• 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


Concertos by Georgiy Ivanov in the context of the development of Russian music in the second half of the twentieth century

Molchanov Andrey Sergeevich

Article is devoted to research of instrumental concerts of Georgiy Nikolaevich Ivanov - the bright composer in the Siberian professional music of the second half of the 20th century. He is the People’s artist of the Russian Federation, professor of Novosibirsk state conservatoire by named M. I. Glinka, the author of the Siberia’s first works in major musical genres: first Siberian opera, operetta, oratorio, instrumental concert. In article concerts of the composer are considered in connection with the main tendencies of development of domestic music 1950-1970’s. During the analysis the author pays special attention to dramatic art of concerts, their composite organization, and also it to property of compositions as theatricality. He notes special features of music as «charactercality», a genre and dancing basis of many themes and plasticity of their intonational shape, expanded application of a recitative and its dialogical form; comparison of separate episodes as a shot; special interpretation of scenic space. In the conclusion evolution of a genre in works of the composer is noted: from the embodiment of objective, democratic images with use of folklore material, to the musical drama, with its psychology, conflict collision of contrast themes. Also the author emphasizes important cultural and historical value of Ivanov’s concerts, their noticeable role in development to the Siberian professional music.

Creativity in Canon in Old Russian Singing Art: Question of Correlation Between Phenomena

Zhivaeva Oksana Olegovna

In the article the problem of artistic creativity in the Art of Church Songs of Early Russia is considered, given that the canon as the governing principle forms the basis of medieval Orthodox culture. The author takes an integrated view on the history of studying medieval Orthodox canon in philosophy, aesthetics, cultural studies, semiotics, historical musicology. Contradictions concerning the correlation between ecclesiastical canon and creativity are revealed. A new perspective of studying the problem of creativity in the canon is offered through examining a key concept of creativity, namely the concept of novelty. A number of questions about the concepts of novelty and creativity are developed in the study. Some questions concern how novelty was interpreted by the Byzantine theological thought and what creativity meant in terms of novelty in the medieval canonical art. The author formulated the hypothesis that creativity as activity for the search of special canonical novelty in theological sense is realized within the canon in medieval orthodox culture, but not as a result of exceeding the protective limits of initial rules or the canon.

Features save the Ukrainian folk songs in Siberia (on the example a compact group of immigrants of Prokopyevsk)

Tyurikova Elena Vitalievna

The article presents the song repertoire Ukrainian resettlement groups living in Prokopyevsk. The group began to take shape in the late forties - the mid-fifties of the repression of Ukrainians, who have served different periods and forms of condemnation. These were people from the western regions of Ukraine. They are distinguished by a clear consciousness, the older generation is fundamentally uses the Ukrainian language. The song repertoire of the Ukrainian diaspora Prokopyevsk shows that one of the most recent migration waves and gives the song a late formation. It is divided into two branches - the church provided carols and secular, or the actual folklore. Folk branch is not a specific local dialect, traditions, and generalized, «cleansed» from the dialectal features. It includes songs, which are widespread in Ukraine, and partly of Siberia.

From the history of the formation of academic music Culture Yenisei province: formation of professional music education

Tsaryova Eugene Sergeevna

This article outlines the required set of basic elements of academic music system, the example of the Yenisei province celebrated the peculiarities of the regional version of the system. Represented by the place and role of professional music education in the development and localization of «transplanted» from the cultural centers (foreign European and Central Russia) to the periphery (Siberia) model of academic traditions. The author introduces into scientific use the new archives and analyzes the establishment of music education in the cities of the Yenisei province in the light of the actions of two major processes of construction of academic culture - institutionalization and self-organization. During the period of the Yenisei province these processes have changed the main roles and evolved in different combinations. The creation of the first permanent musical educational institution in Krasnoyarsk in 1920 coincides with the period of their harmonious relationship. The appearance and the further continuous operation of the People’s Conservatory, to carry out the continuity and broadcasting of musical professionalism traditions, preparation of trained personnel, was an evolutionary «breakthrough» in the development of academic music system on the territory of Krasnoyarsk, in the formation of its holistic regional variant of a certain share of autonomy and independence

Marching as a sign of the Meiji era in creativity of Yamada Kosaku

Maximova Anastasiya Mikhailovna

The article deals with the phenomenon of marching as characterized by intensive penetration into the Japanese music Meiji through the organization of Western European military bands performing military marches. For the first time formulated the impact of marching as a sign of the Meiji era, on the work of not only foreign, but also the first Japanese composers headed by Kosaku Yamada.

Musical culture of the Siberian cities in the context of cultural influences

Pylneva Lada Leonidovna

Article is devoted to the analysis of specifics of musical culture of the cities of Siberia among which Tobolsk, Tomsk, Omsk, Krasnoyarsk, Irkutsk, Yakutsk, Chita, Ulan-Ude, Novosibirsk, Kyzyl and others. The time, geographical, national, confessional, sociohistorical factors which have influenced formation of musical culture are noted. The tendencies of evolution of musical art characteristic of the region during the period from XVII to XXI century are noted. The facts of emergence of the academic culture in various cities of Siberia, including in the sphere of concert and theatrical performance, musicological science and education are recorded. The current state and the level of development of art in settlements is considered now, preferable activities are revealed. The conclusion is drawn on prevalence of tendencies of the European musical art in Tomsk, Novosibirsk, Krasnoyarsk, Irkutsk, Chita, and also on a combination of forms of the professional secular art to types of traditional confessional and national culture in Ulan-Ude (Buryatia), Yakutsk (Sakha (Yakutia)), Kyzyl (Tyva).

Philology in a musical context: Nietzsche about Goethe’s Faust

Vasilyeva Galina Michajlovna

In Nietzsche’s works every action described appears in sound embodiment. Convergence of music and words takes place in human voice sounding. Nietzsche ccorrelates voice with truth. He connects creativity with inner spirit upbringing and with «art of being heard». Nietzsche admitted that he is ready to listen attentively to voices of thinkers who are gone, among them Goethe and Wagner. He characterizes acoustic phenomenon of German language and likens it to music sound. Nietzsche ranks Faust together with Socrates and defines «inner matter of Socratic culture» as «opera culture». «Opera» lexeme gains philosophical-metaphorical meaning. It means musical meta-genre as «a symphony». The notion of «life» underlines metaphysic insights of philosopher. In opera genre everything is coordinated to make life fulfilling: voice beauty, magnificent action, acoustic compatibility of the elements, rhythm. The material for judgments is эmusic: its synthesis with word and pictural art - in opera, with plastique and pictural art - in ballet. It realizes the idea of «panmusicality», typical for romanticism and symbolism aesthetics.

Retrospective tendency in a modern Siberian music

Belonosova Irina Vladimirovna

This article describes retrospective tendencies within performing and composing practice of Siberian musicians. The article is topical since there is a necessity of generalizing the processes, which have been occurring in Siberian academic music during over 50 years period of the Alliance of Russian Composers' service in the wide territory beyond the Urals. The author of this article pays attention to the tendency - which is typical for the modern domestic music - of composers to use the models of Baroque music as well as formation of authentic groups mainly willing to familiarize as many listeners as possible with antique musical works performed in timbre sounding, which is closer to the old ages. The article shows examples of performing practice of Siberian groups, the repertoire of which consists also of works of foreign composers of Baroque period as well as Russian composers of before-Glinka period. The tendency to use the models of Baroque musical art is vividly illustrated here with the examples of Siberian composers“ works within instrumental and vocal genres. The practice of interaction between Siberian performers and composers when popularizing modern Siberian music was noted.

The History of Honoring Metropolitan of Moscow and All Russia Philip and the Main Choral Versions of the Service

Kazantseva Daria Vasiljevna, Kazantseva Tatiana Genrikhovna

The article discusses the history of the veneration of Metropolitan of Moscow and All Russia, Philip. It also raises issues about the date of his canonization, the time of creation of his lives, creating of icon and the main choral redaction of the Service of the saint. The detection of choral redaction was based on the composition of the services, hymnographic redaction of the text, the type of notation. The early Moscow (c. 1652) and Solovki (up to 1661) redaction are based on the printed edition of the December Menaion of 1636 year. Both redaction have formed their own traditions. Among them are the later Moscow redaction the beginning of the XVIII c. and the post-Reform Solovki redaction of 1678 year. There is also a combined Solovki redaction (line XVII-XVIII centuries), including the chants of service of the translation of relics of St. Philip.

The principle of modeling in the theory of the text

Goncharenko Svetlana Sergeevna

The urgency of the problem posed in the article, is determined by the communicative situation and the intensification of the contacts between the culture areas, have not previously come into contact. The principle of modeling is widely used in music of the main tendency in XX - early XXI century: composer folklorism, neoclassicism, polystylistics, postmodernism. The article is methodological in nature. It is theoretically justified the inclusion of the modeling method in intertextual analysis. The theory of the text used in the study of compositional models established in European professional music tradition. The author defines the concept of a compositional model and its properties. She studies the semantics of the compositional models in the works of contemporary composers, starting from the classification of the metatexts, adjacent (nadväzovanie, linking) to the prototext (A. Popovich). The article shows metatexts adjacent to the prototekst of the concerto form by I. S. Bach. As simulating adjacency, which reproduces the complex its main features are considered «Concerto in the Old Style» by M. Reger and «Brandenburg Concerto» by V. Ekimovsky. As an example of selective adjoining is the First Movement of the Concerto in Es «Dumbarton Oaks» by I. Stravinsky, which contains the game parody of baroque concerto forms. Commented abutment with a large proportion of connotative meaning is shown on the example of Concerto grosso No. 2 by A. Schnittke. The article also seeks to study the multimodel musical texts - homogeneous and heterogeneous.

The Yakut folklore in the N. S. Berestov notes

Tatarinova Alexandra Dmitrievna

The article analyzes the collection compiled by a composer and collector of the Yakut folklore N. S. Berestov. This collection stored in the manuscript archives of the composer. We consider some samples to determine the folklore collector’s methodological principles of fixing.

Traditions of Russian settlers in Prilenski region yesterday and today

Krakhaleva Olga Vladimirovna

The folklore tradition of the Russian settlers on the territory of Prilensky region applay to the early period and native North Russian tradition. First ethnographic information of the explorers (30s - 40s of the XIX century) prepared the ground for the establishment and development of the local regional ethnography. The research of the XXth century slowly created the professional approach to the studying of the culture of Russian Siberians defying the added traditions and the level of their adaptation in Siberia. The forced character of the settlement became a particular factor that influenced an intensive destruction of the tradition, when the commercial activity reinforced the population migration. The works of the scientists show that a rich, well-developed folklore tradition existed in Prilensky region. The collections of singing and dancing folklore contain the number of pieces for spring-summer circular dances, evening gatherings and Christmas. According to numerous parameters the modem state of the folklore tradition of the villages of the East Siberian region is rather homogeneous. The genre systems of the local folklore are close in their structure, the process of transformation and disappearance of the folklore practice are similar. In the singing groups, apart from the natives, slowly installed the participants arriving from other parts of Russia, so that the repertory of those groups became nonuniform in genres and in styles. The main part was formed with the urban songs of the later creation. The local particular feature of the melodic construction of the songs was to bring the melody to the contemporary interpretation. Thanks to the activity of various folklore groups the popular song is still heard in different surroundings and styles. The talented enthusiasts of Kirensk district maintain the integrity of the cultural and historic heritage.

Тhe phenomenon of protogerovists associated with music in the Bulgarian literature

Krklisiysky Tomy Nikolov

The study allows to establish an adequate critical and analytical method directed to the music through the perspective of artistic forms of literature. The concept of protogerovists in the context of this study includes primary generic manifestations associated with the music of thinking and contemplation, intuitive and streamlined forms of contemporary creative responses and solutions, of which it is the early stages of syncretism in art, the primary fundamental laws of education genres and forms. As the original form of protogerovists in the work enacted epic narrative type, which has found manifestation in Balkan folkloric tradition, and entered in the Bulgarian written culture of the XX century by means of individual creative method of the writer Emilian Stanev, comparable with a specific mnemonic technique of the composer Dimitar Nenova. Protogerovists manifested by rolling of a combination between music (melody, voice) and text (verse) coming from the epic and folk traditions are reflected and interpreted in the works of Ivan Vazov. In his works as in works by Yordan Yovkov protogeravists related to music reflected specific creative mechanism, attitudes and impulses that go from folklore and penetrate the poetics and dramaturgy of literary work. This is important for literary interpretation and axiology in relation described in the text of acts and aspects of music making (in the works by Y. Yovkov and P. Slaveykov). A synthesis of the manifestations of protogerovists related to music in the literary field sends to a deep unity and interaction generic generative processes in art. Bulgarian writers and poets aware of cultural and symbolic value of music, its universal and eternal value. Through the music manifests a unity between the deep ancestral memory of art and personal art reflections in the Bulgarian literature.


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