Pub Date : 2023-07-01DOI: 10.56620/2782-3598.2023.2.035-052
Liudmila P. Kazantseva, Oksana I. Lukonina
While analyzing the artistic elaboration on the part of composers of the Stalingrad battle as a momentous episode of history, in this section the authors of the article turn to music outside of Russia. Special attention is paid by researchers to compositions which have not received scholarly comprehension in musicology. Little known biographical facts, information pertaining to the history of the creation and performance of musical compositions, as well as the aspects of their conception-related solutions and their features of style and genre are touched upon. Characterization is given to the orchestral works by representatives of the musical culture of the USA (Roy Harris, George Antheil), the United Kingdom (Christian Darnton), France (Aubert Lemeland), Israel (Marc Lavry), Bulgaria (Alexander Yossifov) and Czechia (Jaroslav Doubrava). Artistic evaluation is given to the works written in the genres of cantata, oratorio, and musical theater by the composers of Germany (Helmut Ritter), USA (Elias Tanenbaum), the United Kingdom (Elisabeth Maconchy), Brazil (Cláudio Santoro), Denmark (Kim Helweg) and Czechia (Václav Dobiáš). It is noted that composers from other countries distanced from the place of the conduct of hostilities territorially and chronologically are endowed with a certain amount of poster qualities in the musical Rossica. They operate with the musically manifested categories of Evil vs. Good and to a great degree have a tendency towards expressionist figurative accents. At the same time, the reflection of the subject matter of the Stalingrad battle is stipulated by a need for a publicistically sharp indication of the values and the perception of the tangency of personal fate with history.
{"title":"The Battle of Stalingrad in Russian and Foreign Music","authors":"Liudmila P. Kazantseva, Oksana I. Lukonina","doi":"10.56620/2782-3598.2023.2.035-052","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.2.035-052","url":null,"abstract":"While analyzing the artistic elaboration on the part of composers of the Stalingrad battle as a momentous episode of history, in this section the authors of the article turn to music outside of Russia. Special attention is paid by researchers to compositions which have not received scholarly comprehension in musicology. Little known biographical facts, information pertaining to the history of the creation and performance of musical compositions, as well as the aspects of their conception-related solutions and their features of style and genre are touched upon. Characterization is given to the orchestral works by representatives of the musical culture of the USA (Roy Harris, George Antheil), the United Kingdom (Christian Darnton), France (Aubert Lemeland), Israel (Marc Lavry), Bulgaria (Alexander Yossifov) and Czechia (Jaroslav Doubrava). Artistic evaluation is given to the works written in the genres of cantata, oratorio, and musical theater by the composers of Germany (Helmut Ritter), USA (Elias Tanenbaum), the United Kingdom (Elisabeth Maconchy), Brazil (Cláudio Santoro), Denmark (Kim Helweg) and Czechia (Václav Dobiáš). It is noted that composers from other countries distanced from the place of the conduct of hostilities territorially and chronologically are endowed with a certain amount of poster qualities in the musical Rossica. They operate with the musically manifested categories of Evil vs. Good and to a great degree have a tendency towards expressionist figurative accents. At the same time, the reflection of the subject matter of the Stalingrad battle is stipulated by a need for a publicistically sharp indication of the values and the perception of the tangency of personal fate with history.","PeriodicalId":490103,"journal":{"name":"Проблемы музыкальной науки","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135409343","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}
Pub Date : 2023-01-01DOI: 10.56620/2782-3598.2023.3.122-130
Marina N. Korsakova-Kreyn, Alexander I. Fedotchev
The beneficial effect of music on the human body has been known since ancient times and has been actively used in the methods of music therapy. The article analyzes in the manner of a survey the advantages, possibilities and limitations of the traditional methods of music therapy, wherein the patient is presented with a set of musical compositions empirically selected. A radically different and innovative method of music therapy is based on musical or music-like stimulation that is generated by a computer on the basis of feedback signals from the patient’s own physiological characteristic features. The advantages and prospects of this innovative method are examined here and an evaluation is given of the effectiveness of computer-aided transformations of the patient’s brain biopotentials into musical or music-like effects, which are used in the adaptive neuro-stimulation technology developed by the authors with feedback from the current electroencephalogram (EEG) parameters. By means of the examples from our own research with the use of EEG-guided adaptive neurostimulation, we have outlined the prospects for the development of music computer technologies in the treatment of psychogenic disorders and the cognitive rehabilitation of human beings.
{"title":"The Possibilities and Prospects for the Use of Music Computer Technologies in Therapy Dealing with Psychogenic Disorders","authors":"Marina N. Korsakova-Kreyn, Alexander I. Fedotchev","doi":"10.56620/2782-3598.2023.3.122-130","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.3.122-130","url":null,"abstract":"The beneficial effect of music on the human body has been known since ancient times and has been actively used in the methods of music therapy. The article analyzes in the manner of a survey the advantages, possibilities and limitations of the traditional methods of music therapy, wherein the patient is presented with a set of musical compositions empirically selected. A radically different and innovative method of music therapy is based on musical or music-like stimulation that is generated by a computer on the basis of feedback signals from the patient’s own physiological characteristic features. The advantages and prospects of this innovative method are examined here and an evaluation is given of the effectiveness of computer-aided transformations of the patient’s brain biopotentials into musical or music-like effects, which are used in the adaptive neuro-stimulation technology developed by the authors with feedback from the current electroencephalogram (EEG) parameters. By means of the examples from our own research with the use of EEG-guided adaptive neurostimulation, we have outlined the prospects for the development of music computer technologies in the treatment of psychogenic disorders and the cognitive rehabilitation of human beings.","PeriodicalId":490103,"journal":{"name":"Проблемы музыкальной науки","volume":"22 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":"135104964","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}
Pub Date : 2023-01-01DOI: 10.56620/2782-3598.2023.3.068-078
Tatiana N. Krasnikova
The article is devoted to disclosing the peculiarities of the texture of Giya Kancheli’s Sixth Symphony for large symphony orchestra as the most significant component of the style of the composition. The genre-based basis of the composition, the timbral and dynamic levels of the artistic system are researched in correspondence with this aim. The following elements are situated within the author’s range of vision: the stratified textural phenomena and their block varieties, which essentially transform the image of the score: modulation processes based on effects of suddenness and unexpectedness. The later become characteristic patterns of a montage type of dramaturgy and also a testimony of the connection between the mastery of textural statuary art with the cinematographic art, which has proved itself very fruitful for Kancheli’s symphonic genre. This connection is examined in the article under the angle of coverage of the principle of mutability of texture as a constantly changing substance. This provides a demonstration of new methods of cohesion of textural plans capable of conveying the contradictions and paradoxes of the contemporary world in a musical text.
{"title":"The Texture of Giya Kancheli’s Sixth Symphony: Stylistic Peculiarities","authors":"Tatiana N. Krasnikova","doi":"10.56620/2782-3598.2023.3.068-078","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.3.068-078","url":null,"abstract":"The article is devoted to disclosing the peculiarities of the texture of Giya Kancheli’s Sixth Symphony for large symphony orchestra as the most significant component of the style of the composition. The genre-based basis of the composition, the timbral and dynamic levels of the artistic system are researched in correspondence with this aim. The following elements are situated within the author’s range of vision: the stratified textural phenomena and their block varieties, which essentially transform the image of the score: modulation processes based on effects of suddenness and unexpectedness. The later become characteristic patterns of a montage type of dramaturgy and also a testimony of the connection between the mastery of textural statuary art with the cinematographic art, which has proved itself very fruitful for Kancheli’s symphonic genre. This connection is examined in the article under the angle of coverage of the principle of mutability of texture as a constantly changing substance. This provides a demonstration of new methods of cohesion of textural plans capable of conveying the contradictions and paradoxes of the contemporary world in a musical text.","PeriodicalId":490103,"journal":{"name":"Проблемы музыкальной науки","volume":"31 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":"135104966","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}
Pub Date : 2023-01-01DOI: 10.56620/2782-3598.2023.3.091-101
Svetlana S. Goncharenko
The relevance of the topic is stipulated by the intensive development of the theory of textual-musical forms in modern Russian musicology. The novelty of the research is determined by the method of analysis of archaic text models by applying the principle of symmetry. In the article the unique composition of the verbal text in the masterpieces of the early Russian monophonic chants, the origins of which go back to the Byzantine tradition of the 7th and 8th centuries AD, is examined for the first time. The repetitive identical syntactical constructions — the elements unconnected to the plot — are combined into a complex polytextual structure. The stichera Come, Let Us Thank Joseph is based on the interaction of plot and non-plot elements. The rhythm of the form in its line composition of end-to-end development is created by the periodic symmetry of threefold repetition. The group of small texts representing the direct speech of the characters: Joseph, Mary, and Simeon the God-Receiver is embedded in the “large text”: the call to prayer and the prayer of believers. The author of the article describes it with a mathematical formula, and offers a geometric analogue in the form of a gnomon — a figure suggested by Greek mathematician Heron of Alexandria in the second half of the 1st century AD. The archaic text code of the stichera has traversed from century to century and acquired a modern sound due to the expressive means corresponding to the musical stylistic system of the epoch. The polished text models provide canonical ritual chants with centuries-old functioning in the form of the variant multitude of musical compositions.
{"title":"The Structure of the Text Model of the Stichera Come, Let Us Thank Joseph","authors":"Svetlana S. Goncharenko","doi":"10.56620/2782-3598.2023.3.091-101","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.3.091-101","url":null,"abstract":"The relevance of the topic is stipulated by the intensive development of the theory of textual-musical forms in modern Russian musicology. The novelty of the research is determined by the method of analysis of archaic text models by applying the principle of symmetry. In the article the unique composition of the verbal text in the masterpieces of the early Russian monophonic chants, the origins of which go back to the Byzantine tradition of the 7th and 8th centuries AD, is examined for the first time. The repetitive identical syntactical constructions — the elements unconnected to the plot — are combined into a complex polytextual structure. The stichera Come, Let Us Thank Joseph is based on the interaction of plot and non-plot elements. The rhythm of the form in its line composition of end-to-end development is created by the periodic symmetry of threefold repetition. The group of small texts representing the direct speech of the characters: Joseph, Mary, and Simeon the God-Receiver is embedded in the “large text”: the call to prayer and the prayer of believers. The author of the article describes it with a mathematical formula, and offers a geometric analogue in the form of a gnomon — a figure suggested by Greek mathematician Heron of Alexandria in the second half of the 1st century AD. The archaic text code of the stichera has traversed from century to century and acquired a modern sound due to the expressive means corresponding to the musical stylistic system of the epoch. The polished text models provide canonical ritual chants with centuries-old functioning in the form of the variant multitude of musical compositions.","PeriodicalId":490103,"journal":{"name":"Проблемы музыкальной науки","volume":"44 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":"135104968","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}
Pub Date : 2023-01-01DOI: 10.56620/2782-3598.2023.3.008-022
Irina B. Gorbunova, Mikhail S. Zalivadny
The study of the factors of uncertainty in the system of musical thought has become a subject of fixed attention on the part of music researchers, partially being in advance of certain analogous results in the spheres of the exact sciences. The synergetic approach, stipulated by processes of development of contemporary science, is determined by the substantiation of its application towards their studies, not only in the natural sciences, but also in the humanitarian disciplines and becomes an important instrument of cognition and interpretation of the semantic structures of all the temporal arts, including the art of music. the article examines a number of endeavors to study the probabilistic-statistic natural laws of music presented in Ludwik Bielawski’s book The Zonal Theory of Time and its Meanings for Musical Anthropology: The Endeavor of Definition of the Place and the Role in the History of Theoretic Musicology (Krakow, 1976), in which the natural laws of the functioning of musical levels on various levels and in the various forms of its manifestation. The authors of the article give attention to the use in scholarly research works devoted to this problem range of music computer technologies which has served as a basis for the possibility of creating new theoretic and experimental-practical means of studying music, including the factors of indeterminacy in music applied to the sphere of musical education researched with the means of music computer technologies. In this connection, the article elucidates a number of new educational directions and programs developed by the members of the learning and teaching laboratory “Music Computer Technologies” of the Herzen State Pedagogical University of Russia called to provide the preparation of specialists who possessed various forms and means of the transdisciplinary approach to studies of musical phenomena and processes.
{"title":"The Zonal Theory of Musical Time and the Trans-Disciplinary Approach to the Study of Musical Phenomena","authors":"Irina B. Gorbunova, Mikhail S. Zalivadny","doi":"10.56620/2782-3598.2023.3.008-022","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.3.008-022","url":null,"abstract":"The study of the factors of uncertainty in the system of musical thought has become a subject of fixed attention on the part of music researchers, partially being in advance of certain analogous results in the spheres of the exact sciences. The synergetic approach, stipulated by processes of development of contemporary science, is determined by the substantiation of its application towards their studies, not only in the natural sciences, but also in the humanitarian disciplines and becomes an important instrument of cognition and interpretation of the semantic structures of all the temporal arts, including the art of music. the article examines a number of endeavors to study the probabilistic-statistic natural laws of music presented in Ludwik Bielawski’s book The Zonal Theory of Time and its Meanings for Musical Anthropology: The Endeavor of Definition of the Place and the Role in the History of Theoretic Musicology (Krakow, 1976), in which the natural laws of the functioning of musical levels on various levels and in the various forms of its manifestation. The authors of the article give attention to the use in scholarly research works devoted to this problem range of music computer technologies which has served as a basis for the possibility of creating new theoretic and experimental-practical means of studying music, including the factors of indeterminacy in music applied to the sphere of musical education researched with the means of music computer technologies. In this connection, the article elucidates a number of new educational directions and programs developed by the members of the learning and teaching laboratory “Music Computer Technologies” of the Herzen State Pedagogical University of Russia called to provide the preparation of specialists who possessed various forms and means of the transdisciplinary approach to studies of musical phenomena and processes.","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":"135105281","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}
Pub Date : 2023-01-01DOI: 10.56620/2782-3598.2023.3.035-046
Shaoying Guo, Mengqi Shao
The focus of the authors’ scholarly interest is turned to composers-philosophers and philosophers-composers as the crucial figures of musical aesthetics realized in the space of phenomenology. The attention bestowed on such artists makes it possible to approach the understanding of music as an endeavor of transcending, which forms by itself the highest value. Neglecting the latter in the process of mastery of the art of music leads people to “one-dimensionality,” making them admittedly on the decline. When immersing in the inner world of the composer-philosopher or the philosopher-composer, the recipient, essentially, studies the depths of his or her own self, actualizing the dialogue of the artist and the valuator. The criteria for the genuine character of such a dialogue is formed particularly by the process of transcending, under the sign of which music appears in the guise of a meta-philosophical genre. When mastering the dialectics of being realized by musical means of expression, the human being acquires a unity of essence and existence. The authors turn to the personality of Piotr Ilyich Tchaikovsky, considering it appropriate to examine him as a composer-philosopher. Constructing a system of argumentation, they turn their attention towards the great musician’s reading circle, his cultural preferences and antipathies, his students, who manifested themselves in the sphere of philosophical knowledge and in the sphere of the art of music, as well as the musical compositions which have reflected the master’s philosophical ideas. In conclusion, it is emphasized that the study of the musical legacy of the composers-philosophers and the philosophers-composers would help overcome the discontinuity between life and art, when music, remaining aside from the everyday realities experienced by the human being, turn out to be incapable of inspiring him to spiritual wakefulness. As a result, its mission is narrowed down to adornment of everyday life, which inevitably leads to the primitivization of music itself and of the individuals consuming it. Turning to the experience of being of the composers-philosophers would make it possible to overcome this vicious circle.
{"title":"The Composer-Philosopher as a Key Figure of Musical Aesthetics (by the Example of Tchaikovsky’s Spiritual Endeavor)","authors":"Shaoying Guo, Mengqi Shao","doi":"10.56620/2782-3598.2023.3.035-046","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.3.035-046","url":null,"abstract":"The focus of the authors’ scholarly interest is turned to composers-philosophers and philosophers-composers as the crucial figures of musical aesthetics realized in the space of phenomenology. The attention bestowed on such artists makes it possible to approach the understanding of music as an endeavor of transcending, which forms by itself the highest value. Neglecting the latter in the process of mastery of the art of music leads people to “one-dimensionality,” making them admittedly on the decline. When immersing in the inner world of the composer-philosopher or the philosopher-composer, the recipient, essentially, studies the depths of his or her own self, actualizing the dialogue of the artist and the valuator. The criteria for the genuine character of such a dialogue is formed particularly by the process of transcending, under the sign of which music appears in the guise of a meta-philosophical genre. When mastering the dialectics of being realized by musical means of expression, the human being acquires a unity of essence and existence. The authors turn to the personality of Piotr Ilyich Tchaikovsky, considering it appropriate to examine him as a composer-philosopher. Constructing a system of argumentation, they turn their attention towards the great musician’s reading circle, his cultural preferences and antipathies, his students, who manifested themselves in the sphere of philosophical knowledge and in the sphere of the art of music, as well as the musical compositions which have reflected the master’s philosophical ideas. In conclusion, it is emphasized that the study of the musical legacy of the composers-philosophers and the philosophers-composers would help overcome the discontinuity between life and art, when music, remaining aside from the everyday realities experienced by the human being, turn out to be incapable of inspiring him to spiritual wakefulness. As a result, its mission is narrowed down to adornment of everyday life, which inevitably leads to the primitivization of music itself and of the individuals consuming it. Turning to the experience of being of the composers-philosophers would make it possible to overcome this vicious circle.","PeriodicalId":490103,"journal":{"name":"Проблемы музыкальной науки","volume":"26 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":"135105288","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}
Pub Date : 2023-01-01DOI: 10.56620/2782-3598.2023.3.160-166
Natalya R. Saenko
The review is devoted to the collective monograph Zarubezhnaya muzyka o Rossii (muzykal'naya rossika) [Music from Abroad about Russia (Musical Rossica)] (St. Petersburg: Soyuz khudozhnikov, 2023. 324 p. ISBN 978-5-8128-0367-4), the editor-compiler, as well as one of the authors of which was Dr.Sci. (Arts), Professor, Head of the Laboratory of Music Content of the Astrakhan Conservatory Liudmila Pavlovna Kazantseva. This research work is the result of the combined efforts of the representatives of Kazantseva’s academic school, as well as her colleagues from Russia and other countries, namely, musicologists from Astrakhan, Volgograd, Krasnodar, Petrozavodsk, Rostov-on-Don, St. Petersburg, as well as Northern Ireland, the People’s Republic of China, the Republic of Belarus, and Ukraine. In this devoted work, the place and the role of the Russian musical heritage in world artistic practice is explored deeply and impartially, and the grounds for global dialogue as the highest value are revealed. This peer-reviewed monographic publication, endowed with a powerful cultural potential, is perceived to be a significant event in the sphere of Russian musical scholarship.
这篇评论是关于集体专著Zarubezhnaya muzyka o Rossii (muzykal'naya rossika)[来自国外的音乐关于俄罗斯(音乐俄罗斯)](圣彼得堡:Soyuz khudozhnikov, 2023)。324 p. ISBN 978-5-8128-0367-4)，编辑和编译者，以及其中的作者之一是sci博士。(艺术)教授，阿斯特拉罕音乐学院音乐内容实验室主任柳德米拉·帕夫洛夫娜·卡赞采娃。这项研究工作是卡赞采娃学术学派的代表以及她在俄罗斯和其他国家的同事，即来自阿斯特拉罕、伏尔加格勒、克拉斯诺达尔、彼得罗扎沃茨克、顿河畔罗斯托夫、圣彼得堡以及北爱尔兰、中华人民共和国、白俄罗斯共和国和乌克兰的音乐学家共同努力的结果。在这部奉献的作品中，深入而公正地探讨了俄罗斯音乐遗产在世界艺术实践中的地位和作用，并揭示了作为最高价值的全球对话的基础。这本经过同行评审的专著出版物，具有强大的文化潜力，被认为是俄罗斯音乐学术领域的重大事件。
{"title":"A Musical Portrait of Russia in a Dialogue of Cultures. A Review of the Book: Music from Abroad about Russia (Musical Rossica): Collective Monograph","authors":"Natalya R. Saenko","doi":"10.56620/2782-3598.2023.3.160-166","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.3.160-166","url":null,"abstract":"The review is devoted to the collective monograph Zarubezhnaya muzyka o Rossii (muzykal'naya rossika) [Music from Abroad about Russia (Musical Rossica)] (St. Petersburg: Soyuz khudozhnikov, 2023. 324 p. ISBN 978-5-8128-0367-4), the editor-compiler, as well as one of the authors of which was Dr.Sci. (Arts), Professor, Head of the Laboratory of Music Content of the Astrakhan Conservatory Liudmila Pavlovna Kazantseva. This research work is the result of the combined efforts of the representatives of Kazantseva’s academic school, as well as her colleagues from Russia and other countries, namely, musicologists from Astrakhan, Volgograd, Krasnodar, Petrozavodsk, Rostov-on-Don, St. Petersburg, as well as Northern Ireland, the People’s Republic of China, the Republic of Belarus, and Ukraine. In this devoted work, the place and the role of the Russian musical heritage in world artistic practice is explored deeply and impartially, and the grounds for global dialogue as the highest value are revealed. This peer-reviewed monographic publication, endowed with a powerful cultural potential, is perceived to be a significant event in the sphere of Russian musical scholarship.","PeriodicalId":490103,"journal":{"name":"Проблемы музыкальной науки","volume":"41 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":"135104778","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}
Pub Date : 2023-01-01DOI: 10.56620/2782-3598.2023.3.102-111
Larisa M. Belogurova
The article is devoted to the research work by the famous Russian ethnomusicologist Borislava Borisovna Efimenkova (1933–1996) Severnorusskaya prichet' [Northern Russian Lamentations], which was published in 1980. The book has become a milestone in the scholarly work of the author herself, who has demonstrated herself as a mature and extraordinary researcher of Russian folk music. The fundamental nature of the research, the radical novelty of the methodology and the credibility of the scholarly results have provided this work with a groundbreaking character. It has become a reference study for music scholars, who have pursued structural and typological methods of research for many years, and has maintained this status to the present day. The book includes a compilation of almost 180 examples of vocal lamentations from the Vologda region pertaining to funerals, recruitments and weddings (solo cries of the brides and cries sung by choral ensembles of girls). At the core of the monograph lies a detailed study of this phenomenon. Its goal is to present the local tradition of vocal lamentations as a holistic phenomenon endowed with a systematic organization. The structural-typological method has been chosen as the main research tool; its chief theorist and proponent in Soviet ethnomusicology of the second half of the 20th century was Eugeny Gippius, who had everted an immense influence on the formation of Efimenkova as a musicologist. In Severnorusskaya prichet' [Northern Russian Lamentations] Gippius’s ideas of structural-systematic approach to the study of folk music have found its practical manifestation for the first time. A significant role in the study of the East Vologda region is assigned to the arealogical method. As the result of this, six published geographical maps have provided the first example of geographical mapping of Russian folk vocal lamentations.
{"title":"Borislava Efimenkova’s Research of Northern Russian Lamentations as the Beginning of the Ethnomusicological Science of the Gnesins’ Institute","authors":"Larisa M. Belogurova","doi":"10.56620/2782-3598.2023.3.102-111","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.3.102-111","url":null,"abstract":"The article is devoted to the research work by the famous Russian ethnomusicologist Borislava Borisovna Efimenkova (1933–1996) Severnorusskaya prichet' [Northern Russian Lamentations], which was published in 1980. The book has become a milestone in the scholarly work of the author herself, who has demonstrated herself as a mature and extraordinary researcher of Russian folk music. The fundamental nature of the research, the radical novelty of the methodology and the credibility of the scholarly results have provided this work with a groundbreaking character. It has become a reference study for music scholars, who have pursued structural and typological methods of research for many years, and has maintained this status to the present day. The book includes a compilation of almost 180 examples of vocal lamentations from the Vologda region pertaining to funerals, recruitments and weddings (solo cries of the brides and cries sung by choral ensembles of girls). At the core of the monograph lies a detailed study of this phenomenon. Its goal is to present the local tradition of vocal lamentations as a holistic phenomenon endowed with a systematic organization. The structural-typological method has been chosen as the main research tool; its chief theorist and proponent in Soviet ethnomusicology of the second half of the 20th century was Eugeny Gippius, who had everted an immense influence on the formation of Efimenkova as a musicologist. In Severnorusskaya prichet' [Northern Russian Lamentations] Gippius’s ideas of structural-systematic approach to the study of folk music have found its practical manifestation for the first time. A significant role in the study of the East Vologda region is assigned to the arealogical method. As the result of this, six published geographical maps have provided the first example of geographical mapping of Russian folk vocal lamentations.","PeriodicalId":490103,"journal":{"name":"Проблемы музыкальной науки","volume":"2014 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":"135104963","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}
Pub Date : 2023-01-01DOI: 10.56620/2782-3598.2023.3.079-090
Yuliya N. Panteleeva
The article is devoted to the analysis of the compositional technique in a major orchestral composition, In D (1998) by Nikolai Korndorf (1947–2001). A characteristic feature of this work is the specific constructive idea associated with the composer’s special approach to the choice of musical material and the means of its development. It is referred to the disclosure of the potential of one single pitch. The author of the article proposes to apply the term of the outstanding Russian painter and art theorist Vassily Kandinsky: “one-tone composition,” in order to characterize this technique. Based on the comparative method, the article provides an examination of the successive connection of this composition with one of the orchestral works from Korndorf’s early musical period and presents a description for the first time of the most important compositional principles of In D. The idea of repetition, observed in the organization of this musical composition, is interpreted by the author of the article as one of the leading elements in it. The article describes a number of other structural ideas that connect Korndorf’s musical style directly with some of the well-known 20th century compositional techniques, such as serialism and Klangfarbenmelodie. The article substantiates the point of view that the composition In D demonstrates a certain number of invariable techniques regularly found in Korndorf’s artistic method.
{"title":"“The Feeling of the Right Path or the Method of Artistic Creativity”: About Nikolai Korndorf’s Composition In D","authors":"Yuliya N. Panteleeva","doi":"10.56620/2782-3598.2023.3.079-090","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.3.079-090","url":null,"abstract":"The article is devoted to the analysis of the compositional technique in a major orchestral composition, In D (1998) by Nikolai Korndorf (1947–2001). A characteristic feature of this work is the specific constructive idea associated with the composer’s special approach to the choice of musical material and the means of its development. It is referred to the disclosure of the potential of one single pitch. The author of the article proposes to apply the term of the outstanding Russian painter and art theorist Vassily Kandinsky: “one-tone composition,” in order to characterize this technique. Based on the comparative method, the article provides an examination of the successive connection of this composition with one of the orchestral works from Korndorf’s early musical period and presents a description for the first time of the most important compositional principles of In D. The idea of repetition, observed in the organization of this musical composition, is interpreted by the author of the article as one of the leading elements in it. The article describes a number of other structural ideas that connect Korndorf’s musical style directly with some of the well-known 20th century compositional techniques, such as serialism and Klangfarbenmelodie. The article substantiates the point of view that the composition In D demonstrates a certain number of invariable techniques regularly found in Korndorf’s artistic method.","PeriodicalId":490103,"journal":{"name":"Проблемы музыкальной науки","volume":"26 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":"135104775","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}
Pub Date : 2023-01-01DOI: 10.56620/2782-3598.2023.3.131-139
Pavel A. Michkov
A new wave of historical development, which defined itself in the second half of the previous century with the advent of computer technology, has brought a number of experimental initiatives to the art of music, education and scholarship. Some of them remained in the history of music as bright artistic projects that have not received any continuation subsequently. Others have become firmly established in the daily practice of performing musicians, teachers, and researchers. One of the largest regional methodological centers for the study of computer technologies in the musical sphere has been the Novosibirsk Conservatory, which opened first a computer laboratory, and then the first department of computerization of musical activities in Russia. The issues of the history of the department at the Novosibirsk Conservatory have been insufficiently brought up in musicological literature. In some sources, the chronology of the history of the department is limited merely to the phenomena of the turn of the centuries. The aim of this article is to actualize the data on the Department of Computerization. The main directions of its activities are outlined, and information is provided about the people who have influenced the formation of this new research center for music scholarship. The role is determined of cooperation between different conservatory departments in the formation of the concept of the work of the Department of Computerization and the search for the vectors of the future development of technological processes.
{"title":"Technologies and Music: The Department of Computerization of Musical Activities at the Novosibirsk Conservatory","authors":"Pavel A. Michkov","doi":"10.56620/2782-3598.2023.3.131-139","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.3.131-139","url":null,"abstract":"A new wave of historical development, which defined itself in the second half of the previous century with the advent of computer technology, has brought a number of experimental initiatives to the art of music, education and scholarship. Some of them remained in the history of music as bright artistic projects that have not received any continuation subsequently. Others have become firmly established in the daily practice of performing musicians, teachers, and researchers. One of the largest regional methodological centers for the study of computer technologies in the musical sphere has been the Novosibirsk Conservatory, which opened first a computer laboratory, and then the first department of computerization of musical activities in Russia. The issues of the history of the department at the Novosibirsk Conservatory have been insufficiently brought up in musicological literature. In some sources, the chronology of the history of the department is limited merely to the phenomena of the turn of the centuries. The aim of this article is to actualize the data on the Department of Computerization. The main directions of its activities are outlined, and information is provided about the people who have influenced the formation of this new research center for music scholarship. The role is determined of cooperation between different conservatory departments in the formation of the concept of the work of the Department of Computerization and the search for the vectors of the future development of technological processes.","PeriodicalId":490103,"journal":{"name":"Проблемы музыкальной науки","volume":"157 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":"135104776","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}
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