Pub Date : 2023-01-01DOI: 10.56620/2782-3598.2023.3.150-159
Yuliya V. Antipova
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.
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Pub Date : 2023-01-01DOI: 10.56620/2782-3598.2023.3.047-057
Vera I. Yudina
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.
{"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}
Pub Date : 2023-01-01DOI: 10.56620/2782-3598.2023.3.058-067
Tatiana I. Naumenko
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.
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Pub Date : 2023-01-01DOI: 10.56620/2782-3598.2023.3.023-034
Larisa L. Gerver
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.
彼特拉克的《赞美诗》中固定的诗歌形式，以及模仿这位意大利大师的彼特拉克派诗人的诗歌作品，经常成为16世纪牧歌的文本。在这方面，本文的作者提出了一个问题，即固定的诗歌形式对各自音乐作品的形式可能产生的影响。初步熟悉在十四行诗，ballatas和sestinas(意大利语:sestine)的文本上创作的牧歌表明，在这些情况下，当作曲家转向sestina将其设置为音乐时，诗歌形式的模仿是最明显的。分析的主要材料是由循环牧歌形成的:奥兰多·迪·拉索的《l ver l’aurora che sì dolce l’aura》和奥兰多·迪·拉索的《Non fu mai cervo si veloce al corso》、卢卡·马伦齐奥的《Sola angioletta starsi in trecie al’ombra》和卢卡·马伦齐奥的《giovine donna sotto un verde lauo》，以及其他一些类似的作品。全集由六节组成，每节包含六行，最后一节包含三行。sestina特殊的押韵模式，用六个词定义了六个主要节中遵循ABCDEF FAEBDC CFDABE等模式的节奏，使上一节的结束词在下一节的第一行开始重复。正如这篇文章所展示的，正是这一sestina的特征与牧歌的形式产生了共鸣。一首牧歌的前一段的结束和下一段的开始在它们之间建立了一种联系，这通常是通过重复来实现的。这涉及到声音的旋律单位和特征细节，包括和声和旋律变体。除了重复，还使用单一和声结构，它从牧歌的一个部分的结束开始，并在下一个部分的开始结束。
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Pub Date : 2023-01-01DOI: 10.56620/2782-3598.2023.3.112-121
Svetlana A. Zhiganova
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.
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Pub Date : 2023-01-01DOI: 10.56620/2782-3598.2023.3.140-149
Alexandra V. Krylova, Alexandra V. Shornikova
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.
本文着重阐述了在音乐教育体系中实施创造性思维培养方法的必要性。逻辑分析方法在音乐教育过程中的主导地位否定了启发式思维，并将重点从创造性地积极产生新思想转移到仅仅复制已经存在的和已知的专业行为模式。心理学家乔伊·保罗·吉尔福德(Joy Paul Guilford)最初将“创造力”一词引入学术领域，根据他的理论，创造力的指导性最初是突出的，特别是其基础的形成，即迅速而非标准地解决问题的能力，而在快速变化的现代社会中，问题的复杂性不断增加。在创造性职业的框架内，这种技能的存在尤为重要，因为在艺术中，进化的过程在许多方面都与违反现有规范有关。音乐学院的毕业生，在其他地方，在音乐会组织工作，他们的成功不仅可以保证他们的表演机会的技术和诠释的多样性，而且还可以通过寻找新的形式呈现他们的音乐给观众。这在文章中以协作艺术项目为例进行了演示。在阐述以目标为导向的创造性思维培养这一论题的同时，作者提出了一种特殊教育课程的结构，在该课程的框架内，这种技能可以在理论和实践任务的基础上得到发展。课程的培训部分假定使用各种方向的方法来发展各种学者阐述的创造性技能，例如，西格蒙德·弗洛伊德的自由联想方法，托尼·布赞的思维导图，马克·列维的自由写作等。本文的总结性结论是，创造性思维技能的形成是音乐艺术领域专家成功实现个人和职业成长的关键。
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