Edvard Grieg’s Elegiske dikt, op. 59, which includes settings of six poems by John Paulsen, has been highly praised by Russian musicologists, while Norwegian Grieg specialists, on the other hand, have denigrated it. The author suggests that the discrepancies within the evaluation have to do with different views on the poems and the work’s musical style.
Bazilevich Maria V.
The article deals with the program piano pieces that embody dolls' images in the context of children's story-role playing games. As the test material there used piano pieces of foreign and Russian composers of the 19 - 20 centuries: V. Agafonnikov,V. Blok, V. Vitlin, J. Dandlo, C. Debussy, E. Denisov, F. Constant, B. Martinu, N.Puzey, R Tchaikovsky, D. Shostakovich. The study is based on the installation method of semantic analysis of musical themes, on the thesis of children psychology and on the theory of musical perception. The author reveals a number of genre and intonational elements ( dancing and marching models, symbols of movements and eurhythmies, signs of musical instruments, home vocal lyricism and voice intonational formulas) used by the composers to create musical images of dolls.Here is also grounded the postulate that all these means of expression are corresponding to perculiarities of children's musical perception.
Sklyarova Evgenia An.
The most important writings and publications about traditional culture of Russian old-timers of Udmurt Republic are indicated in this article, the results of the expeditions of the last years on the investigated territory, realized by the author of the article from 1998 to 2013 with the support of A.M. Mekhnetsov Folklore and Ethnographic Center of the N.A. Rimsky-Korsakov Saint Petersburg State Conservatory, are briefly presented. The key folklore genres reflecting the signs of the once-existing epic tradition are presented in the particular form. They are demonstrated in the imaginative and poetical sphere as well as in music and style sphere of the song folklore (wedding songs, lyrical songs, lamentations and musicpoems with religious theme).Collected during these years expedition material allows to suggest not only the specific local song culture, but also allows to make a comparative study with the neighboring regions, for example with Kirov Oblast and Perm Krai.Udmurt Republic is comparatively inconsiderable territory, but the original Russian traditions are saved in this region, what should be certainly taken into account when Russian folklore mapping and the further completing of the folklore and ethnography atlas.
Ushakova Natalia VI., Demeshko Galina An.
Basing upon several musicological works and their own analysis of Marian motets as well, the authors reveal and describe the primary features of different levels of Renaissance modal system: mode, melodic and thematic invention, harmony, form and composition.Renaissance modality succeeds the traditions of the medieval singing culture, the essence of which is the concept of likening (in the movement ‘‘from an image to likeness”). Therefore the main law of the development of a modal composition is based on the movement from an individual, sensually perceptible, towards the Universal, integrated, supersensual. On the one hand, Renaissance modal system is formed on the concepts of immovability andabsoluteness (system of modes, formulas, cadencies), and on the other hand, on the concept of variability, which implicates the unique bends of essencially individual development of the mode, melodic, polyphony and composition. This objective law reveals the complex incognizability of the communication between the two worlds:the heavenly world and the terrestrial world. The model of synthesis of antiquity andChristianity becomes noticeable through the paradoxicall combination of the two perspectives of the world concept: in “the truth of life” and by means of human touch to the Absolute.
Naumenko Tatiana Iv.
The paper observes several trends associated with the multiplication of the number of dissertation research in musicology in the period of the 1990s-2000s.The author poses the problem of compilation which leads to disappearance of originality and novelty against the obvious overproduction of texts, and gives examples of similar studies. Among the problems that emerged in the post-Soviet musicology the author highlights the tendency to thematic repetition and borrowing of ideas, approaches, and evenformulations. It is noted that the occurrence of these problems is the result of the quantitative requirements established management structures in education. All the actions to prevent plagiarism in dissertation researches are focused on the increase in the number of publications for PhDs. This process explodes into depreciation of scientific work, which is increasingly becoming a simulation.