Enﬁadzhyan Aram Surenovich
The article discusses the current issues related to domestic, European and international practice of using art history notion of «Symphonic Music» (SM). There are differences of versions and features of the interpretation of the term SM in purely musicological proﬁle literature, and in a broad cultural discourse. Identify and analyze the degree of SM aesthetic, semantic and reference correlation with performing attributes of symphony orchestra. There are numerous examples of music, which is an obvious afﬁliation to the SM nor in any way due to the speciﬁcity of expressive means and opportunities for symphony orchestra. In the process of locating the various aspects of musicological SM concepts conducted its adequate etymological and historical correlation with the core subjects in the mainstream of a given token «Symphony». An additional feature of belonging to a genre of SM admits most colorful sound of music, including due to the breadth and richness of timbral palette. Implemented correctly Art Deﬁning of SM-concept to the expansion of its formulation, the universal nature of which makes it possible to provide adequate identiﬁcation and veriﬁcation of all the works of world music literature, fully comply with a number of priority criteria indigenous to SM genre trappings. It is shown key and «cementing» role in the ongoing deﬁning constitutive category of «symphonism». Introduced subsidiary musicological concepts of «conventionally symphonic music» and «quasi-symphonic music».
Karpov Pavel Yevgenyevich
Poorly studied composer's creativity of Alexander Dmitrievich Kastalsky considered in the article. Kastalsky is the one of the famous church composer at the turn of the XIX-XX centuries presented in the article as the author of the cantata genre. The composer wrote in the prewar period several choral cantatas on important dates of national history. The study cantata «Verse of the Russian church singing» (1911) written to the Synodal School anniversary. Cantata becomes the ﬁrst experience in a number of similar genres. Kastalsky tries to connect to the vocal style of the church cantata with instrumental accompaniment. Also he describes in detail the process of creating a cantata (see the Kastalsky’ letter to Grozdov), traced the fate of the choral concert works. Religious themes and everyday tunes are the main thematic material and choral texture writings. Kastalsky composed the music and verbal several cantatas. Thus, the interaction of Words and Music becomes a major in the choral cantata. Composer attracts borrowed musical material for the illustration the Word: the everyday life «Eternal Memory», a fragment of the exposition I.S. Bach fugue es-moll of the ﬁrst volume of the Well-Tempered Clavier. The present choral work is a milestone in the way of creativity Kastalsky creating choral works with instrumental accompaniment.
Kalashnikova Olga Alekseevna
The article deals with the problem of style interactions in piano sonatas Russian composers of the second half of the XX century. This question is particularly relevant in connection with the fundamental changes the foundations of compositional thinking that took place throughout the XX century. Along with the search for new solutions in the ﬁeld of formation, musical and expressive means, piano texture, the authors are actively used to achieve musical past breaking features known styles in his work. A striking example of such interactions is a piano sonata Voronezh composer Alexander Ukrainsky «Winds of alarms» (1991). The author concludes that the organic combination in the composition of various stylistic characteristics in conjunction with the individual artistic conception creates the preconditions for the birth of the original dramatic concept.
Gordeev Petr Nikolaevich
The article is devoted to the events that preceded the controversial strike of the Mariinsky theatre chorus on February 21, 1917. The focus of the researcher’s attention is the activity of the director of the Imperial theatres, V.A. Telyakovsky, who (contrary to the image that has developed in newspaper articles) was not indifferent to the requests of the choristers concerning the improvement of their ?nancial position. Twice within half a year Telyakovsky tried to increase the salaries of his subordinates, but he was able to achieve only a slight bene?t payments. Being not able to manage the cash payments and having met no understanding on the side of the leadership of the Ministry of the court, the director of the theatres was doomed to remain an observer of the growing discontent of the younger artistic personnel. The topicality of the chosen subject is determined by its interdisciplinary issues and liaison with the important issue of the proliferation of social protest and scienti?c novelty of the research is to attract new sources that allow to review the V.A. Telyakovsky’s role in the history of the chorus strike.
Yevdokimov Alexander Sergeevich
This article deals with English sacred music of the Reformation period which fundamentally differs from that of the Catholic period: it doesn’t succeeds to the reﬁned polyphonic powerful sound and monumental duration of its precursor, but offers the ultimate simplicity of musical solution instead. The main objective of new sacred music became providing clear sounding of the Holy words delivered in native language. At an early stage of Reformation, from the midst of 1540
Mamaeva Nadezhda Pavlovna
The article is devoted to the prominent musicians and teachers of Russian abroad, S.P. Orlov and M.V. Chernosvitova. On a base of archival sources material their main biographical information is presented, some views on school music education are disclosed. It is stated that S.P. Orlov and M.V. Chernosvitova had published a number of articles, teaching materials, manuals for musical training and education of emigrant children. They took an active part in public musical and educational working. The conclusion: these teachers emphasized the special meaning of music in children education, they gave an exceptional role to Russian musical culture as a factor of national identity preservation of students, involved the study of music in the country of residence in foreign culture environment. The experience of these musical ﬁgures haven’t received the coverage in the scientiﬁc literature until now.
Voronina Aleksandra Vladimirovna
The problem of the evolution of music in the style features of the great Russian composer P.I. Tchaikovsky, in the development of his compositional technique and skill, still has not become a subject of sufﬁcient attention of researchers. This article attempts to summarize previous experience studying periodization composer. In particular - to identify the criteria for separation at a certain stage career Tchaikovsky, deﬁne the principle that possible to trace the evolution of techniques used by Tchaikovsky in different years of life. In our view, the closest to the problem of periodization of Tchaikovsky came B. Asafyev, revealed in their studies some features of the creative evolution of the composer, touching the inner logic and orientation. Attempts to understand the creative evolution of Tchaikovsky, continues the line of B. Asafyev, we meet in our time in the works S. Frolov, who discusses some principles of forming and types of musical dramatic works of the composer. There are some new ways to resolve the problems outlined.
Gucheva Andgela Vyacheslavovna, Bukhurov Mukhamed Fuadovich, Dzughanov Timur Alikovich, Gucheva Fatima Vyacheslavovna
Dance art Circassians (adyghe) originated in ancient times. Dancing (ritual dances, incantations, offerings to the gods, dances, prayers to send down the harvest or rain, dancing, gratitude, games, etc.) Were a part of everyday life of the people. Such is the ritual dance Udzh. This article examines how this dance is reﬂ ected in the Adyghe folklore, in particular, in the heroic epos «Nart». Attract and texts of ritual poetry Circassians. Particular attention is paid to the main types of Udzha, which are the «Thashho udzh», «Shibley udzh», «Faryudzh», «Udzh hurey», «Guascha udzh», «Nysa udzh», «Udzh turyt», «Udzhhesh», «Udzhpyh» and others. We also consider the various rites, in which the connection is detected with a ritual dance udzh.