Comprehension of tonality and conceptions of tonics in Yuri Kasparov’s music on the base of “Picasso’s Symbols”, the cycle of miniatures for 12 performers (2003): exploring new music horizons

Dyachkova Lyudmila S.

The paper explores new horizons of Yury Kasparov’s music. The space of the composer’s creative research focuses on the area of tonic and tonality which are considered non-conventionally by Kasparov. Different types of tonic, its new formal and coloristic possibilities, its new meaning are analyzed. Generation of sound and texture types based on acoustic effects - all this influences on constructional and imaginative aspects of composition and is considered in this article. The subject of our research is “Picasso’s Symbols”, the work which brilliantly captures many aspects of the Maestro’s artistic world including the role of tonic in the system of expressive means. The research is based on the methodology which combines methods of stylistic and comparative analysis.

Lute in the works by J. S. Bach (on basis of the manuscripts)

Almazov Pavel Valentinovich

The paper presents a textological analysis of J. S. Bach’s compositions for the lute. Manuscripts of solo and vocal ensemble works are examined. The major purpose of this study is to clarify the questions of attribution of J. S. Bach’s solo lute works, which were initially considered to be written for the lute and appeared as such in the systematic catalog of A. Durr andKobayashi (BWV). However, as a result of textual analysis, the author comes to conclusion that some of these works were probably not intended for the lute, but for the clavier. Instrumental instructions, recording method, texture, and other parameters of the manuscripts of lute’s works are analyzed. On the basis of the analysis undertaken in the paper the following conclusions are made: the performance of basso continuo line is the main function of the lute in the ensemble vocal works; solo lute opuses of the composer are debatable regarding of the instrumental attribution.

Maurice Ravel’s stage works artistic universe: the main components

Zakharbekova Irina S.

The article describes the main components of Maurice Ravel’s stage works. Analysis of composer`s operas and ballets, his own statements as well as his friends, critics and scholars opinions makes possible to reveal the specific constant features characteristic for his artistic vision. They are closely interconnected and specific at the same time. These constants can be identified as the Mechanical, Infantile, Passèisme, National and Ironic. Predominance of a constant in Ravel’s stage work defines the composer’s choice of the particular means of music expression. Thus the Mechanical is connected first of all to dance genre, precise measure and unchangeable tempo. The Infantile is connected with animism, diminutiveness and the primitive style. Passèisme and the National are connected with stylization, pastiche, allusions and nostalgia. And the Ironic is connected with parody, overaction and the specific dispassionate view on the object.

The heroic story of the Russian girl in Italian maestro’s opera: “Eight months in two hours, or deportees to Siberia” by G. Donizetti

Shigaeva Evgeniya Yu.

The article is devoted to Donizetti’s opera on the plot of Russian history. In the beginning of XIX century, a brave girl Praskovja Lupolova went from Siberia to St. Petersburg on foot, hoping to obtain from Alexander I forgiveness for their exiled parents. Siberian’s feat became the basis of numerous novels and dramatic plays. Donizetti’s opera «Eight months in two hours» was written on this plot. Long considered lost, these days the opera gets a rebirth thanks to research foreign musicologists. For the Russian audience, opera is virtually unknown. The article traces the milestones of the opera’s fate on stage and explores the brightest (stage and music) means of creating Russian color.

The problems of classification and historical development of music and dance genres in ossetian folklore

Dzlieva Dzerassa M.

The author of the article analyzes the problems of genre classification and general trends of development in musical and choreographic culture of Ossetians. Various aspects of the raised problems are elucidated by reviewing a number of previous research works, as well as an assessment of historical significance of the mentioned publications. In the article proposed, the author suggests a genre classification of basic choreographic forms, based on the results of the typological analysis of a variety of sources large body of sources, as well as the characteristics of the Ossetian paired dances in the light of historical transformations of the genre. The article considers in detail the basic principles of dance genres and ways of organizing the dance space.Major attention is paid to etiquette behavior while dancing, revealing different social roles of men and women in a traditional community. Special attention was given to the people’s terminology. The author traces the historical development and the main vectors of dynamic transformation in musical and choreographic culture of Ossetians.




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