Dashieva Lidiya Daniilovna, Rinchinov Oleg Sergeevich, Radnaev Igor Jimbeevich
This article is devoted to the questions of the online presentation of Buryat uligers from audio collections of the Center Oriental manuscripts and xylographs of the Institute of Mongolian, Buddhist and Tibetan Studies of SB RAS. The characterization of the collecnion of Buryat uligers is given within the context of epic traditions, the methodical questions of the digitization and elaboration of the informational system are considered.
The article is devoted with Russian-German musical connections in the second half of the XIX century on the example of the life and work of Carl Reinecke - composer, pianist, teacher and leader of Gewandhaus Orchestra (Leipzig). For the ﬁ rst time published Reinecke's letters from the archives of Moscow and St. Petersburg.
Zabolotnaya Nataliya V.
Analytical observation of different descriptions of ancient Russian manual heritage shows, that they are closely connected with practical tasks and ideological tendencies of certain historical periods. Catalogues of chant manuscripts from the State Historical Museum, Russian State Library etc. are examined as a reﬂection of cultural situation of certain time. A whole number of prominent scientists (among them V.F. Odoevskiy, D.V. Razumovskiy, St.V. Smolenskiy, M.V. Brazhnikov) made a great contribution to the detection of cataloging rules, which show speciﬁ c music character of chant manuscripts. Thus they made signiﬁcant improvement of medieval music history. At the same time they developed not only such speciﬁc area, but also set new cultural tasks. In this article the problems of present stage of chant manuscripts cataloging are also discussed.,
Pospelova Anastasia F.
The main problem of this article is the genesis of opera semiseria, the italian genre of opera popular in the early and middle 19th century. It is known that one of the genre’s origins is french rescue opera, but we know a little about their intersections. A special objective is to examine the inﬂuence of rescue opera on forming of opera semiseria by the example of works by french and italian composers (L. Cherubini, N. Dalayrac, F. Paër, J.S. Mayr and others). We found that the earlier examples of opera semiseria are the italian adaptations of french rescue operas. Opera semiseria with original italian librettos repeated plots, motives and situations typical for rescue operas. Hence, the main origin of opera semiseria’s libretto were french rescue operas.
Muratalieva Suﬁya G.
This article is devoted to one of the most signiﬁcant works of C.P.E. Bach, written in the later period of his life in Hamburg. This city, in which he moved in 1768, has its musical history and symbolically connected with his family. Here composer known today primarily as the creator of the genre keyboard sonatas, refers to the major genres of vocal music. The author considers his oratorio «The Resurrection and Ascension of Jesus» (Die Auferstehung und Himmelfahrt Jesu) as a bridge between the Baroque and Classical era, leading contemporaries reviews of the ﬁrst performance in Hamburg, analyzes libretto by comparing it with the interpretation of similar works by Telemann, composition and dramaturgy, paying special attention to the disclosure of the actual artistic merit of the oratorio.
Ryzhinskiy Alexander S.
Article is devoted to «Passaggio» (1961) - well-known musical and scenic composition by L. Berio and E. Sanguineti. Authors use the phrase «scenic mass» for the name of composition’s genre. This name allows to create hints on various secular and spiritual compositions, and also on works of known playwrights and opera composers. The author of article refuses to consider «Passaggio» like a scandalous anti-opera. On the contrary, author’s conclusions testify that the composition is important point on a way from the traditional opera to new Italian musical theater. One of problems is the analysis of the choral texture and vocal timbres: Berio develops Schoenberg’s timbre innovations and thereof avoids habitual sounding of chorus and refuses traditional dramaturgic functions of opera chorus.
Nedlina Valeriya E.
The article provides a picture of the stylistic trends in Kazakhstani academic music of modern period, including universallyoriented, traditionally-oriented and artiﬁcially-sincretic. These trends appear in classic-romantic stylistic direction, as well as in the emerging national avant-garde. National avant-garde has speciﬁc features such as close links with religious and philosophical systems (shamanism, Tengriism), reliance on archaic sound-ideals, experimental character (and hence the fewness of works). Common to all stylistic directions are attraction to the program music and dialogic. Creative searches of composers reﬂ ect (and sometimes anticipate) the processes in the culture of the country as a whole: reinterpretation of the cultural heritage, revival of traditions, deepening and widening of the scope of national art and it’s outgoing to the world level.
Novikova Marina L.
The paper deals with tetralogy Vyacheslav Artyemov «Symphony of the Way», the disclosure of plan works, as well as performing fate. Composer is the creator specialty dramatic symphonic opus - «global symphony» associated with the dialogue of cultures, with the inclusion in the context of organic extracts from the works of art-historical literary monuments of different eras. Philosophical-religious view of the world is the foundation of symphonic tetralogy, where the world of the composer appears in all its diversity. Inextricable link epigraphs and the subsequent symphonies allows us to consider separately the literary component of the tetralogy as a kind of integrity. The composer conducts a reﬁned work weaving fabrics of sound, the process of formation which has an undulating, ﬂuctuating character, based on increasing voltage and short-term dips. However, in the process of analyzing the form of essays, identiﬁes stylistic features such landmark events in the works of V. Artyemov and wider - in the music of the second half of the twentieth century.