Music Journal of Northern Europe最新文献

{"title":"RUSSIAN EUROPEANISM OF ANTON G. RUBINSTEIN THROUGH THE EXAMPLE OF CHORUSES OPP. 31, 61, and 62","authors":"А.И. Смирнова, Любовь Купец","doi":"10.61908/2413-0486.2020.24.4.19-31","DOIUrl":"https://doi.org/10.61908/2413-0486.2020.24.4.19-31","url":null,"abstract":"В статье анализируется хоровое творчество А. Г. Рубинштейна (на примере хоровых сочинений ор. 31, 61 и 62) через такое историко-культурное и философское понятие как русский европеизм. Рассмотрен феномен Рубинштейна на фоне эпохи, биографические траектории и окружение, повлиявшие на становление личности композитора. Акцентируется роль немецкой культуры в формировании общественных и музыкальных взглядов композитора, а также европейские тенденции и их трансформация в хоровом творчестве А. Г. Рубинштейна.\u0000 The article analyses the choral oeuvre of A. G. Rubinstein (usingthe example of choral compositions Opp. 31, 61, and 62) through the historical, cultural and philosophical concept of Russian Europeanism. Rubinstein's phenomenon in connection with the era, biographical trajectories and surroundings that influenced the composer's personality development are examined. The role of German culturein the formation of the composer's social and musical views, as well as European trends and their transformation in the choral work of A. G. Rubinstein are emphasized.","PeriodicalId":513421,"journal":{"name":"Music Journal of Northern Europe","volume":"93 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140984470","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 ISSUE OF THE MUSICAL TEXT PRONUNCIATION IN THE LIGHT OF THE RHETORICAL TRADITIONS","authors":"С.И. Художникова","doi":"10.61908/2413-0486.2020.24.4.32-45","DOIUrl":"https://doi.org/10.61908/2413-0486.2020.24.4.32-45","url":null,"abstract":"Современное исполнение западноевропейской музыки XVII–XVIII веков заметно отличается от принципов, изложенных в трактатах эпохи барокко. Важнейшим средством выражения барочного текста является артикуляция и акцентуация, которые были подчинены риторическим традициям. Музыкальная риторика – это не только свод правил и набор готовых клише. Трактаты прошлых веков представляют музыканта как искусного ритора, который должен владеть интонацией, ясной артикуляцией, уметь расставить эмфатические акценты и овладеть сердцами слушателей.\u0000 Modern performance of Western European music of the 17th–18th centuries differs dramatically from the principles stated in the tractates of the Baroque era. The most important means of expression of the Baroque text are the articulation and the accentuation that have been subordinate to rhetorical traditions. Musical rhetoric is not a set of rules and clichés only. The tractates of the last centuries describe a musician as a skillful rhetor who has to have control over intonation, clear articulation, the one who is able to place emphatic accents and seize the hearts of the listeners.","PeriodicalId":513421,"journal":{"name":"Music Journal of Northern Europe","volume":"07 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140984251","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":"SERGEY CHIRKOV: “I AM GLAD THAT BAYAN IS NOTHING LIKE OTHER INSTRUMENTS” (interview with Sergey Chirkov)","authors":"А.В. Дикоев","doi":"10.61908/2413-0486.2020.24.4.46-63","DOIUrl":"https://doi.org/10.61908/2413-0486.2020.24.4.46-63","url":null,"abstract":"","PeriodicalId":513421,"journal":{"name":"Music Journal of Northern Europe","volume":"57 23","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140983539","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":"CONCERTO FOR PIANO AND ORCHESTRA NO. 1 BY EINAR ENGLUND IN THE LIGHT OF THE SPECIFICS OF FINNISH NEOCLASSICISM","authors":"И.В. Копосова, А.В. Кубрина","doi":"10.61908/2413-0486.2020.24.4.1-18","DOIUrl":"https://doi.org/10.61908/2413-0486.2020.24.4.1-18","url":null,"abstract":"В статье анализируется Первый концерт для фортепиано с оркестром Эйнара Энглунда, одного из крупных композиторов Финляндии второй половины ХХ века. Энглунд является представителем финского неоклассицизма – течения, имеющего иную датировку и сущность в сравнении с неоклассицизмом в Центральной Европе. Финский неоклассицизм мало освещён в русскоязычной литературе, финские же исследователи пишут об ориентации этого течения на музыку европейских композиторов первой половины ХХ века (И. Стравинского, М. Равеля, П. Хиндемита и др.). Анализ Концерта Э. Энглунда расширяет эти представления, поскольку в тематизме, композиционных особенностях произведения выявлены многочисленные связи с европейским искусством (от Баха до романтиков), а также с музыкой Дж. Гершвина.\u0000 The article analyzes the Concerto for Piano and Orchestra No. 1 by Einar Englund, one of the major Finnish composers of the second half of the 20th century. Englund represents Finnish Neoclassicism, a movement that differs in dating and essence from Neoclassicism in Central Europe. Finnish Neoclassicism wasn’t given much coverage in Russian-language literature, whereas Finnish researchers write about the orientation of this movement towards the music of European composers of the first half of the 20th century (I. Stravinsky, M. Ravel, P. Hindemith, etc.). The analysis of Einar Englund's Concerto broadens these ideas, since the author reveals numerous connections with the European art (from Bach to the Romantic-era composers) and with the music by J. Gershwin in the thematic and compositional features of the Concerto.","PeriodicalId":513421,"journal":{"name":"Music Journal of Northern Europe","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140984153","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":"UNKNOWN TARIVERDIEV: PIANO TRIO","authors":"Е.А. Фалинова","doi":"10.61908/2413-0486.2020.23.3.23-43","DOIUrl":"https://doi.org/10.61908/2413-0486.2020.23.3.23-43","url":null,"abstract":"Статья посвящена особенностям исполнительской интерпретации одного из камерных сочинений Микаэла Таривердиева – Трио для скрипки, виолончели и фортепиано (1994). В статье выделены наиболее показательные черты стиля композитора, освещены основные вехи его камерного творчества, изложена история создания сочинения. Анализ Трио, выполненный в статье, затрагивает вопросы формы, тематизма, характеров и образов произведения, а также их взаимосвязи. Большой раздел посвящён исполнительской интерпретации и освещает принципы работы с оригинальным музыкальным языком композитора, особенности ансамблевой игры и распределения материала между исполнителями, вопросы построения верной концепции исполнения сочинения в целом. Статья призвана открыть современному слушателю М. Таривердиева как автора серьёзной, глубокой и многогранной музыки.\u0000 The article is devoted to the peculiarities of the performing interpretation of one of Mikael Tariverdiev's chamber compositions – Trio for violin, cello and piano (1994). The article emphasizes the most significant features of the composer's style, highlights the main milestones of his chamber work, and describes the history of the composition’s creation. The analysis of the Trio in the article touches on the issues of the form, the themes, the characters, and the images of the work, as well as their interconnection. A large section is dedicated to the performing interpretation, and covers the principles of working with the original musical language of the composer, features of ensemble playing and the distribution of the material among the performers, and also the issues of forming the correct concept of performing the composition as a whole. The article aims to present M. Tariverdiev to the modern listener as the author of serious, meaningful and multifaceted music.","PeriodicalId":513421,"journal":{"name":"Music Journal of Northern Europe","volume":" 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140998048","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":"MUSICAL FOLKLORE OF GREAT BRITAIN IN PERCY GRAINGER’S OEUVRE","authors":"Б.В. Сысолятин","doi":"10.61908/2413-0486.2020.22.2.33-51","DOIUrl":"https://doi.org/10.61908/2413-0486.2020.22.2.33-51","url":null,"abstract":"В XX веке мир искусства искал новые способы выразительности. Академические каноны больше не работали, и поэтому многие художники, музыканты и писатели обратили свой взгляд на то, что ранее считалось экзотикой или низкой традицией, которую ещё надо облагородить. Австралийский композитор и выдающийся пианист Перси Грейнджер (1882–1961) был одним из таких новых творцов. Согласно собственной творческой философии он принялся искать новый музыкальный язык в природе и в «примитивном искусстве» – в фольклоре. Свои поиски он начал с фольклора Британских остров. Вместе с английскими композиторами, в начале XX века заинтересовавшимися народным искусством Великобритании (такими как Ральф Воан-Уильямс, Сирил Скотт, Сэсил Шарп и др.), он устраивал «охоту за песнями», во время которой колесил по английским графствам в поисках народной музыки. Он вошёл в историю музыки как дотошный исследователь, новатор и как композитор умело усвоивший язык и особенности британских народных мелодий. В статье рассказывается об особенностях исследовательского и композиторского метода Перси Грейнджера, а также рассматриваются некоторые его яркие произведения, в которых он применил опыт, полученный во время своих этномузыкологических экспедиций.\u0000 In the 20th century the world of art was in the search of new ways of artistic expressiveness. Academic canons were not working anymore, and a lot of artists, musicians, and writers turned their eyes to what had been considered an exotic art or a low tradition which needed refining. An Australian composer and a distinguished pianist Percy Grainger (1882–1961) was one of those new creators. In accordance with his own creative philosophy, he started searching for a new musical language in nature and in the “primitive art” – in folklore. He began his search from the musical folklore of the British islands. Together with the English composers who in the beginning of 20th century became interested in folk art of Great Britain (such as Ralph Vaughan Williams, Cyril Scott, Cecil Sharp, and others), he organized “folk-song-hunts”, during which he travelled about England’s counties in search of folk music. He went down in music history as a meticulous researcher, an innovator, and a composer who skillfully absorbed the language and features of British folk tunes. The article covers the peculiarities of Percy Grainger’s methods of research and composing music. In addition, the article examines some of the composer’s outstanding works in which he used the experience gained during his ethnomusicological expeditions.","PeriodicalId":513421,"journal":{"name":"Music Journal of Northern Europe","volume":"220 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141001740","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 NORWEGIAN TRADITIONAL FOLK MUSIC","authors":"П.А. Умхольт, С.В. Орлов","doi":"10.61908/2413-0486.2020.23.3.44-62","DOIUrl":"https://doi.org/10.61908/2413-0486.2020.23.3.44-62","url":null,"abstract":"В основу статьи легла лекция-презентация, представленная доцентом Университета Юго-Восточной Норвегии Пером Асмундтом Умхольтом 3 мая 2018 года в Петрозаводской государственной консерватории имени А. К. Глазунова. По пожеланию и с согласия господина Умхольта преподаватель Петрозаводской консерватории С. В. Орлов перевёл выступление на русский язык и внёс необходимые изменения при подготовке материала к публикации. Предлагаемая работа имеет ознакомительный характер. В первой части статьи обрисовывается исторический контекст, в котором формировалась норвежская народная музыка, во второй – приводятся примеры фольклорных жанров и народных инструментов.\u0000 The article is based on a presentation lecture delivered by Per Åsmund Omholt, Associate Professor at the University of South-Eastern Norway, on May 3, 2018, at the Petrozavodsk State Glazunov Conservatoire. Upon Mr. Omholt's request, Senior Instructor at the State Glazunov Conservatoire Serge V. Orlov translated the presentation lecture into Russian and made necessary changes while preparing the material for publishing. This paper is of introductory nature. The first part of it describes the historical context in which Norwegian folk music was formed. The second part presents genres and instruments of Norwegian folk music.","PeriodicalId":513421,"journal":{"name":"Music Journal of Northern Europe","volume":" 13","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140998462","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 FROM OVERSEAS: SONATA FOR FLUTE AND PIANO OP. 14 BY ROBERT MUCZYNSKI","authors":"О.В. Канина, Л.Ю. Малютина","doi":"10.61908/2413-0486.2020.23.3.1-22","DOIUrl":"https://doi.org/10.61908/2413-0486.2020.23.3.1-22","url":null,"abstract":"Статья посвящена характеристике доминирующих черт стиля американского композитора Роберта Мучинского (1929–2010) на примере камерной Сонаты для флейты и фортепиано op. 14 (1961) и освещает некоторые факты биографии композитора.\u0000 The article covers some facts from the biography of the American composer Robert Muczynski (1929–2010) and characterizes the dominant features of the composer’s style through the example of the chamber Sonata for Flute and Piano op. 14 (1961).","PeriodicalId":513421,"journal":{"name":"Music Journal of Northern Europe","volume":" 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141001243","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 THE CONCEPT OF THE ACCOMPANIST’S PLAYING BASED ON HAND GESTURES OF THE STUDENT AT THE CONDUCTING CLASS","authors":"И.А. Покровская","doi":"10.61908/2413-0486.2020.23.3.63-76","DOIUrl":"https://doi.org/10.61908/2413-0486.2020.23.3.63-76","url":null,"abstract":"Статья посвящена некоторым узкоспециализированным аспектам работы профессионального концертмейстера в классе по предмету «Основы дирижирования», который входит в образовательную программу подготовки студентов в музыкальных вузах РФ. В ней представлена формулировка задач концертмейстера дирижёрского класса и обоснован такой главный принцип, как игра «по руке» начинающего дирижёра. Данный принцип предполагает знание основ мануальной техники, дирижёрской терминологии и коммуникативность в образовательном процессе.\u0000 The article is devoted to some highly specialized aspects of the professional accompanist’s work in class for the “Basics of Conducting” course, which is a part of the educational program for training students at the musical institutions of the Russian Federation. The article defines the tasks of the accompanist during the conducting class and substantiates the main principle of following the hand gestures of a novice conductor while playing. This principle requires the knowledge of the of manual technique basics, conducting terminology and communication in the educational process.","PeriodicalId":513421,"journal":{"name":"Music Journal of Northern Europe","volume":"224 S715","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141002027","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":"ARNOLD BAX AND HIS VIOLA SONATA (FROM THE HISTORY OF ENGLISH MUSIC OF THE FIRST HALF OF THE TWENTIETH CENTURY)","authors":"В.М. Разина","doi":"10.61908/2413-0486.2020.22.2.18-32","DOIUrl":"https://doi.org/10.61908/2413-0486.2020.22.2.18-32","url":null,"abstract":"В начале XX века большая часть альтовой музыки была написана для Лайонела Тертиса, знаменитого виртуоза, пропагандирующего альт в качестве сольного инструмента. Признававшийся современниками исполнителем такого же уровня, как Фриц Крейслер и Эжен Изаи, он вдохновил практически всех значительных композиторов Британии на написание произведений для альта. Cэр Арнольд Эдуард Тревор Бакс, композитор и поэт, также известный под псевдонимом Дермот O’Брин, долгое время жил в Дублине и был знаком со многими представителями Ирландского литературного возрождения. Соната для альта была написана Баксом пять лет спустя Пасхального восстания, трагические события которого оказали сильное влияние на его литературное и музыкальное творчество. В статье музыка сонаты рассматривается в контексте ирландского музыкального фольклора и кельтской мифологии.\u0000 In the early 20th century most of the viola music was written for Lionel Tertis, the famous viola virtuoso and the pioneer of the viola as a solo instrument. Regarded by his contemporaries as a performer of the same level as Fritz Kreisler and Eugène Ysaÿe, he inspired almost all of the outstanding British composers of the time to write music for the viola. Sir Аrnold Edward Trevor Bax, a composer and a poet, who went under the pseudonym ‘Dermot O’Byrne’, has lived in Dublin for a long time; he was acquainted with many distinguished figures of the Irish literary revival. He wrote the Viola sonata five years after the Easter Rising – the tragedy that strongly influenced his literary and musical works. The article analyzes the musical contents of the sonata in connection with the Irish folk music and Celtic mythology.","PeriodicalId":513421,"journal":{"name":"Music Journal of Northern Europe","volume":" 30","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141000820","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}