МУЗЫКОВЕДЕНИЕ

Content

Development of Peripheral Vision of Children Musical School''s Pupils for the Sight Read

Pleskonosov Aleksei Nikolaevich

This article covers the subject of preparation of children musical school’s pupils to sight read practice while they attend their specialty classes. It’s recommended to use the technologies used in schools of fast reading. Schulte tables are used as the material in its authentic version and also the version specially adapted for musicians which replaces words and numbers with clefs and notes. It’s noted that studies with such tables help in spontaneous learning of notes. Shultz tables not only extend the field of clear vision by including peripheral vision but also contribute to overall intellectual development: promote the growth of human consciousness, improve flexibility of mind and help to achieve the state of high productivity in creative activities.

Fantasy or not Fantasy? Rejected titles of Schumann''s works in genre fantasy

Chernyavskaya Yulia Germanovna

This article is concerned with Schumann's works in genre fantasy. We consider possible reasons that made Schumann to name his works Fantasie or Fantasiestücke or to rename them. We analyse Schumann's works, employing a comprehensive method that combines musicological and linguistic approaches. This study allows us to get a step closer to a better understanding of genre fantasy and its role in Schumann's music.

Matvey Presman: at the source of professional musical education in Rostov-on-Don

Kokkezova Ayshat Mamedyaevna

The article is devoted to the formation of professional musical education in Rostov-on-Don, which was founded by Matvey L. Presman. A prominent educator, pianist, musical and public figure, because of active and multifaceted activity, Presman played a huge role in the development of musical culture of the South of Russia. By the 90-th years of the XIX century in Rostov-on-Don has all the prerequisites have been created for the emergence of professional musical education. In 1896 Rostov Department of IRMO and music classes was opened, the initiator and organizer of the opening was Presman. The approval of it has been pivotal importance and marked the beginning of a new era in the cultural life of the city. For many years, Matvey Presman was a permanent director of Musical Classes and College, which quickly became one of the best in the country. It has become a solid concert organization in the city, and Rostov has become one of the major musical centers of Russia. Unique documents from the personal archive Presman, his memoirs reveal new details of the legacy of this major activity of the musician, and allow you to re-evaluate its contribution to the development of national culture.

Music of Cinema: Beginning (Mute Cinema)

Egorova Tatiana Konstantinovna

The vast majority of research and outreach work devoted to the problem of «music and cinema», concerns the earliest period of their interaction, associated with the era of the Great silent. However, despite the seeming simplicity of the prose and the causes of music in cinemas at the moment of demonstration of silent films and their musical accompaniment, this stage is still undervalued. Meanwhile, in the silent cinema were aware of the main roles of music and film, which were later used and brought to perfection in sound and it is accepted, the cinema, and have also been adapted to the style of the language systems of other creative media. In other words, silent cinema was not a passing and insignificant to the history of formation and development of music movie, which we tried to prove in this article.

S.M. Lyapunov in music classes of nizhny novgorod branch of the Russian Musical Society

Onegina Olga Vladimirovna

The article, based on archival materials, is dedicated to little known pages of biography of the famous Russian composer Sergei Mikhailovich Lyapunov - Nizhny Novgorod period of his life. Rich cultural traditions of Nizhny Novgorod had a significant impact on the future fate of the composer. Here, under the guidance of renowned musician V.Y. Villuan Lyapunov piano and theoretical subjects training was begun, and his views on the art of music ware basically formed. In concert, the Nizhny Novgorod branch of the Russian Musical Society aspiring composer for the first time met with many works of M.A. Balakirev and other representatives of the «New Russian School», which ultimately determined the choice of Lyapunov directions in music, to which he remained faithful to the end of his life.

The actionism of conductor in the works of instrumental theater

Petrov Vladislav Olegovich

One representative genres of musical art in the second half of the twentieth century is the instrumental theater. Works created in this genre, characterized by increased activity of the role of the stage not only instrumentalists, but and conductor. The article deals with the works of S. Gubaidulina, J. Xenakis, P. Erickson, B. Ekimovsky, M. Kagel, which dominated the conductor’s gesture, scenic situational game all the performers on stage and recreating certain dramatic events that make the interpretation of the works of a full-fledged tool performance. The main character in these works become a conductor, performing the function of a director and contributes to the emergence on the scene of event a certain drama.

МИФ И СОВРЕМЕННОСТЬ В БАШКИРСКОМ ОПЕРНОМ ТЕАТРЕ

This content is a part of the Cultural studies collection from eLIBRARY.
If you are interested to know more about access and subscription options, you are welcome to leave your request below or contact us by eresources@mippbooks.com

Request