Petrov Vladislav Olegovich
The article is devoted to one of the leaders of the musical avant-garde of the XX - beginning of XXI centuries. Considered the periodization of the composer through the prism of the major achievements of the author. Basic overview opuses Rzewski presented through the prism of changing aesthetic views of the composer, and the aesthetic views of themselves - in the light of the common features of the postmodern world, characterizing the specified time.
Savitskaya Elena Alexandrovna
Harmony and mode are important means of expression in rock music, despite their delusive simplicity and subordination to such elements of music language as sound and rhythm. In rock music, the mode approach is close to modality by its nature. On the one side, because of plagal specifics of blues scale, making grounds to many of rock forms (blues rock, hard rock), and second, of European folk music influences and Eastern music (India, Southeast Asia). On the other hand, modality sometimes points out a conscious turn to music forms of Middle-Ages and early Renaissance. Western-European functional tonality (classical and romantic) provides an «additional» modal system and being used, first, in pop rock and dance music, and second, in more complex examples, influenced by the legacy of classical music, for example in progressive rock. Evolving of blues scales and influences of contemporary music sometimes leads to "artificial scale systems". The ways of developing of mode and harmony thinking in rock music shows in the article on the basis of such key stylistic directions as hard rock and progressive rock. Hard rock tends more to the stylistic core of rock music and specifics of blues scale. Progressive rock gives many examples of strong complication and enrichment of harmony and mode thinking in rock music, connected with the influence of classical tradition, jazz and folk music.
Yu Fan, Krom Anna Evgenievna
The article is devoted to the activities of the German musician - composer, performer and teacher - Wolfgang Fraenkel in China. For several years (from 1941 to 1947), he taught composition and all theoretical disciplines at the Shanghai Conservatoire and brought up a whole galaxy of Chinese professional musicians. Based on the Austro-German traditions of music education, he not only “passed” with the Chinese students a centuries-old path of development of European culture, but also introduced them to the newest and most actual phenomena in the world of composition - atonal music and Twelve-tone technique. As a result, his first student, Sang Tong, created the first atonal compositions in China, which at the same time possessed Chinese national coloring.
Maximova Alexandra Evgenievna
The article is devoted to the study of documentary sources of the little-known work of C.A. Cavos - music to the drama ofA.A. Shakhovskoy «The Falcon of Prince Yaroslav of Tver, or the Prisoner on a White Horse» (1823). This work refers to the numerous musical and theatrical opuses of Cavos to the «Russian» plot. The surviving libretto allows not only to restore the plot of the play, defined by Shakhovskoy as «Russian true story» (based on the ancient legend of the marriage of Grand Duke Yaroslav), but also to clarify the history of the production of the play, to restore the names of the characters. The musical sources - a tutor and a set of orchestral voices - were studied. As a result, the location of musical numbers in the play was restored; revealed reliance on Russian folklore themes, contrasting with the alien «janissary» music that characterizes the opponents of the prince. Autocytata was found: Cavos transferred to this work two large fragments from his opera on the libretto by Shakhovskoy «Ivan Susanin» (1815). A significant place in the article is given to the ballet scene staged by Ch. Didlo, in which the conflict of Russian soldiers with «barbarians» - Tatar heroes and German crusaders is resolved. The combination of the libretto and musical sources is the first step to the reconstruction of the work.
Klepchenko Anastasiya V.
The relevance of the study is conditioned in that it attempts to analyze the russian national musical instruments as a region of republic`s Buryatia musical life. The aim of this article is to define influence of the russian national instruments on the musical life of Buryatia to subsequent use of material in «The history of the musical culture of the Transbaikal». First of all the text says, that appearance of the russian national instruments in the Transbaikal is tied with elucidative activity of the exiles. Further the author indicates to activity of V.V. Andreev, the grate russian musician. The text says that opened in 1929 Musically-theatrical studio influenced on the professional musical education in Buryatia. Opened in 1962 the National Instrument`s Department in the East Siberian State Institute of culture is marked as important event for development playing on the russian national instruments. Then the text says about national music`s ensemble named «Siberian souvenir», created by teacher V.V. Kitov. Further the text touches upon the originality of collective named «Amusement», created by N. Osipov. The text deals with the characteristic of some pieces of music composed by A. Pribylov. The composer A. Pribylov writes his works for the orchestra of the russian national instruments, the ensemble and the instruments solo. In conclusion the author stresses, that professional orchestras of the russian national instruments, numerous amateur collectives function in republic to present tense. The graduating students of Buryatia`s educational institution replace regular this orchestras and collectives.
Latyshev Nikolay Anatolyevich
The present paper commemorates the memorable date of death of A.P. Borodin and is dedicated to one of two unfinished works by great Russian composer - his third symphony. The article representing the first part of research devoted to this composition. The research examines all author`s hand-written sources of the work currently known, stored in the Manuscripts Department of the library at the Saint Petersburg State Сonservatory and Russian National Library. On the basis of the documents the parts of the prospective work are being analyzed - the first part, scherzo and final movement. The paper is concerned with the issue of how thoroughly developed the music material is, the character of its fixation and correction, composer’s remarks, which were also related to the instrumentation. Taking into account that in all manuscripts the work was named by A.P. Borodin as “quartet”, the paper brings up important questions regarding the heritage of the Russian composer. The first of them it is possible to identify the intended symphonic use of this material by examining the extant manuscripts. The second question is whether the third symphony by A.P. Borodin, like the opera “Prince Igor”, took its complete shape in the author’s version or, on the contrary, it can be perceived as an integral intention only in A.K. Glazunov’s revision.