Ganenko Nadezhda S.
The article is dedicated to the textual criticism study of the unknown manuscript choir «Toad» of Sergei Taneyev, created on the text of Fet «Lightning ﬂashed ﬁre» (signature is not dated). The study of preserved autographs of the two parties of the choir (soprano, alto), especially their location on the recording and music sheet led to the conclusion that the choir was conceived with piano and composition for more than two voice. Studied the manuscript score and parts vocal duet for two basses and piano «Evening at the seaside», created for the magazine «Zacholystie» on the same Fets poem. Comparative textual analysis of two works autographs allowed to state: sheet material vocal duet and chorus is identical, differences in the keys (duet in c-moll, chorus Party in d-moll) depend on the choice of performers Taneyev. Analyzed in detail the author’s remarks in the manuscripts of works for «Zacholystie» with the name of a particular artist. Spotted commitment to the selection of men’s vocal ensemble compositions for the magazine. Lack lifetime editions choir and duet, their unfailing musical text suggested that the choir, as well as a duet created in the same period of time - in the late 1870s and early 1880s.
Gavrilova Natalia Sergeevna
The article reveals brieﬂy the essence of the «ideomotor» concept tracing its history. The level of piano technique depends with the pianists’ training about ideomotor memory of their ﬁngers, so the motor or otherwise reﬂex memory of muscles problem is very important for them. One of the article’s objectives is the search for the causes of occupational pianists’ hands’ professional diseases and the ways to confrontation. Progress in research has led to the study of the sports psychology techniques and, as a result, the parallel between the work of the pianists about the piano technique and the training of athletes was drawn. It also took some useful for pianists’ training points from the Stanislavsky’s method for actors. The article shows the possibility of using individual elements of these techniques for the correction of the pianist’s wrong movements thereout the «automatism» is formed only after repeated the tangles «imagination motion - a real movement» in certain movements of the average person. The article proposes also a hypothesis about the emotions’ impact for the physiological elements of ideomotor memory’s correction, scientiﬁc innovation is in describing the ideomotor moving process which translating by the way of concentration from unconscious for conscious. Artist uses unconsciously, as a rule, his ideomotor memory and learns the wrong movement inevitably in developing his piano technique. Therefore if the pianist can advance to represent closely his emotional reactions about his own movements and if he is able to imagine them and then adjust, so his ideomotor processes would be more accurate and affect to his hands and ﬁngers physical condition.
Krom Anna E.
The article is concerned with the category of musical time and different ways of metrorhythmic organization in the works of American composers-minimalists - La Monte Young, Terry Riley, Steve Reich, and Philip Glass. Under the inﬂuence of Eastern philosophy musicians formed the concept works as an inﬁnite musical process, organized by means of repetitive technique. On the example of the most representative methods of musical organization the author traces the features minimalist interpretation of rhythm due to its quantitative nature. The article deals with the basic inﬂuence of non-Western musical cultures (Indian raga, Balinese gamelan, African drum technique) to create repetitive methods of organizing the musical material in the works of composers-minimalists. The author traces the evolution of the perception and interpretation of musical time in the art of American minimalism - from improvisational practice of oral tradition of L.M. Young and T. Riley to the original techniques repetitive organizations in the work of S.Reich (augmentation) and Glass («linear additive process» and «linear subtractive process»), in which the rhythm is the main means of expression.
Gloushakov Yaroslav V.
This article was written based on the report at the international scientiﬁc conference dedicated to the 70th anniversary of the Victory «20th Century. Music of War and Peace», which took place at the Moscow State Tchaikovsky Conservatory on 21-25 April 2015. The article discusses the song material of the Great Patriotic War as a symbol of the struggle and the Great Victory of the Soviet people against Nazism; it analyzes the conditions for the creation and existence of Soviet mass songs during wartime, the article reviews and analyzes the genres of songs, statistical data, including data of the Radio Committee - a powerful means of mass communication, one of the ways of spreading the songs during the Great Patriotic War. It also analyzes the current situation of mass songs of the war years and the attitude of some foreign states to the phenomenon of Soviet mass song.
Shestakova Olga Valeryevna
Special music school is a special kind of education that arose in the national education system in the thirties of the twentieth century for children with exceptional musical abilities. The range of studies revealing features of the pedagogical process in these schools is limited to a small number of methodological work. The realization in the context of training of musical prodigy children for one of the key and universal pedagogical categories - category of the principles of teaching remains out of the research focus today. The article focuses on two principles - educating and developing training and natural law, then the features of their realization in the work of teachers in special music schools are revealed. The most speciﬁc manifestations of these principles stand for: the priority of the formation of certain professional and personal qualities, the idea of the intensity of training (in quantitative and qualitative aspects) and the idea of early professionalization (which played a decisive role in the creation of this type of educational institutions).
Soldatova Galina Ye.
The article is devoted to the instrumental tunes the zither sankvyltap, an unique phenomenon of Mansi musical culture. The research is based on musical notation of instrumental tunes recorded during some expeditions with the author's participation since the late 1980s to early 2000s. For the ﬁrst time in the musical ugristics the author proposes the approach to the analysis of temporal organization of Mansi tunes and presents the results of this analysis. Temporal organization means a rhythmic structuring and architectonics in their indissoluble unity associated with the development of the music material during the playing. The analysis algorithm is described in detail on the example of one instrumental tune of the Bear-feast. Then presented the conclusions obtained from the analysis of all notations. Three levels of the temporal organization (rhythmic formula - line - tirade) are indeﬁned, a relationship between the thematic subgroups of melodies and using rhythmic formula is found. Semantic link is deﬁned the most clearly between ritual mythological tunes - on the one hand, and formulas containing dotted rhythm, short duration on the ﬁrst beat, as well as three- and ﬁve-beat formula - on the other.
Gordeev Petr N.
The article is devoted to the conﬂict between F.I. Chaliapin and the chorus of the Mariinsky theatre in March 1917. The hostile relations between the great artist and the chorus troupe were formed before the revolution. The cause of the conﬂict was the refusal of the chorists to perform with Chaliapin the last version of the national anthem composed by him. In a situation of the actual «power vacuum» in the State theatres in March 1917 they failed to convince the chorus. In the end, Chaliapin managed to perform his work on the stage of the Mariinsky theatre, taking part in a concert of the Preobrazhensky regiment. These events are one of the example of a characteristic of the revolutionary era confrontation between a bright personality and «the team», the value of which grew in 1917.
Vishnevskaya Liliya Alekseevna
The article deals with the issues of typology of Karachay and Balkar vocal polyphony. Comparative characterization within early folklore polyphony forms distinguishes common generic (Turkic) and speciﬁc regional (North Caucasian) features of the vocal polyphony of Karachays and Balkars. Drone presents the intersection axis with the church polyphony; it reveals the prospect for the studies of Karachay and Balkar vocal polyphony within the context of East Christian (Byzantine) liturgical songs. The possibility of this aspect of study, suggested for the ﬁrst time, is determined by Christianity having been spread among the ancestors of Karachays and Balkars, by the existence of the relics of their Christian past in the present time. Guided by the concepts of musical anthropology, history of the emergence of the Byzantine singing style, and the theory of the early forms of vocal polyphony, the author attempts to explain the profound kinship of the folklore and church forms of vocal polyphony. Their similarity (consonance) is not due to being borrowed but it arises from uniﬁed performing and structural canons of «protopolyphony».