The topic of the article is figurative subject of music interpretation. The vectors of research are directed to overcoming borders, to the classification of musical imagery and musical expression, to the eidetic subject. The interpretation transcends the borderlines of interpretation of «other» and «constant», «formation» and «become», «nothingness» and «being». The article presents a general classification of types of musical imagery, that correspond to the general principles of musical expression. Sound images are conditionally divided into three large groups: affective, contextual and integrative imagery. Musical expression operates with the basic principles of contrast, connections and integer. Types of musical imagery are matched with types of perception: affective image with psychophysical type, contextual image with aesthetic type, integrative image with symbolic type. The study moves from the reception of the interpreter, through the definition of the expression of the sound image, musical formation to anagogics, apophatics of symbol, eidos.
The article is devoted to an interesting and little studied part of S.I. Taneev’s creativity, to his musical humor. The author briefly analyzes three choral miniatures - «Specialist is like a gumboil», «The Fountain», «Lying in a bed». The author also analyzed the previously unknown comic cantata «Apotheosis of an artist», which he found in the archives. Taneev’s creative method in musical jokes is to endow initially not serious literary text with the new allegorical content through a variety of musical semantic techniques. There is a close connection between the comic works and the main serious part of Taneev’s creativity. This connection lies in a certain range of themes and ideas of his works.
This article is devoted to the unique document - Joseph Haydn’s letter about interpretation his celebratory cantata «Applausus». This letter contains important statements of composer and kapellmeister about orchestral practice of the middle of the 18th century. Such questions about history of early classical orchestra as its structure and number of musician, choice of instruments in continuo group, features of kapellmeister’s rehearsal work and even such particular problem as making parts of orchestral compositions are mentioned in the article. Haydn’s instructions to the interpretation are grouped by content (remarks about introduction symphony, structure of the orchestra, explanations addressed to the musicians, advices copyist) and detailed commented in the context of general orchestral situation of that time.
In this article the author attempted to explain the works of Latin American composers in musical direction «magical realism». Being a genetic offshoot of European culture, musical culture in Latin America was developed by local refraction of ideas and methods that came from Europe. In the works of Latin American composers the full range of esthetic trends that emerged in the 20th century was reflected. The author of the article did conclusion about the occurrence in Latin music sustainable direction which was reflected by the characteristics of the inhabitants of this region, who still had the views of primitive elements of pagan ideas. Those kinds of works resonate directly with the direction known in the literature as «magic realism». It will be found out later if the name «magic realism» entrenches for the musical direction. It is clear anyway that Latin American composers managed to find distinctive solution to national and international «eternal» issues.
The paper is focused on Jan Václav Stich, or Giovanni Punto (1746-1803), one of the most prominent French horn players in the history of performing art. Stich’s biography, which has not yet been satisfactorily detailed in the research literature, is presented. His artistic collaboration with his great contemporaries is reviewed. Stich’s importance as a virtuoso horn player and an original composer is evaluated. The author analyzes Stich’s Fifth concerto for French horn and orchestra, which is of great compositional and performing interest; both traditional and innovative features of this work are revealed. The paper also concerns some other Czech musicians of the 18th century who made considerable contributions into the development of instrumental genres of classicism.
In this article for the first time in musicology the author defines the problem of existence of professional singing traditions in Ancient Egypt. The basic singing traditions are briefly characterized. The oldest tradition ḥś, especially actively developing from the end of the period of the Ancient Empire (2686-2181), is researched. Stability of basic principles of the singing tradition ḥś which has existed during multithousand-year history of Ancient Egypt is shown. The revealed authentic vocal terminology is given in a foreshortening of its evolution. The circle of executors of the tradition is showed. The structure of communities of professional musicians of Ancient Egypt are considered. On the basis of the kept data about musical pieces, texts of vocal compositions the sphere of musical genres of singing tradition ḥś is outlined. For the first time the question on existence of some hymn genres, for example such as hymn-panegyric and hymn-pray is mentioned.
The mythologeme of water is the ambiguous and complex image. Its realizations in art, including music works, have a lot of parallels. Opera «Sadko» by Rimsky-Korsakov and the works by Debussy on the marine theme is a vivid example of the availability of inter-textual links. These ones depend on the archetypical sea images, which dictate the similar direction of creative searches of means of their sound realization. This article reveals the general dramatic principles, intonation, timbre, registered and dynamic solutions, describing the embodiment of water element in the opera «Sadko», the symphonic triptych «Sea», the nocturne «Siren», the opera «Pelleas and Melisande», some piano works by Debussy. The author also makes conclusions about the archetype as the cause of such parallels. In addition, these compositions relate with other music works on the marine theme. The context of Hoffmann’s opera «Undine», Tchaikovsky’s symphonic fantasy «Storm» and Chopin’s «Barcarola» allows to identify the specifics of the mythologem of water in the works of Rimsky-Korsakov and Debussy.
The phenomenon of beauty, as well as finding ways to implement it, attracted mankind for centuries. In our research this subject is seen by the example of musical and aesthetic concept of Alexander Scriabin, one of the most enigmatic composers and thinkers of the XIX-XX centuries. The article defines the essence of musical and aesthetic concept of A. Scriabin, which lies in immediate, practical implementation of beauty of the universe. Magnitude of the composer’s idea is determined by the breadth of his interests (lumiere, pedagogy, poetry, aesthetics, etc.). Particular attention is paid to the evolution of attitudes of A. Scriabin and forms of their expression in sound in the dynamics of the three major phases of his work: early (before 1900), average (1900 to 1910) and late (1910 to 1915).