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«Fly in borsch» or the Story of Quarrel between Allen Fort and Richard Taruskin

Glivinsky Valery V.

This article is a relaxed reproduction of the nearly 50-year history of the English-speaking musicological polemic on the principles of pitch organization in The Rite of Spring and other Stravinsky’s works. Beginning with Richard Taruskin and Allen Forte’s discussion about Forte’s book The Harmonic Organization of The Rite of Spring, this polemic eventually grew into a sharp confrontation between supporters and opponents of the octatonic theory of Berger and Van den Toorn. The article describes step-by-step all stages of the discussion of Taruskin and Forte, who were later on joined by Van den Toorn, Tymoczko, Straus, Agawu, Whittall and a number of other English-speaking researchers. Particular attention is paid to the formation of the octatonic theory, begun by Berger and completed by Van den Toorn. Taruskin’s special role in providing this theory with a historical base is highlighted. A peek into the camp of opponents of the octatonic theory is represented by the viewpoints of Straus and Tymoczko. The final and most stormy stage (to date) of the discussion is reproduced based on the content of the journal Music Theory Spectrum (Vol. 35, No. 2, Fall 2011). The article concludes with joking advice to all readers on how to overcome the painful impression of all that was read before.

In the dialog with times: G. Popov’s music in the performances by B. Livanov in Moscow Art teatre

Naumov Alexander V.

The article based on the archive sources is devoted to G. Popov’s (1904-1972) scores for the Moscow Art Teatre of the 1960th: «Dmitry Karamazov» after F. Dostoevsky and «Egor Bulytchev and the others» by M. Gorky. Both works are treated in the context of the same play’s stage versions showed earlier, using «a dialog in the memory of stage». Important subject of the essay is a musical dramaturgy of the compositions and also in the composer’s using of the symphonic method in the Incidental music genre according to the ideas by B. Livanov, famous soviet actor and stage director, fixed in his tasks. Each score has some features of the throughout developed cycle. Folk songs, arranged stylized, are important in the «Dmitry Karamazov» music. There formed a single semantic field related to the aesthetics of Mussorgsky’s operas. Culmination musical points in the finals of acts are much significant in «Egor Bulytchov». There were ideological emphasizes, increased in the performance. The life of the old merchant’s house was shaking by the revolutionary storm. Thus become a symbolic backdrop for the dying of the central hero.

Problem performing style in contemporary violin art

Budagyan Regina R.

The relevance of the studies caused by radical changes in the cultural space and affect the appearance of modern art. The introduction of new media technologies in the arts promotes, on the one hand, to reach a wider audience, accelerating the process of cultural communication, and, on the other hand, inevitably leads to the convergence of art and business, blurring the distinction between elite and mass art. Classical art, functioning in the previous century as elitist and aesthetically dominant, sometimes it is less adapted to existence in modern conditions than. However, the need to preserve classical traditions of musical art keenly felt by contemporary musicians, finding in them a source of creative inspiration, a means of forming the spiritual foundations of personality. So naturally the desire of other musicians to find new ways of musical creativity that meet radically changed the system of artistic thinking. The object of the study was the work of the popular violin artists Vanessa-Mae, David Garrett, Miri Ben-Ari, Edwin Marton. Subject of research - the characteristics of creative appearance of the musicians, informed from the standpoint of consistency as artistic integrity, which plays a certain role's performance style, repertoire, stage image, the choice of the genre of the performance. The aim of the study was to consider the processes occurring in modern violin art directed both on preservation of its traditional bases, and to search for new coordinates of creativity.

Samuel Barber in a dialogue with the Russian musical culture

Krom Anna E.

The article is devoted to the influence of Russian musical culture in the creative activity of American composer Samuel Barber (1910-1981). Impact of Russian art is considered at several levels: from collaboration with prominent musicians from immigrant environment (Horowitz, Koussevitzky, Vengerova, Garbuzova) and increased interest in the Russian piano performing school to the attention to the works of Scriabin, Rachmaninov, Stravinsky and the works of Soviet composers Prokofiev and Shostakovich. Dialogue with the Russian culture, which developed throughout the life of Barber, has a direct influence on the formation and development of individual style of the composer. On the interest of reciprocity says the invitation and follow him the musician’s visit to the USSR, as well as the successful execution and publication of some of his works in our country.

Sound emulation (voice imitation and tunes of decoy) in the traditional culture of Karelian

Kalaberda Anna V.

This article discusses the sound emulation (voice imitation and tunes of decoy), which appeared in antiquity and related hunting. Currently, the traditional culture of many ethnic groups samples preserved relic of syncretism. The subject of the study are vocal imitation and mankovye tunes traditionally used Karelians while hunting animals (moose) and birds (wild geese and grouse). Sound imitation is not only one of the fundamental mechanisms of intonation and modal thinking culture, but, included as onomatopoeia in vocabulary contributed to the formation of language. The spectrum described onomatopoeic funds is largely due to the feature of the natural landscape, in which the voices of certain species of animals and birds betray the original sound image of the area and determine the specificity of the sound space of the traditional culture of different ethnic groups.

«The Oprichnik» at the crossroads

Fedoseev Ivan S.

The article gives a detailed description of the staging of the third opera by P. I. Tchaikovsky, produced by the Mariinsky Theatre of St. Petersburg in the 2015/16 season for the 175th anniversary of the composer’s birth. The items being critically analyzed are: the staging itself with an inherent specificity of the musical, dramatic, theatrical and scenic solutions (artistic director V. Gergiev, conductor and assistant P. Smelkov, director V. Vysotsky, artist Y. Goltsova and choreographer K. Chuvashev); the interpretation of images and scenes in «The Oprichnik» by the soloists, ballet dancers, chorus and orchestra; and the content of publications accompanying the premiere presentation of the opera, including press reviews. Much attention is paid to the recreation of the musical and artistic atmosphere of the early 70’s of the century before last - the time of occurrence and the first performances of three prominent Russian operas: «The Maid of Pskov» by N. Rimsky-Korsakov, «Boris Godunov» by M. Mussorgsky and«The Oprichnik». In this regard, the close, sometimes intuitive interaction between Tchaikovsky’s early masterpieces and the aesthetics of «The Mighty Handful» is noted, leading sometimes to a striking and dramatic intonation proximity in the treatment of a number of key stage situations. This paper restates the problem of re-evaluating the status and value «The Oprichnik» in the creative heritage of the composer, which was firmly on the path of symphonization of the opera genre and originally broke with the many achievements of the luminaries of Western music, including Wagner. Special attention is paid to the relationship of «The Oprichnik» to the symphonic works of Tchaikovsky that both immediately precede and follow it («The Storm», «Fatum», «Romeo and Juliet» and, accordingly, «Francesca da Rimini», «Manfred» and his Fourth, Fifth and Sixth symphonies).

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