Adischev Vladimir Ilyich
In the article for the ﬁrst time some of the most important aspects of activities of the department of children’s musical education that existed at the Moscow Conservatory in the 1930s - early 1940s are opened on the base of the archival sources material. The teaching staff of the department is characterized, the main directions of its activity are analyzed. It is shown that the main purpose of the department was training of musicians and educators for working with children (primarily in secondary schools) and in the scientiﬁc and methodological support of these activities. Department staff, led by V.N. Shatskaya, has developed an innovative educational program for preparation of music-teaching staff, research on the musical training and education of students was conducted, post-graduate training was carried out, activities of the Special children’s group that existed at the Conservatory were supervised. In the development of scientiﬁc, methodical and practical problems of general and professional musical education the department productively cooperated with central and local institutions of education and culture, took part in the preparation of music program-teaching materials for the general education schools of the country. The conclusion: the historical signiﬁcance of the activities of the department lies in the fact that its staff developing traditions of the predecessors has worked out new approaches of the organization and content of the training for specialists in the sphere of children’s musical education. These approaches were laid in the foundation of the national musical and pedagogical education in the 1930s and in the following decades.
Skroznikova Alexandra Alexandrovna
The article is devoted to the historical development of the mandolin from the Renaissance to the classical period. The author relies on the basic iconographic and bibliographic sources, revealing a signiﬁcant role in mandolin music culture of Europe and traces the path of developing the instrument in different European regions, such as France, Germany, Italy, Austria, Hungary and other. It shows the historical heritage of the mandolin: examples of survived instruments and the differences in their versions, analyzes literary mentions of the mandolin in the fundamental treatises of those eras, reviews teaching methods and compositions for the mandolin and excerpts from the biographies of composers, and gives information about the performance practice on the mandolin. The great composers, such as Vivaldi, Hasse, Handel, Mozart, Beethoven, and many of their contemporaries have not ignored the mandolin in their work.
Nedosekin Vyacheslav Aleksandrovich
The article considers one of the most urgent problems of music pedagogy - intensiﬁcation of musical hearing of an accordion pupil at work on polyphonic compositions. The solution to this problem has its own speciﬁcs, due to the structural and acoustic characteristics of the accordion. A comparison of the various features of the instrument - both predisposing to play polyphonic compositions and limiting the expressive possibilities, reveals the difﬁ culties that arise at working of an accordionist on polyphony. Among them: the impossibility by dynamics emphasize one or more sounds of vertical structure in any one hand; sound difference of right and freebass manuals in terms of dynamic level, attack and timbre, making it difﬁcult to form the sound balance and voices structure; the need to make the change of the bellows that in a rich and plangent texture inevitably causes breaks in the sounding of melodic lines. Competent and convincing performance of polyphonic music on the accordion is associated not only with an understanding of structural and acoustic characteristics of the instrument and a comprehensive development of musical hearing (in his pitch, melodic-linear, dynamic, polyphonic segments), but also with a skilful use of different articulation means and technique of transcription. Many aspects of the educational working of an accordionist on polyphonic compositions have already received coverage in the scientiﬁ c and methodological literature. However, methods of intensiﬁcation of musical hearing of a pupil (as an important component of this work) so far have not been considered.
Stepanova Elena Viktorovna
In article the chamber and tool ensembles devoted to the famous patron and the publisher M.P. Belyaev are considered. Works were written by N.A. Rimsky-Korsakov in the commonwealth with other composers - participants of «Belyaevsky Fridays». The appeal to collective compositions «on a case» demanded the solution of certain tasks: correlation of own musical material with the material written by other authors, compliances of work of the identity of the addressee, dedication to a certain event - «To Mitrofanov to day». Ensembles became result, each of which submits the individual creative solution of these tasks. Compositions differ in a musical and ﬁgurative system, composition, genre and thematic features. Works to «Mitrofanov to day» were not only part of the tradition of the collective composition presented in the XIX century, but also a tribute to the organizer of known musical meetings «Belyaevsky Fridays».
Kovalev Andrew Borisovich
The article discusses the work of «The prayers incessantly of God» in the context of the development of the genre of spiritual concert in the era of a new direction in Russian spiritual music at the turn of XIX-XX centuries. This genre, which goes back to the tradition of singing zaprichastnogo, established at the turn of XVII-XVIII centuries, has been widely used in the works of Russian composers of the Baroque and Classical. The article reveals the ambiguity of stylistic works Rachmaninov, which is clearly showing signs of classicist choral concert and a whole range of characteristics of sacred music a new direction: podgolosochnost tendency to linearity, dynamic development, Alloy znamenny chant and folk songs. The assumption about the prototype works Rachmaninov - the eponymous concert A.L. Vedelya written in the 90s XVIII century. The similarity of these works in terms of a musical composition is due to the three-part structure, the logic of tonal plan, tempo changes, using a variation of liturgical texts «in the intercession of the world immutable hope». Features individually-personal incarnation Rachmaninoff sacred themes expressed in the subordination of all means of musical expression disclosure content, ideas, directly or indirectly related to the liturgical texts kontakion feast of the Assumption of the Blessed Virgin. The general conclusion: the traditional genre of Russian sacred music, choral concert once again conﬁrmed its viability in the new historical period, despite the bullying situation in the service, and received a new impetus to development in the composer’s work.
Minchenkova Nadezhda Gennadevna
The article is devoted to the origin of the name of the Russian song books Trezona - books of hymns Holy deliberate. The token «peal», known since the end of XV century, is analyzed from the point of view of musicology, campanology and ﬁction. Discusses the normative liturgical monuments («Charter of Gennadiy», Aft book Volokolamsky monastery of the XVI century, the Charter of the bells), the song manuscripts, musical theoretical guidance. Presents historiography by the lexeme «peal», based on the works of historians of music and campanologist. The issue of belonging of the word «peal»: it originally appeared in musicology or in campanology - scholars’ opinions diverge. Peculiarities of the ﬁxation of the word «peal» in song manuscripts: it is used in output and ownership records, and then goes to the title of the book Trezona. The characteristic type of handwritten service «peal» that grew out of the services Sthirata earliest Menaion. Along with the very word «peal», and given the results of observations of the use of the initial part of «the tre» in Church Slavonic, which indicates an excellent degree and also is identiﬁed with the Trinity. As examples used the texts of the chants, the fragment «The Tale of Igor’s Campaign», the vocabulary of the Russian singing alphabets. The article is illustrated with photocopies of the spine and title pages of hand-written books.
Kraskovskaia Tatiana Victorovna
In professional composer creativity of Karelia 1980 there were some works of cantata and oratorical genre. G. Sinisalo and G. Vavilov's welcome cantatas, V. Konchakov and A. Golland's poems were executed the other Day literatures and arts in Moscow and in the Komi Autonomous Soviet Socialist Republic. These compositions were reﬂection of an ofﬁcial concept «national» in the Soviet Karelia. Mythemes of the Soviet ideology are revealed in literary texts using the methodology of cognitive linguistics. Their musical embodiment is considered through a topic of a classical era (heroics, a pastoral, the ode) and in the context of socialist realism «great style».
Gloushakov Yaroslav Vladimirovich
The article talks about the music piece that became the undisputed brand of the Soviet Union as well as one of the major mysteries of the 1920s: «Aviamarch» (composer - Yuliy Khayt, lyrics by Pavel German). In the rapidly evolving information space in the late Soviet period, surprising similarities were found between a well-known anthem of the Soviet Air Force «Aviamarch» and a German song of young workers of the times of the Third Reich - a march «Das Berliner Jungarbeiterlied» («Herbei zum Kampf»). Later, the story of «plagiarism» attracted public attention in the Internet space. Not only Russian but also foreign bloggers where involved in the online discussion. However they faced the difﬁculty of inability to determine the exact period of creation of neither «Aviamarch» nor his Nazi counterpart. In the meanwhile, «Aviamarch» is still the anthem of the Russian Air Force… The author analyses the historical circumstances of the creation of the above music pieces, reconstructs the poetic text of Pavel German, draws from the modern scientiﬁc views regarding plagiarism, and presents priority authors of the March.
Subbotin Ivan Aleksandrovich
The study of theoretical problems of polystylism connected with the history of XX century music. In domestic and foreign musicology there are many stages of learning polistilism how the method works. The origin of polystylism associated with a new understanding of the category «style». Rejection and the rejection of structuralism in music and style update has led to a cultural understanding of processes of music second half of XX century. Crucial role in learning a new stylistic phenomena belongs to the works of contemporary Russian and foreign composers, as well as the works of Russian musicologists who developed the typology, the means of the foundations of analytic strategy new writing technique, to formulate the methodological continuity of polystylism and intertextuality. Western European and American research traditions use the basic principles of scientiﬁ c books Russian composers (A. Schnittke) and musicologists. Their concepts have a wide interpretation of the chronological aspect of the study of polystylism and denote this composite technique as any appeal to a different style.
Dukov Evgenii Victorovich
This article discusses the new opportunities offered by the classical musical culture of a computer network. Based on the results of sociological research the author shows that among active users of computers and the almost half a musical education. Listeners have built a system of coordinates deﬁned priorities. In article contains the history of the virtual concert halls and «musical map» of Russia.