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Biblical parallelism in Handel’s Chandos Anthems: on textual and musical structures correlation

Yevdokimov Alexander S.

George Frideric Handel who had devoted major portion of his life to England rapidly adopted traditions of the English anthem and enriched them with a new bright solutions. Known for his attention to the text details, composer could not leave behind a biblical parallelism which is the key feature of scriptural texts. This article deals with Handel’s anthems of 1717-1718 and biblical parallelism implementation methods employed in their music.

On the role of church singing in the missionary educational institutions of the Middle Volga region (second half of the XIX beginning of the XX century)

Gumerova Aysylu T.

The second half of the XIX - beginning of the XX century - a period that played a special role in the history of non-Russian peoples of the Middle Volga region. This period is characterized by reformation of the missionary and educational activities of the Russian Orthodox Church, the ideologist and the proponent of which was N.I. Ilminsky (1822-1891). The most important line of his work was the opening of missionary village schools for non-Russians, aka inorodtsy: Tatars, Chuvashs, Maris, and Udmurts, whose training was structured according to a completely new system. Church singing occupied a special place in the school program. It was conceived by Ilminsky as the most important "tool" of Christian enlightenment. In this article, based on the study and analysis of archival, documentary sources, pre-revolutionary missionary printed materials, periodicals of the second half of the XIX beginning of the XX century, the author examines the musical aspect of the Ilminsky pedagogical system and its role in the process of Christianization of the population of the Middle Volga region. As an example, the author studies the organization of the educational process in institutions such as the Central Baptized Tatar School, the Kazan Teacher's Seminary, the Simbirsk Chuvash School. Revealed are the prerequisites for the emergence and formation of traditions of Orthodox singing in national languages in the region.

The Choral Concert № 1 of Vasiliy Kulikov: interpretation of the cycle, form and compositional technique

Vasilyev Ruslan N.

The article is devoted to Choral Concerto No. 1 (1984) of Vasiliy Kulikov (b. 1963). Special attention is paid to the poetic original, the cycle dramaturgy, form, musical syntax, polymodal and mixed techniques. In an effort to enter his native Komi-Permian culture in an East-European context, the composer refers to high academic genre of the choral concerto, poems of the Komi-Permian poet Stepan Karavayev (1908-1974), the arrangement of Komi-Permian folk songs. In this cycle the relevant for that time civic and patriotic themes mixed with the development of traditions of New folklore tide.

V.I. Safonov and his "Draft Statute of the Imperial Russian Musical Society''s Conservatories" (1891, 1898)

Moiseev Grigory A.

The relevance of the study and its scientific novelty are determined by the fact that in it for the first time analyzes in detail the Draft Statute of the Conservatoires prepared by V.I. Safonov. The history of the Draft's creation is reconstructed in the context of the emergence of other similar documents of the Russian Musical Society. The subject of consideration are sources of text. The erroneous point of view about its occurrence in 1901 is refuted and the exact date of the first publication in 1891 is established. The second edition of the Draft of 1898 is also considered. Safonov’s Draft Statute takes an extraordinary place in the history of the statutory documents of the RMS. It was not put into operation de jure and remained known only to a selected circle of persons, while for its creator it was a program document and a guide to action from 1889 to 1905, when V.I. Safonov headed the Moscow Conservatory.

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