An early work by P. Tchaikovsky (Quartet B-dur)

Voronina Aleksandra Vladimirovna

Quartet B-dur created by Tchaikovsky in 1865 a few months before the end of the conservatory. Contemporaries of the composer mentioned this work in his memoirs. Later, the quartet paid attention to Soviet researchers, considering it as not very successful student experience of the composer in the genre called. The most serious attention Tchaikovsky Quartet has received in the pages of the monograph by G. Moiseev, which was published in 2009. In particular, it gives a higher score artistic and musical-technological properties of the quartet. The author of this article detailing exploring compositional flaws of the first chamber-instrumental experience Tchaikovsky and considering it in the context of further development of the composer, came to the conclusion that the undoubted disadvantages of this work was the starting point for the creative processing of the first of its license opus, «Russian scherzo» Op. 1 № 1, and the following quartets.

Circassian (Adyghe) Former Dance «KА́FA». Historical, Folklore and Ethnographic Review

Gucheva Andgela V., Abaeva Asiyat M., Midova Madina K., Gucheva Fatima V., Marchenko Oksana A.

Káfa in contemporary culture eastern Circassians - the most common pair dance, performed in the family and community celebrations. A special role it plays at weddings and other ceremonial acts. On the professional and amateur stage Kafe celebrate the guys and twin-mass dance. Boy and girl dancing facing each other smoothly converge and diverge. Particular interest are: «Uork kafe» - «Noble Kafe», «Zhankydash» - «Output to dance girl, Zhan» and the first time introduced into the scientific revolution «Schys kafe» - «Kafa sitting». In today's consumer culture, he is mostly paired. Describing the Kafe, we should note the provisions of the canonization of the hands and body and pronounced etiquette.

C.P. E. Bach about the art of the free fantasy

Drobot Yuliya Konstantinovna

The article studies the free fantasy art of performing culture in the Baroque and early classical based on information from the musical-theoretical treatise of Carl Philipp Emanuel Bach’s «An Essay on the True Art of Playing Keyboard Instruments». The author of the treatise was composed of musicians to the service of the Prussian King Frederick II and, according to the memoirs of contemporaries, had mastered the art of improvising on the clavier. In our chapter, we published «On the free fantasy» Р. E. Bach gives advice on the development of the musicians free improvisation skills needed to create independent instrumental fantasies and performance vary reprises, which are not recorded in music notation and improvised in the game. Introduction to the theoretical foundations of free improvisation gives us the key to deciphering the vast urtext edition clavier Heritage P. E. Bach and his contemporaries.

Domra in Russia: the reasons for creating the four-strings domra and the fight between three-strings and four-strings domra in the 1920-30s

Makhan Vera V.

The article examines the reasons behind the creation of the four-strings guint tuning domra, and the subsequent split in the ranks of the performers on the domra. The fight between supporters of the quart and quint domras was provoked by the creator of the four-strings quint domra G.P. Lyubimov in 1919, very intensive it was fought in 1920-30. The activity of G.P. Lyubimov cannot be assessed unambiguously. On the one hand, he tried to improve the domra and expanded its range, but the instrument of his construction is not a better three-strings «Andreev’s» model. On the other hand, he tried to discredit the work of his predecessors - V.V. Andreev and his associates, who revived and improved the domra and balalaika - he contrasted his domra against three-strings «Andreev's» domra as the only proper and deserving the existence. The task of this article is to reflect the stages of the fight between supporters of species of the domra, and to highlight insuffi ciently explored pages in the history of the domra. The object of the research are the views Andreev, Lyubimov and their followers on the domra, as well as historical facts and events related to the fight between three-strings and four-strings domra players. The purpose of the research is to establish the true reasons and motivations of parties to the conflict, the impact of these events on the development of the domra performing art in general.

«Music art and science in the modern world»: On the III International scientifi c conference in Astrakhan State Conservatory

Petrov Vladislav O.

The article is devoted undertaken with the financial support of the Ministry of Culture of the Russian Federation in the Astrakhan State Conservatory, in November 2015 the III International scientific conference «Musical art and science in the modern world», which brought together leading musicologists and experts in the field of art in Russia and abroad. Presented topics reports, master classes, held in the framework of the conference, as well as the listed articles included in the collection, published on the materials of the event. It is noted that the most urgent at the conference became an interdisciplinary approach to the study of music in general and some of its effects in particular.

Representation of the religious-mythological syncretism circassians in the ritual songs

Kazharova Zaira V.

This article discusses some of the features of formation of the religious worldview circassians (circassians) based on archaic samples of songs dedicated to the god of lightning. Sacral meaning of the verse lightning for circassians stressed the majority of researchers. The man who was killed by this natural phenomenon considered chosen by God. The article presents an attempt to analyze the remaining song recordings, during which revealed functional transformation of the folk genre.

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