Kuzkina Anastasia V.
The article discusses the features of existence Kievan chant on Russian soil. For this purpose, sources involved in different types: Irmologiony and Obikhod. As the main method used by the comparative analysis. It is used at different levels - from the point of view on how to codicology and attribution, recruitment and internal organization of the hymns. As a result, it became clear that Kievan chant heterogeneously represented in the Russian tradition. On the one hand, there is the backbone of the chants, which are found in most manuscripts and similar in melodic shape. On the other hand, vary the type and place of creation sources, varies the amount of the Kievan chant psalms presented in the book and how to self-designation. Such heterogeneity is explained most likely orally domestic use Kievan chant psalms.
Sviridovskaya Nina D.
This article discusses previously unknown classical themed theatre experiments by Kandinsky, Hartmann and Sakharoff. This triumvirate was born in 1909 in Munich. Kandinsky, thinking hard about reforming theatre finds in Harmann and Sakharoff devout fellow-thinkers, people who can bring to life ideals of a synthesis of arts.Interest in «Daphnis and Chloe» by Longus seems to be symptomatic for the cultural realities of beginning of XX century. Work on the project commenced roughly at the same time as that by Diagilev and Fokin but was halted. Classical antiquity theme also plays part in Sakharoff's debut in Munich, 1910. Music was provided by Hartmann. We can just about grasp the range of artistic ideals and values by those mentioned looking at the surviving draft of «Suite on Classical themes» featuring string quartet and two harps.
Dyatlov Dmitry A.
The article is a performing analysis of the Nocturne in B Major, op. 32 number 1 by Chopin. The selected angle of research is an analysis of musical texts from the perspective of performing agogics solves the problem of organic performance of the piece. This problem is posed to the performer by riddles of the text of the Nocturne: Cantilena of the theme regularly interrupted by pauses, performing instructions confront with the nature of melodic material, material of the Code is not associated with the nature of material of the piece. As a result, the figurative sphere of the piece is not drawn up into intonational unity. In order to find the right tone of utterance, organicity of the slightest moderation and acceleration, time compression and exemptions the study refers to the general characteristics such as figurative sphere of the piece, and its structural solutions.
Ivanova Yelena L.
This article focuses on semantic analysis of clavier concertо Es-dur KV 482 W.A. Mozart. In the musical text of the work identified characteristic Masonic, rhetorical, copyrights semantic figures shaped parallels with Masonic composer’s works (cantatas, songs, Masonic Funeral Music, “The Magic Flute “, instrumental pieces). Values musical themes are revealed through the context connection intonation elements together. The article traced consistently move in concert music events, offered meaningful concept of each part, explains the individual composer’s decision forms. The result of the analysis is a generalization of all the artistic design cycle. According to the author, the general idea of clavier concertо KV 482 is enclosed in a movement of the “hero” of ignorance through knowledge, awareness of the major issues being a “new life”, illuminated by the divine spark of desire.
Gordeev Petr N.
The article is devoted to a unique election campaign, held in 1917 at the Mariinsky theatre. After the February Revolution in Russia was held “democratic wave” that reached up to the former Imperial theaters, who’s artists first gained the right to elect their leadership. Several famous musicians applied for the position of the opera troupe’s chief. In the end, after the two months of profound thinking, accompanied reporting of the campaign in press, the troupe chose Alexander Ziloti - a talented pianist and conductor, as well as an outstanding entrepreneur - as its leader. During the “electoral debates” the question of the relationship between the theatrical life of the principles of collective self-government and autocracy of the head of theater was repeatedly raised. The second of them, embodied in the personality and the program of Ziloti, eventually triumphed.
Petrova Eseniya M.
Nowadays the playacting on the piano harmonica is becoming the most revealing part of the people’s culture of the South Russia: the instrumental music is wide spread currently, the tunes are adopted by the newcomers from experienced folk artists, they take the central place in the genres system of the local musical tradition. The performers on the piano harmonicas use different principles of variation concerning all of the musical form characteristics: harmonic, melodic, textured, rhythm and accent and compositional variation. The interrelation of the instrument construction features, the techniques and ways of playing the piano harmonica, that determine the individual performer’s style, comes out in the studied tradition. The tradition mediums invented the ways of playing that can be performed only on the piano harmonica thanks to it construction.
Vishnevskaya Liliya A.
The article is dedicated to the understudied layer of North Caucasus traditional music culture. A research of intonation peculiarities of solo and group songs allows to prove the archaic ‘age’ and the specific structure of the vocal polyphony of Karachays and Balkars. An element that unites vocal polyphony of different song genres is drone: a structural universal of early forms of polyphony, a generic indicator of instrumental and vocal polyphony of Turkic peoples. ‘Drone’ and ostinato - the main expressive characteristics and structural principles of a group tune ezhyu - bring the typological understanding of Karachay and Balkar drone on a new level: drone as an «entity» and drone as a «principle». Intoning on the verge between speech and music singles out the vocal polyphony of Karachays and Balkars as a source of features of early folk polyphony. The overlapping of the monodic tune of the soloist and the harmonic ‘drone’ ezhyu has formed a homophone specifics of Karachay and Balkar vocal polyphony.
Abdinurov Alibi Kuttymbetovich
In this article we are talking about the importance of the kazakh traditional instrumental genre kui in the process of becoming a professional musical culture of Kazakhstan in the twentieth century. The author seeks to trace the process of realization of the kazakh kuis intonation and appearance on this basis, a new genre in the work of professional kazakh composers - symphony kui. Based on the study of the first symphony kui by E. Rahmadiev «Dairabai» (1961), established between kui for dombra and eponymous symphony kui on intonation, meaningful, composite levels. Based on the analysis of orchestration Rakhmadiyevs writing, as well as attracting the program establishes that the symphony is not just kui arrangement, orchestration of popular kui, and author of works by contemporary composer based on folklore source.
СТАРОСТИНА ТАТЬЯНА АЛЕКСЕЕВНА