Discussing a question of the violinist’s left hand finger technique

Gvozdev Aleksey V.

The article examines vertical movements of performing fingers on the left hand, and elaborates on conditions of their most effective positions. Furthermore, the article provides us with the analysis of movements structures, roles of passive force, musculo - performing freedom as well as it gives description of violinist’s feelings during the performance. In the context of fundamental unity of technical and artistic factors, we study the sound outcome of motor actions called a string sensation as its specific “soundsense”.

Kazakh music in modern foreign composers’ works

Nedlina Valeriya Ye.

One of the features of contemporary period in the history of Kazakh music can be shown as attention of foreign composers to traditional music of Kazakhstan. The article describes the methods of creative process with Kazakh material in pieces ofP. Child (USA), Y. Avital (Israel - Italy), W. Linden (Germany), K. Jenkins (UK), A. LeBaron (USA). Special attention is paid to synthesis of ancient genres like joqtau (funeral song) with modern multimedia composing technologies.

Modality as a form of medieval christian ideology

Ushakova Natalia VI.

The paper deals with Medieval monody that systematically expresses Western Christian philosophy in music and is united withe the idea of modality, resembling a generic rule, or modus. The urgency of the topic is determined by deficiency of publications in which the modality is studied from the philosophical and theological position, as a specific experience of perception, as a form of gnoseology. Basing upon recent studies in the field of medieval music, the author reveals and describes the prime characteristics of the sustem of modality which is formed on basis of the ontological meaning of the Word of God, along with several principles of Christian symbolism, such as resemblance, unity, typification, and isomorphism.

Musical psychological dramas of Vladimir Rebikov

Nasonova Angelina A.

This article is dedicated to the musical-psychological dramas written by Vladimir Ivanovich Rebikov (1866-1920) - composerinnovator, pianist, pedagogue, writer with an exceptional literature talent, musical-public figure. In this article examines the composer’s Opera aesthetics: convictions at the Opera genre, “the drama of the spirit”, relationships between theatre and public, the tasks of the new “theatre of moods”, “theatre of miniatures”. From radical positions Rebikov stands for the updating Opera as a genre. In a specific example discusses the main innovative principles of Opera aesthetics of the composer.The author examines the main innovative principles of Rebikov’s opera aesthetics, compositional structures and harmonic writing. The author of the article pays particular attention to the «tone dialect». This concept was introduced by composer with a view to designate original performing style of vocal parts in his operas. At the end of the article the author draws conclusions about the influence on the musical language of the composers of XX century and anticipation of many features of present-day theatrical performances.

On several aspects of bassoon playing

Popov Valeriy S.

This article is a part of the chapter Basing Performing Technique of the book by Valeri Popov The Human Voice of a Bassoon, which is preparing for printing in 2013. The author considers such matters as different ways of attack and creation of a sound, as well as depending of an intonation and dynamic.

The Klavierübung [Piano Exercise] by Ferruccio Busoni

Melnikov Maxim V.

The article deals with the formation of Ferruccio Busoni’s (1866-1924) pianistic ideas. His research of Johann Sebastian Bach’s polyphony and Franz Liszt’s piano heritage had led him to his own pianistic concept that determined his pianistic figure in the post-crisis period. The development of the concept was continuing for three decades. Busoni registered phases of the main pianistic idea in editions and transcriptions: from “Well-Tempered Clavier" [1924] to Lehrgebäude (ScientificSystem)[1900] and multivolume collections of Liszt’s editions [1911] and Bach’seditions [1920]. Busoni did the final figuration of the pianistic concept in the second edition of TheKlavierObung (Piano Exercise) [1924]. It combined the Busoni’s technical doctrine and his entire heritage in the complete system.

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