Iskhakova Sayida Z.
This article analyzes the reasons for the wide dissemination of dilettante «class» (the concept, which refers to musicians who do not need financial reward) in Western Europe, XII and XVIII centuries. It is a question how to establish in these times of social conditions for activation of amateur music-making and the objective possibilities of this practice (convenience reformed in those periods notation in particular). The article shows that many of the musical phenomena of the Enlightenment have their counterparts in the so-called European Renaissance of the XII century. In this connection the use of a thesaurus in the XII-XIII centuries terms«troubadour», «juggler», «minstrel» is analyzed, as well as «amateur» and «professional» in the XVIII-XIX centuries. The article also considers possible reasons for the gradual decline of musical amateurism, the cause of which is seen in the strengthening of urban culture in a position opposed to the castle, before determines the shape of a musical era.
Kniaz Zoia N.
The paper studies the perception of works of Jacques Offenbach in the musical criticism of Camille Saint-Saëns. A particular attention is given to the perception of Offenbach’s operettas with an ancient plot. A difference in the perception of ancient themes by Offenbach and Saint-Saëns is shown by analysis of musical criticism and essay of Saint-Saëns. A particular attention is given to the paradox of creation of opera «Hélène» by Camille Saint-Saëns that could be considered as a musical answer to Offenbach’s operettas «La belle Hélène».
Pankina Elena V.
The article is dedicated to the issue of the musicological reception of the literature and musical genre-compositional frottola meaning, as a rule, being identified with the culture of the Italian polyphonic song of the end of the XV - the first third of the XVI centuries. On the basis of the song collections, document and literature texts the author demonstrates a breadth of usage of the frottola term in relation to the certain compositional models as well as the sphere of poesia popolaresca that stipulate the double interpretation of this genre term in the modern researches. There is a development of the paroemia frottola of the XIV century formed in the creative work of comic poets into the lyrical polyphonic song in the result of combination of the music practice of north Italian cantore al liuto and the genre and compositional model of the French chanson.
Novikova Olga V.
In this paper the tradition of cattle incantations in the culture of the Barguzin Buryats is considered. These incantations are solo melodic recitations aimed at influencing magically domestic animal females (cow and sheep) if they refuse to feed their newborns or to calm them during milking. The main means of magical effects of the cattle incantations are propelene extralinguistic wordsymbols is uniquely associated with a specific species of domestic animals: a sheep (guute) and cow (oog). Today the cattle incantations represent the live, though gradually consigning to the past because of change of traditional economic way ritual tradition. Keeper of this tradition generally people, worked shepherds, milkmaids and veterinarians the most part of life. Musical and textual structure of the Barguzin cattle incantations has many characteristic features of the same genre traditions Hori-Buryat, Telengits, Altaians, Altai Kazakhs, sut-Khol and the Erzin Tuvans, Kalmyks and Mongols. However, the cattle incantations of Barguzin Buryats have specific features that distinguish them from closely related traditions - primarily Hori-Buryat. This specificity is largely due to the strong influence of the Barguzinsky cattle incantations song tradition, which is most clearly manifested at the level of melodic, modal and timbral organization of the samples.
Chernobaeva Oksana V.
In the article the subject of musical analysis are the traditional lyric songs of the Orel region. The study is carried out with the view of treating the two components of levels of musical-folklore texts and ethnographic context of the existence and genrestylistic characteristics of each of the song samples. The author discusses issues related to the functioning of this layer of the song in the musical traditions of the region and structural-typological study of musical-folklore texts with the subsequent identification of their musical attributive signs.
Miklukho Elena O.
The article deals with the creation of contemporary English composer John Tavener (1944-2013). The success of his works to a wide audience environment - a curious phenomenon of the last few decades. The works of the composer are popular in the UK, are known abroad, his works were noted and highly valued by Igor Stravinsky and Benjamin Britten. Tavener’s main creative idea was a spiritual search and return to the living traditions in music, which were lost, in his opinion, in the West.The relevance and scientific novelty of the article are determined by the aspiration to find the main direction in the creation of the composer. To achieve this goal was made the analysis of the catalog of works by John Tavener, represented by the publishing«Chester Music», with whom the composer has collaborated throughout all his life. Аdduced сonsiderable facts of the biography of the musician, his statements about art, about the works that were created by him. The article emphasizes the importance of choral music in the life and work of the composer, who in 1977 adopted Orthodoxy and experienced a strong influence of Russian and Old Russian musical culture. The analysis of the catalogue of Tavener’s works allows to make a conclusion about vocal and choral origins of his work.