Educational Traditions of the Education Institution: A Retrospective Review 以拉赫玛尼诺夫命名的坦波夫国立音乐教育学院唱诗班海报上的作品:在教育机构音乐教育传统背景下的回顾
Pan-Art Pub Date : 2022-02-28 DOI: 10.30853/pa20220005
Elena Olegovna Kaz’mina
{"title":"S. V. Rachmaninoff’s Works on the Posters of the Choir of the Tambov State Musical Pedagogical Institute named after S. V. Rachmaninoff in the Context of the Music Educational Traditions of the Education Institution: A Retrospective Review","authors":"Elena Olegovna Kaz’mina","doi":"10.30853/pa20220005","DOIUrl":"https://doi.org/10.30853/pa20220005","url":null,"abstract":"The research aims to create a holistic view of such a priority area of the concert activity of the choir of the Tambov State Musical Pedagogical Institute named after S. V. Rachmaninoff as the popularisation of Sergei Rachmaninoff’s music. The paper draws attention to the educational traditions of the choir of the Tambov State Musical Pedagogical Institute named after S. V. Rachmaninoff, including the promotion of Rachmaninoff’s music since the 1910s, retrospectively considers the “Rachmaninoff” repertoire of the educational choir. In general, the review covers the period from 1882, when the education institution acquired the status of the Music Classes of the Imperial Russian Musical Society, until 2022. The scientific novelty of the paper lies in its local history perspective, which has not yet found proper coverage in research. The research findings show that from the second half of the XX century to the present day, the heads of the student choir of different years strictly follow the tradition of adding Rachmaninoff’s works to its repertoire, performing them within the framework of socially significant projects, adequately carrying out the high mission of educating generations of enlightened listeners, being a “soul healer”.","PeriodicalId":365294,"journal":{"name":"Pan-Art","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126225165","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
Novam Viam or the “Dead End” of Opera in the Modern Socio-Cultural Space 新越南:歌剧在现代社会文化空间中的“死胡同”
Pan-Art Pub Date : 2022-02-28 DOI: 10.30853/pa20220001
Dmitry Aleksandrovich Pshikhachev
{"title":"Novam Viam or the “Dead End” of Opera in the Modern Socio-Cultural Space","authors":"Dmitry Aleksandrovich Pshikhachev","doi":"10.30853/pa20220001","DOIUrl":"https://doi.org/10.30853/pa20220001","url":null,"abstract":"The aim of the study is to comprehend in a theoretical manner the principles of opera as a synthetic genre, namely taking into account the symbiosis of the properties related to the plot and storyline and musical properties themselves. The paper examines the development of opera in modern realities, the phenomenon of hybridity and openness of the genre. The author focuses on the mixed nature of opera as a result of the search for new means of expression. The scientific novelty of the study lies in defining modern opera as a hybrid, mixed genre, which together with modern technologies, means of performance and interpretation creates new contexts of musical expression, temporality and imaginary space. As a result, it has been determined that the evolutionary movement of opera has a centuries-old history and has always consisted of the confrontation of the new and the conservative, the elitist and the democratic, while opera was able to absorb the “intonation vocabulary of a specific era” and remain viable.","PeriodicalId":365294,"journal":{"name":"Pan-Art","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122544230","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
В. И. Зарубин и его картина «Пейзаж с рекой и рыбаками» (1917) в собрании Государственного художественного музея Алтайского края 1917年,在阿尔泰国家艺术博物馆的一次会议上,扎尔宾和他的画《河流和渔民的风景》()
Pan-Art Pub Date : 2021-11-30 DOI: 10.30853/pa20210003
Mikhail Yurievich Shishin, Elena Anatolievna Mushnikova
{"title":"В. И. Зарубин и его картина «Пейзаж с рекой и рыбаками» (1917) в собрании Государственного художественного музея Алтайского края","authors":"Mikhail Yurievich Shishin, Elena Anatolievna Mushnikova","doi":"10.30853/pa20210003","DOIUrl":"https://doi.org/10.30853/pa20210003","url":null,"abstract":"The paper aims to reconstruct the biography and to analyze the creative work of V. I. Zarubin, a little-known artist of the turn of the 19th-20th centuries, a graduate of the Russian Academy of Arts (workshop of A. I. Kuindzhi – a brilliant painter, Academician of the Russian Academy of Arts). The researchers introduce into scientific circulation poorly investigated archival materials, including the unpublished ones, for the first time provide a comprehensive analysis of V. I. Zarubin’s large-scale painting “Landscape with River and Fishermen”, and herein lies scientific originality of the study. The article presents a survey of publications dedicated to V. I. Zarubin, provides a brief description of his works stored in regional museum collections. The research findings are as follows: the authors introduce into scientific circulation previously unpublished biographical materials, describe the basic stages of V. I. Zarubin’s creative work (in particular, Petersburg period when he studied at the Russian Academy of Arts), identify the influence of A. I. Kuindzhi’s school on his formation as a painter, propose an approach to interpreting his most significant painting.","PeriodicalId":365294,"journal":{"name":"Pan-Art","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114343309","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
Одна из страниц клавирной музыки Германии XVII века
Pan-Art Pub Date : 1900-01-01 DOI: 10.30853/pa20210007
O. A. Beletskaya
{"title":"Одна из страниц клавирной музыки Германии XVII века","authors":"O. A. Beletskaya","doi":"10.30853/pa20210007","DOIUrl":"https://doi.org/10.30853/pa20210007","url":null,"abstract":"The aim of the study is to summarise the most important phenomena that can give a general idea of the chronological order of formation of keyboard genres and forms in the pre-Bach era, about the personalities of outstanding keyboard composers, about the intersection of various national styles in their heritage. The paper is of a reviewing nature. The scientific novelty of the study lies in substantiating the fact that the creative work of Johann Jakob Froberger (1616-1667) is distinguished by its multi-national character, which he managed to combine with elements of the German musical language. As a result, the paper characterises the musical creative work of gifted German composers and musicians performing music for stringed keyboard instruments of the XVII century; describes the features of the keyboard heritage of Johann Jakob Froberger and his influence on the musical creative work of his contemporaries; identifies the main features of the German keyboard music of the XVIII century.","PeriodicalId":365294,"journal":{"name":"Pan-Art","volume":"57 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":"116770985","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
Timbre Character Formation of the Domra Part in Folk-Orchestral Repertoire 民间管弦乐保留曲目中多姆拉声部音色特征的形成
Pan-Art Pub Date : 1900-01-01 DOI: 10.30853/pa20210002
Ol'ga Nikolaevna Romashkova, Anna Mihailovna Semishova
{"title":"Timbre Character Formation of the Domra Part in Folk-Orchestral Repertoire","authors":"Ol'ga Nikolaevna Romashkova, Anna Mihailovna Semishova","doi":"10.30853/pa20210002","DOIUrl":"https://doi.org/10.30853/pa20210002","url":null,"abstract":"The study aims to identify the main stages in timbre character formation of the domra part in pieces composed by Russian authors for the Russian folk orchestra. Scientific novelty of the study lies in taking an original approach to the interpretation of the timbre character of the domra part in modern music. The researchers give convincing examples from musical compositions that confirm that over the 125 years that the revived domra has existed, this instrument has gained a strong position as a most important orchestral voice in scores written by Russian authors. As a result, using examples from musical compositions, the researchers have provided an insight into the process of timbre character formation of the domra part in the setting of repertoire development for the orchestra of Russian folk instruments.","PeriodicalId":365294,"journal":{"name":"Pan-Art","volume":"6 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":"130750852","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
Quotations of Classical Music as the Basis of Leit-Thematism in the Film Interpretation of Leo Tolstoy’s Novel “Anna Karenina” (USA, 1997, Directed by B. Rose) 古典音乐语录作为主题主义的基础——对托尔斯泰小说《安娜·卡列尼娜》的电影诠释(美国,1997年,b·罗斯导演)
Pan-Art Pub Date : 1900-01-01 DOI: 10.30853/pa20210004
D. Aleksandrova
{"title":"Quotations of Classical Music as the Basis of Leit-Thematism in the Film Interpretation of Leo Tolstoy’s Novel “Anna Karenina” (USA, 1997, Directed by B. Rose)","authors":"D. Aleksandrova","doi":"10.30853/pa20210004","DOIUrl":"https://doi.org/10.30853/pa20210004","url":null,"abstract":"The paper aims to analyse the use of classical musical works as the main leitmotifs, as well as the influence of the music chosen by the creators of the film on the viewer’s perception of onscreen action. The scientific novelty of the study lies in choosing for analysis Bernard Rose’s film “Anna Karenina” (USA, 1997) based on the eponymous novel by Leo Tolstoy, the musical component of which involves exclusively classical music. As a result of the study, the author comes to the conclusion that the use of fragments from P. Tchaikovsky’s Symphony No. 6 and S. Rachmaninoff’s “Elegy” as the main leitmotifs allowed the director to make the film more spiritual, profound and closer to the Russian worldview.","PeriodicalId":365294,"journal":{"name":"Pan-Art","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":"129305390","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
Soviet Cinema Music. The Second Generation – Composers of the Sixties 苏联电影音乐。第二代——六十年代的作曲家
Pan-Art Pub Date : 1900-01-01 DOI: 10.30853/pa20210008
Tatiana Egorova
{"title":"Soviet Cinema Music. The Second Generation – Composers of the Sixties","authors":"Tatiana Egorova","doi":"10.30853/pa20210008","DOIUrl":"https://doi.org/10.30853/pa20210008","url":null,"abstract":"The paper attempts to analyse the results of the activities undertaken by the generation of composers of the Sixties in cinema. The aim of the study is to identify the specifics of the Soviet school of cinema music, the core of which included the brightest and most extraordinary representatives of the Russian musical avant-garde who achieved fame and world recognition in various fields of academic and experimental music of the post-war period. The scientific novelty lies in understanding, both in each specific case and in general patterns, the degree of mutual influence of cinema, focused on the perception of the mass audience, on the one hand, and the manifestations of creative individuality of the composers, on the other hand. As a result of the study, the author comes to the conclusion that due to the effective creative activities of the composers of the sixties, the tradition of cooperation of Soviet cinematographers with the most talented and highly professional musicians was preserved for several years, which would not allow the Soviet school of cinema music to descend to the level of standardised narrative soundtrack.","PeriodicalId":365294,"journal":{"name":"Pan-Art","volume":"6 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":"126402179","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
Контрапункты и синтезы элементов семантического ансамбля слова и музыки в вокальных сочинениях С. В. Рахманинова (на примере анализа романсов «К ней» и «Ау!» ор. 38) 拉赫玛尼诺夫(S. V. Rachmaninov)声乐作品中文字与音乐语义合奏元素的对位与合成(以分析浪漫曲《致她》和《啊!》作品 38 为例)。
Pan-Art Pub Date : 1900-01-01 DOI: 10.30853/pa20210005
Ol’ga Vasil’evna Genebart
{"title":"Контрапункты и синтезы элементов семантического ансамбля слова и музыки в вокальных сочинениях С. В. Рахманинова (на примере анализа романсов «К ней» и «Ау!» ор. 38)","authors":"Ol’ga Vasil’evna Genebart","doi":"10.30853/pa20210005","DOIUrl":"https://doi.org/10.30853/pa20210005","url":null,"abstract":"The aim of the study is to determine the ratio of the verbal and the musical layers of the text in S. V. Rachmaninoff’s vocal compositions. The paper analyses S. V. Rachmaninoff’s works “To Her” and “A-Oo!” Op. 38 from the position of musical and speech intonation, the use of intonation formulas, musical techniques. The scientific novelty of the study lies in identifying the counterpoints and principles of synthesising elements of the semantic ensemble of words and music in S. V. Rachmaninoff’s vocal compositions “To Her” and “A-Oo!” Op. 38. As a result, it has been proved that a “semantic ensemble”, which includes both the interaction of the word and its musical intonation expression and the interaction of vocal and instrumental parts, is formed in S. V. Rachmaninoff’s vocal compositions “To Her” and “A-Oo!” Op. 38.","PeriodicalId":365294,"journal":{"name":"Pan-Art","volume":"4 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":"134623034","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
Балетный театр и художественное воплощение исторической памяти о военном лихолетье 1941-1945 годов 芭蕾舞剧院和艺术体现了1941年至1945年军事森林的历史记忆。
Pan-Art Pub Date : 1900-01-01 DOI: 10.30853/pa20210006
Marya Yurievna Gendova
{"title":"Балетный театр и художественное воплощение исторической памяти о военном лихолетье 1941-1945 годов","authors":"Marya Yurievna Gendova","doi":"10.30853/pa20210006","DOIUrl":"https://doi.org/10.30853/pa20210006","url":null,"abstract":"The purpose of the study is to prove the significance of historic memory as a form of art comprehension of war events in the ballet theater environment. The paper describes the content of the plays showing the Great Patriotic War theme on the ballet stage of the XX-XXI centuries. They are the ballet “Leningrad Symphony” (1961) where the war and peace theme is conceptualized through the lens of human choice – to protect or to enslave; the ballet “Immortality” (1972) which shows a Red Army soldier’s feat the first and only time; the ballet oratorio “Mother Field” (1975) that reflects the war theme with a woman’s eyes; the ballet trilogy “For Life” (1975) about the mother-son farewell; the TV-ballet “House by the road” (1984) devoted to the human soul tested by the war times; the ballet “Life Symphony” (2020) which continues the topic of “Mother Field” and “House by the Road” but in its absolute own way. The scientific novelty of this study is that the main themes and artistic images of the ballet plays about war conflict in the post-war period of the second part of the XX century and in the beginning of the XI century are defined. As a result, it is substantiated that the ballet theatre according to its reflection proceeded from the illustrative aspect just fixing the event towards philosophical understanding of the horror of war and its catastrophic consequences for the mankind.","PeriodicalId":365294,"journal":{"name":"Pan-Art","volume":"54 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":"122430615","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
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