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Baroque claviers and keyboard technique: historical approach

Zenaishvili Tatiana A.

The paper is concerned with some essential problems of the HIP (historically informed performance). The attempt of the original musical practice reconstruction is undertaken from the point of view of our day musical researcher and performer. The proposed method of reconstruction is based on the research of baroque keyboard instruments and specific keyboard technique.

G.R. Derzhavin and the ways of formation of russian opera

Larkovitch Dmitry V.

The article discusses Derzhavin's creativity when he had been writing opera librettos in the context of the basic tendencies of Russian musical culture development on the turn of the 19th century. The reasons of aversion of his opera heritage by contemporaries are revealed during the analysis of Derzhavin's compositions and the conclusion is about the development Derzhavin's musical-drama principles prospects.

Heinrich Isaak: a hero of his time

Kanakina Evgeniya A.

The paper covers the life and work of Netherlandish composer Heinrich Isaak (1450-1517) - one of the major polyphonist of the time, a court composer of the emperors Lorenzo the Magnificent de' Medici and Maximilian I, and the author of a popular German song «lnnsbruck, I must leave you» and the first in music history cycle of Polyphonic Mass Propers for the full year.

On canonical principles of traditional play on saratov harmonica: «Saratovskie perebory»

Mikhaylova Alevtina A.

The paper is concerned with canonically settled basics of the Saratov harmonica's plays: melodic, sound ostinato of the bell, harmonic basis, types of showing and evolution of the music themes, morphogenesis.

On the signs of the instrumentalism of buffoons in Stravinsky''s «Petrushka» (to the question of continuity of the phenomena)

Timofeeva Margarita N.

The theme of the article reveals a relationship between three independent phenomena: the skomorokhi, the theatre of Petrushka and Stravinsky's ballet on this subject. They will be reduced to common denominator from the instrumental point of view. The instrumental play differently embodied in each of them seems to be immanent property of professional musical thinking.

The baroque pedal? The problems of style: the baroque music concepts and the use of pedals in the interpretation of J. S. Bach''s works for the modern piano

Osipova Polina V.

This article observes the stylistic and conceptual reasons for the use of the pedals in the interpretation of Bach's keyboard works in the modern piano with an aim to conserve the stylistic unity of the music.

The performing art criticism in the works of musicologists and scientists in the 1920s-1930s

Pushbarnek Zhanneta В.

The 1920s - 1930s were a very interesting period of Russian history. Studying this period's critical works we can get the picture of the musical life. One of the leading concepts of this period is the trinity of the reciprocal components: the composer - the artist - the listener. This period's musicologists' critical works are viewed not only from the scientific point of view, but also as the work of art.

Title and composition in the chamber instrumental music by Yury Vorontsov

Ozerskaya Olga V.

The paper is concerned with the characteristic of the titles in the chamber instrumental music by Yury Vorontsov. The author of the article represents classification of the titles of his works. In the article the direct influence of the title on different aspects of special and nonspecial musical content is traced: form, dramaturgy, the choice of instruments, use of symbolism, quasi-quotations, dimensional effects, peculiar attitude towards time.

С. Debussy and О. Redon:the new art mental features and its riddles

Rovenko Elena V.

In each epoch we can see certain mental features, which can be easily recognized in different aspects of art. These features are embodied in specific material: in sounds or in paints, in words or in stones. In this article the author attempts to compare the creative method of Claude Debussy, on the one hand, and the similar principles of Odilon Redon, on the other hand. This comparison allows to reveal the qualities, common for the art of Debussy and Redon.

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