About using an alphabetic and fi gures tablature for fixing Karelian and Finnish melodies by Elias Lonnrot

Moiseeva Valentina Iljinichna

The article is devoted to a unique phenomenon in European music culture-using an alphabetic and figures system for recording notes in XIX century by Elias Lonnrot. Elias Lonnrot is an outstanding Finnish linguist, folklorist, doctor, Finnish language and literature professor, the creator of Finnish epos Kalevala and the anthology of lyrical songs Kantelar, but his work as a musician-educator is not well-known yet. During the preparation for the publication of the folk songs collection for kantele, Lonnrot realized the necessity of using a tablature. Democratic aspirations of national revival leader of Finland led to this choice. The author of the article anylises in detail the specialities, differences and values of two types of tablatures; follows the dynamic of their modernization in Elias Lonnrot’s work. The author tries to give the answers to the questions which have not been studied in patriotic musicology, using the authoritative researches by Finnish scientist-musicologist Heikki Laitinen, handwritten sources, which are kept in archives of Finnish Literature Society (SKS) and also leaning on own publications concerning the theme of the research.

Composition and dramaturgy principles of the opera «The Enchanted Wanderer» by Rodion Shchedrin

Siverskaya Tatiana Mikhailovna

In this article the author shares a number of observations concerning dramaturgy principles of modern opera theatre, including the principle of «mirror». Most attention is paid for Rodion Schedrin’s opera «The Enchanted Wanderer». The dramaturgy conception of this opera is considered in the context of the other works of the composer, notifying the stylistic devices which is character for the musical theatre works of the Twentieth century: a retrospective principle of narrative («revived memories»), multi-channel action, orchestral Intermezzo as a generalization of the result, timbre dramaturgy, non-personification and others. Parallels between the conceptual solution of operas by Rodion Shchedrin and musical theatre by Igor Stravinsky. A special attention is paid to the composition of the opera: it’s graceful concentric with the architectonics, the principle of the mirror behind it. Notes typical «adaptation» of the genre of opera under the realities of the modern concert life. The author emphasizes the importance of the spiritual component in the plot of this work, in the writings of R. Schedrin at 1990-2000s years, as well as the relevance of these themes in the art of modern times.

Opera Finale as Musical-dramatic Structure: La Solita Forma and it’s Modifications

Logunova Anastasia Alexandrovna

This paper is devoted to the history of a grand finale musical-dramatic form. Opera finales are considered through «la solita forma» theory, which has widespread use in modern European and American researches. «La solita forma», which was generated in G. Rossini’s operas, helps to reveal features of Italian and French traditions in XIX century opera. The interaction of these traditions culminates in G. Verdi’s late operas.

Theatricality of performing space in the works of John Corigliano

Petrov Vladislav Olegovich

The article is devoted to the display of one of the main genres of modern music culture - instrumental theater - in the work of the American avant-gardist John Corigliano. For example, such works as «Promenade Overture», «Stomping», Third Symphony and Concerto for Flute and Orchestra («Pied Piper Fantasy») the basic laws of theatrical space tool at the implementation stage opuses - a special disposition of the tool in space scene movement instrumentalists the use of psycho-physical ways to attract public attention (acting), modeling a full theatrical performance. In the analysis of the Concerto for Flute and Orchestra («Pied Piper Fantasy») levels allocated plot and stage drama. It is proved that the structure and form, content and dramaturgy works Corigliano irresistibly depend on the stage incarnation of a particular composition, a particular concept. They define the extra-musical factors. The musical number in this context is interconnected with the theatrical side, with it aims to recreate the author’s concept, which involves itself genre of instrumental theater.

The instrumental variants of the Udmurt kubyzchi: Apay Syamen («Maiden dance»)

Pchelovodova Irina Vyacheslavovna

For the first time the author makes an attempt to understand the principles of musical thinking of the Udmurt kubyzchi - performers on the traditional three-stringed bowed instrument kubyz. At the heart of the research there is a comparative analysis of a folk tune (Apay Syamen «Maiden dance»), which exists in the traditional culture of the Zavyatsky Udmurts - in Baltasinsky Region of the Republic of Tatarstan and Mari-Turek Region of the Republic of Mari El. The tune functions as a vocal composition accompanied by kubyz or without it. There are also instrumental versions of the tune in the repertoire of all kubyzchi. The analysis revealed that the instrumental versions of Apai Syamen have a distinct instrumental nature due to the lack of vocals. Poetic text of the four elements organizes rhythmic beginning. The absence of the text allows using rhythmic variation and shifting the metric accentuation. The differences also affect the composite structure of folk-tune. In the instrumental version the segment that performs the role of the song chorus falls out. Eight rhythmic segmentation of time remains general for all tunes. For the fi rst time the techniques of playing and ways of holding a bow from the point of view of their influence on a variety of «reading»: «reading» of melody in instrumental music is considered in the article.

«The theme of joy» in the creation of Sofi a Gubaidulina: the question of religious software in instrumental works of the composer (for example Sonata «Rejoice!»)

Moskvina Olga Alexandrovna

The article reveals one aspect of the concept of «religious idea» in the work of Sofia Gubaidulina (for example, the Sonata for Violin and Cello «Rejoice»). The time in question - the beginning of 80-ies of XX century - almost a decade separated from the «religious boom» in the Soviet and post-Soviet space, which will happen at the end of the 80s-90s, and which is called «a new sanctification». This allows us to consider Gubaidulina work is not something that would be outside the context of «sacra nova», but in many ways parallel to it (and anticipating). The research focuses on the phenomenon of «threads of joy» in the works of the composer, which is treated in accordance with denominational (Orthodox) reading. The emphasis is on a double sonata genre, which allows you to «plot» to interpret the pages of Scripture. In addition, the dual nature of the genre works: Sonata and instrumental mass - «multiplies» sacred nature of the work. Analyzed in detail one of the leading methods of Gubaidulina in the creation of religious «scenes» - a sacred metaphor. Its multi-level hierarchy and allows the composer the apparent plot specifics remain within the «high» of a generalized software.

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