Aesthetic paradigms of integral serialism

Okuneva Ekaterina G.

Integral serialism is the most important phenomenon that caused a revolution in the musical consciousness in the middle of the XX century. During this period, the theoretical reflections of the composers were inseparable from their art practice. Based on theoretical writings and musical compositions of Boulez, Stockhausen, Krenek, Goeyvaerts, Adorno, Nono, and others in the article builds up the aesthetic concept of integral serialism, which promoted a change of a musical picture of the world. As key principles, the author considers the devaluation of anthropocentrism, the refusal of an autonomous work of art, the material thinking, the aesthetics of tabula rasa, orientation to experiment, a new view of creative process, ontology program, antisubjectivity, scientific view of the world, the theorization of composing practice. For music of the second half of the twentieth century, the concept of integral serialism acquired epoch-making significance. Serial thinking has had a significant impact on further researches of composers in the field of music language.

A. V. Ossovsky and the "new music"

Smirnov Valeriy V.

This article is devoted to little known aspect of activity of outstanding Russian researcher A.V. Ossovsky - to an active support of the modern musical process in the pre-Revolution years. In his articles from 1894 to 1912 the critic goes towards the new music of West Europe - to compositions by Debussy, Ravel, R. Strauss, Mahler, meanwhile placing the Russian music into the European context. Such integrated approach witnesses the real historicism of Ossovsky’s way of thinking, which trait being formed already in the beginning of his perennial creative path.

Modal ethos from the liturgical standpoint (as seen in the case of Gregorian introits)

Moskva Julia V.

Gregorian modes are characterized by their scale, the hierarchy of its degrees, melodic formulas and their ethos. Out of these four criteria the modal ethos which is the ability of a mode to express certain states of the soul is the hardest to analyse. The study of ethos is inherited by the middle ages from the antiquity, however it’s also imbued by the Christian worldview. Traditionally modal ethos is perceived in the light of melodic features and ways to evolve through time. The author of the article proposes to also consider the liturgical aspect, namely the relation between Gregorian modes and the liturgical church calendar. This relation is examined in the case of introit as the most demonstrative musical and liturgical genre, which opens a mass and directly reflects the theme of a certain day of the church calendar. The article uses Franciscan manuscripts graduals as the input to the study.

Musical versions of the "zadostoinik" chant from Nativity of the Virgin’s Service in Irmologions of the XVI-XVII cc.: to the style problem

Gerasimova Irina V.

The article considers the hypothesis, proposed by A.A. Lukashevich, on the conservation of the "early" putevoi raspev (track style) in the Kievan Metropolitanate manuscripts of the XVI-XVIII centuries - Irmologions. Verification of the hypothesis was carried out by textual analysis more than thirty-five kopies of hook and five-line-notation irmologions written in the middle of the XVI-XVII centuries. The materials are irmologion’s copies of zadostoinik of the Nativity of the Virgin "Ciuzhde est materem” and copies of the chant from Old Russian manuscripts. The analysis showed that there were two singing versions of the zadostoinik in Znamenny style. The first version is short (stolpovoi) znamennyi one of the chant and the second version is expanded, advanced author’s chant, but its model is the short melody. The relationship between the expanded version of the Kiev tradition and track style the of the Moscow tradition was not found, except for single intonation coincidences due to the unity of their original model - the short Znamenny version of the chant.

To the history of creation and the fi rst performance of music by A.K. Glazunov to drama K.R. "King of the Jews"

Dan'ko Larisa G.

The article deals with the period of active creative interaction between the composer and the poet K.R. Glazunov (Grand Duke Konstantin Romanov): preparation of the premiere of the mystery drama "The king of the Jews" (1912-1914). For several decades in the Soviet state this outstanding work - a monument of musical and theatrical culture and spiritual searches in the area of artistic trends of the "silver age" was hushed up. Attention to it was revived at the beginning of the XXI century in concert halls, audio recordings and research articles. Having all the qualities of a brilliant musical and theatrical composition with the participation of the choir and Symphony orchestra, it goes beyond the scope of application. Glazunov's music for the drama of K. R., created at the turn of the XIX-XX centuries, is one of the peaks of the multifaceted creativity of the composer - St. Petersburg. For the first time, previously unknown documentary sources related to the preparation of the premiere of K.R.'s liturgical drama at the Hermitage theatre and Glazunov's participation in the rehearsal process are introduced into scientifi c circulation. The "Song Of the disciples of Jesus" and the manuscript copy of the musical fragment of the third act, preserved in the state Central Theatre Museum named after A.A. Bakhrushin, correspond to the key moments of the musical drama of the unique work, apparently the most popular in the concert practice.

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