Проблемы музыкальной науки最新文献

{"title":"The Phenomenon of Freakishness in Russian Popular Music: Concerning the Study of the Problem","authors":"Yuliya V. Antipova","doi":"10.56620/2782-3598.2023.3.150-159","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.3.150-159","url":null,"abstract":"The article is devoted to the phenomenon of freakishness in popular music in Russia — as a rule, a conscious modeling of eccentric behavior in popular music on the part of various types of performers (starting from the late 1980s). The interest towards freaks in popular music is stipulated by the artistic manifestation of a number of colorful and provocative characters, the perception of whom is conducive towards the cognition of profound processes taking place in Russian culture (as a part of world culture). A positive perception of freakishness proves the total legalization and emancipation of what was previously perceived as unhealthy, eccentric, or ugly, which is presently taking place not only in Russia, but also in other countries. At the same time, freakishness in popular music may serve as a solution of the important social aims of the loosening-up of personality, the departure from the conditions of supra-civilization, supra-glossiness, as well as the pressure of social morality and social standards. The highlight of the movement of freaks in Russian popular music in the 1990s became a sign of the post-perestroika era and the values of the disorientation of Russian society. The emergence of abnormal, marginal phenomena, the violation of previous prohibitions, the wish to feel the edge, the limit manifested itself in the work of pseudo-freakish characters (Zhanna Aguzarova, Vitas, Shura). The demand of originality, the popularity of the new heroes — the representatives of creative industries, has provoked the generation of yet more unusual images and manners of performance. Total freakishness, the promotion of abnormality, non-standard behavior and even pathologies, the aspiration towards provocative behavior and the search for continuously new forms of artistic “shocking” of broad auditorium testifies of the transformation of many aesthetic norms, of the fatigue, the loss of faith in culture and progress, of the yearning for further searches for the “boundaries” of the normal. The author observes in conclusion that the intensifying or abating presence of freakish heroes, the expansion or, on the other hand, the narrowing of the zone of their influence and involvement into the cultural space of contemporaneity bears witness of processes the comprehension of which makes it possible to catch hold of certain tendencies in the social, spiritual life of society, which, obviously, merits further research.","PeriodicalId":490103,"journal":{"name":"Проблемы музыкальной науки","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135104950","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 Musical Culture of the Russian Province in the Mirror of Prerevolutionary Periodicals","authors":"Vera I. Yudina","doi":"10.56620/2782-3598.2023.3.047-057","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.3.047-057","url":null,"abstract":"From the positions of systemic analysis, the author of the article determines the role of periodical press as an important source of research of the musical culture of the prerevolutionary Russian province. Against the background of the development of humanitarian knowledge, the studies of the musical provinces actualize the issue of the base of its scholarly field related to source studies. Particularly periodical press contains the basic information about the musical life of the prerevolutionary period of Russian history in all of its diversity. The periodical publications — from the capital cities and the periphery, the general and the specialized varieties — are specified on the basis of an elaborated classification. Emphasis is given to various printed material, different in its indication of genre, devoted to musical life in various cities of the Russian Empire — analytic sketches, survey correspondence, articles on music history, and informational-advertising production. The question is broached of the genre-related and stylistic transformation of musical journalism from descriptive overviews to articles of a problem-based culturological character. The participation of the activists of musical culture from a number of Russian cities in the formation of the areal tradition of musical criticism, the intensification of artistic connections between the provinces and the two Russian capital cities, the evolution of musical life in different cities (for example, in Odessa, Tiflis, Kharkov, etc.) — all of these are disclosed in the article. The musical periodical press of various provincial regions of Russia, represented by materials that are diverse in their genre and territorial affiliation, which has undergone a significant transformation of its content during the course of the entire 19th and the early 20th century, has made a significant contribution to the formation and the development of Russian music criticism and Russian musical culture in general.","PeriodicalId":490103,"journal":{"name":"Проблемы музыкальной науки","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135104958","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 “Song Opera” of the 1930s: In Search for New Poetics of the Genre","authors":"Tatiana I. Naumenko","doi":"10.56620/2782-3598.2023.3.058-067","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.3.058-067","url":null,"abstract":"Contemporary researchers of opera of the Stalin period primarily touch upon the Soviet “opera project” (Ekaterina Vlasova, Marina Frolova-Walker): conceived on a high level of ambitiousness, it became virtually a failure. An immense number of operas created during the course of the 1930s and the 1940s, with a small number of exceptions, slipped into obscurity: a significant part of them has never seen the stage and has been preserved only as archival materials. One of the main reasons is mentioned as the low artistic level of the overwhelming part of the opera material. In them, along with rather fair criticism of many opera works, there were attempts to understand the reasons why Soviet opera, which received a level of government support unprecedented in its scale, adapted itself to the new sociocultural conditions with such great difficulty. In the present article the attempt is made to comprehend the phenomenon of the so-called song opera: with this aim the examination of one of the most illustrative periods of its development is proposed. It spans the period of five years — from 1936 (the year the article Muddle Instead of Music came out and the Committee for the Affairs of Art was created affiliated with the Council of People’s Commissars of the USSR) until 1940 (the All-Union Opera Conference was held). During this period the greatest number of operas was composed (including 30 song operas), presentations of newly created compositions and the subsequent discussion of them in the Committee for the Affairs of Art was brought into practice. A considerable number of publications from these years was devoted to the issues of opera. The discussions of the art of opera received unprecedented caliber and were conducive to the formation of complex perceptions of the aesthetic etalon of Soviet opera. However, the etalon operatic composition was never written. The article is based on analysis of archival materials and documents, part of which is being brought into scholarly use for the first time.","PeriodicalId":490103,"journal":{"name":"Проблемы музыкальной науки","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135104959","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 Fixed Poetic Form vs the Musical Form: The Experience of Analyzing Madrigal Settings of Sestina Texts","authors":"Larisa L. Gerver","doi":"10.56620/2782-3598.2023.3.023-034","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.3.023-034","url":null,"abstract":"The fixed poetic forms of Petrarch’s Canzoniere and the poetical works of the Petrarchist poets who imitated the great Italian master frequently served as texts for 16th century madrigals. In this connection, the author of the present article poses the question about the possible impact of the fixed poetic form on the form of the respective musical composition. A preliminary familiarization with madrigals composed on the texts of the sonnets, ballatas and sestinas (Italian: sestine) has shown that imitations of the poetic forms is the most discernible in those cases when the composer turns to the sestina to set it to music. The main material for analysis has been formed by the cyclic madrigals: Là ver l’aurora che sì dolce l’aura by Orlando di Lasso and Non fu mai cervo si veloce al corso, Sola angioletta starsi in trecie a l’ombra and Giovane donna sotto un verde lauro by Luca Marenzio, composed on the full texts of sestinas, as well as a few other similar works. The sestina consists of six stanzas each containing six lines, along with a conclusory stanza of three lines. The special rhyme pattern for the sestina, featuring six words defining the rhythms invariably repeated in the six main stanzas following the scheme, ABCDEF FAEBDC CFDABE, etc., generates the repetition of the end-word of the previous stanza in the beginning of the first line of the following stanza. As it is shown in the article, it is particularly this feature of the sestina that finds resonance with the form of the madrigal. The end of the previous section of a madrigal and the beginning of the following section have a connection established between them, which, as a rule, is achieved by means of repetitions. This concerns the melodic units and the characteristic details of sound, both the harmonic and the melodic varieties. Along with repetitions, a single harmonic construction is used, which begins at the conclusion of one section of a madrigal and concludes at the beginning of the following section.","PeriodicalId":490103,"journal":{"name":"Проблемы музыкальной науки","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135104967","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 Principles and Methods of the Gnesins’ School of Musicology in the Study of the Kuban Traditional Music Culture","authors":"Svetlana A. Zhiganova","doi":"10.56620/2782-3598.2023.3.112-121","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.3.112-121","url":null,"abstract":"The article presents an analysis of the application of the principles and methods developed by the musicological school of the Gnesins’ State Musical-Pedagogical Institute (later, the Gnesins Russian Academy of Music) in the study of the folk music tradition of the eastern Slavic population of the Kuban region. Making use of the principles and methods of history and ethnography, the Moscow-based musicologists have made a considerable amount of progress in understanding the character of this regional culture. The study of folk music from the Kuban region based on the achievements of the Gnesins’ school of musicology began in the 1990s and has continued up to the present time. It was forestalled by Victor Zakharchenko’s professional communication with Evgeny Gippius on musicological subject matter and the combined work of the two masters on the folk music material from the Kuban region. The principles and methods of the researchers from the Gnesin Academy have been applied both at the stage of field activities of folk music ethnographic expeditions and during the cameral activities (analysis and notation of the songs). The folklorists from the Kuban region possess the principles of structural-typological analysis, which allows them to cognize successfully the material of the traditions of late formation. In recent years, fundamental works based on the methods of the Gnesins’ school of folk music studies have been written.","PeriodicalId":490103,"journal":{"name":"Проблемы музыкальной науки","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135104802","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":"Creative Thinking and Creative Technologies as a Modern Component of Instruction of Music Professions","authors":"Alexandra V. Krylova, Alexandra V. Shornikova","doi":"10.56620/2782-3598.2023.3.140-149","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.3.140-149","url":null,"abstract":"The article is focused on elucidating the necessity of implementation of methods of development of creative thinking into the system of music education. The predominance of logical methods of analysis in the process of music education negates heuristic thinking and transfers the accentuation from the creatively active production of new ideas to mere reproduction of already existing and known models of professional behavior. According to the theory of psychologist Joy Paul Guilford, who initially brought in the term “creativity” into scholarly use, its didactic directedness is initially highlighted, particularly, the formation of its basis the capabilities of solving problems swiftly and non-standardly, the complexity of which is continuously growing in the speedily changing modern society. The presence of this skill within the framework of creative professions is especially crucial, because in art the process of evolution is in many ways connected with the violation of the existent norms. The success of conservatory graduates, who work, among other places, in concert organizations, may be guaranteed not only by their performance opportunities of technical and interpretation varieties, but also by the search for new formats of presenting their music to the audience. This is demonstrated in the article on the example of collaborative artistic projects. While expounding the thesis of a goal-oriented upbringing of creative thinking, the authors propose the structure of a special educational course within the frameworks of which on the basis of theory and practical tasks this skill may be developed. The training part of the course presumes the use of various directions of methods for developing creative skills elaborated by various scholars, such as, for instance, Sigmund Freud’s method of free associations, Tony Buzan’s mindmapping, Mark Levy’s freewriting, etc. The summarizing conclusion of the article is that the formation of the skill of creative thinking is the key to successful personal and professional growth of specialists in the sphere of the art of music.","PeriodicalId":490103,"journal":{"name":"Проблемы музыкальной науки","volume":"107 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135104953","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}