Kharuto A.V., Utegalieva S.I.
This article is devoted to the research of ﬂageolets on Kazakh dombra, to identiﬁcation overtone system at the time of sound extraction. They were reproduced from the main tones of dombra open strings and measured with the help of computer SPAX program developed by A.V.Kharuto. There were measured overtone frequencies for octave -, duodetsima - and other ﬂageolets. Sound pitches of analyzed ﬂageolets in master's performance were very near to theoretical values. The same method can be used for the sound control during musician's teaching.
Chernyavskaya Yulia G.
A compound word «Fantasiestücke» (Fantasy Pieces) ﬁrst appeared in the title of Schumann’s piano cycle op. 12. This word was the ﬁrst to appear not only in Schumann’s works but in the whole music tradition. Fantasy Pieces op. 12 opens a chain of similarly-named cycles in Schumann’s music, in works of his contemporaries and composers of following generations. In this article, we analyse the Fantasy Pieces by Schumann, employing a comprehensive method that combines musicological and linguistic approaches. We consider the origin of this new genre in the context of Romantic literature, and use philological analysis of the word «Fantasiestücke» to reveal unique characteristics of Schumann’s Fantasy Pieces.
Gordeev Petr N.
The article is devoted to the confrontation between the opera and the ballet troupes turning around at the Mariinsky theatre after the February Revolution. The fall of the monarchy threw the ballet dancers down in a state of confusion, there was an atmosphere of uncertainty about the future of the ballet art. Against this background, the well-organized opera singers began to lay claim to the absolute power in the theater. Faced with such an attitude on the part of their colleagues, the representatives of the ballet troupe complained to the director of the State theatres V.A. Telyakovsky as well as to the government commissioner of the former Ministry of court F.A. Golovin. When the conﬂict went to the newspapers the representatives of the opera company ofﬁcially announced that they treated the ballet with «deep respect». But in practice the opera singers continued to regard their colleagues as a secondary part of the theatre. One of the reasons of the conﬂict was the group egoism peculiar to the revolutionary era, when the exaggerated role of the «collective» eventually led to its confrontation with other collectives.
Varlamova Ekaterina G.
The article deals with the genre of concert symphony arisen in Italy in the 1730-40s. In the ﬁrst half of the XVIII century Milan was considered to be one of the largest music centres in Italy, moreover in Europe. The sociocultural atmosphere of Milan became the necessary natural platform made it possible to develop a new genre - «Milanese symphony». The «new style» phenomenon («nuovo stile») and the genesis of the concert symphony genre gained great attention in the given study. One of the most signiﬁcant conditions that advanced the «new style» among the others was Milan’s high level of artistic resources in performance and composition noted far beyond Austrian Lombardy. The article studies stylistic peculiarities of the early «concert symphony» models by G.B. Sammartini’s and A. Brioschi’s musical compositions. It is concluded that the «new style » («nuovo stile») was the forerunner of the European classicism and «Milanese symphony» appeared to be the benchmark of the European symphonism.
Knyazeva Lidia G.
The article analyzes one of the earliest works of the twentieth century avant-garde representative Pierre Boulez «Douze Notations for Piano», written by twenty-years-old composer in 1945. Despite the young age of the author, many creative principles, formulated and implemented consistently and drastically in later works, are also identiﬁed in this opus with a reasonable degree of evidence: the concept of generating series, principles of aleatoric music, the problem of time in music, the process of formation and musical syntax. The paper deals with the implementation of these principles by the example of «Douze Notations». However, since it is one of the ﬁrst works of the author, one can see traditions of cycle building by composers of the past. This symbiosis of innovation and tradition is the issue of the paper.
Nogovitsyna Ksenia A.
In article the main forms of participation of instruments in secular concert composition of early Italian baroque are considered, is emphasized that the perspective of the concept «concerto» is equally actual concerning church and secular repertoire of this era. Considering rather small degree of study of a phenomenon of a «concertato» in secular music, the author of article offers the general typology of his forms on material of the facsimile of collections of C. Monteverdi, B. Marini, G. Valentini, F. Turini and other North Italian masters of the ﬁrst half of the XVII century. The main types of a combination of voices and instruments which are directly reﬂected in notation come to light: horizontal, which is based on alternation of pure vocal and instrumental colours, and vertical, meaning simultaneous sounding of voices and instruments and special, mixed, timbre. It is noted that the ﬁ rst of the speciﬁed types, as a rule, combined with a strophic form, is characteristic for compositions in a canzonet genre whereas the second genetically goes back to the Venetian high tradition and is modiﬁcation of of technics «colla parte». Tendencies to gradual transition from alternative participation of instruments (ad libitum) to obligatory instrumental parties (obbligati) in composition, to standardization of structure of instrumental ensemble (and to the statement of «a tre» ensemble for the ﬁrst time tested in a canzonet) and, at last, to combination in composition of two types of a vocal-instrumental writing - vertical and horizontal are traced. All these changes from the different parties reﬂected process of rapprochement and hybridization of genre lines of the madrigal and a canzonet in the conditions of concertato style.
Platonova Olesia A.
Article is dedicated to the dialogue of salsa (genre of Latin musical culture)and academic music in the context of interaction of opera-orchestral music and the third stratum of music. Special attention is paid to works of American and Puertorican composer Roberto Sierra, for whom salsa becomes one of the most important stylistic and generic components in the general spanishcaribbean line of his art. Noting the implementation of the salsa in the chamber and orchestral works of Sierra, author identiﬁes the common features of “salsera” style: an important role of rhythm, perception of salsa patterns as a rhythmic and intonational basis of the compositions, particular importance of improvisation and speciﬁc elements of orchestration. And all this are in line with the common aspirations of Latin American composers of the XX-XXI century. For them ﬁnding the balance between national and international, individual and universal, Latin American and European is important.
Gotsdiner Mikhail A.
This article describes connections between J.S. Bach’s Sonatas and Partitas for violin solo and the Gospel. Based on numerous examples, the article parallels the meaning of music in these compositions and God’s Word. Discovered by the author, these connections are retraced, demonstrated, and proved by the author. The author also provides information illustrating the point that J.S. Bach’s Sonatas and Partitas for violin solo form a cycle with inner connections and common content. Thus, we discover another Passion by J.S. Bach that not only tells us the story of Christ’s Death and Resurrection, but also demonstrates a pure image of the Virgin Mary. The second half of the article provides descriptions of performance and interpretation aspects of the aforementioned cycle, as well as other works by J.S. Bach. It offers not only different ways of interpretation, but also various performing techniques that the author learned from his teacher, Professor David Oistrakh.