Dramaturgical function of texture in concerto-chant «Glorifying the Birth of Christ» by V. Runchak

Zaverukha Elena Leonidovna

The genre system of the modern Ukrainian choral creation a special place is taken by a one-movement concerto. In keeping with the prosaic text of St. Luke Gospel by V. Runchak a creating «Concerto-chant» of a contrast-composite form type. Choral texture in the composition by V. Runchak serves the primary means of dramatic development of the artistic whole. In the musical dramaturgy centered contains the main thematic melody structures, which are developed in different textural conditions - from antiphon to sonority of supermultivoice singing, chant and aleatory techniques using nonvocalic intonation. Special attention is paid to the staff of performers (particularly children's choir, whose «angelic-like» singing forms the semantic culmination). Variability in the process of billing functions thematic development characterizes the general profile of the drama as «the type of spiritual ascent». According to the author's clarification of the genre, the code is set higher sacral point of dramatic development.

D.Y. Struiskiy and his Opera «Parasha-Siberian»

Smagina Elena V.

Article is addressed to one of the forgotten names in the history of Russian Opera of the nineteenth century - Dmitriy Yuryevich Struiskiy, known in musicology as a prolific musical critic, writing in the late 1820s - 1840s, and less as a writer, translator and composer. In the publication for the first time touched pedigree pedigree of D.Yu. Struiskiy, belonging to the well-known in the days of Catherine the family; a review of his literary and musical heritage. Highlights the Opera «Parasha-Siberian», composed in the 1840s on his own libretto on the drama («the Russian were») N.A. Polevoy. Considered as lost, Opera for the first time presents the specialists ‘ attention as an interesting sample of genre and stylistic searches of the Russian Opera theatre in the period between «Life for the Tsar» and «Ruslan» by M.I. Glinka.

«Faithful to the cult of Bach»: Activity of A. Siloti in his American period

Izotova Svetlana A.

The article is devoted to the activity of Russian pianist and conductor Alexander Siloti (1863-1945) after his departure in 1919 from Russia. In Russian literature this period of his biography has not been studied well and is unfairly considered to be not so productive as his Russian period. This publication provides information about Siloti’s concerts in Finland, UK, Germany and USA in the 1920s-1930s. The dates and programs of these concerts are verified by the author of the article on the documents stored in the archives of Europe and United States - the letters, posters and program booklets, press reviews. Particular attention in the article is given to the cycles of Bach concerts, as well as Siloti’s editions and processings of Bach music. The article presents fragments of the American press reviews from 1920s-1930s, showing the importance of Siloti’s performing activity in that period. The author of the article investigated the manuscripts and life time editions and created a list of processings and revisions of Bach works Siloti did in America. The list is attached to the article. The article shows the importance of the American period of Siloti’s activity in the Bach reception history.

Fanfares genre in A. K. Glasunov`s works: historic-textological aspects of research

Latyshev Nikolay A

The present article is dedicated to the analysis of fanfares - a less widely known genre for wind instruments in A.K. Glazunov’s works. Three works in the following genre belong to a composer, written either by Glazunov himself or in collaboration. The first one is the four pieces suite of fanfares for two trumpets and two trombones written by Glazunov himself. The second work is dedicated to Belyaev and was written for the 5th anniversary of Russian symphonic concerts, with one piece written by Glazunov and the other one by C.A. Cui. The last work is dedicated the 25th anniversary of Rimsky-Korsakov’s career and consists of five pieces - two written by Glazunov and the other three by A.K. Lyadov. In each case the history of each work is being considered. The creative process of the Russian genius is being analyzed on the basis of his manuscripts. Moreover, the article develops the topics of Glazunov’s musical language, his unique imagery, as well as presents musical parallels with the other genres in Glazunov’s works.

Immortal Tunes «Koroglu»

Yunusova Violetta N.

This review is devoted to basic research of the famous scientist, Honored Art Worker of Azerbaijan, Doctor of Arts, Professor, member of Composers' Union and Union of musical figures of Azerbaijan, founder and editor of the international scientific journal«Musiqi Dünyasi» Tariel Mammadov. The book continues the series of works to the music of the Turkic epic, broad historical background discusses the history of epic melodies, originality revealed Azerbaijani versions of the «Koroglu» epic in comparison with the heroic epics of other peoples of the Middle East, the Caucasus and Central Asia, the Balkans. The paper also defines the role of the Azerbaijani version of this epic as the main, presented creative portraits of famous performers - ashiqs, issues of methodology for studying the music of the Turkic epic.

In the theater of Azerbaijan Mambetov and Gaziza Zhubanova

Mosiyenko Dina M.

In this article describes creations of outstanding figures of Kazakh art of the second half of XX century Azerbaijan stagedirector Mambetov and composer Gaziza Zhubanova. The cooperation of the painters stimulate mutual keenness in theatre, what affected in creation of twenty united works. Unique union of musical intuition of stage director and theatre intuition of composer, creates performances which have been stunned and amazed contemporaries in their time.This article reflects Mambetov’s opinion about role of music in dramatic theater. According to the terminology adopted for theater studies, music for performances, created by Zhubanova, performs the function of counterpoint.It is doing attempt to review the interaction between dramatic and musical theaters in creativity of Azerbaijan Mambetov and Gaziza Zhubanova.

«Music speech» of Edison Denisov’s piano works

Gataullina Nelly A.

The article deals with a phenomenon of Edison Denisov’s music speech. This comprehensive term reflects precisely the peculiarities of the composer’s individual style and can be applied to the full to his piano works. The aim of the author’s review of Denisov’s musical expression means is to reveal the main parameters of his «piano music speech», i.e. timbre and sound, timbre sonorous sounding or sonorous colour, timbre and intonation technique - intonation colour. Basing on the analysis of Denisov’s piano works («Signs on white», «Dots and lines», «Three pieces», etc.) the author concludes that in his music speech the composer uses new parameters and criteria, which makes him one of the leaders in the area of musical expression means among the composers of the new time.

On historical truth and fiction in Scribe’s operatic libretto «Gustave III ou Le bal masque»

Zhestkova Olga V.

The article reveals the historical connections of plot in Scribe’s operatic libretto «Gustave III ou Le bal masque» (1833) with the real events in the personal life, public and political and creative activity of the king are discovered. When writing the libretto Scribe based on John Brawn’s «The northern courts» which was translated into French in 1820. This allowed him to successfully correlate and join historical truth and fiction in the work.

Violin music education in Kazakhstan: retrospective and perspective

Zhumabekova Dana Zhunusbekovna

The article is covered by more than 100 years of violin music education development in Kazakhstan. Over time it has become clear that it makes sense to split it into 5 stages. An analytical approach to the distribution by year provides an opportunity to take a fresh look at the meaning and role of each period in General, adding the culture of this country. Culmination zones in the construction of musical education in Kazakhstan as the system turned out to be 2-nd and 3-rd stage. The final step 5 can be divided into two stages as though, as it includes the bordering region.In practice today for the first time, musical institutions, where the process of forming of violinists, are collected in a single system. It has a horizontal, that is, historical development, and vertical line, proving the value of continuity of music education (children’s musical school - college - college-graduate) in his uniform, continuous motion. Strategic plans of musical education focused on educating the next generation of creative youth, providing a high level of culture of Kazakhstan.

Vocal work in the choir based on the S.A. Kazackov’s system

Belyaeva Anastasia N.

This article focuses on the problems of vocal work in the choir based on the methodology of the outstanding Russian choral conductor - Semyon Abramovich Kazachkov. S.A. Kazatchkov led the students choir of Kazan Conservatory for many years. He developed his own system of vocal work with the choir based on many years of experience, the main provisions of which he outlined in his books. Much attention in this article is paid to the improvement of vocal technique in the choir on exercises (descant), to the classification of all exercises (by the system of Kazachkov), examples of vocal exercises, described the specific techniques that were worked out in these exercises. In addition, the article briefly discusses the challenges of working on systems and choral ensemble, highlighted various types of choral ensemble.



This content is a part of the Cultural studies collection from eLIBRARY.
If you are interested to know more about access and subscription options, you are welcome to leave your request below or contact us by eresources@mippbooks.com