Kuzkina Anastasia V.
The article discusses heirmoses of Kievan chant. The analysis is performed on the material of Irmologion of the XVII-XVIII centuries from various collections of the SHM and RSL that existed on Russian soil. The focus is on melodic structure of heirmoses. The peculiarities of the melodic structure are identiﬁed and their typology is offered. The analysis revealed that the melody of heirmoses of Kievan chant has two types of repeat constructions, which play different roles in the composition of the melody. The frequency of their occurrence in the hymn, the set of stable parameters, length of the constructions and their incidence vary. In this case, both types of repeat constructions ﬁt perfectly into the surrounding musical material and merge with it. Perhaps, such manifestation of deﬁnability of different types associated with varying degrees of preservation preimages of Znamenny chant in singing practice.
Dyachkova Lyudmila S.
For many people of my generation Lev Abramovich was not simply a teacher, he was the Great teacher, the master, indisputable authority irrespective of, whether has the luck to be engaged to you at it, or only to communicate with it, or only to read its works. It as a magnet attracted to himself a huge number of interesting and extraordinary people among whom were not only musicologists, physicists, linguists, but also great musicians - D. Shostakovich, G. Neygauz, S. Richter, A. Goldenveyzer, E. Gilels, D. Oystrakh, D. Schafran. Scientiﬁc concepts of L.A. Mazel were a fruitful source for development of musicology. It not only systematized the structural, semantic and art principles of the analysis of music, having opened new creative opportunities of analytical knowledge of its essence, but also laid the general methodological foundation of research of a musical phenomenon.
Nikiforova Elena An.
The article is devoted to the ballet «The Prince of the Pagodas» (1956) by Вritish composer Benjamin Britten (1913-1976). When considering the characteristics of the libretto and score attention is paid to the genre aspect of this ballet, raised the issue of the sources of the story, which became a basis for creation of the libretto. Attempted disclosure of the deﬁnition of «mythological tale», which was chosen by the author of the libretto and the Director of the ballet by John Cranko. Musicological analysis of fragments of the score of «The Prince of the Pagodas» has demonstrated the validity of this designation genre regarding music and Britten. Covers some of the musical characteristics of the generated scores, in particular, imitation of sounds of the Indonesian gamelan means of the classical orchestra, by means of which the composer has created a unique atmosphere of the «mythological tales». Touching on the history of performances at major venues throughout the world in the UK, Germany and Russia.
Sanicheva Elizaveta V.
The article goes in the opera work «A King, Riding» the Dutch composer Klaas de Vries - a prominent ﬁgure in modern music of the Netherlands, one of founders of Rotterdam composer school. «A King, Riding» - a noticeable milestone in a career of the gifted composer. This work summed up creative search of Klaas de Vries of the 1990th years and planned ways to the future.
Kamyshanova Maria V.
This article is an attempt to reveal compositional and dramaturgic laws of opera epilogues in the works of Russian composers of XIX-XXI centuries. Epilogue is regarded in its relations as with the preceding ﬁnal scene and so with the text of the main part of the work. The accent is made upon the effect of removal, which is shown on the dramaturgic, plot and emotional levels. The phenomenon of widespread genre modulation, typical of such situations, is also taken into consideration. The circle of epilogue functions, of different connections between epilogues and prologues, epilogues and the main opera text are revealed in the article. The methods of thematic integration and thematic reminiscence are of particular importance. Redirection functions and disconnection functions create two types of relationships between epilogue and the main opera text. A special signiﬁcance of opera epilogues for the profound understanding of the work as a whole is stressed in the conclusion.
Bagrova Elena Y.
Francis Poulenc said that the juxtaposition of the secular and spiritual is one of the paradoxes of his work. The paper deals with the relationship between the two genre spheres: sacred cantatas and instrumental chamber works, created in the last decade of the composer’s life. Mixing of elements of various styles within one composition, both in historical and genre understanding, is the characteristic feature of Poulenc’s music style. Semantic connections between the works of various genres are marked by numerous examples of cross self-quotation. The author uses the method of thematic comparison as the main examination tool. Analyzing the genre and theme quotes from sacred cantatas found in sonatas, the author concludes that the genres are assimilated, the boundary between the secular and the spiritual principles is erased in Poulenc’s late works.