Alan Tarielovich Kaloev, Elena Vladimirovna Lashcheva
{"title":"马戈马耶夫作品中的学术和大众体裁","authors":"Alan Tarielovich Kaloev, Elena Vladimirovna Lashcheva","doi":"10.7256/2454-0625.2023.2.37826","DOIUrl":null,"url":null,"abstract":"\n This article examines academic and mass genres in the work of the legendary singer of the Soviet pop music Muslim Magomayev. The subject of study is the musical creativity of M. Magomayev. The purpose of the study is the role of the creative heritage of a gifted singer, as well as understanding the value of his concert and artistic activities in the process of formation of the musical and artistic layer of the second half of the twentieth century, identifying the features of his musical language. The theoretical basis of the research was the works of M. Magomayev [16, 17, 22, 23], V. I. Antonova, A. N. Huseynova, V. V. Dubovsky, I. I. Nazarova, I. F. Sokolova, N. Reliable, R. Ramazanova, S. Belza, etc. The methodological basis of the work was the research of: M. Aranovsky [1], B. Asafiev [2], A. Iskanderova [7], L. Kazantseva [9], T. Lev [12], M. Lobanova [13], I. Mayevskaya [18], M. Mikhailov [19, 20, 21], E. Nazaikinsky [26, 27, 28, 29], S. Skrebkova [38], A. Sokolova [39], A. Sokhor [41, 42, 43], A. Zucker [47, 48], V. Zuckerman [49]; works on the problems of musical dramaturgy by Yu. Keldysh [10, 11], A. Selitsuogo [36], I. Sollertinsky [40], T. Chernova [50, 51]. The scientific novelty of the study is determined by the fact that for the first time the role of the performing interpretation of M. Magomayev's musical heritage is revealed, the stylistic features of the performer, the musical language of his songs and individual manner are revealed. The conclusions of this article may be useful in creating an educational and methodological base for the training of qualified specialists in the field of musical art. Also, in the study of the history of Russian pop music, and in the training of teaching staff in the field of music education. This problem can be introduced into the conservatorial disciplines of the historical, theoretical and methodological cycle for the specialties: musicology, musical art, pop and jazz singing.\n","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"11 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Academic and mass genres in the works of M. Magomayev\",\"authors\":\"Alan Tarielovich Kaloev, Elena Vladimirovna Lashcheva\",\"doi\":\"10.7256/2454-0625.2023.2.37826\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n This article examines academic and mass genres in the work of the legendary singer of the Soviet pop music Muslim Magomayev. The subject of study is the musical creativity of M. Magomayev. The purpose of the study is the role of the creative heritage of a gifted singer, as well as understanding the value of his concert and artistic activities in the process of formation of the musical and artistic layer of the second half of the twentieth century, identifying the features of his musical language. The theoretical basis of the research was the works of M. Magomayev [16, 17, 22, 23], V. I. Antonova, A. N. Huseynova, V. V. Dubovsky, I. I. Nazarova, I. F. Sokolova, N. Reliable, R. Ramazanova, S. Belza, etc. The methodological basis of the work was the research of: M. Aranovsky [1], B. Asafiev [2], A. Iskanderova [7], L. Kazantseva [9], T. Lev [12], M. Lobanova [13], I. Mayevskaya [18], M. Mikhailov [19, 20, 21], E. Nazaikinsky [26, 27, 28, 29], S. Skrebkova [38], A. Sokolova [39], A. Sokhor [41, 42, 43], A. Zucker [47, 48], V. Zuckerman [49]; works on the problems of musical dramaturgy by Yu. Keldysh [10, 11], A. Selitsuogo [36], I. Sollertinsky [40], T. Chernova [50, 51]. 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引用次数: 0
摘要
本文考察了苏联流行音乐传奇歌手穆斯林·马戈马耶夫作品中的学术流派和大众流派。研究的主题是马戈马耶夫的音乐创造力。研究的目的是研究一位天才歌手的创作遗产的作用,以及了解他的音乐会和艺术活动在二十世纪下半叶音乐和艺术层形成过程中的价值,确定他的音乐语言的特征。研究的理论基础是M. Magomayev[16,17,22,23]、V. I. Antonova、A. N. Huseynova、V. V. Dubovsky、I. I. Nazarova、I. F. Sokolova、N. Reliable、R. Ramazanova、S. Belza等人的著作。本研究的方法论基础是:M. Aranovsky [1], B. Asafiev [2], A. Iskanderova [7], L. Kazantseva [9], T. Lev [12], M. Lobanova [13], I. Mayevskaya [18], M. Mikhailov [19,20,21], E. Nazaikinsky [26,27,28,29], S. Skrebkova [38], A. Sokolova [39], A. Sokhor [41,42,43], A. Zucker [47,48], V. Zuckerman [49];对于的音乐剧问题的研究。陈晓明,陈晓明,陈晓明,等。[10,11]。这项研究的科学新颖性取决于这样一个事实,即首次揭示了马戈马耶夫音乐遗产的表演诠释的作用,揭示了表演者的风格特征,他的歌曲的音乐语言和个人方式。本文的结论可能有助于为培养音乐艺术领域的合格专家提供教育和方法基础。此外,在俄罗斯流行音乐史的研究,并在音乐教育领域的教学人员的培训。这个问题可以被引入到音乐学、音乐艺术、流行和爵士歌唱等专业的历史、理论和方法循环的保守学科中。
Academic and mass genres in the works of M. Magomayev
This article examines academic and mass genres in the work of the legendary singer of the Soviet pop music Muslim Magomayev. The subject of study is the musical creativity of M. Magomayev. The purpose of the study is the role of the creative heritage of a gifted singer, as well as understanding the value of his concert and artistic activities in the process of formation of the musical and artistic layer of the second half of the twentieth century, identifying the features of his musical language. The theoretical basis of the research was the works of M. Magomayev [16, 17, 22, 23], V. I. Antonova, A. N. Huseynova, V. V. Dubovsky, I. I. Nazarova, I. F. Sokolova, N. Reliable, R. Ramazanova, S. Belza, etc. The methodological basis of the work was the research of: M. Aranovsky [1], B. Asafiev [2], A. Iskanderova [7], L. Kazantseva [9], T. Lev [12], M. Lobanova [13], I. Mayevskaya [18], M. Mikhailov [19, 20, 21], E. Nazaikinsky [26, 27, 28, 29], S. Skrebkova [38], A. Sokolova [39], A. Sokhor [41, 42, 43], A. Zucker [47, 48], V. Zuckerman [49]; works on the problems of musical dramaturgy by Yu. Keldysh [10, 11], A. Selitsuogo [36], I. Sollertinsky [40], T. Chernova [50, 51]. The scientific novelty of the study is determined by the fact that for the first time the role of the performing interpretation of M. Magomayev's musical heritage is revealed, the stylistic features of the performer, the musical language of his songs and individual manner are revealed. The conclusions of this article may be useful in creating an educational and methodological base for the training of qualified specialists in the field of musical art. Also, in the study of the history of Russian pop music, and in the training of teaching staff in the field of music education. This problem can be introduced into the conservatorial disciplines of the historical, theoretical and methodological cycle for the specialties: musicology, musical art, pop and jazz singing.