The paper describes the pressing issue of the genre of choral theater on the example of the works of Valery Kalistratov, one of the leading composers of contemporary folk line. The composer’s works that were written in different years represent large - scale variety of choral theatre genres, various methods and techniques of language in connection with genre, as well as original approaches in theatrical-stage dramaturgy of the works. The use of folkloric quotes and regional folklore traditions reflects the originality of the composer's thinking. Valery Kalistratov uses the intonation-verbal material of folkloric quotes and folk song’s specific performance techniques. Thus, the genre of choral theater is presented in connection with the method of citation which is the basis of the composer's work with folklore.
The actuality of this paper consists in the fact that Suite BWV 1006a of J. S. Bach has not yet become the subject of special textual studies despite the circumstance that this Suite stands as one of the most popular compositions in the repertoire of lute, guitar and harpsichord performers. The prime purpose of this study is to simplify the problem of the attribution of Suite BWV 1006a. The matter is that the cycle was initially considered to be written for the lute and as such appeared in the composer’s full collection of works (BWV). However, as a result of the textual analysis of the author of the paper concludes that the source of the Suite BWV 1006a was probably not intended for the lute, but for the clavier or the harpsichord. This conclusion helps to clarify the contemporary view on J. S. Bach’s instrumental works.
The paper deals with the analysis of “Why Patterns?” written by American composer of the second half of the twentieth century, Morton Feldman. In the last decade of his life, he began to collect and study old Turkish rugs, which were made using a special technique named abrash. In one of his lectures, Feldman said that in “Why Patterns?” for flute, piano and glockenspiel, there is the influence of this technique. Using the words of the composer as a basis, we tried to observe how he had implemented this idea. In his piece Feldman used the technique of repeating patterns that are constantly undergoing minimum changes, and the piece was like between repetition and variation. Composer achieved this effect using a combination of some techniques: permutations, reregistration, variation and others.
The article is dedicated to basical phases of guitar evolution in Spain. Such problems are mentioned as instrument’s field of existence, guitar school, evolution of guitar’s construction and repertory. The article considers the main evolutionary processes on six-string guitar, which appeared in Spain in the middle of the XVIII century, up until the second half of the XX century, referring to the earlier historical forms of the instrument (laud, vihuela, baroque guitar) as the previous ones. The main focus is on key phases of guitar's development. From the point of design and tuning it is the emergence of six-chorus and then six-string guitar with standard tuning ee-h-g-d-A-E, as well as the invention is recognized today as a basis for models of Torres. From the point of performance techniques and repertoire describes the experience of composers such guitarists as Aguado, Sor, Tarrega and Segovia, each of whom has made a significant contribution to the development of guitar art. The article made an attempt to make a deep historical cut in order to determine the historical role and place of the guitar in the world of modern music instruments.
The article is devoted to the analysis of evolutionary processes affecting the choral texture of the early Nono’s work. The choral scores researched demonstrate some new and original methods of timbre development, which considerably have expanded resources of choral sonority which considerably have expanded resources of choral sonority. His unique experiments in this field allow him to make the path for modern choral performance. The author is exploring relationship between works by composers the Second Viennese School (Schoenberg, Webern) and Nono’s choral opuses. The Italian composer develops technique of Klangfarbenmelodie, and expands pointillism use in choral texture. Nono has an interest to movement of a vocal sound in space without the aid of electronic instruments. This feature of his music caused rupture of traditional choral texture. The article contains a classification attempt based on the typology of the main techniques pertaining to the avant-garde choral textures including Luigi Nono's compositions.
This article focuces on the specific nature of wedding lamentations as one as the little-known regional traditions in the context of Russian North folk culture’s study. The traditional picture of the world, reflected in the ritual of Pomorye, the role of wedding lamentations in a local folk culture and some peculiarities of cryings with their poetics and musical language are considered here. A lot of features inherent the tradition of Belomorye’s wedding lamentations are also typical for Russian North’s ritual in general. However, some elements of poetic and musical language of local lamentations are very original ones. For example, Pomorye’s lamentations are of particular interest as a material for the development as problem as structural typology of Russian North group lamentations’ tunes. Now we can state, on the one hand, obvious heterogeneity of the material, on the other - lots of unique or rare structural types of lamentations in the local wedding.