«Dolorosi martyr» by L. Marenzio as a basis of Magnificat by M. Praetorius

Kovalevskaya Daria A.

This article is devoted to a parody technic in Magnificat by M. Praetorius on the madrigal «Dolorosi martyr» by L. Marenzio (1553-1599). Also in the article features of structure and historical significance of troped poliphonic magnificat (Magnificat byM. Praetorius refers to this variety of the genre) is examined.

Features of the texture in the hymns of Matins of Great Friday of Archimandrite Matthew (Mormyl)

Starostina Tatyana A.

The article is devoted to the peculiarities of the texture in the harmonizations of Archimandrite Matthew (Mormyl). This outstanding regent for decades led the choir of Holy Trinity St. Sergius Lavra. During this time, he shifted to the set of male choir chants. Among them were the chants, preserved in the ancient church repertoire as well - copyright works intended for performance in church.The paper examines in detail the eight ichos harmonizing tunes, which are used by Archimandrite Matthew in the so-called "service of the Twelve Gospels" (Matins of Great Friday). From the point of view of the author, chord tissue in the hymns of Matins is typically a multiple interweaving melodic voices that are involved in a variety of contrapuntal permutations that promotes constant timbre repainting choral sonority. The analysis shows that the texture of Mormyl’s harmonizations represents a unique example of creative interpretation of the Obikhod tradition by this great church musician, who is committed to the safety of the sound atmosphere of a simple church singing, but enriches its rich and subtle variability, which reinforces the emotional impact of a long and magnificent service of Matins of Great Friday.

The Operas of Alessandro Scarlatti and «the dispute about the ancients and the moderns»

Luchina Elena I.

The article discusses the correlation of the implication of the late XVIIth - early XVIIIth centuries operas of Alessandro Scarlatti with the aesthetic polemic of that time, including one of its most representative aspects - «the dispute about the ancients and the moderns». The author of the article analyzes the texts of the libretti by Silvio Stampiglia in comic scenes of A. Scarlatti’s operas «La Caduta de’Decemviri» and «L’Eraclea» and discovers their veiled aesthetic sense and, moreover, - reveals the veiled essence of comedic characters in «L’Eraclea» as the personification of the contrary aesthetic (and stylistic) positions.The article also examines the changes taking place in the perception of the creativity and the style of Alessandro Scarlatti from the turn of XVIIth-XVIIIth ages before the beginning of the XXIst century, adduces statements about music of Scarlatti of a number of composers, theorists, writers of the XVIIIth-XIXth centuries, notes the features of the historical identification of creativity Scarlatti by the scientists of XXth - beginning of XXIst century. As a result of the study, the author shows, how a kind of the «dispute about the ancients and the moderns» occurs around the name of A. Scarlatti and his creations. In this way, in the article the features of the historical position of Scarlatti and his significance for the immanent processes of musical art are revealed.

«The whole psalter translated into English metre» by archbishop Parker with Tallis''s music

Yevdokimov Alexander S.

The book of Psalms is one of the most important components of Christian worship and an obligatory part of religious person's everyday life. In the Reformation period when the Scripture translations into local languages had appeared Psalter became one of the most often translated biblical books. Not only translations of psalms but also their metrical versions were very popular at that time. They were often published together with the music, so that everyone could both read and sing psalms. This article deals with one of the remarkable English metrical psalters printed in the second half of the XVI century with the music by great composer.

To a problem «the text in the text» in musical art

Denisov Andrei V.

In article various manifestations of a phenomenon «the text in the text» in music are investigated. It most often arises at a certain organization of the musical and theatrical works composite solution, when the semantic constructions having the independent plot (for example - «a performance in a performance», the story of the hero about past events, his dream) are formed. The analysis of concrete examples shows that «external» and «internal» texts can be in the relations of subject similarity, or inversion; at the same time the «internal» text can be entered once, or for a several times. Separately the musical receptions participating in formation of «the text in the text» (stylization, citing) are considered. In the conclusion art functions of this phenomenon are shown - interaction of various view points, the birth of different realities collision effect, a possibility of free operating by temporary and spatial coordinates, in general - complication of semantic prospect in the text organization.

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