American minimal music and the art of crossovers: parallels and interactions

Krom Anna Evgenievna

The article is devoted to the problem of interaction of the art of crossovers and American minimal musical, characterized by symbiotic nature and free crossing of borders between academic and mass genres. The diffuse nature of minimalism allows it to fit into the wide space of creativity of crossovers. Musicians have just as successfully synthesized phenomena that previously seemed incompatible: experimental avantgarde art, jazz and rock music. Minimalism organically existed in the context of the club culture of the 1960-1970s, and within the framework of the high avantgarde, it was claimed by both the intellectual audience and the general public. Minimalist writing techniques - phase shift technique, tape-delay, sampling - have become fi rmly established in the technical arsenal of modern academic and mass art. The fruitful interaction of minimalism with the movement of crossovers is indicated by the further fate of the direction and its prominent representatives (Reich, Glass).

A.P. Borodin’s instrumentation of the song "U Ludei-to v domu" ("People differ - their homes differ"): the main aspects of the composer’s orchestral style

Latyshev Nikolay Anatolyevich

The following article studies A.P. Borodin’s vocal miniature «U Ludei-to V Domu» («People differ - their homes differ») and the main aspects of its instrumentation. This article’s relevance and its originality is due to the fact that a fairly compact music piece is being studied in an aspect that hasn’t been explored previously. This research is based of the first publication of piece dated 1890 and Borodin’s original manuscript dated 1881 and stored in the archives of the Russian National Library. Due to a thorough analysis of the manuscript, it can be confirmed that the composer focused his attention on various details gravitating towards the most economical usage of compositional tools when orchestrating the piece. While writing the piece he considerably tweaked the instrumentation trying to achieve a perfect balance between the soloist and the accompaniment underlining the important lyrics in N.A. Nekrasov’s poem. The article studies various aspects of how the piece was prepared for publication, as well as the editorial work done by A.K. Glazunov. Glazunov’s proofreading notes are mainly focused on correcting various publishing inaccuracies in relation to the lyrics and the music texts of the composition. The article also studies the differences between the manuscript, the published sheet music and the piano reduction made by G.O. Dutsh and various notes on tempo and dynamics.

Crisis and dismantling of the tone concept in late sonatas by Alexander Scriabin

Devutsky Vladislav Eduardovich

The article shows that in the last sonatas of Alexandr Scriabin it is impossible methodologically to use none of the fi ve well-known definitions of tonality, and this means that the late harmonic style of the composer is much more accurately defi ned as atonal. In Russian musicology, this point of view still seems unusual, but only it leads to an adequate comprehension of the meaning of Scriabin’s music. Scriabin's atonalism is not a non-historical phenomenon. On the contrary, the era of modernism, in which the composer plunged with passion, demanded innovative means of expressiveness and they appeared at once from many of the most sensitive artists: Debussy, Stravinsky, Schoenberg, Bartok, Prokofiev, among whom Alexandr Scriabin's name takes one of the most prominent places.

Davidsbundler Union. Henselt, Schuman and others: Variations on the known subject

Skorbyashchenskaya Olga Adolfovna

Among all the ideas of Schumann, the idea of an imaginary union of musicians - Davidsbund - is one of the most fruitful, which continued its life in other generations of musicians, at other times. The article is devoted to the consideration of one of the central works of the "DavidsBündlers period" of Schumann’s life and work, "Symphonic Etudes" op. 13 in the context of the ideas of romanticism. The influence of this work on the next generation of romantic composers is traced.

Domestic music of the early XX century - the verge of grotesque

Demchenko Alexander Ivanovich

The diversity of the content-style panorama of Russian music of the early XX century, one of its angles was manifested in the unprecedented deployment of resources of artistic grotesque. The roots of this phenomenon are found in the artistic criticism of the turn of the XIX-XX centuries, some strokes of which are outlined in the 1890s (including the works of Tchaikovsky and Rimsky-Korsakov), and then, in the 1900s, followed by its extremely rapid development, in its scale and results unprecedented for both domestic and world music art. In the subsequent flourishing of the musical criticism of the 1910s, the main course of the grotesque was connected with the discovery of its qualitatively new resources, and the main contribution was made in the works of Stravinsky and Prokofiev. Moreover, the radicalism of the plants, deforming entity, amylacetate and destructive orientation of the grotesque is not just meshed with aggression (a typical example is a piano cycle of Prokofiev «Sarcasms»). Grotesque imagery in its form, which was characteristic of the beginning of the XX century, passed the final stage of its development in the 1920s, receiving a concentrated expression in Shostakovich's opera the «Nose».

German songs of the year round

Petri Elvira Korneevna

Traditional European music culture, including German, is little studied in Russian musicology: the researchers ' attention is focused on professional music. Knowledge of the" main stages of development of Western European folklore "and" genres of foreign folk music "is a requirement of the State educational standard of secondary professional education specialty" Theory of music", but there is no textbook on foreign folk music culture. The purpose of this article is to partly eliminate this lacuna and give a brief description of the German songs of the year (the definition of "calendar songs" in the anthologies published in Germany, is not found). There is an ancient origin of the songs of the year and their gradual transformation: originally associated with the agricultural cycle, they changed the content. Pagan holidays were superseded by Christian, and the conditions of the urban way of life did not require the attachment of songs to certain agricultural works. Music examples of the most popular songs of the year in Germany (in Russia they were not published) are given, information about their origin is given. Analyzes the intonation of the songs, the conclusion about the special value of the signal tone.

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