• Publisher Федеральное государственное бюджетное образовательное учреждение высшего образования "Новосибирская государственная консерватория им. М.И. Глинки"
  • Country Россия
  • Web https://elibrary.ru/title_about.asp?id=51247


A. 60-80 years of the XX century as the culminating phase of activity of the Siberian Union of composers of Russia

Shindin Boris Alexandrovich

In the article the creativity of the Union of composers of the 60-70-ies of XX century is considered in the context of the system of relations, reflected in the famous triad “composer - performer - listener”. This is the formation of the creative potential of the Union, represented by different generations of musicians, the time of development of Siberian composers genre and style space modern music. A situation of creative recovery thanks to the composers contacts with creative groups of the city. Due to various reasons the most problematic, should be considered the attitude of the composers (the performers) with the audience. Set out in article provisions highlight the 60-80-ies of XX century in the culminating period in the history of the organization.

Development of expressiveness and performing skills by the “Musical production” course: the possibilities of rubric evaluation system

Matsui Aki

Development of expressiveness and performing skills by the “Musical production” course: the possibilities of rubric evaluation system In this article the author representatives a new evaluation system - the rubric evaluation, introduced into the “Musical production” study course for the Department of the Early Music Education. The previous evaluation system was not sufficiently objective and transparent, so this fact has prompted the author to improve it. As a part of the study, the evaluation system, which borrowed from the American higher education institutions, was improved and adapted by the author in relation to the “Musical production” study course. Owing to the introduced evaluation system, students became able to understand the essence of the performing skills and the ability to be expressive, the importance of the teamwork and cooperation in the creativity process deeper.

Eastern elements in the musical theory of the Russian avant-garde: on “free music” of N. Kulbin

Takahashi Kenichiro

This article examines the eastern elements in N. Kulbin’s manifesto of the Russian musical avant-garde “Free art as the basis of life”. In its first part, relating to art in general, we can distinguish the following three main points that echo the basic concepts of Eastern philosophy: 1) the antinomy of harmony and dissonance; 2) the correspondence between art forms and between the macrocosm and the microcosm; 3) primitivism. In the second part of the manifesto, which deals with music, Kulbin introduces the concept of “music of nature, free music”, which reflects the three above main points. This concept is typical for eastern countries, such as India, China and Japan. From the concept of “music of natur”» naturally follow the concepts of “small intervals” and “color music”, which also echo with the eastern music. But “free music” is not limited to these two types of embodiment. In the manifesto of A. Lourié, who was one of the most loyal followers of Kulbin, eastern art is judged higher than the western one, and also in his works one can see an echo of eastern music: for example, in the special use of fermata and “torn” system of notations. Thus, the synthesis of the West and the East which occurred in European music of the mid-20th century appeared already in the 1910s in the Russian musical avant-garde both on the theoretical and creative levels.

Folklore traditions of Old Believers of the Vasyugan land: sources and methods of study

Leonova Natalia Vladimirovna

The article focuses on sources and methodology of the study of the traditional music of Siberian immigrants, she considers on the musical folklore of a particular ethno-confessional group - Old Believers residing in the North-Eastern districts of the Novosibirsk region. The author characterizes the published and archival sources, collected in the expeditions during the 1970-2010 years of various collectors and stored in the Archive of traditional music in Novosibirsk conservatory. These materials are representative for the study of two local folk traditions of Old Believers -from Bergul and Platonovka, because they contain all the necessary information about genres, the musical-typological and singing features of these traditions. The quality of the sources allowes the author to define the sequence and ways of stading of the Old Believers folklore traditions of the Vasyugan land. The study of these materials involves the following steps: the analytical description of some local traditions and structures-and-typological research; the establishment of local systems of genres; comparative study of two local traditions of Siberian existence. The final stage involves researching the Siberian traditions in the context of the original song complex of the North-Western regions of European Russia and adjacent territories of Belarus and the Baltic countries.

Genre and stylistic, figurative and substantial aspects of piano suite by A. Molchanov “On the Siberian open spaces”

Murzina Lada Nikolaevna, Nedospasova Anna Pavlovna

Article is devoted to works of the Siberian composer Audrey Molchanov and his piano suite «On the Siberian Open Spaces» (2013). The representative of the younger generation of the Siberian composer school, A. Molchanov embodied in the suite images of the homeland, the world of the Russian nature in its communication with the historical past of our people. The support on domestic subject is distinctly traced in A. Molchanov’s creativity, among compositions in this row there is a vocal cycle on verses of the Russian poets «Pray for Russia» (2010), «The Russian tunes» for a clarinet and a piano (2007), vocal cycles on verses of the Russian poets. After the experiments of the 20th century modern composers come hack to bases of classical musical art. To one of examples of it serve A. Molchanov’s creativity and the suite considered in the publication. Valid and careful attitude of the composer to traditions was shown that at his compositions there is a dialogue of the left eras and the present which we hear in lines of neo-romanticism, neo-folklor, post-modern inherent in musical language of the suite “On the Siberian Open Spaces”. In article the short analysis of each of four parts of the suite is given, the sketches of figurative pictures characterized by the composer in personal meeting with the first performer of this composition Lada Murzina are submitted. The addressing the work yet familiar to reviewers and critics showed melodic originality inherent in the composer, brightness of artistic images, his commitment to the classical forms, genres urgent and subjects, the art ideas, significant for contemporaries.

My childhood friend, Luigi

Shtuden Lev Leonidovich

Suggested essay is neither a scientific paper nor a musicological study in pure form. It is a tribute to the love and gratitude of the German musical genius from the man whose life he has affected in the strongest terms. Along the way, in the essay attempts to trace the major milestones of the evolution of the music of Beethoven through the vertex of his creation.

Notation experience of singing pastoral cattle incantations by Sut-Khols Tuvas

Kondratieva Natalya Mikhailovna, Kopytov Roman Borisovich

The paper presents prepared for edition musical collection that contains 57 examples of the important productive ritualistic genre -cattle incantations, representing one of poorly explored local traditions in west Tuva. The material has been collected during expeditions in 1984 and 2005 years. The paper contains information about collectors, performers, villages where the incantations were recorded, and about distribution of the fixed incantations over types of animals. Multi-stage procedure of auditory notation is described together with its succeeding computer verification using the Speech Analyzer code of Summer Institute of Linguistic. The principles of analytical notations, based on the accepted approaches by E. V. Gippius and E. E. Alekseev as well as on the new workouts by N. M. Kondratieva, are discussed. The latter are related to revealing subtle changes of pitches that happens on the pitch scales. This is an important phenomenon of the pitch contours of Sibirian music. The paper discuss fixation of the most bright segment timbres, which are the single initial and the incomplete tremolating glottalization in terms of articulatory classification of etnomusic timbres by V. V. Mazepus. The International Phonetic Alphabet is used for phonetic transcription of the singing text. As the examples, five samples of the Sut-Hol’s incantations are given namely, three incantations for a goat eoshku alzyr/ chuchuulaar, one incantation for a sheep hoi alzyr/toorpalaar and one cow incantation, inek alzyr sung by four informants, inhabitants by Sug-Aksy and Kyzyl-Taiga villages, Sut-Hol’s district, Tuva Republik. The performers were bom in 1929, 1933 and 1939 years.

Problems of musical notation of the Buryat’s epos (on the material of uliger “Tokhonoyn gansa Tөөlen” of Bura Barnakov)

Novikova Olga Vladimirovna

In article methodological approaches to a musical transcription of an uliger “Tokhonoyn gansa Tөөlen”, written from the West Buryat storyteller Bura Barnakov in 1961 are discussed. The greatest difficulty for the researcher is made by decryption of the melodic organization of the epic, which is due to the multiplicity of the pitch contours of the modal steps and a wide range of a modal step’s, what characteristic of the organization of Siberian musical cultures. Division of a sound flow into the discrete system and significant events and original melodic-rhythmic segmentation of musical material represents the difficult multi-stage procedure implying using of acoustical methods of decryption and the capabilities of the Speech Analyzer program of Summer institute of linguistics, and then check of acoustical results in the course of the distributive analysis by a technique of universal-grammatical approach of V. V. Mazepus. Using of acoustical, hardware and analytical methods allows you to show the procedural formation of modal system throughout the whole composition and to identify the invariant structure, which reproduces the storyteller, giving rise to a variety of externally observable sound-out phenomena.

Study the musical heritage of the Crimean Karaites: a collection of Anatoly Haji

Dubrovskaya Marina Yuzefovna

A study of the state of international and domestic quaristice and the modern existence of the musical heritage of indigenous peoples of Crimea: first minorities of Turkic - speaking ethnic group - the Karaites shows, on the one hand, the presence of a certain interest to the given scientific problem. On the other hand Karaite song tradition in the Crimea devoted to the quite small number of scientific works and publications. The severity of the problem of studying of traditional Crimean Karaites musical culture requires urgent efforts to collecting, cataloging, notation, and scientific description. Already at the initial stage of this work the author together with the Board of Karaite society Kardashlar (Evpatoria) managed to find earlier collection of song folklore of 50 songs by the Karaites of Crimea, made by A. V. Haji which has not been investigated and described. These songs were sung by outstanding performer Anne Baldji.

Technology of musical expression

Tolkachev Vladimir Nikolaevich

Before you see the start of Chapter conceptual work called “Technology of musical expression” which made another attempt to study the problems of musical interpretation from the point of view of the specificity of its perception by the performer. Method of structural analysis the author explores traditional aspects of musical form, not as a consequence of the usual imagery and sensory reflection, but as isolated objects of various sound intensities of the order in the form in which it is depicted in the performing sensations. This attempt to limit the formalization of the components of musical form, giving higher values of the technology of music reproduction which proved their effectiveness in practice allowing to achieve the highest artistic results almost regardless of the level of musical ability. Unlike the method used practiced traditional methods, is that using a musical form is more deep, “molecular” level, than is allowed by the technology of performing traditional school. In particular the term “musical text” is regarded here not in the traditional, empirical context, and has a semiotic meaning and defines semantic relations between the signs (notes) and their objects (sounds) as well as the role that the concept of “sign” plays in the relationship between him and those who uses it, forcing a new look at the content and meaning of the performing of the intellect and the personality of the performer, including features of its social status.

The formation of Madrigal composition in the later frottol collections

Pankina Elena Valerievna

The formation of Madrigal composition in the later frottol collections The article is dedicated to the early period of history of the Italian madrigal of the XVI century specifically to the issue of modification of frottola forms in the last published song collections by Ottaviano Petrucci (1514), Andrea Antico (1520), Giovanni Giacomo Pasoti and Valerio Dorico (1526, 1531). It is mentioned about usage of madrigal genre, closely connected with the song music stylistics within 1500-1520, by greater frottola composers (Marco Cara, Bartolomeo Tromboncino, Giacomo Fogliano, Costanzo Festa). There are two types of the composition structure of early madrigal samples, which were discovered in song books: 1) based on the stable text and music fit; 2) being a result of a quite free line combinatorics. A poetic text in a range of compositions, being generally of a free structure but with the characteristics of some regularity, covers totally through-composed musical composition. Due to the degree of weakening of frottola forms’ traits there are two directions: 1) compositions not corresponding to the certain song type, but corresponding completely to the characteristics of the song poetry and music structure; 2) compositions basically based on the through-composed principle, but with rudimentary characteristics of melodiousness in the form of sporadic repetitions of separate fragments, parts of verbal texts with a paired rhyme and so on. The main results of the research include the conclusions on the formation of a musical madrigal in the first decade of the XVI century and difficulty of the processes of interaction of compositional principles of repetition and renewal at the early stage of development of Cinquecento madrigal.

The problem of notation traditional music Kheemey of the Erzin tuvans

Sychenko Galina Borisovna

The article considers the problem of notation of sygyt - one of the most common styles of Tuvan throat singing kheemey in connection with research and didactic tasks. A piece belonging to the Erzin local tradition is chosen as an example for the analysis. The author divides all tasks into two groups. The first is to determine the general composition of the piece, the structure of text and melody, syllable structure. In this case, the sample has rondeau like structure ABA

The Traditions of Liturgical Singing of Semeiskie Old Believers of “The Grand Parish” in Ulan-Ude (on the Basis of Archive Materials of Transbaikalian Expedition in 1999)

Kazantseva Tatyana Genrikhovna

The article puts into scientific circulation new sources which reflect the local tradition of liturgical singing of Semeiskie - Old Believers relocated to Transbaikalian region from Poland in the last third of the XVIII century. The analyzed material was obtained during a musical-archaeographical expedition in 1999 and represents audiotapes and diary records of the conversations with the psalm-reader of “The Grand Parish” in Ulan-Ude, I. T. Alekseev. On the basis of the obtained information with the involvement of previously known facts on the culture of Semeiskie the full repertory of liturgical texts used in the practice of Old Believers from Ulan-Ude and the main forms of liturgical reading and singing. Special attention is paid to the oral version of chants used in the local tradition. Identifying of individual characteristics was carried out on the example of one of the chants. Two oral versions of the chant recorded in Ulan-Ude and Bichura, as well as its written invariant, were compared. During the comparative analysis in addition to the differences between the oral and the written versions, the proximity of the chants existing in two Semeiskie communities of different denominations geographically far from each other was found. This, to its turn, led us to the conclusion about creation of the oral version of the chant accepted by Semeiskie before the relocation of “Polish” Old Believers to Transbaikalian region.

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