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Archetypal Images of A.F. L’vov’s «Ondine» in the «mermaid’s» Musical Context of the XIX Century

Verba Natalia Ivanovna

The article considers the ways of realization of the archetypal images in the opera «Ondine» by A.F. L’vov. The attention is paid to the drama, the orchestral and the intonational decisions of images, the general compositional principles, and the inter-textual relations between the works about mermaids. The correlation of the mermaid’s musical characteristics of L’vov with the context of other realizations this character in the musical art allows to make a conclusion about conditionality inter-textual links archetypal image of sea maiden.

Music, which is struggling with the silence. On the style of instrumental compositions Gérard Pesson

Buloshnikova Mariia Mihaylovna

On the pages of this article the author tries to identify the most important stylistic features of contemporary instrumental music by French composer Gerard Pesson. These include the programmatic nature of the most works, the use and interpretation in their own manner of the citations and allusions, the timbre and articulate qualities of the scores, due to which their musical fabric becomes thin and fragile, as if ready to dissolve into space. The author seeks to examine the composer’s creativity in the context of French musical tradition and in line with current trends. For example, in the work of the composer with the program titles and abstracts observed communication with native French thrust to the neck and comments to the phenomenon of the new software coming from conceptual music. Actualization Pesson borrowed material in the new environment is perceived as a stylistic link in a long evolutionary process of using citations and allusions, which took place in the second half of the XX century. Working with the timbre of the instrument is characterized by a typically French aesthetics of sound, which is manifested in a special attention to the instrumental and harmonic color, and a certain continuity with the French spectral music school. The material chosen for the analysis of instrumental works, most clearly demonstrate these properties.

N.A. Rimsky-Korsakov - the scientist: reflections of the Russian composer about music of R. Wagner

Konson Grigory Rafaelyevich

The article considers the views of Nikolai A. Rimsky-Korsakov on the music of Richard Wagner, in particular, of one of the scientific works of the composer - «Wagner. The Aggregated Composition of the Two Arts, or Musical Drama» written in 1892 and originally entitled «Wagner and Dargomyzhsky». Rimsky-Korsakov in his work examines the nature of Wagner’s text (in the aspect of operatic drama and prospects of its development), performing and musical-expressive means, the principles of opera’s architectonic. Rimsky-Korsakov analyzes stylistic features of Wagner’s music in the context of the main directions of the German composer’s lifetime. As a result, the author of this research identifies the specificity of the analytical method of Rimsky-Korsakov that is associated with the ideals and norms of Russian art and culture.

Sonata for Orchestra in the 20

Shitikova Raisa Grigoryevna

The article deals with the specification of the sonata genre portrait in the 20

Study of Znamenny Chant in the Old Believer’s Schools on the Base of Ancient Russian Traditions

Vladyshevskaya Tatiana Fedosyevna

The article is based on the materials of expeditions to the old believers in 60-70th years of the 20

Theory of species of fourth and fifth, forming modes, of Marchetto of Padua (or an explanation of the «musical dishes»)

Storchak Natalia Sergeevna

The article is devoted to one of the most notable treatises of the Middle Ages - «Lucidarium in arte musice plane» - outstanding Italian music theorist of the XIV century Marchetto of Padua. A significant impact on the development of music theory had а Marchetto`s modal theory, poorly studied in domestic musicology. The article deals with the so-called Marchetto`s «theory of species» (species of fourths and fifths), underlying in his doctrine of modes, and particularly with the Marchetto`s classification of species of fourths and fifths in terms of their implementation in the melodies of chants. Apparent effect on the Marchetto`s classification had a theory by Guido of Arezzo (intersections with the terminology of Guido`s treatise «Micrology» were marked in the article). Marchetto develops the doctrine of species of fourths and fifths, which are forming modes, in the proper direction. It is particularly evident in the final part of the classification, linked with the problem of modal attribution of chants.

To the Question of Protograph of Putevoj Three-line Irmologion NRL.OLDP.Q.4

Lukashevich Aleksandr Anatolevich

The article describes the manuscript of the last quarter of the 17th century, kept in the collection of Society of Lovers of Ancient Literature in the National Library of Russia. It is the only known manuscript which contains almost complete set of three-line irmoses, with their melody based on putevoj chant. The оrder of irmoses in the codex, the peculiarities of their text and melody can be associated with the pre-nikonian chant tradition. The order of the irmoses is the same as in pre-nikonian Irmologions. Though the text in the manuscript is new (nikonian), there are mistakes, which point out that the text is based on pre-nikonian one. The analysis of the melody shows that the melody of pre-nikonian irmoses (with old text and khomonia) was adopted to the new text, with the elements of melody split into two or more parts or combined, often in a clumsy way. The described features point out that the codex had a pre-nikonian protograph. The article also addresses the question of relationship between this codex and other manuscripts containing irmoses of putevoj chant.

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