Cantata «Der Tod Jesu», verses by K. W. Ramler with the music by C. G. Graun

Khanova Alexandra N.

Two famous in their time authors - an opera composer С. G. Graun and a poet, a connoisseur of the musical recitationK. W. Ramler - in 1755 created jointly a unique masterpiece that had met the latest trends in the field of aesthetics, theology, literature and vocal music. The writing appeared before their contemporaries as the embodiment of refined taste satisfying at the same time the needs of religious feeling and firmly entered into the liturgical and concert Lutheran practice for more than one and a half century. The appearance of the Graun-Ramler product became one of the key moments in the history of the German oratorio. Due to this opus the interest in the cantatas and oratorios was increased again in Germany in the 1750s. The style and dramatic features of this work became the object to imitate and theorize that contributed to the formation of a specific tradition of the so-called «Lyrical oratorio» of the 2nd half of the XVIII century.

Classical music radio and its audience in Russia: empirical research experience in 2013-2015

Sharikov Alexander V.

The article analyzes the place of classical music in the radio broadcasting system in modern Russia. The author presents some facts of the history of the national radio broadcasting associated with classical music. It is shown that classical music on the radio occupied an important place in the Soviet Union from the start broadcasting in the 1920s. After the collapse of the USSR during last 25 years, the total volume of classical music on the radio, expressed in hours increased. In modern Russia, four Russian radio stations, each with coverage 10% of the population and above, where there is classical music (radio station«Orpheus», «Radio Russia. Kultura», «Radio Russia», «Detskoye Radio»), the aggregate amount of classical music and gear about it is, estimated, up to 29 hours a day. On the other hand, in percentage terms there was a decrease volume of classical music in comparison with the 1980s to 18-20% in four programs of All-Union Radio to 2-2.5% in the fifty largest radio stations in modern Russian Federation. The reason - the almost twenty-fold growth in the number of radio stations, observed since the beginning of the 1990s, in which there is no place to classical music. Studies conducted in Moscow in 2013-2015, revealed that the value of the audience of classical music radio stations (in the example of radio «Orpheus» and «Radio Russia. Kultura») is relatively small. The number of people applying for each station at least once a day (Daily Reach), is just over 1%, during the week (Weekly Reach) - 3-4% in the last month (Monthly Reach) - about 4-6%. Over the past 10 years there has been growth of the audience of radio «Orpheus» in Moscow, which indicates an increase of Muscovites need to listen to classical music on the radio. The structure of both radios audience distinguished by a high percentage of listeners with higher education, the prevalence of people aged 40 years older, a high percentage of qualified specialists and managers. The audience of the radio «Orpheus» is composed mostly by listeners that have at least any level of music education.

Creative work with musical text and its reflection in the minuets of the «Notebook for Maria Anna Mozart»

Gareeva Margarita A.

The two main components of the creative work of a performer with a musical text are examined in the urtexts of the 19 minuets of the «Notebook for Maria Anna Mozart» that was compiled by Leopold Mozart as a tutorial for teaching his children the universal skills of musicianship. These components are comprehension and interpretation of a musical text by means of actualization of the semantic structures (musical lexis and dialogue models) that are rendered in it graphically, and creative transformation of the text with a help of the universal devices, such as doubling, change of register, mirror inversion, ornamentation, horizontal and vertical unfolding. By analyzing pedagogical technologies fixed in the «notebook», the expediency of their using in present-day musical instruction of both professionals and amateur musicians is proved.

Family playing music as a microenvironment factor in professional formation of musical exceptional children

Varlamova Larisa A., Petrova Evdokia I.

In article pedagogical approaches to assessment of a role and influence of various factors of the environment on development of children’s musical endowments are considered. The environmental factors making direct impact on exceptional children are specified. Features of the microenvironment of specialized music school are revealed, shortcomings of music education of children are described. Extent of participation and the estimative relation of parents to early professional musical training of children based on which author’s classification is created is lit. Generalizing a pedagogical work experience, authors reveal special forms of extracurricular activities in musical education of children from whom the Club of family playing music is distinguished.In article the work content of Club and its structure is concretized. The occupations of Club exerting impact on musical achievements of children and on the relation of parents to professional musical training are estimated and also its importance as the additional potential and a resource for further professional formation of young musicians is determined.

M.V. Ivanov-Boretskiy as a founder of modern Russian musical-historical science

Yunusova Violetta N., Alpatova Angelina S.

The article is devoted to the scientific activity of the outstanding Russian musicologist, composer and teacher M.V. Ivanov- Boretskiy (1874-1936). Citing scientific biography of the researcher, the authors examine the contribution of the scientist in the Soviet and Russian musicology in general, the history of the study of foreign music and the development of comparative historical musicology in the Soviet period. M.V. Ivanov-Boretskiy’ activities has been multifaceted and associated with important historical events and new organizations to promote world culture and art in the Soviet Union (“Musical-Theoretical Library”, Moscow “Symphonic Capella”, lecture courses for workers, Music Department of the Moscow Proletkult, State Institute of Musical Science). It covered areas of study such problems as the origin of the music art, the musical genres development and Western composers’ works.

Role and functions of music in video games on the example of the game the cyberpunk genre

Chevyshev Vladimir M.

In the article the structure of the sound of a example on video games: the role of the soundtrack and sound within the game space and game music off side, specifics of «new media» and defines the basic functions of the effects of sound on the perception of the gamer, also examines the role and function of music and sound in new media for example, a particular video games, turning to half-forgotten sci-Fi genre of literature and cinema. One of such genres is the cyberpunk mentioning a perspective of social inequality, transhumanity, use of achievements of science for improvement of intellectual and physical capacities of the human. The main object of the research is «Deus Ex: Human Revolution», in which the gamer gets complex feelings during your presence in the virtual environment. Game characterized by: immersion to the difficult and plausible game world, a look from the first person (from a field of vision of the main character) for feeling of «presence» at the videogame, the nonlinear game design allowing to use several ways or several decisions in this or that situation. The musical component of the videogame consists of three components: acoustic music, electronic music and the musical mix made of «live» and synthesizable mixes. On the basis of Rob Bridzhett’s works the interactive structure of a musical and visual example of the video game is considered. According to this structure there are five main scenarios of formation of media library of a soundtrack in a game: linear, cyclic, developing, transitional, defining. The sound in the video game is means of simulation of virtual space and a control facility emotions of the gamer. A musical and sound sequence strengthens feelings of presence in the world of a game and emphasizes presence of elements of the virtual world in the world of the player. Association of a set of the perceived environments on channels of audialny, visual and kinestetiс influence increases affective influence on the user. The importance of video games is large and opens up prospects for enhancing the creative abilities of the person, promoting his versatile creative development in any genres.

The «creative cosmos» of N. Medtner

Topilin Daniil I.

The article deals with “creative cosmos” of Nikolai Medtner: attention is paid to the specifics of the Russian-German composer’s thinking. Congenital cultural dualism defines the essence of the beliefs and artistic representations of Medtner. So there were the “right” ideas about creative composition. Medtner categorically denied new compositional styles that emerged at the turn of XIX- XX centuries. The composer continued to write in the style of a romantic language, which existed before the advent of Richard Wagner. This article discusses the reasons for undeserved oblivion Medtner, who was “in the shadow” of Alexander Scriabin and Sergei Rachmaninoff. This influenced the slow formation of scientific interest in the heritage of Medtner.

Trisagion hymn in Tatar-Kryashens’ folk performing

Gumerova Aysylu T.

The article is concerned with subject of Orthodox chants in folk tradition of sub-confessional group of Tatar nationality - Tatar- Kryashens (christened Tatars). The present article presents the specifics of changes in verbal and musical texts of Trisagion hymn in folk tradition. The subject of detailed analysis is intonational transformations of church chant, which appeared because of folk songs influence. Analyzed examples had gathered by the author of this article in the beginning of XXI century from different territorial groups of Tatar-Kryashens. Compared with canonical model each contemporary version of chant has its own degree of changes. Some of them very close to original chant, although there are examples of hymn entirely different, singing with individual melody, being a result of performers’ creativity.

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