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1
Klujev, Alexander S. « Philosophy of Music in the Mirror of the Contemporary Age. Article 2 ». Russian Journal of Philosophical Sciences 64, no 7 (15 juillet 2021) : 137–50. http://dx.doi.org/10.30727/0235-1188-2021-64-7-137-150.
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The article examines the processes taking place in contemporary musical culture, and the emphasis is placed on the situation that has developed today in the musical life of Russia. It is noted that many contemporary composers in Russia are breaking with the domestic artistic traditions, focusing on the creative initiatives of composers living in the West. Among the Russian composers, the SoMa group composers (Soprotivlenie Materiala – “Resistance of Material”) are distinguished by a special intransigence to the principles of artistic creativity that tradionally developed in Russia, they loudly declared: “Contemporary Russian music is us.” At the same time, it should be taken into account that Russian music is inextricably linked with the artistic traditions of Russia, which, first of all, is manifested in the reliance of the musical material on the songfulness that originates in the liturgical Orthodox singing. It is emphasized that today in Russia there are composers who maintain contact with the tradition, thereby preserving the achievements of Russian music. Among them, first of all, are the composers who are part of the MOST group (Muzykal’noe Ob’edinenie “Sovremennaya Traditsiya” – Musical Association of Contemporary Tradition). Moreover, the composers work in all cities of Russia – from Kaliningrad to Vladivostok – and increase the glory of Russia by their creativity. An interview is given with one of them – the Perm composer Nikita Shirokov. In conclusion, the author discusses the prospects for the development of the journal’s section – it is planned to publish materials and interviews related to the contemporary musical life in other countries.
2
Quillen, William. « Winning and Losing in Russian New Music Today ». Journal of the American Musicological Society 67, no 2 (2014) : 487–542. http://dx.doi.org/10.1525/jams.2014.67.2.487.
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This article examines some of the organizational changes shaping Russian new music from the collapse of the USSR in 1991 to the present and their consequences for composers active in Russia today. The Soviet collapse triggered significant transformations in how new music in Russia is funded, where and by whom it is performed, and how it is promoted and distributed. These developments have affected the opportunities available to contemporary Russian composers, their strategies for career success, and how they envision their place vis-à-vis other composers or within society at large. More significantly, such changes have shaped individual composers' creative practices: as composers moved into new collaborative networks after the Soviet collapse; as the resources at their disposal changed; and as they composed for new performers, markets, or patrons, so, too, did their styles change. In explaining musical developments from an organizational perspective, this article draws upon theories from the sociology of culture literature, in particular Howard Becker's idea of “art worlds” and the production-of-culture perspective developed by Richard Peterson and others. The article also considers factors other than organizational ones affecting Russian music today, including the generational shift presently underway as members of post-Soviet birth cohorts enter the professional ranks.
3
Demchenko, Alexander I. « Post Scriptum. A Few More Composers’ Names ». ICONI, no 3 (2021) : 84–102. http://dx.doi.org/10.33779/2658-4824.2021.3.084-102.
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In the previous lectures, which made up the cycle “Classics of Russian Music of the 20th Century”, the works of Sergei Rachmaninov, Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitry Shostakovich, Aram Khachaturian, Georgy Sviridov, Rodion Shchedrin and Alfred Schnittke were examined. Let us supplement this panorama with two final lectures: the first is intended to extend the range of composers’ names, the second will be devoted to an overview of 20th century music with an outlet into the universal space. As it is well-known, since the time of Peter the Great, who established St. Petersburg, two capitals coexisted in Russia, each of which possessed its own face and style, among other things, in the creation of music. By the end of the 19th century, two compositional schools had developed: the St. Petersburg school, the core of which was the “Mighty Handful”, and the Moscow school, headed by Piotr Tchaikovsky. During the 20th century, these schools continued their fruitful interaction. Among the names presented in the main sections of my lectures, Stravinsky, Prokofiev, Myaskovsky, Shostakovich, Sviridov began their activities in St. Petersburg- Petrograd-Leningrad, and later they became Muscovites (except for Stravinsky, who lived abroad from the early 1910s). In the second half of the 20th century, the leaders of the musical process in Russia were the Moscow composers Rodion Shchedrin and Alfred Schnittke, along with whom many other names can be mentioned, including Edison Denisov, Sofia Gubaidulina and Vladimir Martynov. Representatives of the Leningrad school continued to make a significant contribution to the treasury of Russian music. The following short overviews of the works of Sergei Slonimsky and Valery Gavrilin will testify to this. In addition to the two capitals, composers from a number of other cities in Russia, primarily, those with conservatories, have worked tirelessly in the field of the art of music, which has significantly expanded the scale of the panorama of the musical art in our country — the creative heritage of Elena Gokhman is cited as a characteristic example.
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Mezentseva, Svetlana V. « The Russian Far East — China : Ways and Prospects of Interaction in Academic Musical Culture ». Observatory of Culture 18, no 4 (11 octobre 2021) : 366–76. http://dx.doi.org/10.25281/2072-3156-2021-18-4-366-376.
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The article examines regional folklore as a field of interaction between academic musical culture in the Far East of Russia and China. The beginning of the systematic study of the academic musical culture of the Russian Far East is associated with the formation of the regional creative association of composers of the Far East (Union of Composers), which is succeeded today by the Far Eastern Branch of the Union of Composers of Russia. The article notes the multi-ethnicity of the region and the special role of the “dialogue of cultures” in the composers’ works. The author analyzes the culture of indigenous peoples and the East Slavic migratory culture of the Russian Far East, as well as the original culture of the countries of the Asia-Pacific region outside the Russian borders. There is highlighted the commonality of some features of the traditional Far Eastern folklore of Russia and China. The article considers the concept of “academic musical culture”, which includes the composers’ works successively connected with the foundations of Western European music formed in the period of the 17th—19th centuries, the composers’ works of the 20th century, including modern techniques, the musical performance, musical performance infrastructure, educational space and academic musicology.The paper highlights the composers of the region, the main focus of their work, the researchers of the academic musical culture of the region, whose works are significant in understanding the processes of development of modern national musical culture. The article covers the Chinese academic compositional works known in Russia, as well as the range of scientific interests of Russian researchers-orientalists and researchers of musical culture from China.There is recognized the need for cultural understanding of the stated problem through the study of academic music art, traditional music culture, music science, and music education. The author interprets the role of music and computer technologies in musical culture and education in the Far East of Russia and China as the most important component for interaction in the field of academic musical culture, focuses on the problems of informatization of modern music education.The article draws a conclusion about the unique experience of composing in China based on the traditional music of the Russian Far East. The pentatonic basis of Chinese music is especially distinguished as being close to the modal organization of the music of Far Eastern ethnic groups, which is also the basis of the folklore music of Russian Far Eastern composers. The author sees such a palatal proximity as a basis for the interaction of the cultures of the Far Eastern region. The article recognizes this aspect as important from the point of view of creating an integral multicultural space based on the principles of humanism.
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Manulkina, Olga. « The Rite of Beauty : an introduction to the music of Leonid Desyatnikov ». Tempo, no 220 (avril 2002) : 20–24. http://dx.doi.org/10.1017/s0040298200009025.
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Leonid Desyatnikov is one of the most successful Russian composers of his generation and one of the most distinctive and individual on the contemporary Russian scene. He represents a rare instance of a contemporary composer in his mid-forties who has had all his works performed, some of them on many occasions. In the West, his music has been played by the Deutsche Sym-phony and the Leipzig Gewandhaus Orchestra. His vocal cycle Five poems by F. Tyutchev has been performed recently in London and Aldeburgh. Beginning in the mid-1990s, Gidon Kremer became the main champion of Desyatnikov's music; he has commissioned, performed and recorded a number of Desyatnikov's original works as well as his arrangements of Astor Piazzolla's music. To date, Kremer has performed Desyatnikov's Russian Seasons, for violin, female voice and string orchestra, composed in 2000, fifteen times in Europe, the Baltic countries and Russia. On 1 May 2002, he will present its American premiére at Carnegie Hall. The fact that Kremer, who earlier brought the music of such composers as Alfred Schnittke and Sofia Gubaidulina to international attent ion, has now ‘chosen’ Desyatnikov speaks volumes for the quality of the music.
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Ivashkin, Alexander. « JOHN CAGE IN SOVIET RUSSIA ». Tempo 67, no 266 (octobre 2013) : 18–27. http://dx.doi.org/10.1017/s0040298213000831.
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AbstractJohn Cage's music was little known in the Soviet Union until the late 1960s, as official communist cultural policy would not allow his music to be performed or researched. This makes it all the more surprising that the only visit by the composer to Soviet Russia had become possible by 1988. The Soviet officials were planning a large festival of contemporary music in St Petersburg in 1988. With the changing climate Tikhon Khrennikov, the secretary of the All Soviet Union League of Composers, appointed by Stalin in 1948, was keen to be seen as a progressive at the time of Gorbachev's perestroika, and he approved the invitation for Cage to be present at the performances of his works in St Petersburg. This article includes interviews with the composer conducted by the author in 1987–1989, as well as recollections of the meetings with Cage at his home in New York City and in Moscow.
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Xiaolin, Xie. « Musical, Cultural and Historical Aspects of Adding a Middle Pedal to Piano Sounds by Russian and Chinese Composers ». OOO "Zhurnal "Voprosy Istorii" 2021, no 12-3 (1 décembre 2021) : 143–50. http://dx.doi.org/10.31166/voprosyistorii202112statyi97.
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The article is devoted to a historical review of the musical and cultural aspects of Russian and Chinese composers’ usage of the middle pedal in the piano-playing process. In the piano music of Russian and Chinese composers-musicians, the importance and significance of the pedal as a means of producing expressiveness are exposed. The technique of pedal subtleties, which was used by Russian and Chinese pianists at different times in the development of the piano art, gives special emphasis. The similarities and differences in stylistics, principles, and pedaling techniques in the process of playing the piano in modern Russia and China are discussed.
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Gevorkian, Armen. « Valery Bryusov and the musical world of Russia in the late 19th — early 20th centuries (Introduction) ». Literary Fact, no 15 (2020) : 213–36. http://dx.doi.org/10.22455/2541-8297-2020-15-213-236.
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While there are many studies on biography, literary work, and the epistolary heritage of V.Ya. Bryusov, his connections with the musical world of Russia in the late 19th — early 20th centuries remain on the periphery of research interest. Significantly less attention was paid to the historical and literary study of the poet’s personal and creative contacts with composers, music critics, and musicologists. In the late 19th — early 20th centuries V.Ya. Bryusov’s poetry as a source of musical compositions attracted composers of various creative and aesthetic principles, from realistic to modernist, each of whom found in Bryusov's works related images, themes and motifs. Today, the names of more than thirty composers, who addressed both original works and translations of the head of Russian Symbolism, are known. Among them are composers who by the beginning of the 20th century had become original figures of Russian musical culture — A.T. Grechaninov, S.V. Rachmaninov, N.K. Metner, R.M. Glier, S.I. Vasilenko — and less known today V.I. Rebikov, A. Kankarovich, A.G. Shaposhnikov et al. One of the first works devoted to this topic was an article by the poet’s sister, Nadezhda Bryusova, “Music in Valery Bryusov’s works” (Iskusstvo, 1929, no. 3 – 4), outlining two main areas of research: historical and literary and theoretical, philosophical and historical. O. Tompakova, V. Dronov, E. Etkind et al. also researched Bryusov’s connections with the musical culture of Russia at the beginning of the 20th century. Interest in Bryusov’s work did not fade even after the poet’s death, many Soviet composers turned to his poetry in the new socio-political environment. The Appendix contains materials for the annotated bibliography of music editions related to Bryusov
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Kouprovskaia-Bruggeman, Ekaterina O. « On the History of Russian-French Cultural Ties : A French Mark on the Life and Artwork of the Composer Edison Denisov ». Koinon 3, no 1 (2022) : 134–60. http://dx.doi.org/10.15826/koinon.2022.03.1.010.
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The subject of research in the article is the life and work of the composer Edison Denisov in the context of connections with French culture. The study of these over-the-half-century-long ties makes it possible to fill «white spots», first, in the broader subject of Russian-French cultural relations: Soviet and post Soviet contacts and influences studied on the representative material of musical art, second, in the topic of local but no less important: the role of France and its culture throughout E. Denisov’s life. The life and work of E. Denisov is a largely successful and multifaceted presentation of the French «footprint» in Russian culture in the second half of the 20th century. The material to be analyzed is multidimensional: biographical references to French art (music, literature, painting) and language; various contacts with French culture: writers, composers, musicians, ensembles and orchestras; Literary texts (B. Vian, G. Bataille) when writing music; the immersion in philosophical and humanitarian texts (R. Bart, M. Foucault, J.-P. Sartre); influence of mathematics and the structuralist method on the composer’s mastery (H. Poincaré, C. Lévi-Strauss) ; creative dialogue with works of a composer and theorist P. Bulez; the role of France in promoting Denisov’ music in the West; active educational activity of Denisov in promoting French music in Russia. A separate section of the article analyzes the influence of French composers on Denisov, and also highlights his participation in the restoration and orchestration of the unfinished opera of Claude Debussy «Rodrigo and Ximena». The article focuses only on the composer’s vocal works. The author thoroughly exqamines the works on poetry of French poets (Ch. Baudelaire, G. de Nerval, B. Vian, R. Char, H. Michaud, G. Bataille), the opera “Froth on the Daydream” based on the novel by B. Viana, the opera “Four Girls” on the play by Pablo Picasso.
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Pavlova-Borisova, Tat'yana Vladimirovna, et Milena Mikhailovna Kuz'mina. « Yakut national school of composers and works of the first Even composer P. M. Starostin : review experience ». Философия и культура, no 12 (décembre 2020) : 1–10. http://dx.doi.org/10.7256/2454-0757.2020.12.34736.
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This article is dedicated to the life and works of the first Even composer P. M. Starostin (1944-2013) in the context of evolution of the national school of composers in the East. The goal of this research consists in review of the life and works of the Even composer P. M. Starostin. The object of study is the professional musical art of the Evens, while the subject is the artistic heritage of the first Even composer. The article is based on the comparative and typological methods, with consideration of theoretical insights of the national musicologists dedicated to the development trends of young national schools of composers (M. N. Drozhzhina, M. Y. Dubrovskaya, L. L. Pylneva, and others.). The following conclusions were made: professional becoming of the first Even composer P. M. Starostin was within the framework of Yakut national school of composers; the primary source for his works became the rich Even folklore – epic tales, ritual genres, song lyrics. The artistic heritage of P. M. Starostin is unique and versatile in genre, featuring the large forms such as opera and cantata, as well as the chamber-vocal oeuvres and compositions for children. The geography of the young national schools of composers spread to the northeast of Russia, where is successfully functioning the Yakut national school of composers. The Yakut national school of composers becomes the new center, forming prerequisites for the establishment of national schools of composers of the indigenous peoples of the North living in the Arctic zone. The reviewed experience of the first Even composer P. M. Starostin indicates this process. The novelty of this research consists in introduction of information on the life and works of the first Even composer P. M. Starostin into the scientific discourse. Such analysis was carried out for the first time.
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Tschigareva, Evgenia. « Zur Bartók-Rezeption in Russland ». Studia Musicologica 48, no 1-2 (1 mars 2007) : 225–36. http://dx.doi.org/10.1556/smus.48.2007.1-2.15.
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Abstract Béla Bartók's sympathies towards Russian culture are well-known, as is the veneration of the Hungarian master by Russian musicians. During the course of three quarters of a century the image of Bartók the composer and folklore researcher has gradually infolded itself to Russian musical circles as well as the broad strata of music lowers. This thesis presents an integral overview of the reception of Bartók in Russia: the perception of his musical legacy by composers, musicological research about him, performances and publications of his works in Russia, comments from the press, and of music critics, etc. At the same time a particular evolution could be traced: an active interest towards Bartók the composer and pianist in the 1920s, then a nearly twenty-five years “pause;” in the 1950's a perception of him primarily as a folklor researcher as well as a progressive musical public figure at that an aversion from the official policy makers of his musical style as an “avant-garde” style during the dominance of the doctrine of “socialist realism;” the discovery of Bartók's innovative style, his influence on the young Soviet composers (E. Denisov, A. Schnittke, S. Gubaidulina) during the 1960's and 1970's; an overall comprehensive study of his musical legacy and the recognition of his significance (1960's–1980's), a decline of interest towards Bartók (as a classic) as a result of the stream of information, gushing from the West, having to do with the “new music” of the avant-garde of the “second wave” and the “post-avantgarde” trends (during the 1990's); a resurgence of interest at the turn of the century and an acquiescence of Bartók's artistic path as being perspective for musical art.
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Kotylev, Dmitry. « «Spirit of the russian culture» in the contemporary musical arts ». Muzykal'nyj al'manah Tomskogo gosudarstvennogo universiteta, no 12 (2022) : 113–22. http://dx.doi.org/10.17223/26188929/12/11.
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The article examines the process observed in Russian national culture associated with the implementation of Russian national images and characteristic features of the Russian worldview in the modern musical space. Russian musical culture, which previously followed the features of national identity in almost everything, is now more inclined towards a cosmopolitan point of view. If in the European regions of Russia this tendency can be traced more clearly, let us turn our attention to the musical culture of Siberia, which, as you know, “the wealth of Russia will grow”. Let us dwell on the work of one of the modern young Siberian composers, whose work confirms the promising nature of the "Russian spirit" in the modern cultural space.
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Ramazanova, Natal'ia. « Services to Russian and Serbian saints in the context of the Annual Circle of Church singing of the 16th-17th centuries ». Muzikologija, no 28 (2020) : 61–77. http://dx.doi.org/10.2298/muz2028061v.
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The article examines the services of Russian and Serbian saints in the context of the General artistic space of Russia during the period when it remained the only Orthodox state. ? significant number of services to the Roman, Byzantine, Russian and Slavic Saints written in the most complete Sticherarions with the subtitle ?D?iach?ie oko?, at that ?hants to Russian and Serbian saints, were created in Russia. Composers based on Byzantine canons, including the structure of services, sequence of chants, orientation to common models. One-type artistic techniques are used in worship services. However, chants differed significantly, as the singers creatively treated poetic texts using different musical methods.
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Цзо, Ч. « Chinese Culture in Russian Music ». Музыкальное искусство Евразии. Традиции и современность, no 3(12) (12 octobre 2023) : 14–26. http://dx.doi.org/10.26176/maetam.2023.12.3.001.
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Статья посвящена различным аспектам взаимодействия китайской и русской музыки. В исторической ретроспективе представлены произведения русских авторов на китайские темы, показаны фигуры русских композиторов, работавших в Китае и китайцев в России. Охарактеризованы средства, использованные для создания образов Китая в русской музыке, условия обращения к китайской теме мастеров, особенно внимательно относившихся к культуре этого дальневосточного народа. The article is devoted to various aspects of the interaction of Chinese and Russian music. Russian composers' works on Chinese themes are presented in the historical 12 Другие названия: пещеры Чианьфодонг, пещеры тысячи Будд. 26 retrospective, figures of Russian composers who worked in China and Chinese in Russia are shown. The means used to create images of China in Russian music are characterized, the conditions for addressing the Chinese theme of masters who were particularly attentive to the Chinese material.
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Tsyangpin, Go. « M.A. Balakirev : the way to create a new school of composition ». Философия и культура, no 7 (juillet 2022) : 56–65. http://dx.doi.org/10.7256/2454-0757.2022.7.38451.
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The subject of the article is the role of M.A. Balakirev in the development of Russian musical culture. The purpose of the article is to analyze the multifaceted activities of M.A. Balakirev, whom history itself has put forward to accomplish great things for the benefit of musical culture and musical education in Russia. In accordance with the theme and purpose, the following methods were used: retrospective analysis of the musical life of Russia in the second half of the XIX – early XX centuries; analysis of memoir sources of M.A. Balakirev's contemporaries; generalization of modern scientific research on the topic stated in the article. The methodology of the research consists of : memoirs of students and associates of M.A. Balakirev – Ts.A. Kui, N.A. Rimsky-Korsakov, V.V. Stasov; memoirs of Russian researchers – P.D. Bobrykin, Yu.V. Vasiliev, E.M. Gordeeva, Yu.V. Keldysh, I.F. Kunin. The novelty of the research lies in the identification of aesthetic contradictions between the established approach not only in the creative association of composers, but also in the musical art of that era. The materials of the article can be included in the course of lectures and seminars on the history of Russian music, advanced training courses for music teachers, teachers of secondary specialized and higher educational institutions. The conclusions of the study are : the purpose and creative activity of the composers of the "Mighty Bunch" under the leadership of M.A. Balakirev is characterized as a reflection of the Russian democratic culture of the era of revolutionary populism; the activity of the creative community "Mighty Bunch" is presented as embodying the ideological platform of the new Russian direction in music of the XIX century; the main methods of "composer" training and education applied by M.A. Balakirev.
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Ader, Lidia. « MICROTONAL STORM AND STRESS : GEORGY RIMSKY-KORSAKOV AND QUARTER-TONE MUSIC IN 1920S SOVIET RUSSIA ». Tempo 63, no 250 (octobre 2009) : 27–44. http://dx.doi.org/10.1017/s0040298209000345.
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‘Passed by the political censor’ – Commissar LunacharskyThe new Russian generation of composers in 1920s Russia is widely known as the ‘musical avant-garde’. Maximilian Shteinberg, the professor of the Petrograd-Leningrad Conservatoire, who studied under Nikolay Rimsky-Korsakov, called his pupils more simply: ‘musical lefties’. The older generation tried to define this new trend that was evolving as the younger generation' explorations in the fields of musical systems, sounds, subjects, etc. Among the radical musical events in 1920s Soviet Russia, the quarter-tone system of temperament takes first place.
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Malmstad, John E. « Sergei Diaghilev “The Russian” : Reflections on the Repertory of the Ballets Russes ». Experiment 17, no 1 (2011) : 47–64. http://dx.doi.org/10.1163/221173011x611824.
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Abstract The Ballets Russes never performed in Russia, and in the last twelve years of its twenty-one year existence (1909-1929) many Western European artists and composers worked for the company. Yet its essential identity remained as Russian as that of its founder, the quintessential “cosmopolitan” Sergei Diaghilev. An examination of its repertory makes that clear.
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Амрахова, А. А., Ю. В. Воронцов, К. В. Зенкин, К. А. Уманский et В. Г. Цыпин. « Metadiscourse of modern musical culture of Russia (discussions on Webern) ». Журнал Общества теории музыки, no 4(40) (15 mai 2023) : 1–21. http://dx.doi.org/10.26176/otmroo.2022.40.4.001.
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В данной подборке материалов впервые публикуются два интервью Цыпина, взятые у композиторов Р. Леденёва и Э. Денисова о творчестве А. Веберна. Интервью были взяты в 1988 году и ни разу нигде не публиковались. О проблемах отечественного авангарда, восприятия творчества Веберна тогда и сейчас рассуждают композиторы К. Уманский, Ю. Воронцов, музыковед К. Зенкин. В центре внимания – вопросы значимости творчества Веберна для всей мировой культуры, оригинальность русского пути в истории музыкального искусства, проблема преемственности традиций и своеобычия новизны в творчестве современных композиторов. The collection of materials introduces two interviews with the composers R. Ledenev and E. Denisov about A. Webern's oeuvre. Conducted by V. Tsypin in 1988, the interviews have never been published. The issues of the Russian avant-garde, the perception of Webern's music then and now are discussed by the composers K. Umanskiy, Yu. Vorontsov, the musicologist K. Zenkin. The importance of Webern's oeuvre for the world culture, the uniqueness of Russian way in the music history is in the focus, as well as the issue of continuity of traditions and originality of the contemporary composers' oeuvre.
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Макина, А. В. « Choral Music of the Perm Composers of the Second Half of 20th — the Beginning of the 21st Centuries ». Научный вестник Московской консерватории, no 2(29) (26 juin 2017) : 170–81. http://dx.doi.org/10.26176/mosconsv.2017.29.2.05.
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Объект исследования, представленного в статье, — творческая деятельность Пермского отделения Союза композиторов России рубежа XX–XXI веков. За кратким обзором истории реги онального отделения Союза композиторов следуют творческие портреты двух композиторов-священников (И. В. Ануфриева, В. Л. Куликова) и анализ их произведений: в хоровом цикле «Пермские стихи» И. В. Ануфриева интересно введение старообрядческого духовного стиха в контекст современного хорового письма; в сочинении «Встречай меня, Иньва-сай» В. Л. Куликова показаны особенности современной трактовки жанра хорового концерта. Анализ дает понять, что в хоровой музыке пермских композиторов сохраняют ся свойства, составляющие основы русской классической композиторской школы, и прослеживают ся наци ональные черты пермского фольклора, представленного в виде цитат и стилизации. Object of work is creative activity of the Perm office of the Union of composers of Russia of a turn of the XX–XXI centuries. The history of formation of regional office of composers is shown in article, careers of two composers-priests are considered (I. Anufriyev, V. Kulikov), and also musical and theoretical and vocal and choral analyses of their works are submitted. In work the embodiment of an Old Belief spiritual verse in the choral cycle “Perm Verses” of Anufriyev and feature of treatment of a genre of a choral concert “Reveals meet me, Inva-say” of Kulikov. The carried-out analysis of works showed that in choral music of the Perm composers, on the one hand, the lines making an essence of the Russian classical composer school with another are observed — national lines of the Perm folklore used in the form of quotes and stylization are traced.
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Presnyakova, Inga A. « Russian musician Johann Leopold Fuchs (1783-1853) : the view of a modern researcher ». Contemporary Musicology, no 1 (2019) : 67–85. http://dx.doi.org/10.56620/2587-9731-2019-1-067-085.
Texte intégralRésumé :
The article focuses on Johann Leopold Fuchs – a distinguished, but undeservedly forgotten Russian musician of the first half of the 19th century. A native of Germany, who spent more than 50 years in Russia, he considered it to be his second homeland and “wanted to be helpful mainly to Russian artists.” Fuchs proved himself as a talented teacher, composer and author of music theory manuals. He taught such outstanding musicians, composers and music educators as M. Glinka, F. Tolstoy, M. Rezvoy, Y. Arnold, and M. Vielgorsky. Fuchs is the author of the first composition guide “A Practical Guide to Music Composition” (1830). Published in Russia, the work, due to its Russian translation, was a great contribution to the development of Russian-language terminology of music theory. In Russia, life and career of J.L. Fuchs remain little studied. An illustrative example is the incorrect information about his date and place of birth found in the Encyclopedia of Music. Until recently, nothing was known about the musician’s life. However, a thorough investigation carried out by a German researcher Robert Weissmann has made a difference. The article is the first attempt to introduce the evidence found by Weissmann into the Russian-language academic discourse. Together with the materials obtained by the author of the article, it helps bring a new, broader focus on the personality of the outstanding musician, as well as to highlight the dramatic impact Fuchs made on Russian music culture of the first half of the 19th century.
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Varlamova, A. V. « THE SOUND PALETTE OF NIKOLAY BERESTOV'S PIANO WORK ». Arts education and science 1, no 2 (2021) : 129–35. http://dx.doi.org/10.36871/hon.202102016.
Texte intégralRésumé :
The article is devoted to the piano works of Nikolay Savelyevich Berestov, one of the most famous composers of Yakutia, Honoured Artist of the Russian Federation and Yakutia, whose compositional heritage is performed outside of Yakutia and Russia. He is the author of numerous works in different genres of vocal and instrumental music, innovatively implementing in his compositions the traditions of national folklore. The article reveals characteristic features of the composer's style — the interaction of intonation vocabulary of national folklore and European writing technique, the adherence to the program, the consistent definition of technical and figurative- emotional tasks of plots and dramaturgy. The most striking works from various cycles — pieces, fugues as well as the "Northern Landscapes" triptych — are examined in more detail.
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Taraskin, Ricard. « The birth of contemporary Russia out of the spirit of Russian music ». Muzikologija, no 6 (2006) : 63–76. http://dx.doi.org/10.2298/muz0606063t.
Texte intégralRésumé :
In this article, the author observes and discusses the effects of Russian history on Russian music in the second half of the XXth century. Forming part of author?s long-range persistent polemics against Russian exceptionalism and against the kind of romantic overvaluation of art, the article expresses sharp and provocative views of the main stylistic tendencies in Soviet and Russian music during and after the epoch of the Cold War, as well as after the Second Russian Revolution in 1991. Special attention is paid to the activity and works of the most prominent Russian composers of their time Andrey Volkonsky, Edison Denisov, Nikolai Keretnikov, Arvo P?rt, Elena Frisova, Sofia Gubaidulina and Alfred Schnittke.
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Piotrowska, Anna. « The place of ‘Russian music’ on the multicultural map of Europe ». Muzikologija, no 21 (2016) : 109–22. http://dx.doi.org/10.2298/muz1621109p.
Texte intégralRésumé :
Both Russian and non-Russian composers and music critics willingly used the notion of Russian exoticism to differentiate the Russian musical legacy from the (western) European tradition, especially in the 19th century. At the same time, various Russian musical practices were considered to be exotic in Russia itself. In this article it is suggested that these two perceptions of Russian music influenced each other, having an impact on the formation of Russian national music. It is further claimed that Russian music served both as an internal and external tool for defining the country?s musical culture on the multicultural map of Europe.
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Gulyanitskaya, Natalia S. « About Sacred Music by the Composers of the Gnesins’ House ». Problemy muzykal'noi nauki / Music Scholarship, no 2 (2024) : 138–47. http://dx.doi.org/10.56620/2782-3598.2024.2.138-147.
Texte intégralRésumé :
The author of the article delineates as a special scholarly issue the study of sacred music by composers of the Gnesins’ House. The diverse aspects of its solution potentially include historical motives, subject matter and genres, content and form, meaning and its expression, etc. We can consider Sergei Trubachev (1919–1995), who was the head of the Conducting Department at the Gnesins’ State Musical-Pedagogical Institute, to be one of the founders of the present-day sacred musical creativity in Russia in the post-Soviet period. While examining the sacred music created rather recently by the composers from the Gnesin Russian Academy of Music — Kirill Volkov, Alexei Larin, Vladimir Dovgan, Andrei Mikita, Andrei Golovin, Valery Pyankov, and Valery Kikta, the author observes that there is a predominance of non-liturgical genres in it. The artistic approach of the composers in the sphere of the sacred musical space is characterized in the article as the interaction of the classical and non-classical, the traditional and the non-traditional elements. On the examples of sacred works by Kirill Volkov, Vladimir Dovgan, Alexei Larin and Andrei Mikita, the author highlights its concrete features: first of all, the connection of canonic and secular texts, traditional writing and contemporary intonational language.
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Мунипов, Алексей. « What Does the Composer Take Away ? Composing Strategies and the World of Russian Emigration ». Музыкальная академия, no 3(779) (26 septembre 2022) : 214–19. http://dx.doi.org/10.34690/264.
Texte intégralRésumé :
Первая англоязычная книга Елены Дубинец «Российские композиторы за границей: как они уезжали, оставались, возвращались» (2021) перекликается с последней из ее русскоязычных книг «Моцарт отечества не выбирает» (2016). Однако в «Российских композиторах за рубежом» интервью с героями становятся исходным материалом для масштабного музыкально-социологического исследования с аналитическими экскурсами, разносторонне освещающего вопрос формирования национальной идентичности и культурной принадлежности. За пределами работы намеренно оставлены хорошо изученные имена. Среди героев книги - как забытые авторы, так и успешные на Западе, но почти неизвестные в России композиторы. Книга приобретает особенную актуальность сегодня, поскольку затронутые в ней темы оказываются близки очень многим. Elena Dubinets' first English-language book “Russian Composers Abroad: How They Left, Stayed, and Returned” (2021), echoes the Last of her Russian-language books “Mozart Chooses No FatherLand” (2016). In “Russian Composers Abroad,” however, interviews with characters become the source material for a large-scale musical and sociological study with analytical excursions, covering the question of nationaL identity formation and cultural beLonging in a multifaceted way. Well-researched names are deliberately left out of the work. Among the heroes of the book are both forgotten authors and composers who are successfuL in the West but aLmost unknown in Russia. The book acquires particuLar reLevance today because the topics touched upon in it turn out to be cLose to many people.
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Kamenets, A. V., et L. V. Molina. « The Enlightenment Philosophy Impact on the Musical Culture of Russia in the 18th–19th Centuries ». Contemporary problems of social work 6, no 3 (28 septembre 2020) : 30–37. http://dx.doi.org/10.17922/2412-5466-2020-6-3-30-37.
Texte intégralRésumé :
this article discusses the key ideas of the philosophy of the Enlightenment (applying democratic attitudes, referring to real-life problems and issues, promoting humaneness and humanism) that have influenced the Russian musical culture. A connection is traced between the worldview of the West-European philosophers of the Enlightenment and the works of European composers and musicians that influenced the Russian musical culture in the 18th and 19th centuries. The article highlights how the philosophy of the Enlightenment affected the development of the operatic and singing art in Russia and how it in many ways dictated subsequent trends in the Russian music.
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Panteleeva, Yuliya N. « Author Function in the Poetics of Contemporary Music ». Problemy Muzykal'noj Nauki / Music Scholarship, no 4 (2022) : 53–65. http://dx.doi.org/10.56620/2782-3598.2022.4.053-065.
Texte intégralRésumé :
The term “author function,” derived from the famous work of Michel Foucault What is an author?, is projected in this work on a number of works by contemporary composers in Russia and other countries. The theme of discussion is music: Sounding Letters by Alfred Schnittke, Clavier Music by J. S. Bach (The Zagny Collection) by Sergei Zagny, Bridges to Bach by Giya Kancheli, Quartet Fragmente-Stille, an Diotima by Luigi Nono and Anamorphosi by Salvatore Sciarrino. The problem of authorship is included in the mainstream of urgent issues associated with the study and interpretation of the meaning of contemporary musical compositions. In some of them, the composer’s figure is marked in the music itself, while in others, on the contrary, it marks its absence. Various diverse ways of functioning of the composer’s voice often arise in the intertextual space, which makes it possible to capture the distance between different works and composers’ styles. Our field of vision also includes the composer’s words dedicated to the problem of authorship.
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Senina, E. V., et K. A. Poliakova. « Cultural-Perceptions of Russia and Russians in China Today ». Concept : philosophy, religion, culture 7, no 3 (30 septembre 2023) : 90–103. http://dx.doi.org/10.24833/2541-8831-2023-3-27-90-103.
Texte intégralRésumé :
The study of cultural-perception of countries and peoples’ has been gaining momentum in history, literary studies, ethnopsychology, journalism, imagology and other fields of scientific knowledge over the past decade. The cultrual-perception is constructed by ethnic, religious, political, ideological and artistic frames of perceptual consciousness. In connection with the development of Russian-Chinese relations, the topic of rethinking Oriental studies in line with the framework of the studies of philosophical and cultural problems is especially relevant today. The novelty of the research consists in updating the data already available in scientific publications on the culturalperception of Russia and Russians by the Chinese. This article examines the cultural-perception of Russia and Russians in China based on the results of polls conducted by the authors in 2021–2022. The poll contained open-ended questions concerning associations with Russia, symbols of the country, names of famous Russians, the Russian character, and Russian cities. The data obtained helped to identify and confirm certain historical patterns and stereotypes concerning the perception of the Russian character. The analysis of the poll results showed that Chinese people’s perceptions of Russia depend largely on their personal experience with Russians. The Chinese who have not been to Russia have an image of our country closely associated with that of the Soviet Union; they have a vague idea of contemporary life in Russia but are quite familiar with the works of Russian classics writers and composers. The Chinese permanent residents of the Russian Federation are more aware of both the classical and contemporary culture of the Russians. In addition, the personality of Russian President Vladimir Putin plays an important role in shaping the current perception of Russia in China. Putin's personality plays an important role in shaping the current perception of Russia.
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SCHMELZ, PETER J. « Andrey Volkonsky and the Beginnings of Unofficial Music in the Soviet Union ». Journal of the American Musicological Society 58, no 1 (2005) : 139–207. http://dx.doi.org/10.1525/jams.2005.58.1.139.
Texte intégralRésumé :
Abstract This article examines the compositional history and early reception of Soviet composer Andrey Volkonsky's two earliest and most important serial compositions, Musica Stricta and Suite of Mirrors (Syuita zerkal). These two works spurred on the formation of an unofficial music culture in the Soviet Union during the Thaw of the late 1950s and 1960s. Volkonsky (b. 1933) was the first and initially the most visible of a group of young Soviets known by officialdom as the “young composers” (“molodïïye kompozitorïï”). These “young composers”—among them Sofia Gubaidulina, Alfred Schnittke, Arvo Pärt, and Edison Denisov—came of age in the years following Stalin's death in 1953. Their compositions reflected their attempts to “catch up” with the Western avant-garde following decades of musical development that had been denied them under Stalin. The first “new” technique these composers adopted was serialism, and Volkonsky's early compositions illustrate the specifically Soviet approach to the method and demonstrate the meanings it held for Soviet officials and Soviet audiences. Volkonsky's early works also force a broadening of current interpretations of postwar European and American serialism. Much of the information in the article stems from personal interviews with Volkonsky and the other leading composers and performers of the Thaw, as well as archival research conducted in Russia.
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Momo, Saito. « NIKOLAI MEDTNER ― PROFESSOR OF MOSCOW CONSERVATORY ». Arts education and science 1, no 1 (2020) : 162–67. http://dx.doi.org/10.36871/hon.202001021.
Texte intégralRésumé :
The article presents the history of the pedagogical activity of the Russian composer and pianist N. K. Medtner, whose 140th birthday is celebrated in 2020. The article presents new information about Medtner's first piano mentors, as well as about Medtner as a teacher, and his musical preferences. Based on archives of The Moscow State Conservatory, as well as on the memories of Medtner's students, a list of master's successors who studied in his class for approximately seven years during his teaching in Russia was revealed. The study of personal files of students of the first decade of the XXth century allows us to touch upon fundamental questions: what material was used for the pedagogical process of Medtner, whether he used his own compositions for teaching students in his class. Among classical composers Medtner chose for his class J. S. Bach, L. van Beethoven, R. Schumann, F. Chopin and F. Liszt. The Russian repertoire was represented by the works from M. A. Balakirev to A. N. Scriabin. Students often made requests to include their Professor's essays in their programs, which Medtner rarely granted. It is noted, that N. K. Medtner's teaching at The Moscow Conservatory and in private musical institutions in Moscow, did not complete his mentoring pedagogical activity, which continued later outside of Russia.
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Klujev, Alexander S. « Philosophy of Music in the Mirror of the Contemporary Age. Article 1 ». Russian Journal of Philosophical Sciences 63, no 12 (25 mars 2021) : 7–25. http://dx.doi.org/10.30727/0235-1188-2020-63-12-7-25.
Texte intégralRésumé :
The article examines the situation that has developed in the contemporary age and being named differently: postmodernism, post-postmodernism, digital modernism, metamodernism, etc. It is noted that, despite the difference in naming, all the terms indicate a global crisis of culture and man. The three most important signs of this crisis are identified: (1) degradation of a man – the predominance of his animal nature; (2) total technicism; (3) oblivion of national traditions, sacred things. These features are briefly explained. It is concluded that the basis of these signs is the loss of human spirituality. It is stated that music has extraordinary opportunities to elevate the spiritual needs of a person. It is emphasized that these opportunities contributed to the strengthening of the impact of religious practices within various worships – shamanism, Zoroastrianism, Sufism, and others, which ensured the maintenance of the humanity of the world. It is believed that the use of spiritual-creative possibilities of music will help overcome the existing global crisis and prepare the formation of the era of culture and man, the era called a New Humanism by M. Eliade. It is argued that there are composers in Russia and in other countries today who purposefully use the spiritual-creative potential of music in their work to overcome the crisis that has arisen. We offer an interview with one of them – Russian composer Dmitry Stefanovich. In conclusion, it is noted that the following articles will continue to analyze the processes taking place in contemporary culture, and, in this regard, there will be presented stories about music and interviews with composers from Russia and other countries.
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Ursegova, N. A. « RUSSIAN FOLKLORE IN MASS MUSICAL EDUCATION OF CHILDREN IN PRE-REVOLUTIONARY RUSSIA (60s — 80s of the XIXth century) ». Arts education and science 1, no 2 (2021) : 151–59. http://dx.doi.org/10.36871/hon.202102019.
Texte intégralRésumé :
The 60s — 80s of the XIXth century were the period of arousing interest in music pedagogy and awareness of the need to develop theoretical research for organizing musical education and upbringing of children in family and school, representing the first musical collections for children based on Russian folklore. The analytical base of the research (sources) are collections of folk song arrangements, created with a specific pedagogical purpose, both for special educational institutions and for students of mass schools. Its content allows to demonstrate the views of Russian teachers, music educators and composers on the use of Russian folklore in the system of mass musical education for children. The most important achievement of the studied period is the appearance of the first children's song collections with a realized scientific approach to the publication of folklore works for pedagogical purposes, in which authentic melodies are presented without accompaniment written by the composer, and the song texts are supplemented with information about specific geographical recording location and performers. Theoretical and practical experience of musical education gained in the second half of the XIXth century is very valuable for modern music pedagogical science and practice.
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Dotsenko, Vitaly. « The theme of Spain in Russian music : from Glinka to Shostakovich ». Latinskaia Amerika, no 8 (2022) : 68. http://dx.doi.org/10.31857/s0044748x0021216-6.
Texte intégralRésumé :
The article is devoted to bilateral Russian-Spanish relations in the field of musical creativity during the 19th and 20th centuries. The problems of mutual influence of musical cultures of Spain and Russia and their reflection in the works of composers are raised. The issues of artistic interchange between the two countries are also highlighted by the example of the performing activities of prominent representatives of the musical art. The creative activity of M.Glinka, A.Rubinstein, F.Chaliapin, I.Stravinsky, M.Plisetskaya, A. Volkonsky, D. Shostakovich is considered.
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Zhuo, Cai. « Russian Musicals Against the Background of the History of the Genre ». Университетский научный журнал, no 76 (24 octobre 2023) : 117–26. http://dx.doi.org/10.25807/22225064_2023_76_117.
Texte intégralRésumé :
The article presents a generalisation of some features of Russian musical in the context of its history. Against the background of the worldwide promotion of the genre, musical in Russia has its own distinctive features and original history. The notable role in it was played by the “Thea-Jazz” of the artist, singer and conductor Leonid Utesov and the fi rst musical fi lm comedy “Jolly Fellows” (1934) directed by Grigory Alexandrov with the participation of Utesov and his band (the music by Isaac Dunaevsky). The further fate of Russian musicals is also associated with the parallel development of the musical fi lm genre, on the one hand, and theatrical performances in Soviet theatres of outstanding examples of foreign composers, on the other hand. Acquaintance with such works as the jazz opera “Porgy and Bess” by George Gershwin, “The Threepenny Opera” by Kurt Weill, the “My Fair Lady” musical by Frederick Loewe and “West Side Story” by Leonard Bernstein increased the interest of composers and the public in the genre and led to the appearance of their own successful versions.
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Zuk, Patrick. « Nikolay Myaskovsky and the “Regimentation” of Soviet Composition ». Journal of Musicology 31, no 3 (2014) : 354–93. http://dx.doi.org/10.1525/jm.2014.31.3.354.
Texte intégralRésumé :
Western studies of musical life in the USSR have typically placed great emphasis on the constraints to which composers were subject and often appear to have accepted as axiomatic the notion that the styles of Soviet composition of the Stalinist era were fundamentally conditioned by external pressures. One of the most influential formulations of this view is to be found in Boris Schwarz’s Music and Musical Life in Soviet Russia, which has remained a standard work of reference for over four decades. Schwarz considered the promulgation of the Communist Party’s resolution of 23 April 1932 “On the Reconstruction of Literary and Artistic Organisations” to represent a fateful turning point in the fortunes of Soviet music, marking the inauguration of a stultifying new era of “regimentation” and the demise of freedoms that had remained after the persecution of leading modernists by the Russian Association of Proletarian Musicians. According to Schwarz “advanced composers turned conventional, and conventional composers turned commonplace.” In Schwarz’s view, the newly founded Composers’ Union, just as Goebbels’s Reichsmusikkammer, presided over an artistic wasteland. In this essay I question such generalizations. I focus on Nikolay Myaskovsky (1881–1950), regarded by Schwarz as a prime example of a modernist who retreated into safe conventionality in the early 1930s after the composition of his notorious Twelfth Symphony, ostensibly written to glorify Stalin’s grandiose project of agricultural collectivization. A re-examination of the circumstances surrounding the symphony’s genesis suggests that the constructions Schwarz placed on this phase of Myaskovsky’s career are questionable. Although the composer’s harmonic language became noticeably less dissonant after 1932 than in certain works of the 1920s, I argue that this cannot be attributed solely to external pressures, as Myaskovsky’s later style evinces strong continuities with tendencies manifest in his earlier work. The essay closes by reflecting on the wider implications of these findings for our understanding of Soviet composition of the Stalinist era.
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Kornii, Lidiia. « Specific Character of Ukrainian-Russian Contacts in the Musical Culture of the 17th – 18th Centuries : A Modern View ». Materìali do ukraïnsʹkoï etnologìï 21 (24) (30 novembre 2022) : 28–32. http://dx.doi.org/10.15407/mue2022.21.028.
Texte intégralRésumé :
The relevant problem of the significance of the Ukrainian-Russian musical dialogue in the 17th –18th centuries for the future development of Ukrainian and Russian musical cultures is considered in the article. Ukrainian-Russian contacts have taken place in the field of professional music, dominated with religious Christian themes at that time. Significant achievements of Ukrainian musical art of the late 16th - the first half of the 18th century are noted, where Ukrainian Orthodox traditions are combined with the adapted achievements of Polish and Western European art: the reformation of musical notation and the appearance of the five-line Kyiv notation, used to record church singing, the emergence and development of polyphonic church works of the baroque style, the genre of cant and school drama, significant achievements in choral church performance. The backwardness of the musical culture of Muscovy in the period of the 16th–17th centuries from the European world and imitating Ukrainian achievements in church singing, choral performance, canto culture and school theater are emphasized. It is accentuated that the composers, regents, choristers, musical works have been necessary for the implementation of such a restructuring in Moscow musical culture. The voluntary and forced resettlement of Ukrainian musical forces to Russia for almost two centuries is considered in the submitted work. They have taken musical works with them and remained there. It has caused a situation when many Ukrainian musicians are turned in Moscow and St. Petersburg. So, there are reasons to believe that they have been creating Ukrainian culture outside Ukraine in Muscovy (Russia), relying on Ukrainian traditions. There are, in particular, Ukrainian composers M. Berezovskyi and D. Bortnianskyi, who have initiated and developed the Ukrainian classical style of sacred music in Russia among them. At the same time the constant and systematic transfer of Ukrainian musical forces, as it is noted already, for almost two centuries has been bleeding Ukrainian musical culture and affected negatively its development in the 19th century.
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Savenko, Svetlana Savenko. « Stravinsky and Russian Music of the 20th Century ». Musicological Annual 43, no 2 (1 décembre 2007) : 93–98. http://dx.doi.org/10.4312/mz.43.2.93-98.
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The discussion of this important question presupposes two different aspects: the first one is connected with the perception of Stravinsky’s music in his fatherland, the second with the influence of his music in the specific sense of the word. The most important stations of the perception of Stravinsky: 1. 1910–1920. Stravinsky’s works were regularly performed in Russia during this period. The reaction of the audience and the press was various and partly controversial. 2. End of the 30’s to the middle 1950’s. In this period Stravinsky’s music has almost disappeared from the USSR concert life. It became the target for most violent ideological criticism, which reached its zenith at the threshold of 1940’s 1950’s. 3. Stravinskys visit to the USSR (1962) had a crucial meaning for the expansion of his influence. The main factors of the influence: 1. After the 1920’s the direct influence of Stravinsky on the Russian music was at first rather obvious. At that time, one could observe it through a whole set of compositions by “leftist” composers from the circle of The Association Of Modern Music; they understood Stravinsky’s music as a renewed, contemporary musical tradition of Russia. 2. A revival of the influence of Stravinsky’s music began in the 1960’s, probably in connection with “the new folkloristic wave” in the national oriented works of young composers, who belonged to a large extent to “the Soviet avant-garde”. Resumé: Stravinsky’s work was ideal as a model for the development of the Russian music in the 20th century.
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Khanina, Lilia. « THE FAUST LEGEND AND ITS ROLE IN ALFRED SCHNITTKE'S WORK ». Tempo 63, no 248 (avril 2009) : 2–11. http://dx.doi.org/10.1017/s0040298209000114.
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Alfred Schnittke (1934–1998) is among the most notable composers in the second half of the 20th century. Over the past 20 years his work has won wide acceptance and greater international attention. His music, performed by world-class musicians in countless countries and in the most prestigious concert halls, has become an integral part of Russian cultural heritage. Schnittke's vast popularity is evident in the existence of so many publications, reviews, and dissertations not only in Russia but all over the world. However, some aspects of the composer's life and music remain unexplored, and a study of Schnittke's work would not be complete without examining one particular subject which influenced Schnittke throughout his creative life: the Faust Legend. The Faustian Legend ‘was among the forces that supported Schnittke's dialogue with the past and shaped his identity’. Before delving into this topic it would be logical to give a brief excursus in the history of the Faustian legend itself.
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Sokolvyak, Natalya L. « STRING QUARTET IN THE CONTEX OF LITERARY AND EPISTOLARY HERITAGE OF RUSSIAN COMPOSERS AND PERFORMERS ». Arts education and science 4, no 37 (2023) : 151–57. http://dx.doi.org/10.36871/hon.202304151.
Texte intégralRésumé :
The article is devoted to one of the brightest phenomena of Russian instrumental music of the XIXth – XXth centuries — the string quartet, the history of its formation and development in Russia goes back more than two hundred years. Thanks to the stable national tradition of close interaction between creativity and performance, the quartet has acquired the status of one of the most viable genres of chamber instrumental music. The main material of the research consists of the literary and epistolary heritage of major Russian composers and performers, in whose work the quartet was given a central place. Literary works, critical articles and notes, memoirs and letters act as a reliable information source, which reflect the problems of artistic and aesthetic role of the quartet in Russian musical culture at different historical stages, the issues of figurative content of quartet works, some aspects of their stage realization. Finally, the author comes to the conclusion that the thoughts of creators and performers, expressed “in the first person”, not only allow us to immerse ourselves in the historical context of the creation of the work, to understand the depths of its content and the specifics of performance, but also serve as a foundation for the creation of performing interpretation adequate to the author’s intention and the continuation of the richest domestic traditions of quartet art.
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Végh, Mónika. « Antecedents, and Development of the Sacred Choral Concerto in Russia ». Studia Universitatis Babeş-Bolyai Musica 65, no 2 (21 décembre 2020) : 173–92. http://dx.doi.org/10.24193/subbmusica.2020.2.12.
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"Upon dealing with Russian religious choral music of the 18th century, one may clearly recognize the outlines of a unique genre, the duhovny kontsert, or in other words, the genre of the religious choral concerto. The subject is suppletory, since very few people in Hungary have dealt with pre-19th century Russian music, let alone with choral repertoire. In the present study, we may follow up the legalization and development of polyphony in church music – which was strictly monophonic up until the 1500s – and the different types of multivocal hymns. We will also get to know the Russian composers of the 17th and 18th centuries, who contributed to the genre with their own works. We will receive a detailed description about concertante techniques used in European vocal music, and about their appearance in the 18th century Russia, which was unique to a cappella choral concerto. We will also get to know more about the structure and characteristics of the duhovny kontsert, while taking a glance at the historical background. In the final part of the study, we will see how the genre influenced subsequent eras, and how the stylistic marks and techniques appear in the choral oeuvre of Rachmaninoff. Keywords: Russia, 18th century, church music, choral concerto, Bortniansky, Berezovsky"
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Tsihan, Xia. « INTERPRETATION OF MUSICAL GENRE IN THE WORKS OF R. IGNATIEV AND K. BREITBURG ». Arts education and science 1, no 2 (2021) : 121–25. http://dx.doi.org/10.36871/hon.202102015.
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Theater in Russia has for a long time neither cultivated nor encouraged the pursuit of entertainment and commercial success. Perhaps that is why, the first attempts to integrate the musical into the Russian theater environment ended in failure. "My Fair Lady" by F. Loewe, staged at the Stanislavsky and Nemirovich-Danchenko Theatre, "Avtograd–1929", staged at the Satire Theater and the "Chicago" musical, after several performances, were removed from the repertoire or, like enterprise productions, ceased to exist. The purpose of this research is to determine the reasons for the growing popularity of the literary musical in Russia. The article examines the development of literary musical through the work of its outstanding representatives, composers R. Ignatiev and K. Breitburg. Scientific novelty of the work lies in the study of previously unpopular classical literature samples, which are the basis for the modern musical theatre genre.
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Джуст, Анна. « Замечания о рецепции итальянской оперы seria в период от царствования Анны Иоанновны до царствования Екатерины II ». ВИВЛIОθИКА : E-Journal of Eighteenth-Century Russian Studies 8 (11 décembre 2020) : 27–53. http://dx.doi.org/10.21900/j.vivliofika.v8.790.
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This article seeks to contribute to the ongoing revision of the historiography on eighteenth-century Russian music in general, and Russian opera in particular. After an extensive survey of the state of the field, the author adopts a multi-disciplinary approach (combining musical and philological studies) to analyse recently published primary sources about the reception of Italian opera seria in early imperial Russia. The article demonstrates that far from merely providing amusement for the Court of three consecutive female monarchs, Italian composers and their works engaged in complex ways with a much more variegated Russian "public." The author suggests that the creation of this music-listening and -performing domestic public was indebted to Italian operatic traditions and, at the same time, intimately connected to local traditions of musical performance.
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Kazantseva, Liudmila P. « “Musical Rossica” as a Musicological Term ». Music Scholarship / Problemy Muzykal'noj Nauki, no 1 (2022) : 22–34. http://dx.doi.org/10.33779/2782-3598.2022.1.022-034.
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During the course of centuries in the music of composers from outside of Russia one can discern an entire category of works dedicated to Russia. The experience of certain spheres of knowledge – book studies, source studies, archival studies, map studies, collecting, history, literary studies, art studies, cinema studies – has stipulated the possibility of applying the concept of “Rossica,” well-known in scholarly use, to this segment of artistic expression. The article offers and substantiates the concept of “musical Rossica” as a sphere of musical creativity, demonstrating a vision of Russia (or, in the narrow sense, of Russianness) through the prism of other cultures. Considering the importance of mental-culturological distancing of the Russian from the non-Russian, it becomes a legitimate position to add to the musical Rossica the compositional legacy of Russian émigrés connected with their former homeland. A differentiation of the concept (“German musical Rossica,” “romance-song Rossica,” “folk music Rossica,” etc.) is accepted. The concept of “musical Rossica” discloses a number of possibilities: to attract attention to the lesser-known marginal field of the outstanding masters’ heritage (Georges Bizet, Charles Gounod, Gaetano Donizetti, Felix Mendelssohn-Bartholdy and Franz Schubert); to bring into the scholarly domain artefacts previously cast aside onto the periphery of the historical process; to find meaning not only with separate works, but with a serious artistic tendency; to indicate a problem field which would be productive for musicology. “Musical Rossica” makes it possible to build a more complete picture of the musical field outside of Russia, to form an objective evaluation of the significance of Russian music as a part of the world music process, to overestimate the role of the literary heritage of Russia (through its numerous musical interpretations) in foreign culture, and, thereby, to make a feasible contribution to the formation of the self-consciousness of Russians, as well as an objective international image of Russia.
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Rovner, Anton А. « Mark Belodubrovsky, a Versatile Contemporary Composer, Violinist and Educator ». ICONI, no 1 (2021) : 111–25. http://dx.doi.org/10.33779/2658-4824.2021.1.111-125.
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Mark Belodubrovsky is one of the most accomplished contemporary composers living presently in Moscow who has written a substantial amount of solo, chamber and vocal musical compositions of high quality, which are performed in Russia and in a number of other countries. His musical output is especially noted for its versatility of different styles of music: some of his compositions are traditional and romantic in their style and tonal in their harmony, with a strong infl uence of Russian folk music which the composer actively employs in a number of his compositions, while other works follow innovative avant-garde trends and incorporate serialism, including serial rhythm, sonoristics, aleatory technique and a number of other techniques. Some of his compositions are very accessible to a broad audience, containing memorable melodic and rhythmic traits, while others are written in a highly complex language, based on musical experimentation, comprehensible for the most part to a sophisticated audience well-versed in avantgarde trends in music. Some of his works are based on extroversive theatrical gestures and even contain comic elements, while others bear an inner philosophical discourse. Nonetheless, both of these contrasting features combine together to express a highly original style of the composer’s music which cannot be mistaken for that of anybody else. Belodubrovsky is known and highly regarded as a composer, a violinist, an enthusiastic cultural activist who discovered and popularized rare compositions of the early 20th century Russian modernist trend, the long-time director of the Nikolai Roslavetz and Nahum Gabo Festival for the Arts in Bryansk, and simply as a very open musician with a broad-minded approach towards various musical styles and directions. All of this has undoubtedly created an impact on his multifarious musical style which combines opposite stylistic directions. The article describes the life and the musical activities of Mark Belodubrovsky, then proceeds to describe an analyze his musical compositions. It is shown that notwithstanding the fact that his compositions pertain to different styles, they are all united by one individual stylistic trait which defi nes the composer’s artistic individuality.
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Zakharbekova, Irina S. « Ravel the arranger : transcriptions of piano and orchestra music ». Contemporary Musicology, no 3 (2019) : 44–72. http://dx.doi.org/10.56620/2587-9731-2019-3-044-072.
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It is common practice for composers to make arrangements and transcriptions of their own or other composers’ music. However, Maurice Ravel stands out by his piano and orchestral transcriptions which constitute a prominent part of his works and reveal certain creative purposes and techniques. This shapes the subject of the article which, inter alia, also focuses on terminology not typical for Russian musicology. The study is novel as it examines Ravel’s transcriptions that have been virtually out of research or performance scope in Russia, namely, Debussy’s “Danse” and “Sarabande”, Chabrier’s “Menuet pompeux”, and others. The paper describes Ravel’s transcriptions from three perspectives: time of creation, the original author’s material developed by Ravel, and timbre interpretation. The orchestral versions of his own piano compositions (“Pavana of the Sleeping Infante,” “Tomb of Couperin”, “Alborada”, etc.), as well as compositions by other authors (Debussy, Chabrier, Mussorgsky) form the biggest part of Ravel’s heritage. The article compares compositions written in different timbres as well as different approaches Ravel uses to make piano arrangements, hence, the comparative method is central to the study. Ravel’s piano transcriptions show him as an attentive arranger sensitive to the subtleties of the score as well as a diligent student who has “digested” and mastered the original sound material, which, subsequently, influenced his own work. Creating orchestral versions of his own and his colleagues’ works, the composer remakes and interprets originals in a new way. Ravel’s orchestral instinct, his brilliant timbre ear, attention to structural detail, sense of proportion as well as his impeccable taste make him a genuine master of arrangement.
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Zaozyorskikh, Alyona. « MUSIC IN MEMORIAM BY MELODISTS FROM KRASNOYARSK REGIONAL PUBLIC ORGANIZATION OF THE RUSSIAN PUBLIC ORGANIZATION “UNION OF COMPOSERS OF RUSSIA” ». Proceedings of Altai State Academy of Culture and Arts, no 4 (2019) : 29–34. http://dx.doi.org/10.32340/2414-9101-2019-4-29-34.
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Eremenko, Galina A. « Passeism in the Musical Culture of France ». Observatory of Culture 16, no 2 (5 juillet 2019) : 171–82. http://dx.doi.org/10.25281/2072-3156-2019-16-2-171-182.
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The specialists note and highly appreciate the openness to creative dialogue with different European and regional cultures in their works about the artistic history of France. In the introductory section, the article is focused on the importance of the opposite trend, developed in the 19th — early 20th century in all spheres of art. The purpose of the new movement is “national revival”, interest in the origins of the great heritage of the French masters of past epochs. The author concentrates on the peculiarities of interaction between leading composers, musicians-performers and teachers with the traditions of music professionalism of the French composer school. Furthermore, she explains the main reason of “back to the past” addiction by desire to preserve the unique distinction of artistic thinking in the terms of intensive cultural influences in Italy, Germany and Russia. The article provides the facts of creative activity of the leaders of “national renewal”. There are presented some journalistic statements of the leading French composers to confirm their unanimous recognition of the actual value of national classics to the future of French culture. There is explicated the panorama of creative experiments (C. Franck, C. Saint-Saëns, E. Satie, impressionists and composers of the “young generation”) on reconstruction of national traditions of distant epochs. The coverage of events and display of artistic phenomena of musical and cultural life of France allowed the author to form a context to consider the problem of aesthetic and stylistic character: new understanding of the phenomenon of “artistic tradition” and “dialogue with tradition” in the epoch of modernism. The comparison of different forms of “dialogue with the past” in the Russian culture of the beginning of the 20th century and in creative works of the leader of European retrospectivisme I.F. Stravinsky gave grounds to use the concept of “passeism” to characterize the special French type of inheritance of the “lessons” of the predecessors. Introducing the concept of “passeism” in contrast to the accepted in Russian musicology “musical neoclassicism” and giving reasons of the effectiveness of its application, the author seeks to identify the idea of preserving soil foundations of tradition as a way of national self-identity (prosody, rhetoric, form) pertaining to the French composer school.
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Liu, Yawei. « XIX century in the history of European and Russian opera : points of intersection and differences ». Философия и культура, no 1 (janvier 2021) : 54–64. http://dx.doi.org/10.7256/2454-0757.2021.1.34984.
Texte intégralRésumé :
The development of opera genre in Europe and Russia in the XIX century is of particular interest for the Chinese and Russian art historians. The subject of this article is the history of European and Russian opera in the XIX century. The object of this research is the works of the leading opera composers and the novelties introduced by each of them into the opera genre. The goal consists in examination of the following aspects of the topic: specificity of emergence of opera in Russia in the XVIII century, establishment of the national opera schools – Italian, French, German and their prominent representatives, as well as peculiarities of the Russian opera tradition of the XIX century. The novelty lies in determination of similarities and differences between the European and Russian opera in the XIX century from the perspective of of Chinese art history. The author's special contribution consists in the attempt to discuss the subject matter in the context of Chinese art historians who take interest in the peculiarities of opera of the XIX century. The acquired results demonstrate that the development of opera within the framework of the vocal and musical performance in the XIX century is a unique sociocultural phenomenon, which manifested through the system of spiritual values and spiritual life of the Russian and European nations.
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Taylor. « Revolutionaries or Delinquents : The Biopsychological Appraisals of Composers and Their Music in Early Soviet Russia ». Slavonic and East European Review 97, no 1 (2019) : 39. http://dx.doi.org/10.5699/slaveasteurorev2.97.1.0039.
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Rui, Chen. « The history of the development of heroic images in Chinese and Russian classic musical works ; Liying Piao. The influence of Beethoven’s piano works on music history ». OOO "Zhurnal "Voprosy Istorii" 2023, no 7-2 (1 juillet 2023) : 110–19. http://dx.doi.org/10.31166/voprosyistorii202307statyi53.
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This article presents a comparative analysis of heroic images that have become widespread in musical works of the 19th and 20th centuries, and created by composers of Russia and China. The analysis reveals the leading works, in which real historical images are revealed, as well as the role of heroic liberators, their courage, independence, and will to win is emphasized.