Ilyichev Evgeny M.
The Author considers the expediency, necessity and urgency of homework on music for students of grades 5-7 Lyceum in the context of the subject area "Art". Provides vivid examples of online resources that can attract the modern student to musical self-education. The role of the teacher-mentor is deﬁned in the light of new technical possibilities.
Skorbyashenskaya Оlga A.
The article is devoted to the history of the relationship between Franz Liszt and the Petersburg pianist, composer and teacher Adolf von Henselt (1814-1889). In performance, composer creativity, life, Liszt and Henselt were complete opposites: the ﬁrst was a famous European virtuoso, the second was forgotten almost immediately after his death St. Petersburg musician; the ﬁrst person embodied romantic artistry, the second one abandoned his performing career, closed himself in the teacher's craft; the ﬁrst was a typical extrovert, the second was an introvert. Nevertheless, their friendship and creative dialogue lasted almost 40 years. The article is based on unknown archival materials, located in the archives and libraries of St. Petersburg, Moscow, Weimar and Schwabach. The relevance of the research and its novelty are characterized by the fact that in this article unknown archival materials are introduced for scientiﬁc use for the ﬁrst time, and a new interpretation of the already published Liszt and Henselt letters is given. The aim of the research is to give a comparative portrait of two outstanding European Romantics who determined the development of the 19th century pianism, having studied their epistolary, and also musical manuscripts containing sketches of the second part of Henselt's Concerto in F minor op. 16 and his Etude in D Major op. 2 No. 9.
Denisov Andrei V.
In the review the general structure of the monograph, its leading problems, key deﬁnitions are considered. Among the last - category of musical art, three levels of sounding: physical (acoustic), communicative (intonational), spiritual (valuable). Heuristic potential of the book ideas and also their debatable positions (connected with differentiation of concepts "national" and "professional" music) are shown.
Mahieva Lyudmila H.
In clause it is considered speaking another language borrowed musical term system, representing the important component in terminological lexicon modern karachay-balkarian language. Studying of inﬂuence of foreign words (terms) on terminological system of the given language plays a huge role in questions of research not only terminology but also all dictionary structure of language. In work for the ﬁrst time in investigated language attempt of classiﬁcation to a thematic attribute of a musical terminological layer is done. As a material of research the speaking another language lexical elements collected by continuous sample from available karachay-balkarof lexicographic editions have served. The given research can serve as useful help in drawing up of a translation explanatory dictionary of musical terms of investigated language.
Ustugova Alexandra V.
Comparative-typological analysis of bow instruments on Russian book miniatures and popular prints in comparison with written sources allowed to draw a conclusion about the existence of several types of the Gudok in Russian musical culture. In this article, we consider the type of Gudok with ﬂ at decks. As a result of the study, we identiﬁed the main structural features of Gudok with ﬂat decks: a rounded case, ﬂ at decks (upper and lower), a button, a rectangular under-grab, a long neck without fret with a curved head, three or four strings and a straight bow with a slight deﬂection the end of the cane. In our opinion, the appearance of the Gudok with ﬂat decks is due to the development of performance (the introduction of new techniques of the game, the expansion of the repertoire), which necessitated the improvement of the instrument. Obviously, the process of changing the design of the Gudok was inﬂuenced by the violin, which in this period is gaining popularity in Russia. The Gudok with ﬂat decks existed in the Russian musical culture throughout the XVIII-th and XIX-th centuries.
СХАПЛОК ГАЛИНА АНДРЕЕВНА
Настоящаястатья- первоеисследованиевотечественноммузыкознании, посвященноетворчествуизвестногомосковского композитора, профессора кафедры композиции и инструментовки РАМ им. Гнесиных Валерия Пьянкова (1940 г.р.). В работе дана краткая биография композитора; перечислены ключевые произведения, рассматривается важнейшая область творчества В. Пьянкова - хоровая музыка. Предметом анализа являются «Духовные гимны Шри Чинмоя» ор. 51, десять аранжировок для смешанного хора а`cаpеllа. В данном хоровом цикле отражены поиски композитора, связанные с духовным совершенствованием человека, его внутренней гармонией (Богом). В качестве материала для аранжировок композиторомиспользуютсямедитативныеодноголосныемелодиипроповедникаизБенгалииШриЧинмоя, чтопредставляет дополнительный интерес для изучения. Цель исследования - раскрытие художественно-эстетических установок Валерия Пьянкова, выявление характерных черт его хорового письма на примере анализа избранного хорового цикла.