Chekmenev Aleksey I.
The relevance of the study of piano works of Arthur Lourie explained the undoubted interest of performers in works of the composer and the lack of extensive theoretical research of heritage of the composer, his musical thinking. The object of the study was the piano creativity A. Lourie, reflecting the evolution of the composer's musical thinking. The poetics of musical language ofA. Lourie as reflection of style interactions became an object of research. The purpose of the study - revealing stylistic coordinates of the early stage of creativity Arthur Lourie on the example of the cycle «Five Preludes fragile», finding determinants of intertextual relations between cycles «Five Preludes fragile» op.1 A. Lourie (1908-1910) аnd Five Preludes op.16 A.N. Scriabin (1895).For the most complete explanation of the artistic image was considered the concept of «fragility» as a key characteristic of the beginning of XX century attitude that finds expression in philosophy, art, literature and music. It is revealed, that musical language have a specific features, which allow to study the cycle from the position of the late romantic style. It is proved that A. Lourie continues the development line of the national musical art, using and developing A.N. Scriabin's semiosystem. It allows to classify A. Lourie as one of the postskryabinist composers. The research proved that the cycles have intertextual relations at the level of the tonal and compositional logic, and on the level of a thematic, musical texture solutions, harmonic language, metro-rhythmic organization.
Vishnevskaya Liliya A.
The article deals with understudied issues of transmitting Karachay and Balkar singing tradition in time and space. On the example of the songs of the historic and heroic genre - one of the most extensive and popular in Karachay and Balkar and - broader - in North Caucasian culture - a comparative study of their musical text in diachronic (time) and synchronic (space) aspects is undertaken. The research material is presented by the songs “Gapalau” and “Kyanamat” (the names of folk heroes) existing in North Caucasian republics of Karachay and Cherkessia, Kabardino-Balkaria, and also in Turkey; the songs have multiple musical, poetic and performance versions. The research results are summed up in the following conclusions. Karachay and Balkar singing tradition exists in the interaction of the stable and mobile, invariant and variant structures of the musical text. This feature has predetermined the possibility of its flexible transmission in time and space. The time transmission of the performance, structure and intonation invariant is inherent in the existence of the song in the space of Karachay and Balkar. A variant ‘interpretation’ of the tradition is shown in the modern performances of the Karachays’ and Balkars’ descendents living in other countries, in Turkey in particular. The most vivid features of the reinvention of the genre in time and space focus in the performance sphere, they are characterized with a shift of the modern model of national music culture from the vocal to the instrumental and dancing one. The latter specifies adaptational reserves, appears as a return to the epic (nart) genre sources of historic and heroic songs and is determined by the Eastern Turkic mentality of Karachays and Balkars.
Khanova Alexandra N.
This article deals with the prehistory and the conditions of the occurrence of the German oratorio. The article reveals as well the features of genre and its specific character of interpretation in Germany in the first half the 18th century. Until now, the German oratorio branch wasn’t the subject of a special study of the Russian musicology. The 18th century German oratorio was deeply rooted into the Protestant musical tradition and has been inherited much from the Kirchenmusik genres of the 17th century. The birth of the German oratorio at the turn of the century was caused by a number of circumstances. The reform of the church musical and poetic tradition that was began by E. Neumeister, coincided with the creative experiments of young poets and musicians from Hamburg. The confrontation of the secular and ecclesiastical musical traditions, which lasted for decades in Hamburg, gave a special strain field where, like a spark, a new genre was appeared and quickly spread across Germany. Although the thoughts about the Italian oratorio were the impulse for the “invention” of the German oratorio it was hardly recalled later. In Germany from the one hand Passion and church cantatas were considered to be the most close to oratorio and from the other - an opera. Even the understanding of the appellation of genre was peculiar in Germany: it wasn’t heard as “from the Oratorio” or “prayful”, but “oratorical” or “rhetorical”.
Ilyichev Evgeny M.
The article reveals the peculiarities of extra-curricular musical activity of students of secondary school. The author describes and analyzes extra-curricular activities as a continuation of the music lesson, art. In this type of work music teacher reveals the essence, the urgency and necessity of its implementation mainly with students of adolescence. According to the author, it is this age characterized by the active formation of the world Outlook, moral convictions, principles and ideals, the “system” estimates. And in the process of formation of the child as a person is a high risk of “loss” of students as socially adapted personality.The article is due to the high educational potential and urgent need to strengthen moral education of students. The most conducive environment for effective implementation of informal educational task author sees the system of extracurricular musical and aesthetic activities of children in school. And this work is capable of working life, aesthetic skills in specific social situations. On the basis of generalization of the spectrum of methodical literature and pedagogical experience the author of the article identifies the special forms of extra-curricular classes. The emphasis is on group form of work (work with the choir, “circle of music lovers”, lectures, concerts, children’s Philharmonic hall). The article elaborates on the concept of “class work”, its structure, justifies the relevance in General music education.
Mikhailova Irina N.
The article is devoted little coverage in the modern part of the heritage of musicology of Grechaninov - his vocal lyrics. For example, one of the innovative works of the composer, “Flowers of Evil” song cycle (on verses C. Baudelaire), the author examines the features of a chamber vocal style of Gretchaninov, its relationship with the aesthetics of Symbolism beginning of the XX century.