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Formation of Debussy''s piano style in chamber-vocal miniature and in music for piano (on the example of "Five Poems of Baudelaire")

Dokuchaeva Alexandrа A.

March 25, 2018 marked the 100th anniversary of the death of the outstanding French composer Claude Debussy, one of the most outstanding representatives of French music culture at the turn of the 19th and 20th centuries. One of Debussy's greatest creative achievements is his new piano style, which was formed in two musical genres: in chamber vocal miniatures and directly in piano music. It is in the vocal miniature that the accompaniments are rich in significant finds and insights, anticipating the artist's future flourishing. In this work, an example of the vocal cycle "Five Poems of Baudelaire" was performed to analyze the style features of Debussy's vocal music and its influence on piano music. Debussy's musical innovation is associated with his findings in the field of harmony, rhythm, the interpretation of the melodic principle, a bold attitude to the questions of musical form. The music of Debussy entered the gold fund of the world's musical heritage.

For the Development of Comparative Art-Criticism

Macijewski Ihor V.

The separate kinds of art - music, dance, poetry, painting, architecture etc. - are connected in their real practice, have an influence each on other, exist in different syncretic (in the archaic rituals) and synthetic combinations (up to the cinema and multimedia). But in the scientific research and the art education they are analizing and studying singly, in the context of the musicology, or choreology, theory of literature or theatre… In fact many fundamental categories of these arts - the rhythmic, modal, structural, functional and the other ones - may be understanding only on the basis of the comparative research. The actual problem is also the comparative studying of traditional ethnic arts of different peoples and historical-cultural civilizations of East and West, Europe, Asia, Africa etc. In this article there are indicated the main vectors and aspects of the new scientific discipline - the comparative art-criticism.

Music and humor in works of the Canadian composers of the XX century

Pereverzeva Marina V.

Article is devoted to music of the Canadian composers of the XX century of comic, comic and even satirical character. Authors used methods of exaggeration and parodying of stylistic lines of culture of this or that historical period or the people and also gave to some means of expressiveness comic and even sarcastic shade. Perhaps, a large number of pieces of music of comic character is caused by the philosophical approach to judgment of the world characteristic Canadian "a look from outside", the need for communication with listeners in simple and clear language. The relevance of a research and its scientific novelty are caused by what in is mute for the first time in the Russian musicology receptions and the means of expressiveness creating comic, comic or satirical character of music of the contemporary Canadian composers of the XX century are analyzed. If methods of exaggeration and parodying and also comedy are widespread in music and are known for a long time, then the sarcasm is rare in music therefore it attracts a particular research interest. The author in detail considers the concrete methods of composition aimed at creation of comic, comic or sarcastic effect.

Song of Fish" from the poem "Mtsyri" by Lermontov in the romance genre XIX-XXth century

Verba Natalia I.

The article is devoted to the consideration of cases of realization of "Golden fish Song" from the poem "Mtsiri" by M. Lermontov in the Russian romance of XIX and the turn of XIX-XX centuries. The purpose of such analysis is to consider the means of embodiment of the image of the Sea Virgo in the music art. Despite the name, the image of the sea maiden is the central one to the poetic text. This image is the archetypal one and it has some characteristics which were fixed in the artistic practice. Stable characteristics of the image determine the appropriate ways to capture it in musical art. In the analysis of romances based on the text of Lermontov's "Golden fish Song" the author makes the special accent on intonation, metrorhythmic, tonal, texture features, shape-forming principles and emphasizes a very similar vector of creative searches of different composers in the embodiment of the mermaid image, which produces intertextual connections between works. Correlation of characteristics of Lermontov's mermaid in the romances of Russian composers allows to make conclusions about similarity of the created musical images and about conditionality of this phenomenon by the archetypal image.

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