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Anton Bruckner’s Quintett

Konnov Vladimir P.

Quintet F-dur (WAB 112) is the most important and large-scaled opus created by Bruckner for instrumental ensemble. Some scholars set them off against Bruckner’s symphonic legacy but in this article it is considered in context of the composer’s creative life as a concealed symphony (after the first and authoritative Bruckner’s biographer Max Auer). The dramatic conception and formal structure of this work were analysed from the point of view of Bruckner’s idea of “musical architecture”. It is also very important that it was the first opus where Bruckner began to arrange the parts of the texture free from his early methods of organ registeration and improvisation.

Evgeniy Vladimirovich Nazaykinskiy

Dabaeva Irina P., Shabunova Irina M.

This research in the form of a review proves its relevance and academic novelty in an attempt to analyze E.V. Nazaykinskiy’s work and heritage taking into consideration pedagogical and scientific aspects in the same time. The evaluation of the scientist’s studies content is helpful in understanding the historical dynamics of how some original ideas and theories, which can be applied both in the sciences of musicology and musical education, were developed. The hypothesis of our research is that there is an integrity of higher order that can be observed in the whole scientific work of the outstanding musicologist. The object of our research is his books and selected articles; the subject of our study is a concrete definition of the main points and problems in the development of his theories of genre and style, musical composition, text and interpretation. The aim of this work is to reveal the way how these theories formed in terms of musical perception psychology and to demonstrate the signs of systematic approach in the development of the scientist’s vision during his life. The intention to embrace every crucial musicological problem can be explained by his personal interest to express his point of view and to work out new approaches to musicological research. In the wide range of Nazaykinskiy’s interests, different sections and branches of musicological science appear, he works out fundamental concepts and specifies the terminological system. So, finally, every single element takes its part in the complex, elaborate, hierarchical structure. In the same time Nazaykinskiy’s studies create an “open form”, which encourages the development of his ideas.

Finno-ugric ethnomusical systems: to the problem of the polyphony of the monodic cultures

Kosyreva S.V.

The article covers the problems associated with the study of the specificity of the Finno-Ugric ethnomusical systems and the peculiarities of the musical thinking of the Uralic language group peoples. One of the serious scientific problems in ethnomusicology, the problem of the polyphony of the monodic cultures, is brought up to date. Despite the fact that there is now a significant number of the scientific investigations dedicated to the musical traditions of the Finno-Ugric peoples, the problems of the systematic study of the sounding intonational cultures' musical language are not fully developed. There are no studies that directly cover the typology of the musical thinking of ethnic groups. All this does not allow forming a holistic impression of the Finno-Ugric ethnomusical cultures as music systems. The author offers a complex interdisciplinary methodological approach with the use of computer tools and musical acoustics data. The research is carried out within the framework of the scientific project approved by the Russian Foundation for Humanities (project №16-14-10003). For the first time in global science, acoustic measurements of voice, vocal and instrumental sounds from different genres of the musical folklore of the Finno-Ugric peoples are conducted. On the basis of the acoustic-phonological analysis of the musical language elements of the joiks' intonational forms of the Sami and the Karelians, the improvisatory prichet (lamentation) forms of the Vepsians and the Karelians, the improvisatory forms of the Izhma Komi and others, an electronic database of the Finno-Ugric timbres is formed.

«Les Biches» by F. Poulenc: the vocal line in the context of the ideas of the ballet

Golovnina Natalia A.

The first decades of the 20th century saw considerable changes in the ballet genre, with ideology, imagery, style and compositional structure undergoing a transformation. These are the aspects of Poulenc’s ballet "Les Biches" analyzed in this article. The vocal numbers play a special role, constituting a mini-cycle in its own right within the work. A peculiar synthesis of music and poetry observed in this work allows us to discuss the effect of cultural dialogue and genre interaction.

«Teacher-Pupil-Parent» Communication Link: Influencing Wind Musician’s Performing Skills (through the example of pupils of children’s music schools)

Makhova Anna I.

The article deals with collaboration between the teacher and parents, contributing to the child’s musical and cultural development. The author analyzes some aspects making it comprehensive, i.e. parents’ initiative, the child’s interest, the teacher’s taking into account of individual characteristics of the child. The article discusses some strategies which help parents navigate better their child’s learning at music school and autonomous learning out of it, which, particularly, involves visiting by parents their child’s lessons and fixing some key issues; a joint analysis made by the communication link participants after the pupil takes part in a concert performance or competition; joint viewing/listening and analysis of recordings of both professional musicians and pupils of the same level as the given child; joint visiting by the teacher and parents of master classes, concerts and other public events for evaluating the level of performance skills; school concerts and parents - teacher conferences to discuss the child’s academic results at the end of academic years periods.

АЛЕКСАНДР БЛОК И СЕРГЕЙ СЛОНИМСКИЙ - ПОЭТИЧЕСКАЯ ВСТРЕЧА В ФЕВРАЛЕ 2016 ГОДА

ДОЛИНСКАЯ Е.

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