Chirkova Maria A.
The period at the turn of the 20th century in Russia was the time of remarkable cultural uplift when a pleiad of masters rose into distinction. Besides widely recognized musicians there was quite a number of characters, whose names nowadays are almost in oblivion. One of them was Arseniy NikolaevichKoreschenko, the Russian composer, pianist and music teacher, who played an important role in the musical life of Russia. His creative activity, first bringing him success, dramatically ended: at the age of 38 Arseniy Nikolaevich, who graduated Moscow Conservatory with the Great Gold Medal and promised well, stopped creating music. One of the reasons for that was the composer's depression after hisballet "Magic Mirror" had been presented in the theatre and turned out to be a fiasco. However today we can see those events in a new light and make a new evaluationof Koreschenko's creative works.
Zurabyan Janna P.
This article is devoted to the issues of the intonation expressiveness of the Armenian monadic music. Following the theories of “typical,” “primary” intonations, intonation formulas, etc. the author mentions their importance to reveal the national character both in the folk music and composing creativity.In the result of the intonation analysis of a number of the outstanding patterns of the Armenian folk, professional and medieval church music, the intonation turns that were “semantically” expressive and basic elements of the national monody were revealed. The author differentiates these “primary” intonations according to their emotional characteristics of the genre and reveals two main types: intonation based on recitative songs, characteristic to the epic, dramatic and pathetic songs, and intonation based on dancing songs, prevailing in the dramatic and comic songs of dancing rhythmic.
Popov Valeriy S.
The paper presents the part of the 1st chapter of the book The Human Voice of the Bassoon, which is now ready to be published. The author analyses two versions of the Pathetique Trio - the original one for the clarinet, bassoon and piano, and the that which appears in the end of the XIX century by the efforts of the violinist Grzhimali - for the violin, cello and piano.
Girfanova Marina Ye.
The article discusses the early stage of the syncopation in mensural music. The systematic application of syncope should be associated with the historically earlier deadlines than that indicated in the studies - the article explains the formation and function of syncopation in Philippe de Vitry'motets of 1330-40s. The author revealsthe early mention of syncope in the treatise of Johannes de Mûris «Notitia artismusicae» (1319 or 1321) and compares the treatment of syncope in «Notitia» with its treatment in the later treatises «Libellus cantus mensurabilis» Mûris and «Ars perfecta in musica» Vitry'tradition, which appear in the research literature as containing the first theoretical description of syncopation.
Gouseva Anna N.
The revival of the lost historical bells of Russia makes it particularly urgentexamination of the preserved samples. The article presents approaches to the studyof sound features preserved bells of XII - XVI centuries. The geometry of the bells of different time is compared with the timbre and duration of the sound.Old bells can be divided into groups according to time, place of manufacture, the name of the master or the plant. If the bell has an inscription with the relevant information, fairly easy to determine the moment of casting. This process is more complicated in the case of the attribution of small bells. It is necessary to make external comparative analysis: to compare the bell with those instances, the origin of which it is known exactly. As a result of conducted studies have begun to data on the quantitative and qualitative composition of ringing, variants of possible timbre interpretation.
СУШКОВА-ИРИНА Я.И., КОНСОН Г.Р.