Moiseeva Valentina I.
This article focuses on the manuscript, owned by Elias Lonnrot and stored in the literary archives of the Finnish literary society (SKS) in Helsinki under the Lonnrotiana’s index (Lönnrotiana) L. 314. It refers to the Lonnrot’s student years in the University of Turku (1822-1827). The manuscript has never previously been studied extensively. The document is of great interest to researchers, as it allows to trace the progress of Lonnrot’s music skills, which he used in his multifaceted activities. In addition, the detailed examination of this source should put an end to the question of musical competence of Elias Lönnrot. The musical education that he received in his youth, led up to the implementation of a number of musical projects, which were covered by the author of this article in her previous works.
Petruseva Nadezhda A.
Traditions of a postserial modernism and experimental postmodernism are shown on example of the play «Lied for a violin and a piano» (1993) by Bеat Furrer. For the expansion of the original composer’s approach to interpretation of a genre of a song, his compositional techniques and the method of musical thinking are considered the material and shape of the pieces, the disposition of rows, hidden symmetry is one of essential aesthetic categories of New music, parameters of an articulation, dynamics and tempo drama. The article used a complex method of analysis as a combination of musical structure, set theory, phenomenology of musical elements (focus consciousness on sound structures of various parameters) and hermeneutics (as the art of interpretation). The novelty of the article due to the absence in the national musicology research, dedicated to the works Beat Furrer. Heterogeneous multi-parameter «Lied» continues traditions of Webern’s music and serial composers. The new status of the song is the conﬁguration of the virtual «objects» («rhythmically complex, heterogeneous mixtures of sounds»), open bars, tempo and dramatic through-strophic form. There is a gap in relation to the nearest metamorphosis classic-romantic tradition. At the same time the composer seeks to approve a game (circular) discourse, whereby the internal structural peculiarity of «events» as it causes to the neutralization of both time and history (tradition of Nietzsche, Levi-Strauss, Stravinsky and Cage).
Stogniy Irina S.
The article deals with the identiﬁcation of musical connotations that are certainly present in each piece of music in the form of elements of the plan. Connotation - multiple objects existing in different areas of the artistic whole. They claim their holistic learning as a kind of paradigm shift in the role of a whole array of «shadow structures». In part, this calls for experience gained in musicology disparate observations of the elements of the «second plan». But the main motivation for their study is the realization that at present, more than ever, denoting the importance of learning processes, rather than lying «on the surface» as being «in the shadows». As well as denotations connotations can be represented by different elements of the musical text: melodic intonation, harmonic complex, rhythm and texture cell timbre - their main feature is the ﬁnding of the «shadow» to the main line of meaning. The functioning of lexical and semantic elements as denotations or connotations determined only by the context of the work. The study of the multidimensional semantic space allows you to see the music in «shadow structures» that are fragmented and diverse manifest themselves, the fact that they often play the most signiﬁcant role in the construction of the artistic whole. This article discusses the structural and compositional models and intertextual connotations models. As examples: Sanctus from «Requiem» by Alfred Schnittke, «Intermezzo» Brahms, «Dance of the Seven Veils» from the opera «Salome» by Richard Strauss and Piano Fantasy V. Ryabov dedicated to the memory of M. Yudina. The analysis makes it possible to evaluate the role of connotations that contribute to alignment of the individual meanings when used universally valid means. In addition it leads to an understanding that contribute to the expansion of the connotation of musical vocabulary, its values and in general form the way to the development of language proving an indispensable sign of artistic masterpiece.
Utegalieva Saule I.
This paper provides the ﬁrst time comprehensive description of timbre-register model of sound, functioning in the instrumental music of the Central Asian Turks. Objective preconditions in its formation are revealed. The connection between the timbre-register sound model and the area of sound ideas, including an authentic musical terminology of the Turkic peoples, as well as the model of the world, and more - shamanic worldview showed. The author concludes that the timbre-register model of sound largely determines the registry division of musical space and coincides with natural overtone row. It is a unity of musical and non-musical, syncretism of pitch and timbre, vocal and instrumental and speech beginnings, formed at the intersection of mono- and polyphony. Speciﬁcity of sound creativity of the Turkic peoples was reﬂected in two basic categories such as zhyr (yr) and kyui (koi).The timbre-register sound model focused on the human voice, which has long been considered the most perfect musical instrument.
Furukin Aleksey V.
This article describes the evolution of the natural horn. In particular the development of the instrument and the musicians working in Russia. Through engravings, documents, paintings of Russian artists of XVIII-XIX centuries can be viewed as the development of hunting tools and art, and notes of his contemporaries: «Notes about the art in Russia» by Jacob Staehelin, arrived on service in 1734, in St. Petersburg. The author tells us about the ﬁrst professional orchestras and musicians - horn players who served in Russia; interesting memoirs of the bedchamber of Bergholtz, Duke of Holsten-Gottorp, telling us interesting details of service to musicians - horn players. Particularly worth noting is the presence at court of the European famous horn virtuosos and their work. Such as: I. Knechtel, F. Kelbel, J. Mareš and others.
Yudina Vera I.
The article is dedicated to the memory of Vasily Sergeyevich Kalinnikov (1866-1901) - a bright representative of traditionalism in Russian musical culture of the 80-90-ies of the XIX century. In a number of other composers of his generation, the disciples and followers of P.I. Tchaikovsky and N.A. Rimsky-Korsakov - S.I. Taneyev, A.K. Glazunov, A.S. Arensky - his music is distinguished by sincerity, simplicity and unspoiled generated by the inner link with the best spiritual traditions of the Russian provinces. Reliance on the historical-biographical method allows us to represent the creative evolution of the composer from the stage of formation of musical interests (childhood years in Orel) through the period of apprenticeship (Moscow, 1884-1893) to the ﬂ ourishing of creativity (Yalta, 1893-1901). Emphasizes the importance of the symphonic genre in its musical heritage of Kalinnikov - the sphere that determined the contribution of the composer in Russian and world musical culture. We consider separately the fate performing his works throughout the XX and early XXI centuries.