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Development of a classical brass quintet in the twentieth century

Vasnin Petr Alekseevich

The article is devoted to one of the brightest phenomena in instrumental performance of the twentieth century - the development of classical brass quintet. The process of determining the most appropriate instrument compositions for the brass ensemble is considered in historical and geographical aspects. The division into periods for the development process of brass quintet art is suggested. The history of the first professional brass quintets of classical composition is examined. Interesting facts about the life and creative activity of ensembles are presented. The article introduces the reader to the outstanding musicians, composers and educators in the field of brass ensembles. The organization and activity of domestic and foreign brass ensembles are analyzed. The creation of associations, clubs and brass centers; international forums, symposiums, festivals and brass competitions; tours and concerts, publication of specialized materials are studied as well.

Epistolary episode of «stormy summer» (about A.K. Lyadov’s musical letters in Novgorod the Great)

Kazunina Anna S.

The article highlights briefly some features of the epistolary heritage of A.K. Lyadov. The main attention is focused on the two previously unknown letters by the composer, addressed to his family. These documents are preserved in funds of A.S. Arensky, S.V. Rachmaninoff and A.K. Lyadov Museum in Novgorod the Great. Published materials represent the unique samples of the creative work by Lyadov and demonstrate, in total, the case of including pieces of music in the letters, the process of creation which was atypical for the composer. In this situation there are autographs of the first two variations from the cycle Variations on the theme of Glinka. The text of the article provides the facsimile reproduction of musical autographs and the transcribed letters supplied with a commentary.

Paul Hindemith's early chamber sonatas. Interpretation of the cycle

Korchinskaya Ludmila Mikhailovna

This article is devoted to the study of chamber music by Paul Hindemith in particular the sonatas for solo instrument and piano op.11. The main content of the research is to try to understand and appreciate what the composer remains true to the tradition, and, in which he acted as an innovator. The article devotes considerable attention to the composer's style, his interaction with styles from different eras. The article also touched upon the symmetry in creation of Hindemith. The most important role of the symmetry and the variety of artistic solutions, makes to revert to this issue. Consideration of the structural symmetry faces and philosophical meanings suggests that the symmetry is one of the carriers of the idea of the world harmony, so important for the composer throughout his life and was reflected in the early chamber compositions.

The system of genres of folk songs Astrakhan Lipovans

Ivanova Olga Anatolievna

This article reviews the song genres Astrakhan Lipovans - Old Believers living in the Astrakhan region in the village of Uspeh of Kamyzyaksky area. We consider the spiritual content genres, songs of calendar and family rites, among them - a spiritual verse, wedding song, calendar songs and a number of others. Spend comparative characteristic song form «Arrow» in Romanian and Astrakhan Lipovans, description of the Shrovetide ritual. Identified characteristics of the Astrakhan Lipovans tradition as a whole.

To the terminology question: ancient Russian Bow Instruments - Smyk

Ustugova Aleksandra Viktorovna

The article considers the current state and prospects of studying the problems of music terminology in Russian organology. In Slavic musical culture sufficiently widespread bowed instruments. The few written sources (chronicles, administrative and spiritual literature, and glossaries) for bringing this to our time information about East Slavic tools. For modern musical science urgent problem to develop a common understanding and the elimination of ambiguities in the definition of «Smyk» and «Smychek», presented in the scientific literature. The lack of sufficient historical documentaries, visual sources illustrating and locating information about Slavic stringed instruments, introduces an uncertainty in the interpretation of these terms. It is still unknown whether there was such a tool as «Smyk» or this designation refers to the full name the Bow. In this paper we attempt to analyze terminological names of Russian ancient bow instruments, shows the change in values and historical use of the term «Smyk» and close to it «Smychek» in ancient culture. The theoretical basis and methodological basis of research constitute the historical and holistic approaches to reveal the essence of musical instruments terms as the historical categories in the relationship and interdependence of social and musical-performing factors.

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