The paper deals with the basic artistic topics for reviewing covered in lecture andpractice courses for students of choral conducting departments in higher education institutions. The author touches upon the spheres of musical composition, authenticand avant-garde performance, the role of music in theatrical productions and in the musical-creative process. Not neglected here is the domain of mass culture, the least researched by musicology.
In Western culture the early second half of the 20th century was marked by the new wave of avant-garde. The situation developed differently in the Russian music culture which turned out to draw more strongly upon classical traditions and showed no encouragement for experimentation. Sonata for violin and piano is a specific variety of the sonata genre. The paper covers ways to innovate the genre (exemplified by B. Tchaikovsky’s Sonata for Violin and Piano in A major, 1959) with relation to Tchaikovsky’s original solutions in the fields of composition, dramatic concept, timbre, texture, mode and colouristics.
The paper deals with the role of music on example of choral scenes in the Russian theatre of the time of Catherine II - operatic, ballet, dramatic. There were many scenes with choruses in the Russian operas unlike Western European ones. It is due to ability to engage into performances chapels of fortress and connections with stories from ceremonial folklore. Choral scenes in the Russian theatre of that time played the form-building role in staging.
The paper deals with the chorale settings by the German composer and organist Franz Tunder (1614-1667). The author examines how the traditional German ways of using a source and early Italian Baroque style features interact within the genre.
The paper deals with V. Kikta’s chamber opuses including both one-part and multi-part sonata cycles. The composer skillfully combines different genre-stylistic models of different periods - from the refined stylization of folk melodies and Neo- Baroque elements to dissonant modern techniques of composing.
The communicative aspects of music perception from the perspective of thehumanities: sociology of music, musicology, aesthetics, and psychology are considered in this paper. The direction and orientation of the given process for updating and design of musical sense of subjective reality in order to understand and experience meaning of the content of artistic (musical) text is generalized in this work.
Статья посвящена оркестровым произведениям В. Артёмова 80-х годов, сочетающим романтическое мышления композитора с новациями в областимузыкального языка. В процессе анализа сделан акцент на стилистике произведений, которая рассмотрена сквозь призму новой звуковой среды.