About the History of the Central Music School at the Moscow Conservatory

Adischev Vladimir I.

The article substantiates the idea that the creation of the Central Music School at the Moscow State Conservatory to a great extent was due to the activity of a Special children’s group that existed in the university. The organizational and substantive aspects of group activities are revealed. It is shown that in the Special group were a small number of gifted children who received general music education with f prospect of further learning at the conservatory. Educational activities in the group had been focused on all-round development of students and respect for the individuality of each child. Leading professors and teachers of the conservatory worked with children. Comprehensive assistance from the state was provided to the group. All this led to the receiving of high educational results. The positive experience of the Special Group convinced of the need to expand the scale of working with gifted children and the creation of special educational institution. This institution called the Central Music School was created in 1935 by combining the Special children’s group and the Conservatory Children’s department. In the and the article concludes that the Special children’s group has contributed to the national music education despite the short period of existence: it prepared the creation of a unique educational institution which was the Central Music School at the Moscow Conservatory, and with an example of its effective practice it has set on the agenda in the mid-1930s the need to create special music schools for gifted children in other conservatories in the country.

Glinka Nameless anniversary: the 200th anniversary of «the first musical manifestation of feelings»

Frolov Sergey V.

200 years ago in the life of Mikhail Glinka's an event that he described as «the first musical expression of feelings». It was provoked by hearing «Kruzel quartet with clarinet». Since then, the future founder of Russian classical music «passionately loved music». Analysis of music quartet Kruzel first made in this publication are allowed to make some observations, as to making this work is to initiate further musical interests Glinka. At the same time designated intonation traces left by them in the music of Glinka.

Harmonica in the Context of Circassian (Adyghe) Customs and Ceremonies: Functions and Semantics (Historical and Ethnographic Review)

Gucheva Andgela V., Bukhurov Mukhamed F., Gulieva (Zanukoeva) Farizat H., Dzughanov Timur A., Berezgov Barasbi N.

The article is devoted to consideration of value of a harmonica in culture of adyghe of the end of XIX - the beginnings of the XX centuries. Authors study the main questions connected with emergence and distribution of this type of the tool among adyghe and other people of the North Caucasus, and also its role and functions in everyday life of society. The special attention is paid to ceremonies and customs in which features of «man’s» and «female» performing tradition are reflected, in particular, ceremonies of acquisition, ornament and storage of a harmonica, the customs connected with invitation of the accordion player to a wedding, accordion girl-player on dance, and also the questions defining the status of the master performer are considered.

In the wake of Mikhail Glinka in Italy. Review of the book «Mikhail Glinka and Italy. Mysteries of life and creativity» by E.M. Petrushanskaya

Alkon Elena M.

The book «Mikhail Glinka and Italy. Mysteries of life and creativity» (Moscow, 2009) by E. Petrushanskaya is regarded as an integral part of a comprehensive study of the composer’s wanderings initiated by Ukrainian scientists S. Tyshko and S. Mamaev. At the same time another approach, caused by Glinka’s contradictory attitude towards the Italian music, is provided in the reviewed publication. The theme «Glinka and Italy» requires analysis of Glinka’s music, comparisons and evaluation of its novelty. The reviewer greatly appreciates the hermeneutical study, which involves such concepts as «native - foreign», Italian - Russian, East - West. Informative richness and novelty of ideas are marked as eminently exclusive. The reliability is substantiated by multiple new documents. The author’s observation and sensitivity while interpreting the received materials as well as her knowledge of the Italian realities and wide art scope are of great importance. Brilliant style and perfection of form introduces this book into a number of valuable, outstanding ones. The serious view on Glinka’s buffoonity deserves special attention. The book is recommended to musicologists, to wide range of professionals in the humanities, admirers of Glinka’s music and readers interested in cultural tourism.

On one particular formula kadentsionnyh Byzantine samoglasnyh stichera

Shchepkina Nadezhda Alexandrovna

In this paper, a study undertaken by the poetic and melodic originality samoglasnyh chants, to which are still not paying attention. Based on observations of the holiday samoglasnymi stichera author concluded hymnographers application and melurgami formula serving a specific function main rhyme cadence. Signs of it are: 1. It is defi nitely the final formula; 2. Reliance on modal ihosa abutment; 3. Eating chant two or more times; 4. Lines of the poetic text, raspetye this formula, often abundantly supplied with different methods of organization of the poetic text - from zvukopisi up rhymes. In tandem with the main rhyme cadence can work even one or two similar formulas, whose main task - «flashing» additional meanings and emphases of verbal text.

Reflections about the Concept of the Piano Concerto No. 2 of Sergei Rachmaninoff in the Research of Russian musicologists

Konson Grigory R.

The novelty of article is in Research of covert tragic conception of Piano Concerto No. 2 of Sergei V. Rachmaninoff. The hypothesis of study is in the idea that in Concert there was the autobiographical consciousness of man who mentally experiences a death and finds strength to overcome it. The integral analysis of art works are used in this article.

The editorial policy of the publisher of music in the Renaissance: the activity of Ottaviano Petrucci dei Fossombrone

Pankina Elena V.

The article is dedicated to the specific aspects of the problem area of the «musical everyday life» of the Renaissance, namely some factors of development of the music printing, to whom existence and content of the publishing privilege (licence), financial and organizational conditions, and technological decisions are related by the author of the article. The realization of these factors is considered on the example of the activity of the prominent publisher Ottaviano Petrucci. The Petrucci’s claims to the Venetian Signoria (1498, 1514), the privilege received by him from Pope Leo X (1513) and also the inscriptions of Petrucci and Bartolomeo Budrio being addressed to Girolamo Donato and published in the collection «Harmonice musices Odhecaton» (1501) are considered. The mentioned documents contain separate characteristics of Petrucci’s collections, appraisal of his technological innovation and also judicial fundamentals of the work of music publishers and book-sellers in the conditions of temporary monopolies in relation to the determined types of publications and competition - in this case of Petrucci and Andrea Antico. Eleven frottola books (1504-1514) are determined in the broad genre spectrum of Petrucci’s published collections. At proper time they became a new type of music production oriented to the mass demand and Petrucci took the leading position in its edition. It is mentioned about some distinguishing features of Petrucci being a music printer: clearly apparent periodization and genre dynamics of the published collections, individual character of work with financial and editorial collaboration in separate editions, setting of different types of realization of music production, fragmentary using of non-music editions, combination of editorial and social and political activity.

The Philosophy of Free Creativity. On the 100th Anniversary of the Death of A. Skryabin (1872-1915)

Slavina Elena V.

In an article dedicated to the memory of A. Scriabin the philosophical and aesthetic views of the composer reviewed, which determined the specificity and uniqueness of his works. For Scriabin philosophy was one of the components of synthetic art - a rational platform upon which to build musical ideas, determines the ideological canvas and the program of his compositions. In the «aesthetic complex» activities of the composer were embodied characteristic ideas of the era of «Russian cultural renaissance» about systemic and creative organization of life, the purpose and nature of artistic creativity. In the works of Scriabin a rich range of ideas was found that determine the artistic and aesthetic shape of Russia in the early twentieth century. The article analyzes the features of the philosophical heritage of Skryabin in the context of time, characteristic «Records» language of the composer, the range of problems that were part of his field of vision, the evolution of views, chronological parallel to the development of Russian philosophical and aesthetic tendencies, the very type of artistic personality, symbolic for the Russian culture of the early twentieth century.

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