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About musical semantics diachronical transformations (questions of analysis)

Denisov Andrei V.

Historical research of musical semantics has essential value for theorists and all musicians. But it remains the least developed field of musical science. At the beginning general questions of musical semantics historical transformation research are considered. Also its directions and prospects, problem areas are presented. Between them - need of interconnections with extra musical circumstances establishment; processual nature of historically caused changes of musical semantics; at last - complexity in creation of the metalanguage allowing to describe it. Separately on concrete examples types of musical semantics historical transformations are considered - preservation of a steady line out, total or partial disappearance from memory (opposite variant- reconstruction of the primary source semantics), more or less pronounced transformation, radical change. The factors, them causing: the general reference points of culture and also features of the author personal consciousness.

Anhemitonics in Prokofiev’s melodies

Brazhnik Larisa V.

The paper presents anhemitonic examples in Sergey Prokofiev’s musical compositions of different genres and creative periods, from early piano works to the masterpieces as the opera «War and peace», the Symphony № 7.The phenomenon of anhemitonics is rendered in a broad way: the mode consists of not only three or four semitone, or different kinds of pentatonic, but of six tones (anhemitonic hecsatonics), seven tones (anhemitonic heptatonics) or other various number of tones. Anhemitonic with different amount of tones in a mode is an attribute of Russian song traditions and music of Russian composers of XIX-XX century.There are several examples of pure pentatonic in some Prokofiev’s works. However, the most typical form of melodies is when it develops in dynamic way: anhemitonics (different types) - pentatonics.Inclusion expressive features of anhemitonics into his music is a demonstration of specific musical thinking of the Great Russian composer.

From «International» to the anthem of the USSR

Karabanov Aleksey A.

In article continuing the first and second the main tendencies in the course of ideological fight in the pre-war USSR which have caused development and formation of a genre of a national anthem against a political turn from ideology of proletarian internationalism to ideology of the state patriotism and the state ideological order which has followed it are traced. Historical circumstances, allowed the song of Alexandrov to express features of national consciousness and self-identification of the Soviet people and to rise up to the heights of a national anthem are shown. In the course of the historical and cultural analysis both archival materials, and modern researches, and also the numerous materials published on the Internet are attracted. On the basis of the considered data the conclusion about the predefiniteness of the choice of the government commission and circumstances accompanying him is drawn.

Manuscripts don’t burn (based on statement A. Konchalovsky E. Artemyev’s Opera «Crime and punishment»)

Egorova Tatyana K.

Since the twentieth century musical theatre is experiencing not the best times, and in the struggle for the viewer with rapidly progressive media arts, various music and entertainment shows and theatrical and spectacular performances, is solved at times on a very risky directorial experiments, focuses not on the musical drama, and the stage version of the Opera. In some cases, such performances are perceived as outrageous and in conflict with the music copyright text. On the example of analysis of formulation A. Konchalovsky E. Artemyev’s Opera “Crime and punishment” based on the novel by Fyodor Dostoevsky the article raises important contemporary musical theatre issues reinterpretation and adaptation of operas on the stage.

The First Arrival of Berlioz in St. Petersburg (1847), New Sources and Documents

Petrova Galina V.

In the article reviewed and analyzed the correspondence by a French composer with F. List, A. Lvov, O. Nolte, G. Ernst et al, preceding his first visit in St. Petersburg in 1847. The idea of the trip to Russia attended Berlioz much earlier. The first illustration of that idea is the letter of M.I. Glinka from Paris to V.I. and E.I. Fleury - the musicians of the world didn‘t notice the evidence of the letter. Restored repertoire of concert programs, where the «Symphonie Fantastique» which was dedicated to Russian Emperor Nicholas I, does not assume such a special place in, whereas his «Damnation of Faust» and «Romeo and Juliet» vice versa assign. Reception of Berlioz in St. Petersburg are based on periodic press materials, posters, programs. The article first published manuscript of first concert program of Berlioz as well as other documents.

The new word in Adyghe ethnomusicology (Review on the book «Circassian (Adyghe) music folklore: instrumental music»)

Gulieva (Zanukoeva) Farizat H.

The submitted review is devoted to the collection «Musical folklore of Circassians (Adyghe): instrumental music», left in Nalchik in 2015. Are presented the most important genres of instrumental music of Circassians (Adyghe) among which in the edition: udzh, kafa, zafak, zygatlyat, islamey. Musical material of the collection is organized on musical instruments (in particular: aerophones, hordophones, idiophones, membranophones), ensemble fullness, regional and individual styles. In introductory article A.V. Gucheva - the author, the editor-in-chief, the author not only introductory article, but also comments of the edition - traces a way of emergence and development of the Adyghe ethnomusicology, the review of the main works in this area is given, the career of Vladimir H. Baragunov is lit, specifics of work on the considered edition reveal.

V. Barkauskas. Fifth symphony: some aspects of poetics

Grockij Denis O.

This article is devoted to compositional approach of Lithuanian composer Vytautas Barkauskas who is considered to be classic of national music. In his Fifth symphony we can find specific technique of manipulating with “constructive elements” of different types. Embodying of these elements discovers the non-musical ideas which form the meaning of the symphony. The idea of the symphony was described by author as “the catastrophy at Tchernobyl” and the symphony narrates about different matters of this tragedy. The transformation of “constructive elements” allows to trace the formation of meaning at different levels of musical discourse.

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