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Summary of Issues

Issue 26 | Issue 25 | Issue 24 | Issue 23 | Issue 22 | Issue 21 | Issue 20 | Issue 19 | Issue 18 |


MUSIC IN THE SYSTEM OF CULTURE SCIENTIFIC BULLETIN OF THE URALS CONSERVATORY 2021, № 26


QUESTIONS OF MODERN MUSICOLOGY


  • Vera I. Vyalukhina

Urals Mussorgsky State Conservatoire, Yekaterinburg, Russia.

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ISABELLA LEONARDA AND HER LATIN DIALOGUES

Abstract. The genre of Latin dialogue, extremely popular in Italy of the 17th century, still remains insuffi­ciently explored. In this article, he is considered on the example of the works of Isabella Leonarda – nun of Ursuline convent from Novara, 400 years since the birth of which was celebrated in 2020. The subject of detailed study is her two early dialogues – “Sic ergo anima” and “Ah Domine Iesu” (1640) – and the most late – “Gloria in excelsis Deo” (1684), representing the genre at different stages of its development. The analysis of works from the point of view of subject matter, interpretation of character parts, the relation­ship between the external dialogical structure and the internal plot, musical style, etc., made it possible to see a certain dynamics in the approach to the genre.

Keywords: XVII century; Italy; Isabella Leonarda; women composers; convent music; Latin dialogue.

For citation: Vyalukhina V. I. Izabella Leonarda i ejo latinskie dialogi [Isabella Leonarda and her Latin dialogues], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 26, pp. 6–16. (in Russ.).


  • Anna S. Meshkova

Urals Mussorgsky State Conservatoire, Yekaterinburg, Russia.

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LATE ROMANTIC SCHOENBERG: THE DOWNFALL OF AN ERA OR THE BIRTH OF A NEW ONE?

Abstract. The article is devoted to one of the early works of A. Schoenberg-the symphonic poem “Pelleas and Melisande”. Despite the high degree of study of Schoenberg’s work as a whole, this work rarely be­comes the object of attention of researchers and is mentioned only as “continuing the trend”. However, the composer himself noted the importance of this composition in his creative evolution. The artistic and musical identity of the symphonic poem is due to its duality: on the one hand, the musical language of the composition corresponds to the final stage of late Romanticism, on the other hand, it outlines the transition of Arnold Schoenberg to a new compositional technique. The article emphasizes that bringing the musical and expressive means of romanticism to the limit, demonstrating their exhaustion, at the same time turns into the opening prospects of a new musical language of the ХХ century.

Keywords: A. Schoenberg; late Romanticism; “Pelleas and Melisande”.

For citation: Meshkova A. S. Pozdneromanticheskij Shjonberg: zakat jepohi ili rozhdenie novoj? [Late Romantic Schoenberg: the downfall of an era or the birth of a new one?], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 26, pp. 17–22. (in Russ.).


  • Oksana A. Gagarina

Urals Mussorgsky State Conservatoire, Yekaterinburg, Russia.

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“ACADEMIC MUSIC OF NON-ACADEMIC TIME”: ABOUT THE COMPOSER’S WORK OF DMITRY PEISEL

Abstract. In musical circles of Yekaterinburg Dmitri Peysel is mainly known as a talented violinist, soloist of the Sverdlovsk Philarmonia. Concerts with his participation are held in Russia and abroad, annually attract hundreds of listeners of all ages. At the same time, another, no less bright facet of his talent re­mains “behind the scenes”. He is composer. This article focused on it. In the works of Dmitri Peysel, the academic traditions are combined with art rock, jazz and all kinds of avant-garde music. This unique fusion of his style he calls “academic misic in non-academic time”.

Keywords: composers of Yekaterinburg; electronic music; space music; Dmitry Peisel.

For citation: Gagarina O. A. «Akademicheskaya muzyka neakademicheskogo vremeni»: o kompozitorskom tvorchestve Dmitriya Peyselya [“Academic music of non-academic time”: about the composer’s work of Dmitry Peisel], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 26, pp. 23–29. (in Russ.).


MUSICAL ARCHIVES: NEW RESEARCHES AND PUBLICATIONS


  • Elena M. Shabshaevich

Moscow State Institute of Music named after A. G. Schnittke, Research and-Publishing center “Moscow Conservatoire”, Moscow, Russia.

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“YOURS TRULY Y. POMERANTSEV...”

Letters from Yu. N. Pomerantsev to S. I. Taneev (selected)

Part I

Abstract. For the first time, the publication presents selected letters of Yuri Nikolaevich Pomerantsev to Sergei Ivanovich Taneev from the funds of the Russian State Archive of Literature and Art and from the funds of State Memorial Musical Museum-Reserve of P. I. Tchaikovsky in Klin. The introduction of these documents into everyday life helps shape scientifically grounded ideas about the pianist, composer, conductor Yuri Nikolaevich Pomerantsev (1878–1933), whose life, creativity, and activities are still poorly understood. This issue of the “Scientific Bulletin of the Ural Conservatory” prints letters for 1894–1902, covering the period of adolescence and youth of Pomerantsev: his private lessons with Taneev (those meant not only musical but civilized development, including communication with the Tolstoy family), studies at the Moscow Conservatory (in the class of Alexander Nikolaevich Scriabin). The material of the letters allows tracing the personality formation of Pomerantsev in communication with his outstanding mentor S. I. Taneev; to complements the portrait of Taneev: a person, a musician and a teacher, as well as enriches our knowledge about the musical and cultural life of Russia and Europe in the last third of the 19th – early 20th centuries.

Keywords: Yuri Nikolaevich Pomerantsev; Sergei Ivanovich Taneev; Lev Nikolaevich Tolstoy; Alexan­der Nikolaevich Scriabin; Moscow Conservatory; Russian musical life in the last third of the 19th – early 20th centuries.

For citation: Shabshaevich E. M. «Predannyy vam Yu. Pomerantsev…» : Pis’ma Yu. N. Pomerantseva k S. I. Taneevu (izbrannoe). Ch. 1 [“Yours truly Y. Pomerantsev...” : Letters from Yu. N. Pomerantsev to S. I. Ta-neev (selected). Pt. 1], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 26, pp. 30–47. (in Russ.).


MUSICAL EDUCATION: HISTORY, THEORY AND PRACTICE


  • Anna O. Alеshina

Tchaikovsky Moscow State Conservatory, Moscow, Russia.

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FEATURES OF THE AMERICAN AND RUSSIAN PEDAGOGICAL HARP SCHOOLS OF THE 20S OF THE XX CENTURY

Abstract. The article examines and compares two published harp methods of the twenties of the XX cen­tury: American “Method for the Harp” by Lucile Lawrence and Carlos Salzedo and Russian “Harp playing Technique. Professor Slepushkin’s A. I. Method” written by Parfyonov N. G. The article highlights some biographical information about the authors. Despite the fact that the authors of the methods have never met, their methods have quite a lot in common, which indicates, in particular, the common origins of such geographically distant schools. The distinctive features of these schools formed the basis of the most influential and successful national harp schools in the USA and Russia.

Keywords: Parfyonov Nikolai Gavrilovich; Slepushkin Alexander Ivanovich; Salzedo Carlos; Lawrence Lucile; harp; harp school; method.

For citation: Alеshina A. O. Osobennosti amerikanskoy i rossiyskoy pedagogicheskikh arfovykh shkol 20-kh godov XX veka [Features of the American and Russian pedagogical harp schools of the 20s of the XX century], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 26, pp. 48–58. (in Russ.).


  • Ekaterina V. Serdechnaya

Central Music School (CMS) at P. I Tchaikovsky Moscow State Conservatory, Moscow, Russian.

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RHYTHMICS AND SOLFEGGIO AT A SPECIAL MUSIC SCHOOL: PROSPECTS FOR COOPERATION

Abstract. The article is devoted to the rhythmic education at solfeggio lessons of the junior and middle school classes of the special and children’s music schools. It examines a set of rhythmic problems faced by the students today and offers their possible solutions. This way, has already been tested by the author of the article for a number of years, is associated with the involvement of teaching methods in the course of rhythmics. The article takes in detail the demonstration of a rhythmic pattern while singing melodies, provides a dictionary of gestures for basic rhythmic values and main rhythmic figures. As an example, the melodies for singing with the demonstration of a rhythmic pattern are given, the difficulties arising in them are analyzed. Taking into account the experience of rhythm teachers, the methods of determining the metre and methods of teaching children conducting skills are described. For the study of rhythmic figures in different meters, two-voice exercises with percussion instruments are proposed, performed jointly by the teacher and students.

Keywords: rhythmics; solfeggio; teaching methodology; rhythmic education; demonstration of rhythmic figures; conducting; rhythmic exercises with percussion instruments.

For citation: Serdechnaya E. V. Ritmika i sol’fedzhio v spetsial’noy muzykal’noy shkole: perspektivy vzaimod­eystviya [Rhythmics and solfeggio at a special music school: prospects for cooperation], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 26, pp. 59–71. (in Russ.).


REVIEWS, ANOUNCEMENTS OF CONFERENCES


  • Elena E. Polotskaya

Urals Mussorgsky State Conservatoire, Yekaterinburg, Russia.

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THE B OOK YOU A RE T O R EAD: The review of I . V. Stepanova’s monography “Music as c onstanta of R ussian literature. Alexander Kuprin”

Abstract. The review contains the high appreciation of Doctor of Arts, Professor in the Moscow Conser­vatoire I. V. Stepanova’s research. Her new approach to the theme “Writer and Music” is marked here, when music becomes the subject of literary investignation, there is also accentualized the specific audial, from the musical point of veiw, analysis of A. Kuprin’s prose. It helps to understand the literal mean­ing, that was put by the writer in the sound images in his works. There is also emphasized the value of I. V. Stepanova’s work in the literary critical and musicological aspects.

Keywords: Writer and music; Russian music; Russian literature; Alexander Kuprin; Irina Stepanova.

For citation: Polotskaya E. E. Kniga, kotoruyu nado chitat’: otzyv o monografii I. V. Stepanovoy «Muzyka kak konstanta russkoy literatury. Aleksandr Kuprin» [The book you are to read: the review of I. V. Stepanova’s monography “Music as constanta of Russian literature. Alexander Kuprin”], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 26, pp. XX–XX. (in Russ.).


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MUSIC IN THE SYSTEM OF CULTURE SCIENTIFIC BULLETIN OF THE URALS CONSERVATORY 2021, № 25


MUSIC IN THE SYSTEM OF CULTURE


  • Alexander V. Markov

Russian State University for the Humanities, Moscow, Russia.

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SOUNDING STATUES: HIDDEN DIALOGUE BETWEEN AVERINTSEV AND BIBIKHIN ABOUT THE NATURE OF MUSIC

Abstract. Working on a commentary on Dante Alighieri’s Vita Nova inspired S. Averintsev to write a poetic impromptu, reconstructing the connection between the orders of contemplation and the orders of perception of sounds. As he proved in the commentary, although music in the medieval representation was subject to the harmony of numbers, the very meaning of the number changed in the plot of New Life as a guide to mystical contemplation. Accordingly, the idea of singing also changed, which turned out to be a form of high contemplation. Averintsev’s polemic with the image of Dante-the-singer in Blok’s Ravenna is reconstructed, it is shown that this image, which had a conceptualizing for history meaning in Blok, receives in the subsequent poetic tradition the meaning of a contemplator of higher principles. V. Bibikhin entered into a dialogue with Averintsev in his translation of Remedies for Fortunes by Petrarch, where a number of licences are explained by the fact that Bibikhin saw in Petrarch’s reasoning metaphysical operations similar to the in Vita Nova. Therefore, Bibikhin emphasized those effects of the sublime, which are associated with plastic, not function of musical instruments. This dialogue proved to be productive for understanding the place of music in medieval intellectual culture.

Keywords: philosophy of music; metaphysics of music; medieval culture; Dante; Petrarch; Alexander Blok; Sergey Averintsev; Vladimir Bibikhin.

For citation: Markov A. V. Zvuchashhie statui: skrytyj dialog Averinceva i Bibihina o prirode muzyki [Sounding statues: hidden dialogue between Averintsev and Bibikhin about the nature of music], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 25, pp. 6–13. (in Russ.).


  • Boris B. Borodin

Ural State Conservatory named after M. P. Mussorgsky, Yekaterinburg, Russia.

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PROVINCE, PROVINCIALITY AND PROVINCIALISM IN THE ART OF MUSIC

Abstract. The article examines various semantic shades of the concepts of “province”, “provinciality” and “provincialism” in relation to the realities of the functioning of musical art. The desire to establish themselves in the capital, or at least in a large center, is relevant for composers and performers, since megacities have the infrastructure necessary for the functioning of musical art. The word “province”, being the antonym of “the capital”, also has a metaphorical meaning, which makes it possible to apply it to the realities of life in the capital. Isolationism, a lack of professional communication leads to secondary – the main sign of provincialism. Provincialism manifests itself in the subordination of the hierarchy of cultural values imposed from the outside.

Keywords: musical art; province; provincialism; provincialism..

For citation: Borodin B. B. Provintsiya, provintsial’nost’ i provintsializm v muzykal’nom iskusstve [Provinciality, provincialism and provincialism in the art of music], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 25, pp. 15–23. (in Russ.).


QUESTIONS OF MODERN MUSICOLOGY


  • Valeria S. Mikhailova

Tchaikovsky Moscow State Conservatory, Moscow, Russia.

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  • Alexandra E. Maximova

Tchaikovsky Moscow State Conservatory, Moscow, Russia.

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REQUIEM BY O. A. KOZLOVSKY

Abstract. In musicology, there are no works that consider in a complex the circumstances of the creation of O. A. Kozlovsky’s Requiem, its documentary sources and composition. The article is devoted to the history of the origin of the first edition of the score (1798) and subsequent reworkings of the work, its literary and musical features and drama in the context of previously unknown versions of the work. The subject of research was mainly various versions of the musical text of the Requiem. Found sources of the work, almost not mentioned in the works of domestic and foreign scientists. The information found about the history of the creation of the second edition served in this work as the basis for new conclusions. In particular, the question is raised about the authorship of this version of the work. Attention is paid to the style of the work, which combines features of three eras – baroque, classicism, romanticism. For the first time, the analysis of the literary text of the work is carried out, the individual approach of the composer to the selection of verbal material is noted. The composition of the first edition of the Requiem is considered, the structural and orchestral features of the second edition are revealed by replacing Kozlovsky’s music and making significant changes to the orchestration.

Keywords: Osip A. Kozlovsky; Carlo Soliva; requiem; orchestra; sacred music.

For citation: Mikhailova V. S., Maximova A. E. Rekviem O. A. Kozlovskogo [Requiem by O. A. Kozlovsky], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 25, pp. 24–36. (in Russ.).


QUESTIONS OF MUSICAL EDUCATION


  • Irina V. Alexeyeva

Ufa State of Arts named after Zagir Ismagilov, Ufa, Russia.

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INNOVATION IN PROFESSIONAL MUSIC EDUCATION OF THE UNIVERSITY: THEORY AND PRACTICE

Abstract. In Russia, a unique system of continuous music education has developed with a complex of subjects in the musical-theoretical cycle. They have historically entered the teaching practice of schools, colleges and universities. However, music education is currently going through a complex process of re­construction. The article examines it through the prism of innovations – changing curricula, directions and model of a specialist, approaches. Based on tradition, innovative pedagogical technologies are being developed. The author clarifies their meaning and principles – reliance on a conceptual scientific base, adapted to the practice of teaching; efficiency; reproducibility, etc. Technologies that involve a combination of verbal and non-verbal approaches are considered. They meet the modern requirement of forming an integral personality of a young specialist with a developed scientific and artistic thinking. The original concepts, born at the junction with folkloristics and synonyms, are focused on the systemic spiritual and aesthetic education of the personality of a music student at a university. Practical scientists include in the development of various components of sensory-emotional experience and the a priori property of the integration of sensory modalities by a person. The author reveals innovative approaches that generalize the concepts of musical content, text, poetics and semantics. Some forecasts of the use of innovative technologies in a music university are given.

Keywords: Traditions; innovative pedagogical technologies; music education; university.

For citation: Alexeyeva I. V. Innovatika v professional’nom muzykal’nom obrazovanii vuza: teoriya i praktika [Innovation in professional music education of the university: theory and practice], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 25, pp. 37–45. (in Russ.).


MUSICAL LIFE OF RUSSIAN REGIONS: YESTERDAY AND TODAY


  • Anton B. Borodin

Ural State Conservatory named after M. P. Mussorgsky, Yekaterinburg, Russia.

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HEINRICH NEUHAUS IN SVERDLOVSK. CHRONICLE OF WAR YEARS

Abstract. The article examines the longest period of Heinrich Neuhaus’s stay in Sverdlovsk, which lasted over two years – from August 1942 to September 1944. The main purpose of the work was to fill a num­ber of gaps in the musician’s biography, which in particular relate to aspects of his performing activity. Comparison of information from various sources made it possible to form a chronological list of Heinrich Neuhaus’s concert performances at the Philharmonic and the Conservatory. The dates of the pianist’s touring trips from Sverdlovsk to other regions of the country were also clarified. The letters of A. G. Ga­brichevsky – a friend of Neuhaus and a witness to many of his Sverdlovsk concerts, served as valuable material for compiling a chronology. In addition, the dates of the musician’s move to the conservatory room and to the house on Pushkinskaya Street, as well as the addresses of all his places of residence, have been established. The work contains a note by Heinrich Neuhaus about Emil Gilels, written in the wake of the pianist’s performances in Sverdlovsk, which was published in the newspaper “Uralsky Rabochy”.

Keywords: Heinrich Neuhaus; Sverdlovsk; evacuation; World War II; Urals Mussorgsky State Conser­vatoire; Sverdlovsk Philharmonic; concert performances; Emil Gilels; Alexander Gabrichevsky; Uralsky Rabochy newspaper.

For citation: Borodin A. B. Genrikh Neygauz v Sverdlovske. Khronika voennykh let [Heinrich Neuhaus in Sverdlovsk. Chronicle of war years], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 25, pp. 46–56. (in Russ.).


  • Galina E. Gun

Magnitogorsk State Conservatory (Academy) M. I. Glinka, Magnitogorsk, Russia.

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MUSICAL CULTURE OF AN INDUSTRIAL CITY (ON THE EXAMPLE OF MAGNITOGORSK)

Abstract. The article examines the factology of the musical life of Magnitogorsk, which is an example of the type of settlement widespread in the Urals and a universal form of the existence of the culture of an industrial region. The author reveals the typical and specific features of the urban musical culture. The article shows that industrial cities are characterized by the absence of historically established cultural traditions and the forced nature of their formation, the simultaneous construction of the city and the formation of musical culture, the coexistence and mutual influence of the traditions of amateur and pro­fessional musical culture. In conclusion, it is concluded that the preservation and enhancement of musi­cal traditions gives the industrial city the potential for development based on modern cultural strategies. .

Keywords: industrial city; Magnitogorsk; musical culture; musical traditions; choral chapel; conserva­tory; Opera and Ballet Theater.

For citation: Muzykal’naya kul’tura industrial’nogo goroda (na primere Magnitogorska) [Musical culture of an industrial city (on the example of Magnitogorsk)], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 25, pp. 57–62. (in Russ.).


  • Ekaterina S. Gulyaeva

Novosibirsk state Conservatory named after M. I. Glinka, Novosibirsk, Russia.

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THEATRICAL WORKS OF GEORGY IVANOV IN THE CONTEXT OF SOCIO-CULTURAL PROCESSES OF THE 1960s–1980s

Abstract. The article reveals the creative image of the Novosibirsk composer G. N. Ivanov, the author of the operas “Alka’s Songs”, “The Inspector”, the operettas “By the Sea of Ob”, “Red Mountain Ash”, “Two colors of Time”, “Three plus Three”, “Hello, police”. The author reveals the role of Ivanov’s compositions as an important component of the musical life of Novosibirsk in 1960–1980. The author notes the realism and documentality of the compositions, their Siberian flavor, associated with the inclusion of theatrical opuses in regional realities, with the use of musical folklore quotes, as well as songs that were used and composed in the region. It is indicative of the interest in the music of G. Ivanova and in our days.

Keywords: opera; operetta; Georgy Nikolaevich Ivanov; Siberian academic music; musical and theatrical culture of Novosibirsk.

For citation: Gulyaeva E. S. Teatral’nye proizvedeniya Georgiya Ivanova v kontekste sotsiokul’turnykh protsessov 1960–1980-kh godov [Theatrecal works of Georgy Ivanov in the context of socio-cultural processes of the 1960s–1980s], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 25, pp. 63–71. (in Russ.).


AD MEMORIAM


  • Alexey V. Parin

Scientific and art publishing house “AGRAPH”, Moscow, Russia.

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THE ACADEMICIAN PARIN STREET. GENETICS AND THE HISTORICAL JUSTICE

Abstract. The memoirs of Alexej V. Parin are dedicated to the crossing of fates of the two outstanding geneticists, Nikolaj V. Timofeev-Resovskij and Vasilij V. Parin, within the context of the world science history and the national history through 30-es to the 50-es of the 20th century. The dramatic peripeties of their lives, being of great historical and cultural importance, served as a basis for a number of pieces of Russian art. The memoirs published here were inspired by a somewhat troublesome situation with the street naming in Ekaterinburg’s new district, Akademicheskij (Academic), as well as by involuntary posthumous ‘rivalry’ of the both scholars, who had appreciated and supported each other during their lifetime, whatever difficult those circumstances that fell to their lots could have been.

Keywords: Nikolaj V. Timofeev-Resovskij; Vasilij V. Parin; Max Delbrück; the Nobel prize; genetics; the scholars’ fates.

For citation: Parin A. V. Ulitsa akademika Parina, genetika i istoricheskaya spravedlivost’ [The academician Parin street. Genetics and the historical justice], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy kon­servatorii, 2021, iss. 25, pp. 72–78. (in Russ.).


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MUSIC IN THE SYSTEM OF CULTURE SCIENTIFIC BULLETIN OF THE URALS CONSERVATORY 2021, № 24


QUESTIONS OF MODERN MUSICOLOGY


  • Marina V. Gorodilova

The Ural State M. Mussorgsky Conservatory, Ekaterinburg, Russia.

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THE CHROMATIC LABYRINTH IN THE HARMONY OF L. VAN BEETHOVEN

Abstract. Using the example of the first movements of some sonatas by L. van Beethoven the article reveals tonal relationships that are quite unique in the context of the typified harmonic style of classicism, and establishes their connection with the historically formed phenomenon, defined as the “chromatic labyrinth”. The composer was not limited by the technological capabilities of this technique that he used. As a rule, he developed a special poetics of moving along the tonal corridor, conditioned by the ascending or – more often – descending direction of this movement.

Keywords: Ludwig van Beethoven; Harmony; Chromatic Labyrinth; Sonata; Tonal Plan.

For citation: Gorodilova M. V. Khromaticheskiy labirint v garmonii L. van Betkhovena [The chromatic laby­rinth in the harmony of L. van Beethoven], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konserva­torii, 2021, iss. 24, pp. 6–11. (in Russ.).


  • Tatyana V. Kartashova

The Saratov L. Sobinov State Conservatory, Saratov, Russia.

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REGIONAL TRADITION OF THE THUMRI VOCAL GENRE: VARANASI PERFORMING ARTS SCHOOL

Abstract. The article deals with the vocal genre of “semi-classical” music thumri, which became widespread during the last century. During the 1920 and 1970, the style bol-banao thumri of singing emerged in the cultural arena of Varanasi, the new center of the eastern state of Uttar Pradesh, where the singer conveys all the textual nuances through a melodized interpretation of individual words. He became known as purab-ang thumri (“eastern style of singing”). Special attention is paid to one of the most important performing schools of thumri – Varanasi, whose musicians raised thumri to classical heights. Its characteristic features: the use of the bol-banao technique; a gradual slowing down of the overall tempo of the performance; the use of “light” ragas and talas associated with traditional music; the presence of a specific final section of laggi. By the middle of the 20th century, this style of singing reached its apogee in the works of prominent masters of Varanasi, pushing bol-banao thumri to the forefront of the cultural Renaissance. Their names are included in the treasury of the national and cultural heritage of India.

Keywords: semi-classic; thumri; Varanasi; kotha; mehfil; tawaif.

For citation: Kartashova T. V. Regional’naya traditsiya vokal’nogo zhanra tkhumri: ispolnitel’skaya shkola Varanasi [Regional tradition of the thumri vocal genre: Varanasi performing arts school], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 24, pp. 12–22. (in Russ.).


  • Oksana A. Gagarina

The Urals M. Mussorgsky State Conservatoire, Ekaterinburg, Russia.

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MUSIC IN THE SOUND SPACE OF MODERN EKATERINBURG: TO THE PROBLEM OF ANALYZING THE URBAN AUDIO ENVIRONMENT

Abstract. The article is devoted to the sound environment of modern Ekaterinburg. The main subject of the analysis in the article is the musical component as a “highly organized” part of the multi-layered structure of the urban sound space. In its development, the author identifies two aspects: the first is associated with the expansion of boundaries and the transformation of the audio environment, and the second focuses on the problem of disharmony and noise pollution. In connection with the first aspect, the author traces some practices of concert life in Ekaterinburg – the development of open urban locations, the escalation of “virtual” forms of music existence. These practices, on the one hand, contribute to the broadness, mass character of musical events, and on the other hand, reveal a number of opposite qualities of the audio environment – its fragmentation, pointillism. These qualities cause the gap between the subjects of the concert situation (the performer and the listener), which is called schizophonia in musicology. The second aspect in the analysis of the urban sound space actualizes the “ecological” problem of disharmonizing the sound environment of Ekaterinburg due to noise pollution. Among the sources of negative impact on the sound environment, the author identifies some musical forms of sound content, in particular, audio advertising and sound design of premises. Along with architectural innovations, audio marketing products are an integral feature of the appearance of a modern city.

Keywords: sound environment of the city; culture of everyday life; musical life of Yekaterinburg.

For citation: Gagarina O. A. Muzyka v zvukovom prostranstve sovremennogo Ekaterinburga: k probleme analiza gorodskoy audiosredy [Music in the sound space of modern Ekaterinburg: to the problem of analyzing the urban audio environment], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 24, pp. 23–30. (in Russ.).


QUESTIONS OF MUSICAL EDUCATION


  • Lyudmila K. Shabalina

The Ural State M. Mussorgsky Conservatory, Ekaterinburg, Russia.

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HARMONY AND SYNTAX IN RUSSIAN SCIENTIFIC AND METHODOLOGICAL WORKS OF THE XX CENTURY (TO BE INTRODUCED INTO EDUCATIONAL PRACTICE)

Abstract. The article is written with the aim of providing methodological assistance to teachers in achiev­ing an in-depth understanding of the syntactic organization of the musical form, in this case – through the harmony course. The main subject of the article is the harmonic progressions in their structur­al-forming functions: initial, developmental, cadence, which helps to understand the construction of small forms and facilitates their auditory harmonic perception. Valuable scientific and methodological ideas on this subject are available already in the publications of the twentieth century, but they have not become the property of educational practice. The typical harmonic schemes-models are determined based on material of the music of the Viennese classics: tonal functions are taken as a basis, not specific types of chords. The understanding of the logic of the classical period is facilitated by drawing parallels with the verse form of the quatrain. As a result, the path is paved to the realization of the integrity of the syntactic structure of the period, including through harmony. Hence, the feeling of phrasing, that covers the entire texture and gives the music a lively breath.

Keywords: harmonic progression; syntactic organization of period; Viennese classicism in harmony courses.

For citation: Shabalina L.K. Garmoniya i sintaksis v otechestvennykh nauchno-metodicheskikh trudakh XX veka (k vnedreniyu v uchebnuyu praktiku) [Harmony and syntax in Russian scientific and methodological works of the XX century (to be introduced into educational practice)], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 24, pp. 31–47. (in Russ.).


  • Liliya P. Polyakova

The Ural State M. Mussorgsky Conservatory, Ekaterinburg, Russia.

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PHONETICS OF FOREIGN LANGUAGES FOR VOCALISTS: PROBLEMS AND WAYS OF SOLUTION

Abstract. The article is devoted to the problems of vocal phonetics of foreign languages, which are not considered in the Russian tradition of vocal art. Several decades ago, there was no such question: all operas and chamber works were performed in Russian. But today this is a big problem for the educational program of Russian conservatories. The article examines the main stages and difficulties in learning a work in a foreign language, analyzes the study of the topic of vocal phonetics by foreign and domestic authors, and provides methodical recommendations.

Keywords: vocal phonetics; vocal diction; IPA; foreign languages.

For citation: Polyakova L. P. Fonetika inostrannykh yazykov dlya vokalistov: problemy i sposoby resheniya [Phonetics of foreign languages for vocalists: problems and ways of solution], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 24, pp. 48–53. (in Russ.).


FIGURES OF MUSICAL CULTURE OF RUSSIAN REGIONS


  • Liliya A. Vishnevskaya

The Saratov L. Sobinov State Conservatory, Saratov, Russia.

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ACADEMIC HERITAGE OF SARATOV CONSERVATORY: E. D. ERSHOVA (1942–2001)

Abstract. The article addresses the academic heritage of L. V. Sobinov Saratov state conservatory where the name of Ershova Elena Dmitrievna – a prominent music historian and a vivid personality in the modern history of the conservatory – stands out. E. D. Ershova’s teaching, scientific, educational and executive endeavor is revealed within the framework of the German contacts of Saratov conservatory, A. G. Schnittke’s oeuvre among them. Transcendent significance of E. D. Ershova’s archive, scientific and creative projects is commemorated as having launched many modern events and conservatory structures. Among them there is “Scientific readings in memory of B. L. Yavorsky” whose name is as­sociated with the meaningful cooperation of Saratov and Moscow conservatoires during World War II. The project of science, information, culture and education “Das Schnittke-Zentrum” is cast in the same mould: created while the composer was living and having been approved by him, it became a powerful “mediator” of cultural contacts between Russia and Germany in the end of the 20th – the beginning of the 21st centuries. Such are the publishing projects, reviving the endeavors of eminent musicians of the first decades of the conservatory, as well as the modern update of the educational courses of music work analysis and harmony.

Keywords: Saratov conservatory; Elena Dmitrievna Ershova; pedagogy; science; oeuvre.  

For citation: Vishnevskaya L. A. Nauchno-pedagogicheskoe nasledie Saratovskoy konservatorii: E. D. Ershova (1942–2001) [Academic heritage of Saratov conservatory: E. D. Ershova (1942–2001)], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 24, pp. 54–62. (in Russ.).Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 25, pp. 63–71. (in Russ.).


CONFERENCE OVERVIEWS, REVIEWS


  • Elena E. Polotskaya

The Urals M. Mussorgsky State Conservatoire (Yekaterinburg, Russia).

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REGIONAL MUSICOLOGY AND MUSICOLOGY OF REGIONS: Review of the All-Russian Conference with International Participation “Music Science, Art and E ducation of R ussian Regions: Towards the 300th Anniversary of the City of Yekaterinburg”

Abstract. The review of the conference, held at the Urals Mussorgsky State Conservatoire in November 2020, focuses on a number of important points. The review represents the history of the conference orga­nization, specifics of its holding in 2020 via the Zoom platform, geographical and scientific status of the participants, as well as the rationale for holding the conference in Yekaterinburg. The aim of the confer­ence is to examine how closely the Russian regions interact, how their regional identity is preserved, and how it relates to the Russian identity. The importance of the conference for the exchange of experience in the fields of musicological research, creative and musical-educational activities of various regions of Russia, including the capital, is emphasized. The author defines the region as a “special ̒world’ with its own mentality, way of thinking, traditions, world view and world perception” (according to F. Bordel) and from these viewpoints considers the concept of “regional musicology” as a multidimensional study of the history of the musical culture of the region. As an antithesis, the concept of “regional musicolo­gy”, which is characterized by the commonality of interregional scientific interests forming the Russian music science as a whole, is introduced. The program of the conference, the thematic areas of work of its five sections, and the content of the reports are analyzed from the indicated viewpoints. The scientific problem of the conference “Regional Musical Culture / Musical Culture of the Regions” is formulated on the largest scale, the duality of the problem is determined by its main discourses. The conclusion is made both on the preservation of the regional identity and on the high degree of integration of the musical culture of the region into the modern all-Russian humanitarian practice.

Keywords: Urals Mussorgsky State Conservatoire; region; regional musicology; musical culture of regions

For citation: Polotskaya E. E. Muzykovedenie regionov i regional’noe muzykovedenie: obzor Vserossijskoj konfer­encii s mezhdunarodnym uchastiem «Muzykal’naya nauka, iskusstvo i obrazovanie rossijskih regionov: navstrechu 300-letiyu goroda Ekaterinburga» [Regional musicology and musicology of regions: Review of the All-Rus­sian Conference with International Participation “Music Science, Art and Education of Russian Regions: Towards the 300th Anniversary of the City of Yekaterinburg”], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2021, iss. 24, pp. 63–73. (in Russ.).


  • Alexander V. Markov

Dr. of sciences in Philology, Professor. The Russian State University of Humanities, Moscow, Russia.

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REVIEW OF: MAKAROV D.I. A GARDEN OF FORKING LOTS

Abstract. In Markov’s review the importance of Makarov’s book for studying the reality mirrored and depicted in the post-Modernist literature is stressed. Behind the laconic form of a parable a profound meaning and an anthropological content in the creation of Krzhizhanovskij, Baricco, Volponi is revealed and analyzed. This content gives us a hope.

Key words: post-Modernist literature; reality and its meaning; parable; Krzhizhanovskij, Volponi; Baricco.


Up


 MUSIC IN THE SYSTEM OF CULTURE SCIENTIFIC BULLETIN OF THE URALS CONSERVATORY 2020, № 23


MUSICAL SCIENCE AND PERFORMANCE


  • Konstantin V. Zenkin

Tchaikovsky Moscow State Conservatory, Moscow, Russia.

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AT THE ORIGINS OF RUSSIAN MUSICOLOGY: A. N. SEROV (on the 200th anniversary of his birth)

Abstract. The purpose of the article is to study A. N. Serov’s contribution into Russian musicology through solving the following tasks: identification of the specifics of his musicological analysis and methodol­ogy; the significance of Serov’s most important works (on Beethoven’s Ninth Symphony and “Leonore Overture,” Glinka’s opera “A Life for the Tsar,” etc.); the influence of Serov’s methodology on Russian musicology of the 20th century (B. V. Asafyev’s theories of intonation, symphonism, and musical form as a process, the theory of musical dramaturgy by V. P. Bobrovsky and V. V. Medushevsky). The article explores Serov’s conceptions of the structure of musicology, which includes musical aesthetics (philos­ophy of music), history of music, and a whole range of theoretical disciplines (harmony, counterpoint, the theory of form, instrumentation, etc.). The conclusion is drawn that Serov strove to achieve a syn­thetic, generalizing view, both within the framework of musical science as a whole (it is confirmed by the above-mentioned structure of musicology) and within the framework of theoretical disciplines (musical science in a narrow sense). Serov achieves his goal by applying the thematic analysis, which is in fact the analysis of the musical dramaturgy of an instrumental piece or an opera.

Keywords: musicology; A. N. Serov; music history; aesthetics; music theory; music themes.

For citation: Zenkin K. V. U istokov russkogo muzykovedeniya: A. N. Serov (k 200-letiyu so dnya rozhdeniya) [At the origins of Russian musicology: A. N. Serov (on the 200th anniversary of his birth)], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 23, pp. 7–14. (in Russ.).


  • Nina B. Zakharina

Saint-Petersburg conservatory named after N.A. Rimsky-Korsakov, St. Petersburg, Russia.

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  • Irina V. Gerasimova

Pskov State University, Pskov, Russia.

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SOURCES ON INVESTIGATION OF CHURCH CHANT CULTURE OF 14TH–17TH CENTURY PSKOV

Abstract. The article focuses on sources for investigation of one of Old Russian local tradition of church chant – that of Pskov. Scholars have found 18 chant manuscripts of Pskov origin dated from XIV to XV c.: various kinds of Ochtoiekhos, Sticherarion. Chant books of 17th cc. are collеctions of church hymns. We know name of scribers: Andrej and Kuzma Mikulinsky, Luka, Aleksei Kariakin. Pskov chant manu­scripts contain mhymns of various styles: znamenny, put, strochnoe, partesny. Notation of Pskov chant manuscripts has its own peculiarities. In 14th c., according to Pletniova’s research, various kinds of nota­tions are represented in Pskov manuscripts, including unknown one. Analysis of neumes of Sticherarium of y. 1422 using statistic method shows unique features of the manuscript. Repertoir of neumes corre­spons with common znamenny notation of 11th–15th c. while percentage is differform it and inherarnt to this very manuscript. Perhaps in 14th–15th c. Pskov was experimental center in the field of music notation. Sources of 17th c. show types of Russian notations (znamenny with cinnabar marks, “kazan”).

Keywords: Local chant traditions; Pskovian manuscripts; Old Russian notations; statistics of neumes.

For citation: Zakharina N. B. Gerasimova I. V. Istochniki po izucheniyu tserkovno-pevcheskoy kul’tury Psko­va XIV–XVII vekov [Sources on investigation of church chant culture of 14th–17th century Pskov], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 23, pp. 15–24. (in Russ.).


  • Elena V. Melnikovа

Urals Mussorgsky State Conservatory, Yekaterinburg, Russia.

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THE PROBLEM OF “WORD AND MUSIC” IN CONTEMPORARY MUSICAL ART AND MUSICOLOGY (on the 25th anniversary of the death of A .V. Mikhailov)

Abstract. The article is devoted to new aspects of the study of the traditional for musicology problem of “word and music”, which, on the one hand, were initiated by the very work of contemporary compos­ers, on the other hand, – a surge of interest in this topic due, in many respects, to the scientific activities of A. V. Mikhailov and his comprehensive approach to studying this issue. The joint conference of philol­ogists and musicologists, organized by Mikhailov in 1993, where the scientist made a report: “Word and music: music as an event in the history of the word”, became a new stage in the development of this very topical issue. One of its directions is new types of interaction between verbal and musical principles. Based on the analysis of the most modern musicological literature, the author of the article substantiates the prospects for the development of this scientific topic and the need for theoretical generalizations.

Keywords: word and music; Alexander Viktorovich Mikhailov; new types of interaction between verbal and musical principles.

For citation: Melnikovа E. V. Problema «slovo i muzyka» v sovremennom muzykal’nom iskusstve i muzykovedenii (k 25-letiyu so dnya smerti A. V. Mikhaylova) [The problem of “word and music” in contemporary musical art and musicology (on the 25th anniversary of the death of A. V. Mikhailov)], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 23, pp. 25–30. (in Russ.).


  • Oksana A. Gagarina

Urals Mussorgsky State Conservatory, Yekaterinburg, Russia.

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  • Yuri N. Ivanov

Urals Mussorgsky State Conservatory, Yekaterinburg, Russia.

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TROMBONE IN THE WORKS OF N.A. RIMSKY-KORSAKOV: TO THE QUESTION OF EXPANDING THE TECHNICAL AND EXPRESSIVE CAPABILITIES OF TROMBONE IN THE 19TH CENTURY

Abstract. The article explores the issue of expanding the technical and expressive capabilities of the trom­bone in the musical heritage of N. A. Rimsky-Korsakov. The Concert for trombone and military orchestra, which has become a recognized classic of the trombonist repertoire, falls into the author’s attention. The trombone part in the middle and final parts of the Concert demonstrates semantic-intonations. It was new to the romantic era. The expressive features of the trombone in the Rimsky-Korsakov Orches­tra are considered on the example of program symphonic compositions – the overture “Bright Holiday” and the symphonic suite “Sheherazada”, in which the timbre of the trombone turns out to be an important link in musical drama. Based on the results of the study of trombone as a solo and orchestral instrument in Rimsky-Korsakov’s music, corresponding conclusions were made in which new virtuoso and artistic qualities of the instrument were emphasized. The discoveries of Rimsky-Korsakov turned out to be sig­nificant for the further development of trombone in domestic and foreign music of the twentieth century.

Keywords: Russian music; N. A. Rimsky-Korsakov; “Scheherazade”; “Bright Holiday”; history of orches­tration; trombone; performance on wind instruments.

For citation: Gagarina O. A., Ivanov Yu. N. Trombon v tvorchestve N. A. Rimskogo-Korsakova: k voprosu o rasshirenii tekhnicheskikh i vyrazitel’nykh vozmozhnostey trombona v XIX veke [Trombone in the works of N.A. Rimsky-Korsakov: to the question of expanding the technical and expressive capabilities of trom­bone in the 19th century], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 23, pp. 31–38. (in Russ.).


ON THE ANNIVERSARIES OF BEETHOVEN AND TCHAIKOVSKY


  • Maria V. Mokhovikova

Urals Mussorgsky State Conservatory, Yekaterinburg, Russia.

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SYMPHONY COMPOSITIONS BY LUDWIG VAN BEETHOVEN IN THE COLLECTIONS OF THE MOSCOW BRANCH OF THE IMPERIAL RUSSIAN MUSICAL SOCIETY

Abstract. The article considers the performance of symphonic compositions by Ludwig van Beethoven in the collections of the Moscow branch of the Imperial Russian Musical Society (MB IRMS). The main source of information is the statistical data book by N. A. Manykin-Nevstruev “The Imperial Russian Musical Society. Moscow Branch: Symphony Collections 1–500” (from 1860 to 1899). The aim of the article is to identify the regularities of the performing practice of the composer’s symphonic works in MB IRMS. The author relies on the statistical research method and understanding of the results ob­tained via projection on the history of Russian musical culture of the 2nd half of the XIX century. The article analyzes the statistics of performance of Beethoven’s works on concert seasons from 1860 to 1899. The names of all the conductors who directed Beethoven’s compositions performances at MB IRMS con­certs are presented. The statistics by genre (symphonies, instrumental concertos, and overtures) is given, and the graph showing variation of amount of the performances of individual Beethoven compositions in order to identify their popularity is displayed. Regularities associated with uneven performance of Beethoven’s works, which depended on preferences of soloists and conductors (local and invited), reper­toire policy of MB IRMS, factor of change of permanent conductor and acoustic capabilities of concert halls were identified. Thus, the choice of certain symphonic works by Beethoven was not accidental and, moreover, it correlated with the purpose of the Charter of the Imperial Russian Musical Society.

Keywords: Moscow Branch of the Imperial Russian Musical Society (MB IRMS); Symphony collections of MB IRMS; Ludwig van Beethoven; symphonic works of Beethoven; Beethoven’s music in MB IRMS; Beethoven’s music in Russia.

For citation: Mokhovikova M. V. Simfonicheskie sochineniya Lyudviga van Betkhovena v sobraniyakh Moskovsk­ogo otdeleniya Imperatorskogo Russkogo muzykal’nogo obshchestva [Symphony Compositions by Ludwig van Beethoven in the Collections of the Moscow Branch of the Imperial Russian Musical Society], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 23, pp. 39–49. (in Russ.).


  • Rimma L. Pospelova

Tchaikovsky Moscow State Conservatory, Moscow, Russia.

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  • Margarita A. Goverdovskaya

Tchaikovsky Moscow State Conservatory, Moscow, Russia.

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TONAL-INTONATION PLOT IN TCHAIKOVSKY’S GRAND PIANO SONATA OP. 37 G-DUR

Abstract. In article tonal-intonation plot lines in the Grand Sonata op. 37 G-dur by P. I. Tchaikovsky’s are considered. Authors are based on I. A. Barsova, V. V. Medushevsky, Yu. N. Kholopov’s works in applica­tion of the concepts “intonation plot”, “tonal-intonation sphere”. The tonal-intonation plot is treated as two-unity of tonal and intonation-thematic development in the work. Plot lines of development of motive Dies irae in the first part and also the main subject of the second part are in detail tracked. From positions of a fable the unusual termination of an exposition of a sonatа form of the first part in the main tonality is treated (and its strengthening by its own subdominant, C-dur). The main “power lines” of tonal and intonation development are connected with interaction of couples of tonalities of G-dur/g-moll; G-dur/e-moll; e-moll/Es-dur. “Concentrate” of intensive fable development is focused in the first two parts; in the general interpretation of a cycle classical and romantic lines intertwine; the last are implemented, in particular, in a plot-type monothematicizm created by romantics.

Keywords: Grand Sonata in G Major by P.I. Tchaikovsky; intonation plot; tonal-intonation sphere; motive of Dies irae; confrontation of tonalities; plot lines of tonal and thematic development.

For citation: Pospelova R. L., Goverdovskaya M. A. Tonal’no-intonatsionnaya fabula v Bol’shoy sonate dlya fortepiano op. 37 G-dur P. I. Chaykovskogo [Tonal-intonation plot in Tchaikovsky’s Grand piano Sonata op. 37 G-dur], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 23, pp. 50–62. (in Russ.).


SIGNIFICANT DATES OF THE YEAR


  • Ekaterina O. Kuprovskaia

Sorbonne-Paris IV University (Paris, France–Russia).

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EDISON DENISOV’S OPERA: “FOAM OF THE DAYS”: CREATION, PERFORMANCE, CRITIC (on the 35th premier anniversary)

Abstract. The article is devoted to Edison Denisov’s opera “Froth on the Daydream” based on the novel of the same name by Boris Vian and aims to present little-known facts of the composer’s creative biography related to it. It covers three stages in the life of a composition: its creation in 1981, the premiere in Paris in 1986, and the critical acclaim that followed. The article is generously illustrated with quotes from let­ters from Denisov from his personal archive, which have never been published before. They allow you to penetrate into the artistic world of the composer in the process of composing an opera, as well as “look behind the scenes” of its first production. The article contains excerpts from reviews by French critics, eloquently describing the reception of Russian composition in Vian’s homeland.

Keywords: Edison Denisov; Boris Vian; “Froth on the Daydream”; opera; libretto; novel.

For citation: Kuprovskaia E. O. Opera Edisona Denisova «Pena dney»: sozdanie, postanovka, kritika (k 35-le­tiyu so dnya prem’ery) [Edison Denisov’s Opera: “Foam of the Days”: creation, performance, critic (on the 35th premier anniversary)], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 23, pp. 63–70. (in Russ.).


  • Maria V. Gavrilova

Ural state Conservatory M. P. Mussorgsky, Yekaterinburg, Russia.

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  • Alexandra N. Lopatnikova

Children’s choir school № 1, Yekaterinburg, Russia.

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THE ROLE OF AUTHOR’S REMARKS IN SHAPING THE PERFORMANCE INTERPRETATION OF ALBAN BERG’S SONATA OP. 1 (to the 135th anniversary of the composer’s birth and 85th anniversary of his death)

Abstract. The article is dedicated to the 135th anniversary of the birth and 85th anniversary of the death of Alban Berg. The authors analyzes the role of author’s remarks in the formation of the performer’s Inter­pretation of the Sonata op. 1.

Keywords: anniversary of A. Berg; Sonata оp. 1; piano performance art.

For citation: Gavrilova M. V., Lopatnikova A. N. Rol’ avtorskikh remarok v formirovanii ispolnitel’skoy in­terpretatsii Sonaty op. 1 Al’bana Berga (k 135-letiyu so dnya rozhdeniya i 85-letiyu so dnya smerti kompozitora) [The role of author’s remarks in shaping the performance interpretation of Alban Berg’s Sonata op. 1 (to the 135th anniversary of the composer’s birth and 85th anniversary of his death)], Muzyka v sisteme kul’tu­ry : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 23, pp. 71–79. (in Russ.).


  • Marina A. Egorova

Moscow State Institute of Music A. G. Schnittke, Moscow, Russia.

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CARMEN’S IDEA: FROM PUSHKIN TO BIZET

Abstract. Opera by J. Bizet “Carmen” is one of the most beloved works in musical theater, which arouses enduring interest among both performers and musicologists. One of the important directions in the study of opera is the study of its cultural and historical context. To analyze the image of the main hero­ine of the opera, taking into account this context, to outline the most important literary connections of the opera – the goal of this article. The article examines some of the features of the image of Carmen, and also traces its formation in the literary works of Prosper Mérimée and Alexander Pushkin, whose work the French writer was sincerely passionate about. One of the most important qualities of the ana­lyzed image is freedom in personal relationships, which the heroine defends at the cost of her life, deny­ing any compromises. The realization of this freedom in the works of Pushkin, Mérimée and Bizet occurs in different ways, which is reflected in the appearance of the main artistic idea. An analysis of the paral­lels that arise between the texts of Bizet, Mérimée and Pushkin contributes to a deeper understanding of the artistic solution of the image of Carmen presented in the opera, and also reveals some features of the cultural dialogue between France and Russia, which turns out to be bilateral.

Key words: “Carmen” by Bizet; “Carmen” by Mérimée; “Gypsies” and “The Stone Guest” by Alexander Pushkin.

For citation: Egorova M. A. Ideya Karmen: ot Pushkina k Bize [Carmen’s idea: from Pushkin to Bizet], Muzy­ka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 23, pp. 80–86. (in Russ.).


MUSICAL LIFE OF RUSSIAN REGIONS


  • Tatyana S. Ekimenko

Petrozavodsk State Conservatory named after A. K. Glazunov, Petrozavodsk, Russia.

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THE UNION OF COMPOSERS OF KARELIA AND ITS CHAIRMAN HELMER SINISALO (on the 100th anniversary of the birth of the composer)

Abstract. The article covers the work of Helmer-Rayner Nestorovich Sinisalo (1920–1989) as the chair­man of the Union of Composers of Karelia (Karelian Autonomous Soviet Socialist Republic). The article examines Sinisalo’s “involvement” in the issues of the state cultural policy of the USSR, the style of the leadership of the Union. The author of the article reveals specific composer’s techniques noted by Sinisalo in publications, speeches, reports, which to a different extent are “associated” with the implementation of the ethnic origin in music. They deal both with the use of the means of the musical language and the primary material – borrowed melodic sources. The question is raised about the number of the mem­bers of the Union of Composers of Karelia during the years of Sinisalo’s leadership. The article was written to the centenary of the birth of сomposer.

Keywords: Helmer-Rayner Nestorovich Sinisalo; the Union of Composers of the KASSR; cultural policy of the USSR; ethnic origin.

For citation: Ekimenko T. S. Soyuz kompozitorov Respubliki Kareliya i ego predsedatel’ Gel’mer Sinisalo (k 100-letiyu so dnya rozhdeniya) [The Union of Composers of Karelia and its chairman Helmer Sinisalo (on the 100th anniversary of the birth of the composer)], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 23, pp. 87–93. (in Russ.).


  • Elena Yu. Kuprina

Volga Orthodox Institute named after St. Alexis, Metropolitan of Moscow (Togliatti, Russia).

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MUSICAL EDUCATION OF TOGLIATTI: RETROSPECTIVE AND PERSPECTIVE (dedicated to the 65th anniversary of art education of Stavropol-on-Volga–Togliatti)

Abstract. The fate of the city of Togliatti, the former Stavropol-on-Volga, “thrice born” since its Foundation in 1737, has had an incredible impact on the municipal musical education, the history of which has not yet been written. The problematic series of numerous unexplored aspects begins with the question of the time of the origin of music education. What event is at its origins: the founding of a music school in the village of Komsomolsk in 1955 (the official version), or open the music section and music schools under the Committee of political education County Department of education in 1920, or the creation of the serf orchestra in the village of Nikolskoye Stavropolskogo County in the estate of Brigadier N. And. In. in the mid – XVIIIth century? During the second half of the twentieth century, the system of educational organizations in the “Culture and art” industry of Stavropol-on-Volga–Togliatti was repeatedly rebuilt, experienced periods of decline and recovery. At the epicenter of dynamic and dramatic events that took place in the late twentieth and first decades of the twenty – first century, the Togliatti municipal Conser­vatory is a kind of center of permanently emerging inter – sectoral, inter-Agency musical co-creation.

Keywords: music education; Togliatti; Stavropol-on-Volga; Togliatti Conservatory.

For citation: Kuprina E. Yu. Muzykal’noe obrazovanie Tol’yatti: retrospektiva i perspektiva (65-letiyu khudozhest­vennogo obrazovaniya Stavropolya-na-Volge–Tol’yatti posvyashchaetsya) [Musical education of Togliatti: retro­spective and perspective (dedicated to the 65th anniversary of art education of Stavropol-on-Volga–Togli­atti)], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 23, pp. 94–101. (in Russ.).


AD MEMORIAM


  • Daniya N. Khaibullina

Glinka Novosibirsk State Conservatoire, Novosibirsk, Russia.

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  • Anna P. Nedospasova

Glinka Novosibirsk State Conservatoire, Novosibirsk, Russia.

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MARY LEBENZON – A PERSONALITY, MUSICIAN, TEACHER

Abstract. In this publication presented a portrait of Mary Lebenzon, the outstanding pianist, professor of Piano Department of the Novosibirsk conservatory. Authors have collected biographic data on the difficult circumstances of wartime fallen on years of the childhood and youth M. Lebenzon, her study in the Moscow conservatory and years of work. In outline of the narration the separate facts from the inter­views published earlier are connected. An important part is the analysis of pedagogical approaches and the principles of professor Lebenzon which shows are optimum for education of pianists of the highest professional level. The attention is focused on the long-term methodical activity M. S. Lebenzon which significantly has influenced formation of the piano culture of the Siberian region. This aspect demands further studying and the analysis.

Keywords: Mary Lebenzon; Novosibirsk conservatory; piano performance; Anton Mordasov; Roman Borisov; methods of teaching playing a piano; development of musical talent.

For citation: Khaibullina D. N., Nedospasova A. P. Meri Lebenzon – lichnost’, muzykant, pedagog [Mary Leb­enzon – a personality, musician, teacher], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 23, pp. 102–110. (in Russ.).


  • Maxim A. Basok

Urals Mussorgsky State Conservatory, Yekaterinburg, Russia.

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M. PUZEY AS A REPRESENTATIVE OF THE OLDER GENERATION OF URAL COMPOSERS

Abstract. The memoir essay is dedicated to the description of the life and creative activity of the famous Ural and Russian composer N. M. Puzei (1915–2000). For three decades, the author of the article met with him, first as a student, and then as a colleague in teaching at the Ural Conservatory named after M. P. Mussorgsky (UGC) and a member of the Ural organization of the Union of Composers (UOUC). Through the description of the era that included the periods from the “thaw” of the fifties of the last cen­tury through the restructuring of the eighties to the controversial nineties, all types of Puzei’s activities are considered: as an actively writing composer, head of the department of composition of the UGC, Chairman of the Board of UOUC. The author defines the features of the composer’s creative style, based on the refraction of folklore sources, mainly the Ural song, which is reflected in a number of musical genres –sonatas, variations, and the Fourth Symphony. Other types of Puzei’s creative activity are con­sidered – pedagogical, as well as related to the writing of musicological articles. Attention is paid to the latest creative works of Puzei – the opera “Atlantis” based on the fantastic story by A. Belyaev, fragments of which were performed during the author’s lifetime, as well as the symphonic poem “City”, representing a modern appeal to urban themes.

Keywords: Nikolai Michailovich Puzei the Composer; Urals Mussorgsky State Conservatoire (UMSC); The Khrushchev Thaw; musical folklore; the Union of Ural Composers (UOUC).

For citation: Basok M. A. N. M. Puzey kak predstavitel’ starshego pokoleniya ural’skich kompozitorov [N. M. Puzey as a Representative of the older Generation of Ural Composers], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 23, pp. 111–119. (in Russ.).


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MUSIC IN THE SYSTEM OF CULTURE SCIENTIFIC BULLETIN OF THE URALS CONSERVATORY 2020, № 22


THE PECULIARITIES OF THE CREATIVE PROCESS


  • Svetlana A. Petukhova

Department history of music, State Institute of Art Science, Moscow, Russia.

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THE SEMANTICS OF REPETITION AND RETURNS IN S. PROKOFIEV’S CREATION

Abstract. The article considers one of the important features of Prokofiev’s creative method: his tendency to multiply variants of the same texts. The results of auctorial repetitions and returns can be noted in three unequal areas. This is the creation of paraphrases on the basis of his own theatrical and fi lm music, the emergence of new editions of performed and often even published works, as well as self-quotation. The search for the causes and consequences of such work on the material leads to the determination of the main creative strategies of the composer aimed at conquering maximum of cultural space with his music. From this point of view, the history of the creation of the historical epic “War and Peace” appears as a stage that marked a key turn in the Prokofiev’s attitude to his legacy. It is possible that such a change is due not only to the difficulties of the composer’s existence, but also to the semantic constants that distinguish the content of Leo Tolstoy’s novel.

Keywords: Prokofiev; self-quotation; suites; strategies; attack; defense; “War and Peace”.

For citation: Petukhova S. A. Semantika povtoreniy i vozvrashcheniy v tvorchestve S. Prokof’eva [The semantics of repetition and returns in S. Prokofiev’s creation], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 22, pp. 6–17. (in Russ.).


MUSIC FOR THEATER AND CINEMA


  • Ivan D. Porshnev

Moscow State Tchaikovsky Conservatory, Moscow, Russia.

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MUSIC BY S. PROKOFIEV FOR DIRECTED BY V. MEYERHOLD PUSHKIN’S DRAMA “BORIS GODUNOV”

Abstract. The article is dedicated to the problem of Vsevolod E. Meyerkhold’s creative collaboration with Sergey S. Prokofiev at the example of their joint work at Alexander Pushkin’s drama Boris Godunov. Basing himself on the data concerning the history of the performance and of its music, the author investigates some specific traits of selected musical fragments, including those of leitmotif importance, as the means of expression of the authors’ main ideas. We also analyze some conceptual aspects of the drama interpretation in course of the dialogue between the two Masters. We come to the conclusion that the “politically topical” production by Meyerkhold and Prokofiev touched upon the prohibited “territory of meanings” within the ideologically saturated Soviet culture of the second half of the thirties of the 20th century, this being the cause of the performance having been forbidden.

Keywords: the Pushkin’s anniversary in the 1930-es; Boris Godunov; Vsevolod E. Meyerkhold; Sergey S. Prokofiev; the music in the performance.

For citation: Porshnev I. D. Muzyka S. Prokof’eva k drame A. Pushkina «Boris Godunov» v postanovke V. Meyerkhol’da [Music by S. Prokofiev for Directed by V. Meyerhold A. Pushkin’s Drama “Boris Godunov”], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 22, pp. 18–34. (in Russ.).


PROKOFIEV AND URALS


  • Anna G. Fefelova

Perm Opera and Ballet Th eatre, Perm, Russia.

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SERGEY PROKOFIEV IN PERM (TOWARDS RECONSTRUCTING THE HISTORY OF CINDERELLA)

Abstract. The article presents the history of Sergei Prokofiev’s relationship with the city of Perm and briefly – with the Urals in general. In the center of the article is the ballet “Cinderella”, which the composer completed in Perm during the evacuation in 1943. Also considered is the history of Perm as the center for the development of the musical and theatrical heritage of Prokofiev since the first performance of his works in Perm until today.

Keywords: Sergey Prokofiev; Perm; “Cinderella”.

For citation: Fefelova A. G. Sergey Prokof’ev v Permi (k istorii sozdaniya «Zolushki») [Sergey Prokofiev in Perm. Towards Reconstructing the History of Cinderella], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 22, pp. 35–40. (in Russ.).


  • Tatiana M. Sinetskaya

Music in Chelyabinsk State Institute of Culture (Conservatory faculty), Chelyabinsk, Russia.

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SERGEY PROKOFIEV’S MUSIC IN THE THEATER AND CONCERT LIFE OF CHELYABINSK, 1935 TO 2016

Abstract. This article is the first study of the question of Sergey Prokofiev’s music performance in the Southern Ural region for the period between 1935 and 2016. Depending on the considered period, chronological or genre approach is used. The author focuses on the evolution of interest in the composer’s music: gradual expansion of the list of names of the compositions performed, and in the post-war period – of the whole genre areas: theatrical, symphonic, choral and chamber music of Sergey Prokofiev. The author pays more attention to cyclical events dedicated to Prokofiev: festivals and contests (performers and composers). The main facts of the composer’s theatrical works staging are named. The author presents a panorama of the names of performers and art groups: artists touring in Chelyabinsk and Ural musicians. A set of facts that make it possible to call Chelyabinsk “a city of Prokofiev” is given. The article can be of interest to specialists dealing with regional musical culture and history of Russian music of the twentieth century, particularly – the creative personality of Sergey Prokofiev.

Keywords: music of Sergey Prokofiev; author’s concert; performance; festival; “Prokofiev’s readings”.

For citation: Sinetskaya T. M. Muzyka S. Prokof’eva v teatral’noy i kontsertnoy zhizni Chelyabinska 1935–2016 godov [Sergey Prokofiev’s Music in the Th eater and Concert Life of Chelyabinsk, 1935 to 2016], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 22, pp. 41–52. (in Russ.).


FROM THE TEACHING EXPERIENCE


  • Zhanna Yu. Sitnikova

Urals Mussorgsky State Conservatory, Yekaterinburg, Russia.

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APPLICATION OF COMPUTER TOOLS TO ANALYSE S. PROKOFIEV’S MUSIC

Abstract. The article considers the methods of such exact sciences as mathematics and acoustics, and the possibility of their use in the field of music. These methods are characterized by a high degree of data generalization, which they have within the framework of the system under study. They make it possible to get information about the ordering and structure of the system under study. When we speak about the system under study within the musical sphere, the case in question is either a whole musical work or its separate parts, or a single musical subsystem. This article examines the frequency pitch distribution of musical systems and subsystems. The piano works “Music for Children”, Op. 65 by S. Prokofiev are used as the example and they allow to show how mathematical data and graphic visual material can be added to the traditional musicological analysis, which make it possible to see the orderliness and structure of the musical composition more clearly. The frequency distribution interpretation in the system of tonality formation allows us to consider issues related to the nature and form of the musical work.

Keywords: computer sound analysis; statistical analysis of musical sounds; mathematical analysis of music.

For citation: Sitnikova Zh. Yu. Primenenie komp’yuternykh sredstv k analizu muzyki S. Prokof’eva [Application of computer tools to analyse S. Prokofiev’s music], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 22, pp. 53–64. (in Russ.).


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MUSIC IN THE SYSTEM OF CULTURE SCIENTIFIC BULLETIN OF THE URALS CONSERVATORY 2020, № 21


PROKOFIEV AND RUSSIAN CULTURE OF THE EARLY TWENTIETH CENTURY


  • Lyubov A. Serebryakova

Urals Mussorgsky State Conservatory, Yekaterinburg, Russia.

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  • Larissa V. Kordyukova

Russian State Vocational Pedagogical University, Yekaterinburg, Russia.

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PROKOFIEV AND THE RUSSIAN AVANT-GARDE OF THE 1910S. CHALDEAN SPELL “SEVEN, THEY ARE SEVEN”

Abstract. This article focuses on Prokofiev’s interaction with the Russian avant-garde of the 1910s as a form of a style-forming context of creative formation. The first section of the article is based on the reviews of the Russian press about the early works of Prokofiev, collected by the composer himself, stored in his foundation in the Russian State Archive of Literature and Art and partially published in previous collections of materials. Together they create a documented picture of contemporary perceptions of Prokofiev’s early work in the context of the Russian avant-garde of the 1910s, in constant comparison with the most “left-wing” painting and poetry, mainly with the innovative searches of the futurists. The second section analyzes one of Prokof­iev’s most “avant-garde” and almost unexplored works – the Chaldean spell “Seven, They Are Seven” – in the given semantic context, in the aspect of transubstantiation specific language innovations of futuristic art. The author’s method of analyzing the style features of futurism in music-specific forms is proposed: in the logic of form formation, pitch, texture, rhythm; in the interpretation of the genre (spells-enchantments), fig­urativeness (space-time-movement), etc. Innovative sound techniques that anticipate the gains of the future European musical avant-garde of the 1950–1970s are revealed.

Key words: Prokofiev’s early works; Russian avant-garde; futurism; Chaldean spell “Seven; They Are Seven”; “quantized” time; multidimensional space (“multitone heterophony”); “canon of shifted construction”; “prin­ciple of simultanism”.

For citation: Serebryakova L. A., Kordyukova L. V. S. Prokof’ev i russkiy avangard 1910-kh godov. Khaldeyskoe zaklinanie «Semero ikh» [Prokofiev and the Russian Avant-garde of the 1910s. Chaldean Spell “Seven, They Are Seven”], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 21, pp. 6–21. (in Russ.).


  • Olga E. Milovanova

Centre of arts for gifted children of the North, Urals Mussorgsky State Conservatory, Khanty-Mansiysk, Russia.

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MYASKOVSKI AND S. PROKOFIEV IN THE MIRROR OF EARLY XX CENTURY MUSICAL CRITIQUE (BASED ON MATERIALS FROM THE RUSSIAN PRESS)

Abstract. The article is devoted to the 140th anniversary of the birth of Nikolai Yakovlevich Myaskovsky and 130th anniversary of birthday of Sergey Prokofiev. Despite the age difference, they began their creative quest almost simultaneously and by the autumn of 1914, they were recognized as music lovers some of the most promising young authors. Collected materials on concert performances of works by Myaskovsky and Prokof­iev are intended to reflect the perception of contemporaries of their early work. For the first time we put into scientific use some critical articles on music and a large amount of materials which were published in the Russian periodicals from 1908 to 1917 and which are now preserved in the Russian State Archive of Literature and Art in Moscow.

Keywords: N. Y. Myaskovsky; S. S. Prokofiev; “Russian musical newspaper”; “Music”; Pavlovsk; Sokolnichesky circle; An Evening of contemporary music.

For citation: Milovanova О. Е. N. Myaskovskiy i S. Prokof’ev v zerkale muzykal’noy kritiki nachala XX veka (po ma­terialam rossiyskoy pressy) [N. Myaskovski and S. Prokofiev in the mirror of early XX century musical critique (based on materials from the russian press)], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 21, pp. 22–31. (in Russ.).


  • Lyubov A. Serebryakova

Urals Mussorgsky State Conservatory, Yekaterinburg, Russia.

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  • Lyudmila V. Moskalyova

Nikolay G. Rubinstein Children’s Art School, Moscow, Russia.

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SERGEY PROKOFIEV’S BALLETT “THE JESTER TALE” WITHIN THE STYLISTIC CONTEXT OF THE AUTHOR’S EARLIER CREATION AND OF SERGEY DIAGHILEV’S RUSSIAN BALLETT

Abstract. The aim of our article is to make the case of The Jester Tale belonging stylistically to the artistic trend of neoprimitivism. We analyze stylistic traits of the ballett as well as the neoprimitivism as such, which orient­ed itself towards the folk splint, thus overcoming the borders of painting and – what we see in the Prokofiev’s Tale – becoming a unified stylistic synthesis of music, choreography and scenography.

Key words: Sergey Diaghilev; Sergey Prokofiev; Mikhail Larionov; Neoprimitivism; the Russian splint; the splint stylistics; estrangement; the Grotesque.

For citation: Serebryakova L. A., Moskalyova L. V. Balet Skazka pro chuta v stilevom kontekste rannego tvorchestva S. Prokof’eva i Russkogo Вaleta S. Dyagileva [Sergey Prokofiev’s Ballett “The Jester Tale” within the Stylistic Context of the Author’s Earlier Creation and of Sergey Diaghilev’s Russian Ballett], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 21, pp. 32–44. (in Russ.).


  • Elizaveta Ya. Surits

State Institute for Art Studies, Moscow, Russia.

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FOREIGN CRITICISM OF PROKOFIEV’S FIRST BALLET “THE CHOUT (THE JESTER WHO OUTWITTED SEVEN OTHERS)”, PERFORMED BY THE TROUPE OF THE BALLETS RUSSES OF SERGEI DIAGHILEV

Abstraсt. The article discusses the reaction of foreign criticism to the first stage production of Sergei Proko­fiev’s ballet “The Jester Who Outwitted Seven Others” (abbreviated as the “The Chout”) by the Ballets Russes of Sergei Diaghilev, presented in 1921 in Paris and London. The author’s translation and a narrow analytical review of the foreign press creates a picture of the perception of Prokofiev’s first ballet by the contemporary European musical and theater community. The author acquaints Russian readers with major foreign critics and theater politics, with the main directions in assessing the activities of Diaghilev’s entreprise, with the evolution of the choreography and classical dance in the Ballets Russes, with new approaches to scenography and the role of the artist in the production process (in this case, Mikhail Larionov wasn’t only a decorator, but also a choreographer, creator of the dance-style score of the ballet, staged by T. Slavinsky). A significant place in the reviews is given to the discussion and evaluation of Prokofiev’s music by West contemporary musicians. In conclusion of the review of the French and English press, based on the description of the play given in the reviews, the author of the article reconstructs the main features of the production of Prokofiev’s ballet in the Ballets Russes of Sergei Diaghilev.

Key words: Prokofiev’s ballet “The Chout”; Ballets Russes by Sergei Diaghilev; M. Larionov; premiere in Paris and London; scenography and choreography of a ballet; foreign critics on Prokofiev’s performance and music.

For citation: Surits E. Ya. Zarubeshnaya kritika o pervom balete Prokof’eva «Chut» v truppe Russkij Balet Sergeya Dyagileva [Foreign Criticism of Prokofiev’s First Ballet “The Chout (The Jester Who Outwitted Seven Others)”, performed by the Troupe of the Ballets Russes of Sergei Diaghilev], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 21, pp. 45–60. (in Russ.).


LIFE ABROAD


  • Marina P. Rakhmanova

The State Institute for Art Studies of the Ministry of Culture of the Russian Federation, Moscow, Russia.

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GROGIY – PROKOFIEV’S SECRETARY

Abstract. The article is dedicated to a man whose name as if arose from oblivion after the publication of Prokofiev’s Diaries. A former secretary and close family man, he also turned out to be a rather prolific and interesting (albeit unknown) composer, who left about one and a half hundred works in various genres, includ­ing the cantata on the ancient Egyptian “Book of the Dead” and the symphony “On the 50th anniversary of the October Revolution”, about 40 piano sonatas, romances and many others. The article is written on the basis of all currently available archival and published sources, it represents the extraordinary life of this outstanding person against the background of the tragic events of Russian and European history of the twentieth century, through which he carried love and loyalty to Prokofiev as a composer and as a person. At the end of the article there is an analysis of G. N. Gorchakov’s music according to the manuscript and notes of several of his works published abroad.

Keywords: G. N. Gorchakov; Prokofiev’s secretary; composer; Gorchakov’s artistic heritage.

For citation: Rakhmanova M. P. Grogiy – secretar’ Prokofieva [Grogiy – Prokofiev’s secretary], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 21, pp. 61–70. (in Russ.).


AFTER RETURNING


  • Olga B. Solomonova

Petro Tchaikovsky National Music Academy of Ukraine, Kiev, Ukraine.

 E-mail: Адрес электронной почты защищен от спам-ботов. Для просмотра адреса в вашем браузере должен быть включен Javascript.. ORCID: 0000-0002-3058-425X

THE MOST “SOVIET” SOVIET MUSIC (OVERCOMING THE SOCIALIST CANON IN THE CANTATAS OF S. PROKOFIEV “PROSPER, OUR MIGHTY LAND!”, AND “ZDRAVITSA”)

Abstract. The named opuses are studied as representatives of the principle of intonational-semantic sabotage, which determines the specifics of many of Prokofiev’s works created in the totalitarian period. It is proved that these cantatas correspond in their properties to the characteristics of a simulacrum, the main features of which are mimicry, imaginary correspondence to a “high” prototype, hypertrophy of genre-stylistic features, semantic synergy, double coding.

Keywords: simulacrum; sabotage; mimicry; double coding; synergy; homo ludens.

For citation: Solomonova O. B. Samaya «sovetskaya» sovetskaya muzyka (preodolenie sotsrealisticheskogo kanona v kantatakh S. Prokof’eva «Slav’sya, nash moguchiy kray» i «Zdravitsa») [The most “Soviet” Soviet music (overcom­ing the socialist canon in the cantatas of S. Prokofiev “Prosper, Our Mighty Land!”, and “Zdravitsa”)], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 21, pp. 71–79. (in Russ.).


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MUSIC IN THE SYSTEM OF CULTURE SCIENTIFIC BULLETIN OF THE URALS CONSERVATORY 2020, № 20


 QUESTIONS OF THE MUSICAL AESTHETICS


  • Natalia M. Subbotina

Candidate of Philosophy, Ural State Conservatory named after M. P. Mussorgsky, Yekaterinburg, Russia.

E-mail: Адрес электронной почты защищен от спам-ботов. Для просмотра адреса в вашем браузере должен быть включен Javascript.. SPIN-код: 3173–5772

W.‑H. WACKENRODER ABOUT THE ESSENCE OF MUSIC

Abstract. The appeal to romantic aesthetics is important in connection with the existence in space of a modern musical culture of neo-style. Wilhelm Heinrich Wackenroder (1773–1798) is one of the founders of German romanticism, which influenced the development of German art theory and the whole of European culture. The interest in his works is due to the fact that they relate to the problems of the essence of music and art in general, the spiritual world of the artist as a self-sufficient value.

Key words: musical aesthetics; romanticism; W.‑H. Wackenroder.

For citation: Subbotina N. M. V.‑G. Vakenroder o sushchnosti muzyki [W.‑H. Wackenroder about the essence of music], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 20, pp. 6–11. (in Russ.).


THEORETICAL ASPECTS OF PERFORMING ARTS STUDYING


  • Boris B. Borodin

Doctor of Arts, Professor, Ural State Conservatory named after M. P. Mussorgsky, Yekaterinburg, Russia.

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PIANO FACTURE OF ROMANTISM AS A FORMING FACTOR

Abstract. Composers of the era of romanticism fully revealed the multifaceted capabilities of the piano. The texture that comes from the possibilities of piano or orchestrality, concert mode or chamberness is the poles of the romantic texture, reflecting the diversity of composer personalities and artistic ideas. The romantic piano texture from the means of  instrumental implementation of the composer’s idea becomes an active formative factor.

Key words: romanticism; piano; piano texture; virtuosity; singing on the piano.

For citation: Borodin B. B. Fortepiannaya faktura romantizma kak formoobrazuyushchiy faktor [Piano texture of romanticism as a forming factor], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 20, 12–16. (in Russ.).


  • George S. Zaitov

Choir artist of the Yekaterinburg State Academic Opera and Ballet Theater, Yekaterinburg, Russia.

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THE USE OF COMPUTER PROGRAMS IN THE ANALYSIS AND FORMATION OF A VOCAL RESONANCE STRATEGY

Abstract. The article is devoted to the possibility of using computer programs in teaching vocal art. The author uses modern computer programs with the ability to build graphs showing the overtone composition of the voice. Spectrograms of singers clearly show that singers use different resonance strategies. The author of the article introduces the new term “resonance strategy”. The basis of the study was the sound recordings of outstanding singing masters of the early twentieth century and to the present. Several possible resonance tuning options are found among singers. Resonance strategies of singing masters are standard for students of singing. With the help of spectral analysis, one can understand the objective reasons for the singers’ conflicting descriptions of their proprioceptive sensations in singing. Thus, an attempt was made to rationally explain the existing subjective singing sensations.

Key words: vocal performance; opera singing; spectrogram; resonance strategy; formant; harmonic.

For citation: Zaitov G. S. Primenenie komp’yuternykh programm v analize i formirovanii vokal’noy rezonansnoy strategii [The use of computer programs in the analysis and formation of a vocal resonance strategy], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 20. pp. 17–24. (in Russ.).


PEDAGOGY OF MUSIC EDUCATION


  • Elena P. Lukyanova

Candidate of Pedagogy, the M. P. Mussorgsky Ural State Conservatory, the Ural State Pedagogical University, Yekaterinburg, Russia.

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  • Viktoriya A. Ivakina

The M. P. Mussorgsky Ural State Conservatory, Yekaterinburg, Russia.

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ROLE OF PERFORMING PRACTICE IN THE PROFESSIONAL TRAINING OF CONSERVATORY STUDENTS

Abstract. The article is devoted to the optimization of performing practice of students of a musical university. In its theoretical part, the concept of a concert is considered as a sociocultural phenomenon of an artistic and communicative nature, various types of concerts (mixed, thematic, concert talk) and conditions for the formation of concert programs are described. The article touches upon the issue of the psychological prerequisites for the success of concert performances by musicians and the importance of regular concert performance.

The discussion of the methods and means of preparing students for performing practice, taking into account the requirements of the Federal State Educational Standard, is the content of the practical part of the article. This process should be understood in two ways: a) as a student learning musical works and bringing them to the stage of concert readiness (alone or under the guidance of a teacher); b) how to plan and organize his independent concert activity. A special role in the implementation of the tasks of performing practice is given to the creation by students of independent art projects in the sphere of musical performance. The article discusses the organizational and creative problems, gives examples of successful project activities of some departments of the Ural State Conservatory named after M. P. Mussorgsky.

Key words: concert; concert performing activity; performing practice; art project.

For citation: Lukyanova P. E., Ivakina A. V. Rol’ ispolnitel’skoy praktiki v sisteme professional’noy podgotovki studentov konservatorii [Role of performing practice in the professional training of students conservatory], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 20, pp. 25–33. (in Russ.).


  • Vladimir P. Ovchinnikov

People’s Artist of the Russian Federation, Head of the Special Piano Department of the Russian Academy of Music named after Gnesins, Moscow State Conservatory named after P. I. Tchaikovsky, Moscow, Russia.

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PERFORMING MASTER CLASSES IN THE PRACTICE OF MODERN MUSIC EDUCATION (TEACHER’S NOTES)

Abstract. The author reflects on the role of performing master classes in the practice of modern music education and gives advice related to the content and form of a public lesson.

Key words: music education; performing master class; piano lessons; content and form of the lesson.

For citation: Ovchinnikov V. P. Ispolnitel’skie master-klassy v praktike sovremennogo muzykal’nogo obrazovaniya (zametki pedagoga) [Performing master classes in the practice of modern music education (teacher’s notes)], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 20, pp. 34–40. (in Russ.).


TO THE STUDY OF PERFORMING PIANIST’S REPERTOIRE


  • Natalia G. Pankova

People’s Artist of Russia, Professor, Ural State Conservatory named after M.P. Mussorgsky, Yekaterinburg, Russia

THIRTY-TWO STEPS THROUGH THUNDERING PASS: NOTES ON BEETHOVEN’S CYCLE “THIRTY TWO VARIATIONS FOR PIANO ON AN ORIGINAL THEME” (WoO 80, c-moll)

Abstract. The author of this essay offers her own approach to interpreting Beethoven’s cycle “Thirty-Two Variationsfor Piano on an Original Theme” (WoO 80, c-moll). In comparing the variations with W. Golding’s novel “The Spire”, the dramaturgy of the cycle is analyzed, the shaping and tempo line of the work is considered.

This work is addressed to students of musical universities, as well as performers studying the piano art by Beethoven.

Key words: Ludwig van Beethoven; W. Golding; variations; piano performance; interpretation of a musical work.

For citation: Pankova N.G. Tridtsat’ dva shaga za grozovoy pereval: zametki o tsikle L. Betkhovena «Tridtsat’ dve variatsii dlya fortepiano na sobstvennuyu temu» (WoO 80, c-moll) [Thirty-Two Steps Through the Thundering Pass: Notes on Beethoven’s Thirty-Two Variations for Piano on an Original Theme (WoO 80, c-moll)], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, no. 20, pp. 41–65. (in Russ.).


  • Alexander M. Merkulov

Candidate of Art History, Professor, Department of History and Theory performing arts of the Moscow State Conservatory named after P. I. Tchaikovsky, Moscow, Russia.

SPIN-код: 9953-7660

BEETHOVEN PERFORMED BY N. G. PANKOVA


PAGES OF THE HISTORY OF THE URAL CONSERVATORY


  • Maxim A. Basok

Candidate of Art History, Professor, Ural State Conservatory named after M. P. Mussorgsky, Yekaterinburg, Russia.

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GENNADY ROZHDESTVENSKY: A FEW SHORT MEETINGS…

Abstract. The author shares his personal impressions about his meetings with an outstanding Russian conductor Gennady Nikolayevich Rozhdestvensky (1931–2018).

Key words: G. N. Rozhdestvensky; art of the conductor; Ural Conservatory.

For citation: Basok M. A. G. N. Rozhdestvenskiy: neskol’ko mimoletnykh vstrech… [Gennady Rozhdestvensky: a few short meetings…], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 20, pp. 66–69. (in Russ.).


  • Maxim A. Basok

Candidate of Art History, Professor, Ural State Conservatory named after M. P. Mussorgsky, Yekaterinburg, Russia.

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ABOUT FRIENDS...

Abstract. The memoirs convey the realities of Ural Conservatory life of 1970–1990 and are devoted to the pedagogical and concert activities of the violinist Irina Mikhailovna Michurina, who is working in the Bolshoi Theater Orchestra now.

Key words: Ural Conservatory, Maxim Andreevich Basok, Irina Mikhailovna Michurina.

For citation: Basok M.A. O druz’yah... [About friends…], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, iss. 20, pp. 70–76. (in Russ.).


  • Anton B. Borodin

Associate professor, Ural State Conservatory M. P. Mussorgsky, Yekaterinburg, Russia.

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ABOUT TIME AND ABOUT YOURSELF: AN INTERVIEW WITH WOLF USMINSKY

Abstract. Interview with the famous Ural violinist, conductor and teacher Wolf L. Usminsky.

Key words: Wolf Lvovich Usminsky; Sverdlovsk special ten-year music school; Ural Musical College; chamber orchestra “Lytsei-kamerata”; Ural State Conservatory named after M. P. Mussorgsky; Sverdlovsk Opera and Ballet Theater; Sverdlovsk Philharmonic.

For citation: Borodin A. B. O vremeni i o sebe: interv’yu s Vol’fom Usminskim [About time and about yourself: an interview with Wolf Usminsky], Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii, 2020, no. 20, 77–99. (in Russ.).


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MUSIC IN THE SYSTEM OF CULTURE SCIENTIFIC BULLETIN OF THE URALS CONSERVATORY 2019, № 19


 QUESTIONS OF THE MUSICAL AESTHETICS


  • Boris B. Borodin

Doctor of Arts, professor, Ural State Conservatory named after M. Mussorgsky, Yekaterinburg, Russia.

E-mail: Адрес электронной почты защищен от спам-ботов. Для просмотра адреса в вашем браузере должен быть включен Javascript.. ORCID: 0000‑0002‑5297‑4064; SPIN-код: 6431–4577

THE MANY FACES ROMANTICISM

Abstract. The debate about the essence of romanticism has been lasting about two centuries. Some people interpret romanticism as an ideological and artistic direction that took shape in the specific historical conditions of the late 18th - first half of the 19th centuries, while others understand it as a timeless phenomenon that accompanies the spiritual life of mankind in various historical eras. Romanticism is initially antinomic, paradoxical in nature. The world of romanticism is devoid of unity and is a contradictory picture. On the one hand,it has attention to every­thing unusual, on the other, it is attracted to the poetry of everyday life. Romanticism loses the “ethical immunity” inherent in the Enlightenment. One of the most significant paradoxes of romanticism arises: it is striving for the absolute, artists discover the seduction of evil.

Key words: romanticism; aesthetics of romanticism; relativity of concepts; anti-romanticism; neo-romanticism.

For citation: Borodin B. B. Mnogolikiy romantizm [The many faces romanticism]. Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii [Music in the system of culture: Scientific Bulletin of the Ural Conservato­ry]. 2019. Iss. 19, pp. 6–12. (in Russ.).


  • Grigory R. Konson

Doctor of Arts, Department of Media Research University “Higher School of Economics”, Moscow, Russia.

E-mail: Адрес электронной почты защищен от спам-ботов. Для просмотра адреса в вашем браузере должен быть включен Javascript.. ORCID: 0000-0001-7400-5072; SPIN-код: 6493-0776; Research ID: L-7271-2017

ON THE ESSENCE OF THE TRAGIC ORATORIOS BY G. F. HANDEL

Abstract. The article is devoted to identifying the essence of the tragic in oratorios by G.F. Handel. For this, the author, against the background of a wide circle of diverse and contradictory definitions, shows that the tragic is an insoluble socio-historical conflict that arises as a result of the actions of a person dying due to his unsolvable self-bifurcation. At the heart of this phenomenon is an awareness of the concept of duty, which is embedded in the moral nature of a man as a born judge over himself. In clumps of such a tragic contradiction, which in Han­del’s oratorios expresses “the tragedy of crucifixion” (the concept of T. Livanova) and is focused on the core of the tragedy. The author of the article shows the tragic hero from two opposite sides. Conflicts that go beyond the core and express the “tragedy of action” (T. Livanova) make up the context of the tragic core. An analysis of it in Handel’s oratorios clarifies several aspects: the intrapersonal conflict of the hero, interpersonal conflict, the conflict of the hero with the dark demoniac crowd (or the conquering people celebrating victory and indifference to the hero) and the opposition of the oppressed people to the conquering people. The totality of such conflicts in the work of art makes a multifaceted model of the tragic.

Key words: Handel; oratorio; tragic; ethics; aesthetics; philosophical category; psychological; intrapersonal; inter­personal; passionate conflict; duty.

For citation: Konson G. R. O sushchnosti tragicheskikh oratoriy G. F. Gendelya [On the essence of the tragic oratorios by G. F. Handel]. Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii [Music in the system of culture: Scientific Bulletin of the Ural Conservatory]. 2019. Iss. 19, pp. 13–19. (in Russ.).


FROM THE ARCHIVES OF THE URAL CONSERVATORY


  • Vladimir Yu. Grigoriev

Doctor of Arts, Professor, Moscow State Conservatory named after P. I. Tchaikovsky, Moscow, Russia

[ABOUT THE NATURE OF PERFORMING MOVEMENTS]

Abstract. Lecture by professor V. Grigoriev is devoted to the problem of organizing performing movements in the process of forming the technical apparatus of a violinist. Professional movement should take place within the coordination zone. Rhythm is the most important condition for the organization of movements.

Key words: violin performance; education of a professional violinist; performing movement; performance psy­chology.

For citation: Grigoriev V. Yu. [O prirode ispolnitel’skikh dvizheniy] [About the nature of performing movements]. Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii [Music in the system of culture: Scientific Bulletin of the Ural Conservatory]. 2019. Iss. 19, pp. 20–31. (in Russ.).


MASTERS ADVICES


  • Dmitri E. Ratser

Laureate of international competitions, Gnesins Russian Academy of Music, Moscow, Russia.

E-mail: Адрес электронной почты защищен от спам-ботов. Для просмотра адреса в вашем браузере должен быть включен Javascript.

PIANO PLAYING: HOW ALWAYS TO BE IN THE BEST CONDITION

Abstract. The famous concert pianist shares his personal experience of achieving and maintaining the optimal performing form.

Key words: piano performance; psychology of musical performance; preparation for performance; overcoming the stage excitement.

For citation: Ratser D. E. Igra na rojale: kak vsegda byt’ v nailuchshej forme [Piano playing: how always to be in the best condition]. Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii [Music in the system of culture: Scientific Bulletin of the Ural Conservatory]. 2019. Iss. 19, pp. 31–36. (in Russ.).


TO THE STUDY OF PERFORMING PIANIST’S REPERTOIRE


  • Maria V. Gavrilova

Candidate of Pedagogical Science, associate professor, Ural State Conservatory named after M. Mussorgsky, Yekat­erinburg, Russia.

E-mail: Адрес электронной почты защищен от спам-ботов. Для просмотра адреса в вашем браузере должен быть включен Javascript.. SPIN-код: 1270-3145

PERFORMING TASKS OF THE PIANIST IN THE CONTEXT OF INTERPRETATION OF M. P. MUSSORGSKY’S CYCLE “PICTURES AT THE EXHIBITION”

Abstract. The article defines the pianist’s performing tasks in the course of interpretation of M. P. Mussorgsky’s cycle “Pictures at the Exhibition”. The author analyzes the dramaturgy cycle, reveals figurative and meaningful connections between pieces, defines the unifying role of Walks, describes the shaping and tempo line in “Pictures at the Exhibition”. The article is addressed to students of music college and conservatory and to artists who study the piano works of M. P. Mussorgsky.

Key words: performing tasks; piano performance; interpretation of a musical piece.

For citation: Gavrilova M. V. Ispolnitel’skie zadachi pianista v kontekste interpretatsii tsikla M. P. Musorgskogo “Kartinki s vystavki” [Performing tasks of the pianist in the context of interpretation of M. P. Mussorgsky’s cycle “Pictures at the exhibition”]. Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii [Music in the system of culture: Scientific Bulletin of the Ural Conservatory]. 2019. Iss. 19, pp. 37–51. (in Russ.).


PAGES OF THE HISTORY OF THE URAL CONSERVATORY


  • Alexander S. Nadelson

Violinist and violist in the Symphony Orchestra of Haifa, Israel.

ON THE EARLY MUSIC ENSEMBLE OF THE URAL STATE CONSERVATORY

Abstract. The Early Music Ensemble is a bright page in the history of the Ural Conservatory of the 1970s. Alexander Nadelson (1976 graduated) is one of the members of this collective and he tells about the creation and activities of the ensemble.

Key words: Ural State Conservatory; student’s Early Music Ensemble; musicologist E. A. Rubacha.

For citation: Nadelson A. S. O studencheskom ansamble starinnoj muzyki [On the Early Music Ensemble of the Ural State Conservatory]. Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii [Music in the system of culture: Scientific Bulletin of the Ural Conservatory]. 2019. Iss. 19, pp. 52–54. (in Russ.).


  • Alexander S. Nadelson

Violinist and violist in the Symphony Orchestra of Haifa, Israel

REMEMBERING THE FRIEND

Abstract. The author tells on the basis of personal impressions about the life and work of musicologist Evgeny Ru­bakha (1952–2010), professor of the Department of Music History of the Ural Conservatory.

Key words: Ural State Conservatory; E. A. Rubakha; musicology; music performance.

For citation: Nadelson A. S. Vspominaya druga [Remembering the friend]. Muzyka v sisteme kul’tury : Nauchnyy vestnik Ural’skoy konservatorii [Music in the system of culture: Scientific Bulletin of the Ural Conservatory]. 2019. Iss. 19, pp. 55–59. (in Russ.).


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MUSIC IN THE SYSTEM OF CULTURE SCIENTIFIC BULLETIN OF THE URALS CONSERVATORY 2019, № 18


ON THE ANNIVERSARY OF THE URAL STATE MUSSORGSKY CONSERVATORY


  • Lyudmila K. Shabalina

Ph. D. (Arts), Associate Professor, Professor at the Department of Music Theory, Urals State M. P. Mussorgsky Conservatory, Yekaterinburg, Russia.

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80 YEARS WITH THE NAME OF M. MUSSORGSKY

Abstract. The article is devoted to the significant events in musical life that occurred 80 years ago in the city of Yekat­erinburg (then it was called Sverdlovsk, named after one of Lenin’s associates). In 1939, the first graduates of the first Sverdlovsk regional (in 1945 it became Ural) Conservatoire appeared. At its five-year anniversary the Conservatoire was named after M. Mussorgsky, in connection with the 100th anniversary of the composer’s birth. In May 1939, the opening of the first in the Ural composers’Union, became possible due to the existence of the Conservatoire, a number of teachers and graduates joined the creative union. The celebration of M. Mussorgsky’s anniversary, brave innovator of the Russian school of composition of the XIX century, took place in Sverdlovsk with the active participation of the creative Conservatory forces. During 85 years of its activity the staff of the Ural state Conser­vatoire made a considerable contribution to the development of its work in performing art and scientific research.

Key words: Yekaterinburg / Sverdlovsk; 1939; M. Mussorgsky; Ural State Conservatoire; Ural composers’Union.

For citation: Shabalina L. K. 80 let s imenem M. P. Musorgskogo [80 Years with the Name of Mussorgsky]. Muzyka v sisteme kul’tury: Nauchnyy vestnik Ural’skoy konservatorii [Music in the system of culture: Scientific Bulletin of the Ural Conservatory]. 2019. No. 18, pp. 7–24. (in Russ.).


 MUSIC THEORY


  • Konstantin M. Kurlenya

Doctor of Arts, Professor, Professor at the Department of Music Theory, Novosibirsk State M. I. Glinka Conserva­tory, Novosibirsk, Russia.

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REFINING THE MEANING OF THE TERM “INTONATION”: About the Logic al Basis of T heories B. Yavorsky, B. Asafiev and K . Zaks

Abstract. The article discusses the fundamental logical foundations of the intonation theories of B. Yavorsky, B. Asafiev, K. Sachs. It is indicated that in musicology the totality of meanings embedded in the concept of “intonation” is formed at the intersection of semantic sets of two other concepts – “singing” and “sign”. The choice of fundamental grounds for intonation theory governs the quality of the semantic content of the term intonation. If an attribute-based analytical judgment (B. Yavorsky) is chosen as the starting point, then the totality of sound phenomena (intonations) is considered as a set of separate special cases in which a single generative law is in effect. In the case of reliance on the principles of intensional logic (B. Asafiev), the essence of intonation appears as the totality of its possible semantic meanings, due to the context of its application in musical art. In the case of constructing the intonation theory based on logical modal operators (K. Sachs), the adequacy of the perception of the meaning of the sound message is guaranteed by the intonation consciousness, biologically inherent in the homo sapiens. Subsequently, through the procedure of substituting the perception method formulated in this way, the meaning of the acoustic message is built into more complex, already processed by the culture, types of communication relations between people.

Key words: intonation; intonation; singing; sign; attributive judgment; intensional logic; modal operators.

For citation: Kurlenya K. M. K utochneniyu smysla termina «intonatsiya»: o logicheskikh osnovaniyakh teoriy B. Yavorskogo, B. Asaf’eva i K. Zaksa [Refining the meaning of the term “intonation”: about the logical basis of theories B. Yavorsky, B. Asafiev and K. Zaks]. Muzyka v sisteme kul’tury: Nauchnyy vestnik Ural’skoy konservatorii [Music in the system of culture: Scientific Bulletin of the Ural Conservatory]. 2019. No. 18, pp. 25–41. (in Russ.).


MODERN MUSIC


  • Ekaterina О. Kоuprovskaia

Ph. D. (Arts), Doctor of Musicology at the University of Sorbonne-Paris IV; pianist, Paris, Franse.

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PIANO VARIATIONS OF ADISON DENISOV AS AN EXAMPLE OF SERIAL TECHNIQUE IN THE COMPOSER’S CREATION

Abstract. Piano Variations (1961) by Adison Denisov are the unique example of using the total serial technique in the composer’s early works. The aim of the article is to anayze various work methods with the seria. Moreover the sprouts of some typical constituents of his mature style such as energetic ‘torn’rhythms in contrast with ornate, expressive and melodic lines make score graphics woven from dots and lines. In the Variations there is also fully manifested the nature of Denisov’s thinking. By that timt his creative settings had been clearly formed and his following opuses constantly confirmed it. This is about his two fundamental principles; 1) classic thinking man­ifested above all in the architecture of his compositions. 2) the work with the seria as ‘an improvised material’. If subsequently Denisov departs from total seriality but reliance on the series as a starting thematic material is present in all his compositions.

Key words: A. Denisov; A. Webern; serial technique in musical composition; variations.

For citation: Kоuprovskaia E. О. Variatsii dlya fortepiano Edisona Denisova kak primer seriynoy tekhniki v rannem tvorchestve kompozitora [Piano Variations of Adison Denisov as an Example of Serial Technique in the Composer’s Creation]. Muzyka v sisteme kul’tury: Nauchnyy vestnik Ural’skoy konservatorii [Music in the system of culture: Scientific Bulletin of the Ural Conservatory]. 2019. No. 18, pp. 42–55. (in Russ.).


  • Elena M. Shabshaevich

Doctor of Art History, Professor at the Department of Philosophy, History, Theory of Culture and Arts at the Moscow State Institute of Music named after A. G. Schnittke, Moscow, Russia.

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THE LEITMOTIF SYSTEM IN ANIMATION: THE SCHNITTKE METHOD

Abstract. The article is devoted to the study of the leitmotif system as one of the leading parameters of the musical dramaturgy of the animated film-trilogy based on Pushkin’s drawings (“I’m flying to you with memories”, 1977; “I’m with you again”, 1980; “Autumn”, 1982; directed by A. Hrzhanovsky, the music by A. Schnittke). The study aims to identify the specifics of musical leitmotives in animation. The study poses the following tasks: to analyze A. Schnittke’s leitmotiv technique and compare them with the methods of classical Opera drama. The article deals with the main groups of leitmotives: 1. associated with the personality of the poet, his “life and destiny” and his poetic work, 2. characterizing the environment of Pushkin: high society, nature, folklore, political situation. The development and interaction of various thematic complexes throughout the three films is also traced. On the basis of musicological analysis, as well as memories of the Hrzhanovsky and Schnittke, draws conclusions about the features of Schnittke’s use of Wagner’s leitmotif system in terms of animated movies.

Key words: A. Pushkin; A. Hrzhanovsky; A. Schnittke; animated films; musical dramaturgy; leitmotives.

For citation: Shabshaevich E. M. Leytmotivnaya sistema v animatsii: metod A. G. Shnitke [The leitmotif System in Animation: the Schnittke Method]. Muzyka v sisteme kul’tury: Nauchnyy vestnik Ural’skoy konservatorii [Music in the system of culture: Scientific Bulletin of the Ural Conservatory]. 2019. No. 18, pp. 56–63. (in Russ.).


  • Ekaterina G. Okuneva

Ph. D. (Arts), Associate Professor, Pro-rector for scientific and creative work of the Petrozavodsk State A. K. Glazu­nov Conservatory, Petrozavodsk, Russia.

E-mail: Адрес электронной почты защищен от спам-ботов. Для просмотра адреса в вашем браузере должен быть включен Javascript.. ORCID: 0000‑0001‑5253‑8863

ISSUES OF DEVELOPMENT OF SERIAL TECHNOLOGY IN THEORETICAL VIEWS AND MUSICAL PRACTICE OF ERNST KSHENEK

Abstract. The article highlights theoretical views of Ernst Krenek on the development of serial technique, shown their reflection in the musical practice of the master.

The adoption of a new method of composition was accompanied by the musician distrust, doubt, and hesita­tion. Discussions with Theodor Adorno played an important role in recognizing the necessity and prospects of the twelve-tone technique. The article reveals the difference between the theoretical positions of both artists, as well as the huge influence of aesthetic views of Karl Kraus on Krenek.

Based on the books and essays of the composer, on the analysis of his works, the work outlines a range of issues that interest Krenek in the field of serial technology. These include identifying the fundamental rules of dodecaphony for the purpose of practical training, identifying areas for further development of technology that are associated with the breaking down of the integrity of the series through segmentation, rotation and other manipulations, with the combination of the serial concept with modality and tonality, with the extension of the principle of the series to other parameters.

At the end of the article concludes the three-phase development of serial work Krenek, reveals the dominant idea in his views on serial technique.

Key words: Ernst Krenek; serial technique; serialism; dodecaphony; music of 20 century.

For citation: Okuneva E. G. Voprosy razvitiya seriynoy tekhniki v teoreticheskikh vzglyadakh i muzykal’noy prak­tike Ernsta Ksheneka [Issues of development of serial technology in theoretical views and musical practice of Ernst Kshenek]. Muzyka v sisteme kul’tury: Nauchnyy vestnik Ural’skoy konservatorii [Music in the system of culture: Scientific Bulletin of the Ural Conservatory]. 2019. No. 18, pp. 64–80. (in Russ.).


  • Anna G. Chupova

Head of sector of additional education, lecturer of musical and theoretical disciplines, Cherepovets regional college of arts and artistic crafts after V. V. Vereshchagin, Cherepovets, Russia.

E-mail: schuvalova. Адрес электронной почты защищен от спам-ботов. Для просмотра адреса в вашем браузере должен быть включен Javascript.

“VANITAS VANITATUM”: the composing strategies of sense f ormation in S. Sciarrino’s “Vanitas”

Abstract. The article explores the opera of the Italian composer S. Sciarrino «Vanitas», which received the author’s subtitle “natura morta in un atto”. Analyzing the features of the libretto, dramaturgy and its sound realization, the author reveals the composer strategies of meaning formation, the specifics of their implementation and the role of the listener in this process. The most important artistic principle in «Vanitas» is the poetics of subtraction, of meaningful absence. The key to the whole composition is the popular American jazz song «Stardust». The song not only inspired Sciarrino to create a composition dedicated to emptiness and transience, but also predetermined the basic images and meanings, became the “building” material of «Vanitas», embodied in the idea of sound anamorphosis.

At the end of the article it is concluded that «Vanitas» was a unique theatrical experiment for Sciarrino – still life without objects, opera without action – an experiment in which the listener is given an active role. Subtracting the visual component, abandoning the dramatic narrative, the composer offers the listener the process of mental representation of sound images, building a logical connection between them, which ultimately forms the basis of the representation. This conception will be developed in the subsequent works of the Sicilian Maestro, for which he will find a capacious definition – “invisible action” (azione invisibile).

Key words: Salvatore Sciarrino; «Vanitas»; “azione invisibile”; 20th century opera; anamorphosis; Stardust.

For citation: Chupova A. G. «Vanitas vanitatum»: kompozitorskie strategii smysloobrazovaniya v «Vanitas» S. Sharrino [“Vanitas vanitatum”: The Composing Strategies of Sense Formation in S. Sciarrino’s “Vanitas”]. Muzy­ka v sisteme kul’tury: Nauchnyy vestnik Ural’skoy konservatorii [Music in the system of culture: Scientific Bulletin of the Ural Conservatory]. 2019. No. 18, pp. 90–104. (in Russ.).


MUSICAL CULTURE OF THE URALS


  • Maria V. Bazilevich

Ph. D. (Arts), Senior Lecturer at the Department of Music Theory and Musical Education, Tyumen State Institute of Culture, Tyumen, Russia.

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“MUSIC FOR PERFORMING” AND “MUSIC FOR LISTENING” IN THE INSTRUMENTAL COMPOSITIONS FOR CHILDREN OF V. G. TRAPEZNIKOV

Abstract. The article attempts to identify the characteristic feature of various areas of children’s music (“music for performance” and “music for listening”) by analyzing the content plans and artistic texts of instrumental com­positions for children of the Ural composer V. G. Trapeznikov. The research is the notebook piano pieces “Toys” and a Suite for folk instruments “Tales for Alyonushka”, which was created based on the work of the same name by D. N. Mom’s Siberian. The work is based on the installation method of the intonation theory and the theory of musical genres, on the thesis of children psychology and on the theory of musical perception. The author determines the main criteria, which indicate the belonging of the considered compositions to different areas of children’s music: the type of program in instrumental music, the presence of imagimg contrast within the pieces, the scale of the musical form, the level of technical complexity of the opus, the type of performer of the composition and the communicative situation of the existence of the work. In the considered instrumental works of V. G. Trapeznikov for children, the Ural composer appears to be an interesting storyteller, able to create vivid, memorable musical images and stories that are close and understandable to everyone; eternal themes of humanism, childhood and love for the native land are revealed.

Key words: V. G. Trapeznikov; Ural composer; music for children; imagery content of musical compositions; pro­gram music; children’s musical perception.

For citation: Bazilevich M. V. «Muzyka dlya ispolneniya» i «muzyka dlya slushaniya» v instrumental’nykh sochineniyakh V. G. Trapeznikova dlya detey [“Music for Performing” and “music for listening” in the instrumen­tal compositions for children of V. G. Trapeznikov]. Muzyka v sisteme kul’tury: Nauchnyy vestnik Ural’skoy konservatorii [Music in the system of culture: Scientific Bulletin of the Ural Conservatory]. 2019. No. 18, pp. 105–111. (in Russ.).


SACRED MUSIC


  • Oksana E. Sheludyakova

Doctor of Arts, Professor, Professor at the Department of Music Theory, Urals State M. P. Mussorgsky Conservatory, Yekaterinburg, Russia.

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RUSSIAN ORTHODOX CHANTERS OF THE TWENTIETH CENTURY

Abstract. The article by O. E. Sheludyakova attempts to elucidate one of the most important problems of modern spiritual musical culture – work of new Russian singers. The work reveals both the ancient Russian traditions of singing and features of the modern practice of their existence; norms of singing in Ancient Russia are considered in conjunction with modern models.

It is noted that the main functions of the chanter in ancient Russia were chanting during divine service of kryuki manuscripts; leadership of the choir during divine services and chants; preservation and development of local singing tradition; creation of new church sings; training of students – singers and, in some cases, training of other chanters.

It is concluded that at the end of the 20th century, the listed parameters are reviving in a new quality: at a certain stage of activity, all new Russian chanters performed the duties of a regent, they served as leaders of the choir and, at the same time, as educators of singers, became collectors of strains, authors of transcriptions, deciphers, harmo­nizes. Often the author’s name was not indicated, chants existed in several equal versions. In the national music of the Orthodox tradition, and in the works of S. Trubachev, archimandrite Matthew, archimandrite Naphanael and others, a deeply original harmonious system of working with the source has developed, which can be compared in depth, integrity and sophistication to Western European.

Key words: new Russian singers; new Orthodox Christian obikhod; spiritual composers of the twentieth century.

For citation: Sheludyakova O. E. Russkie pravoslavnye rospevshchiki XX stoletiya [Russian Orthodox Chanters of the Twentieth Century]. Muzyka v sisteme kul’tury: Nauchnyy vestnik Ural’skoy konservatorii [Music in the system of culture: Scientific Bulletin of the Ural Conservatory]. 2019. No. 18, pp. 112–120. (in Russ.)


MUSICAL PERFORMANCE AND EDUCATION


  • Boris B. Borodin

Doctor of Arts, Professor, Holder of the chair of history and theory of performing art, Urals State M. P. Mussorgsky Conservatory, Yekaterinburg, Russia.

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CREATIVE FREEDOM OF PERFORMING MUSICIAN: AT THE CROSSROADS OF OPINIONS

Abstract. This article contains two sections. The first of these is a brief annotated overview of the different opinions about the creative freedom of the performing musician expressed by performers, musicologists, aestheticians and philosophers.

The author’s concept of freedom of the performing musician’s creativity is offered in the second section of the article. The philosophical views of Nikolai Berdyaev are the methodological basis of this section. Berdyaev believes that a freedom is the main condition for genuine creativity. The author examines the activities of the performing musician as a special kind of creativity, based on already existing works of art.

Key words: Freedom; Creativity; Musical Performance; R. Ingarden; Nikolai Berdyaev.

For citation: Borodin B. B. Svoboda tvorchestva muzykanta-ispolnitelya: v perekrestke mneniy [Creative freedom of performing musician: at the crossroads of opinions]. Muzyka v sisteme kul’tury: Nauchnyy vestnik Ural’skoy konserva­torii [Music in the system of culture: Scientific Bulletin of the Ural Conservatory]. 2019. No. 18, pp. 121–132. (in Russ.).


  • Vladimir I. Adishchev

Doctor of Pedagogic Sciences, Professor of the Chair of Culturology, Musicology and Music Pedagogy, Perm State Humanitarian Pedagogical University, Perm, Russia.

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«SCHOOLS SHOULD GIVE STUDENTS THE ABILITY TO CONSCIOUSLY LISTEN TO AND UNDERSTAND MUSIC…» (the history of dev eloping a music program for a comprehensive labour school)

Abstract. The process of developing one of the first music programs for a comprehensive labour school is revealed. It is shown that the beginning of the work of a group of prominent music teachers on that program dates back to the middle of 1918 and is connected with the activities of the Moscow Music Council. In the second half of 1918 the work on the program was continued in a number of departments of the People’s Commissariat of Education of the RSFSR, first of all in the subdivision of the general music education of the Music Department under the authority of N. Y. Bryusova. At the beginning of 1919 the document prepared was published and put into effect. The program helped school teachers familiarize students with Russian folk music, classical pieces of domestic and foreign composers. Also the program let students understand the language of music, develop the ability of performing and listening to music and creativity. Many of the ideas and provisions contained in the program seem relevant for the theory and practice of modern general music education.

Key words: music program; comprehensive labour school; the People’s Commissariat of Education; 1918–1919.

For citation: Adishchev V. I. «Shkola dolzhna dat’uchashchimsya umenie soznatel’no slushat’i ponimat’muzyku…» (K istorii sozdaniya programmy po muzyke dlya edinoy trudovoy shkoly) [«Schools should give students the ability to consciously listen to and understand music…» (The history of developing a music program for a comprehensive labour school)]. Muzyka v sisteme kul’tury: Nauchnyj vestnik Ural’skoj konservatorii [Music in the system of culture: Scientific Bulletin of the Ural Conservatory]. 2019. No. 18, pp. 133–141. (in Russ.).


INTERDISCIPLINARY RESEARCH


  • Lev S. Rubin

PhD (Technical science), Associate Professor, Urals State M. P. Mussorgsky Conservatory, Department of Musical Sound Engineering, Ekaterinburg, Russia.

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SOUNDS AND MUSIC (ON THE REGULARITIES OF PERCEPTION MUSIC INFORMATION)

Abstract. Digitalization of musical sounds for more than 3 decades has been changing the sound environment that surrounds a modern man and makes it musical. This has drawn the attention of specialists of various com­petencies to the themes of the impact of music on humans. Based on the information approach that allowed us to present musical signals as a combination of informative and redundant information, we introduced the concept of the relationship of excess musical information to the informative one as a measure of the ease of human percep­tion of music of different genres. It is shown that the acoustic conditions in which a person perceives music is an important factor that helps the listener to show interest in music, in which the ratio of redundant and informative musical information is reduced. In Russia, where the importance for the development of a society of good acoustic conditions in the perception of music is underestimated in general, so combining the data of musicology, psycho­acoustics, neuroscience, architectural acoustics within the framework of one concept creates the basis for practical work with different sectors of society to promote the need for an overall improvement of acoustic conditions for human interaction with musical culture. It is proposed in musicology studies to include studies of the influence of acoustic conditions on the perception of music.

Key words: musical information; excessive musical information; perception of music; acoustic conditions.

For citation: Rubin L. S. Zvuk i muzyki (o zakonomernostyakh vospriyatiya muzykal’noy informatsii) [Sounds and music (on the regularities of perception music information)]. Muzyka v sisteme kul’tury: Nauchnyy vestnik Ural’skoy konservatorii [Music in the system of culture: Scientific Bulletin of the Ural Conservatory]. 2019. No. 18, pp. 142–151. (in Russ.).


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