Citations count: 5

Reference:

Enfiajyan A.S. — So what is “symphonic music”? // PHILHARMONICA. International Music Journal. – 2015. – № 4. – P. 1 - 10. DOI: 10.7256/2453-613X.2015.4.16947 URL: https://en.nbpublish.com/library_read_article.php?id=16947

Read the article

Abstract: This article examines the relevant issue pertaining to Russian, European, and world practice of using the musicological notion of “symphonic music”. The author notes the differences in the versions and peculiarities of interpretations of the term “symphonic music” in both, literature of strictly musicological profile, as well as within the broader culturological discourse. The author determines and analyzes the level of aesthetical, semantic and referential correlation between symphonic music and performing attributes of symphonic orchestra. The article presents multiple example of musical works that although attributed to the symphonic music, are in no way substantiated by the specificity or the expressive means and capabilities of symphonic orchestra. In the process of locating the various musicological aspects of the notion “symphonic music”, the author gives its adequate etymological and cultural-historical correlation with the core lexeme “symphony”. The author reveals the key and “cementing” role of constructive category of “symphonism” in this process. It is stated that the “symphonicity of the form” of musical works is determined not by some established “canonical” schemes, but by a complex internal organization of their musical texture, which is linked, first and foremost, with the continuity of development and overall process of the formation.

Citations count: 4

Reference:

Petrov V.O. — Dmitry Shostakovich’s suite for two pianos as a musical novel (on the issue of manifestation of epos in the composer’s legacy)
// PHILHARMONICA. International Music Journal. – 2021. – № 4. – P. 67 - 76. DOI: 10.7256/2453-613X.2021.4.36165 URL: https://en.nbpublish.com/library_read_article.php?id=36165

Read the article

Abstract: In Shostakovich’s creative work, metaphoric completeness becomes the most important constant of any concept, in which the orientation to the depth of the audience’s penetration into the controversial music whole prevails. Naturally, different metaphoric states are enclosed in definite, prevailing metaphoric layers: epos, lyrics, and drama with typical for them various emotional shades and the ways of narrative development. The research object in the article is the suite for two pianos created by the composer in 1922, which reflects the composer’s state of mind after his father’s death. It explains the images and themes in the composition, which are connected with epos and the epic form of a novel. For the first time, the study of art considers a suite as a musical novel: the author parallels between a novel as a genre of literature and a novel as a possible form of narration and development of a piece of music. It represents the scientific novelty of the article. The author proves that due to its special form of narration, the suite has the features new to the field of piano duet: polysynthetism of the form of the whole, variety of drama “fractures”, diversity of artistic and musical metaphors, and, consequently, the virtuosity of performance. In its turn, it has predetermined the allocation of thematic structures, considerably new for the genre.

Citations count: 4

Reference:

Argamakova N.V. — Mathematical structures and symmetry principles in Arvo Pärt’s music and choreographic projections
// PHILHARMONICA. International Music Journal. – 2019. – № 5. – P. 1 - 13. DOI: 10.7256/2453-613X.2019.5.30841 URL: https://en.nbpublish.com/library_read_article.php?id=30841

Read the article

Abstract: The article analyzes the use of mathematical structures in the music of Estonian composer Arvo Pärt and their incorporation in choreography. The author considers Pärt’s works interpreted by choreographs, namely: «Spiegel im Spiegel», «Fratres»,«Tabula rasa», «Summa». These works are analyzed from the viewpoint of the composer’s referral to “lyrical geometry” in while composing. The author also considers symmetry principles in choreography. Symmetry, first of all, is geometrically adjusted and balanced positioning of the artist’s body, it’s position in space. In choreographic incorporations of Pärt’s music, choreographers project symmetry of the musical text onto the choreographic one. The author analyzes the following ballets from the viewpoint of symmetry using: “Otello” by John Neumeier, “Déjà vu” by Hans Van Manen, “Ward No. 6” by Radu Poklitaru, “Nunc Dimittis” by Nacho Duato. The methodological basis of the research is the comprehensive approach based on scientific achievements of both the modern musicology and the study of choreography. In his works, Arvo Pärt often refers to mathematical structures in composing. It is determined not only by rational grounds of the author’s technique tintinnabuli, but also by the spiritual component of Pärt’s music, so the structure in the composer’s works is often symbolic. In ballets to the music of Pärt, we can see the choreographer’s references to the symmetry principles as one of the ways of interaction with music. Depending on the artistic goal, relations with the music, the genre of the ballet, the symmetry principles incorporated into Pärt’s compositions and reflected in choreographic interpretations of his works, are used differently by choreographers.

Citations count: 2

Reference:

Lavrova S.V. — Fausto Romitelli’s multimedia opera. An index of Metals - a requiem for a matter
// PHILHARMONICA. International Music Journal. – 2018. – № 4. – P. 24 - 41. DOI: 10.7256/2453-613X.2018.4.28551 URL: https://en.nbpublish.com/library_read_article.php?id=28551

Read the article

Abstract: The paper studies the multimedia opera genre represented in the works of an Italian composer Fausto Romitelli. The composer passed away at the age of 41, and his last work of art is also a projection of a requiem for the New media age. The author analyzes the plot of An Index of Metals, the process of forming and interrelation between abstract video and music in terms of the peculiarities of the New Media. The article considers the plethora of associations and allusions, manifesting themselves in the multimedia opera, in terms of creative guidelines of the composer. The peculiarity of the genre performance is the transformation of total perception of a spectator diving into the white-hot matter of floating sounds, forms and shapes, with heavy hypnotic influence. The author concludes about the process of genre transformation in which the spectator’s perception goes beyond the limits of a physical body through an alien sound material and the confluence of visual, sound and associative and verbal means of interpretation of the content of An Index of Metals.

Citations count: 2

Reference:

Soboleva E.A. — A System Approach to the Study of Music Culture // PHILHARMONICA. International Music Journal. – 2018. – № 1. – P. 4 - 9. DOI: 10.7256/2453-613X.2018.1.25759 URL: https://en.nbpublish.com/library_read_article.php?id=25759

Read the article

Abstract: The object of this article is musical culture. The subject is musical culture as a system. The author closely considers such aspects of the matter as the concept of musical culture, the study of musical culture within the framework of the system approach including domestic practice. Particular attention is paid to the analysis of musical culture elements which the author suggest to collect in a single categorical list — three main elements called "categorical triad block" consisting of three common elements — "Creation/Re-Creation", "Conservation", "Translation". The capacity of the model elements allows the author to encompass all the components of the music system. The system approach is applied as the main method of study of musical culture. This approach correlates with the concept of musical culture as a special form of systemic activity reflecting the cultural state of society, where the coherence of all elements of the system indicates a certain state of culture as a whole. The scientific novelty of the study lies in an attempt to determine the general model of musical culture which includes all the elements of the system - the categorical triad block. All the elements of musical culture can be combined into the "categorical triad block" which includes three main elements: "Creation/Re-Creation", "Conservation", "Translation". The absence of one or the availability of all three elements of the block indicates that musical culture as a system can evolve "completing" itself by inclusion either of new aspects of already existing elements, or of a new blockthat provides the necessary level of music consumption by society. The scheme of the categorical triad block applied to study of the history of musical culture of any level provides insights into the rate of its development at one time or another.

Citations count: 1

Reference:

Korolkova I. — Novgorod musical-epic tradition - the possibilities of reconstruction // PHILHARMONICA. International Music Journal. – 2021. – № 1. – P. 102 - 122. DOI: 10.7256/2453-613X.2021.1.35025 URL: https://en.nbpublish.com/library_read_article.php?id=35025

Read the article

Abstract: The author is the first to raise the problem of reconstruction of the musical-epic traditions of Novgorod region. The research object is chant-declamation forms of folklore, typologically related to the bylina tradition. The research subject is their structural and stylistic peculiarities. For the first time, all facts of existence of musical epos, recorded in Novgorod region by various collectors, are gathered in one source - from the auditory notations of A.K. Lyadov (1890) to the latest evidence of existence of the musical-epic tradition (the recordings of Leningrad - St.Petersburg conservatory of the 1980s - 1990s). As the materials for comparison, the author uses the folklore images from Vologda, Arkhangelsk and Tver regions. Some musical texts are published for the first time. The author defines the genre composition of the musical-epic area of Novgorod folklore (buffoonery and takes, ballads, spiritual poems and memorial songs), describes the forms of composition of the main samples (one-line verses, long speeches and strophical). The research material gives reasons to assume that in Novgorod folklore traditions of the late 19th - the 20th centuries, the forms of recitation of music were widespread, typologically related to two North-Russian styles - the symbolic brief-chant and rhapsodical. The author concludes that the lake Ilmen basin and the adjacent territories was one of the places where these styles had been forming. On the one hand, the discovery of the typological relation of Novgorod and the North-Russian forms of musical narration helps define the structure and evaluate the style of single facts of Novgorod folklore. On the other hand, the parallels found are of key importance for the confirmation of Novgorod origins of the North-Russian bylina traditions.

Citations count: 1

Reference:

Voloshko S.V. — Waiting for Johann Strauss (on the beginnings of Viennese operetta)
// PHILHARMONICA. International Music Journal. – 2019. – № 2. – P. 19 - 27. DOI: 10.7256/2453-613X.2019.2.29663 URL: https://en.nbpublish.com/library_read_article.php?id=29663

Read the article

Abstract: The research subject is the phenomena and processes related to the beginning of the Vienna operetta genre as a phenomenon of the emerging mass culture.
On the cusp of the 18th and 19th centuries, Vienna, the capital of Austria, was the largest music center, where a range of music and theatre genres, anticipating the emergence of new music phenomena, became widely spread - aristocratic Italian opera, French operetta, Austrian-German busk comedy and singspiel. The specificity of the socio-political conditions in the country (the Age of Metternich) facilitated the utmost development of the art of entertainment, in music - vocal lyrics and dance (waltz), in theatre - comic genres. The author uses the comparative historical method, the historical-typological approach, general scientific methods of analysis, generalization and classification. The novelty of the approach consists in the fact that Vienna operetta is considered as one of the initial stages of mass culture formation.
The model of French operetta showed Vienna composers and playwriters the example able to combine the advantages of “high” and “low” genres, foreign influence and domestic traditions. As a result, Vienna operetta (F. von Suppé) was formed as a variant of a young genre possessing the features of a fundamentally new mass culture.

Citations count: 1

Reference:

Wang B. — Musical expression means of a saxophone in the modern chamber-instrumental music
// PHILHARMONICA. International Music Journal. – 2021. – № 3. – P. 32 - 46. DOI: 10.7256/2453-613X.2021.3.35753 URL: https://en.nbpublish.com/library_read_article.php?id=35753

Read the article

Abstract: The research subject is the modern chamber-instrumental music of the late 20th - the early 21st century in the context of the newest performance and expression means and techniques of playing the saxophone as a unique wind instrument which is difficult to interpret. A wide musical expression range of modern music involving saxophone gives an opportunity to practically evaluate the depth of philosophical and figurative concepts embodied by modern composers. In this context, the author considers the peculiarities of the recommended techniques of playing the saxophone which have been detected and studied in the creative work of Yu.L. Povolotsky. The expressive timbre and sound palette attracts a modern composer with the purpose of both to experiment and to attempt to collect the wide range of artistic and philosophical generalizations of the epoch. This mutually determined process - a timbre-sound experiment, on the on hand, and a continuous expansion of the performance and expression means of a saxophone within the chamber-instrumental culture, determined by it, on the other - instigated the author to conduct a scientific analysis of the chamber-instrumental works of modern composers. Besides, of a scientific and historical value is the information about the creative process of Yu.L. Povolotsky: the involvement of out-of-the-box solutions, composition structures, and the newest ways and techniques of playing the saxophone.

Citations count: 1

Reference:

Vasilenko V. — V.M. Bekhterev on the influence of lofty sounds of music on person and society // PHILHARMONICA. International Music Journal. – 2021. – № 2. – P. 1 - 10. DOI: 10.7256/2453-613X.2021.2.35150 URL: https://en.nbpublish.com/library_read_article.php?id=35150

Read the article

Abstract: The research subject is the scope of academic works of Vladimir Mikhailovich Bekhterev (1857 - 1927) published just before and during World War I, including the articles “Music as a remedy” (1913), “The role of music in aesthetic education of a child from the first days of life” (1915), “Remedial and hygienical role of music” (1916), in which the academician considers the results of experimental research of the influence of music on person and society from the standpoint of collective reflexology and general psychology, and develops methodic guidelines for the practical usage of music. The scientific novelty of the article consists in the fact that the author introduces the natural-science knowledge acquired by V.M. Bekhterev experimentally, into the discourse of the social sciences. The problem of practical usage of music is solved in the context of a comprehensive approach to human study. Along with explicit scientific facts, the sources under consideration have implicit content which can be explained by the academician’s interest in the social aspects of life, creative activities in arts, and music as a form of art. The author emphasizes the practical importance of the collected and classified guidelines for the practical usage of music for the purpose of the improvement of society.

Citations count: 1

Reference:

Niftiyeva U.N. — Song creativity of Suleiman Aleskerov // PHILHARMONICA. International Music Journal. – 2022. – № 1. – P. 1 - 12. DOI: 10.7256/2453-613X.2022.1.37307 URL: https://en.nbpublish.com/library_read_article.php?id=37307

Read the article

Abstract: The subject of the research is the study of the specific stylistic features of the songwriting of the outstanding composer Suleiman Aleskerov, who played an exceptional role in the prosperity and development of the musical art of Azerbaijan, the study of the role of vocal music in the composer's work, the identification of the main features of his songs by analysis. The object of the study is the songwriting of Suleiman Aleskerov. In this context, the object of the study is to study the composer's attitude to the sources of song creativity, to the sources of folk music, to identify the national characteristics of the musical language of his songs, its originality. His songwriting is analyzed from the point of view of thematic and genre diversity, special attention is paid to the study of musical form, rhythm, mugham, melodic language of his songs. The main results of the study are that, despite the fact that Aleskerov's songs differ in musical structure, textural features, the definiteness of the national mugham is clearly expressed in them, the content of the melody, the intonation core is revealed. The author's special merits in studying the topic are that the main feature manifested in the melodies of songs is associated with the appearance of such mughams as shchur, segah, shushtar, bayat shiraz, which occur above the harmonic structure of a major or minor. Although his lyrical songs show the qualities inherent in folk songs, they differ in musical language. So, here the peculiarities of the romance genre come to the fore, and not folk songs. This is especially evident in the widely developed, smooth melody, which in its style is associated with mugham. The scientific novelty of the research lies in the fact that the songwriting of Suleiman Aleskerov was studied, the musical language of his songs and the stylistic features of the composer were revealed. The composer's songs in various genres were analyzed, the themes of his work, genre features, creative attitude to folk music and mugham were revealed.

Citations count: 1

Reference:

Saamishvili N. — Notes on the international scientific conference “Russian Musical Baroque: Tendencies and Perspectives of Research” that took place in the State Institute for Art Studies // PHILHARMONICA. International Music Journal. – 2016. – № 3. – P. 32 - 37. DOI: 10.7256/2453-613X.2016.3.21285 URL: https://en.nbpublish.com/library_read_article.php?id=21285

Read the article

Abstract: This report is dedicated to the event, which represents a significant interest to the music science: international scientific conference “Russian Musical Baroque: Tendencies and Perspectives of Research” that took place in the State Institute for Art Studies on October 24-26, 2016. Interest towards the Russian musical Baroque is currently growing in Russian and abroad, thus, this conference provided an occasion to discuss a number of topical questions, related to the exploration of the manuscript legacy of that epoch, the history and theory of partesnïy (part-song) polyphony, the peculiarities of the system of polyphonic genres (including non-liturgical and paraliturgical ones), the restoration of the biographies and the creative output of individual musicians, the evolution of music-theoretical thought about the music of the aforementioned era. further, the conference will help to reveal parallels and intersections in the development of Russian, East-European, and West-European baroque.
During the course of their studying, the authors applied the methodology of theoretical analysis and source study, historical and stylistic approaches, methods of systemic and comparative analysis. Russian musical Baroque for the first time became the topic of a fundamental international conference, which was called upon to determine the most recent trends in examination of this era, synthesize the modern scientific achievements, promote new research, as well as help restore an integral, and at the same time, multifaceted image of the Russian culture of the late XVII– middle of the XVII centuries that reflected the connections with Polish, Italian, German, and French musicians. It is for the first time that Russian musical baroque becomes a subject matter for an extensive range of opinions within the framework of the scientific event, expressed by the luminaries of Russian science, alongside the young scholars, including a number of foreign guests.

Citations count: 1

Reference:

Petrov V.O. — Microtonality in the Conditions of the Piano Duet Genre // PHILHARMONICA. International Music Journal. – 2022. – № 5. – P. 27 - 34. DOI: 10.7256/2453-613X.2022.5.38993 EDN: JLQEFZ URL: https://en.nbpublish.com/library_read_article.php?id=38993

Read the article

Abstract: In the twentieth century, playing two pianos has become one of the leading forms of joint ensemble performance – many duet compositions have appeared all over the world, and the creation of works for such a composition is a separate branch of compositional creativity. The authors, representatives of different artistic trends, preaching various techniques and manners of writing, paid close attention to the piano duet. A special branch of the development of the genre at this time is represented by compositions in which quaternary is used as a unique, original method of creating compositions, suggesting special searches in the field of musical acoustics and aesthetics. They – the opuses of I. Vyshnegradsky, C. Ives, M. Cooper, S. Reich, V. Ekimovsky – for the first time in musicology became the main object of contextual analysis. The importance of such music for the heyday of the piano duet in the twentieth century can hardly be overestimated: it was she who brought into the genre a completely unknown acoustic imbalance of instruments, a dialogue of two personalized parts. The piano duet of the twentieth century is determined not only by its own artistic values expressed by specific duet works, but also by the significant contribution of the genre in question to the overall development of musical art – both composing and performing practice.

Citations count: 1

Reference:

Serov I.E. — Requiem for Akhmatova
// PHILHARMONICA. International Music Journal. – 2021. – № 1. – P. 1 - 13. DOI: 10.7256/2453-613X.2021.1.34978 URL: https://en.nbpublish.com/library_read_article.php?id=34978

Read the article

Abstract: The research subject is a monumental semi-orchestral composition created by an outstanding Russian composer of the late 20th century Boris Tischenko “Requiem” with lyrics by A. Akhmatova. A funeral service over Akhmatova was read at the church of St. Nicholas Naval Cathedral in Leningrad on March 10, 1966. The score of the “Requiem” was finished on August 16, 1966. Thus, the composition with the lyrics by Akhmatova has become a tribute to her, a musical offering, and even the first monument not built with hands. The author gives special attention to the symphonic form of the “Requiem”, differences in the interpretations of the poetic theme in the works of Tischenko and Akhmatova, the role of the symphonic orchestra and the leading singers; the author also considers an important issue of a high-quality performance of the hardest scores created by Tischenko. The main conclusion of the research is the fact that Tischenko’s “Requiem” has become an important element in the process of renovation of Russian symphonic style of the 1960s - the 1970s. As a composition, written in a modern language, it has become one of the drivers of this renovation. As such, the composition is a vocal symphony, and the composer develops the symphonic form step-by-step. The scientific novelty of the research consists in the fact that it is the first work in Russian musicology to consider Tischenko’s “Requiem” in detail, to reveal the contensive aspect of the composition, and to analyze the difficulties of performing the composition. The author reasonably reckons the symphonic composition by Tischenko among the most significant pieces in the history of Russian music.

Citations count: 1

Reference:

Chupova A. — “Infinito Nero” by Salvatore Sciarrino: On the Phenomenon of “Invisible Action” // PHILHARMONICA. International Music Journal. – 2020. – № 1. – P. 36 - 49. DOI: 10.7256/2453-613X.2020.1.31255 URL: https://en.nbpublish.com/library_read_article.php?id=31255

Read the article

Abstract: Italian composer Salvatore Sciarrino (born 1947), a philosopher and esthete whose music experimentalizes with audibility threshold, is one of the leaders of the vanguard music culture of the 20th and 21st centuries. The author’s artistic concept is developed within the framework of post-serial searching, which is defined as “music ecology” and the “ecology of listening.” Despite his music's wide recognition in Europe and the US, Sciarrino’s artistic work has received little analysis or study thus far. This is especially the case of his opera works, which draw the attention of the leading opera houses and become significant musical events. The topicality of this research is determined by the necessity to study the composer’s works and his philosophic and esthetic views in detail. Sciarrino’s experiments in the realm of music theatre are connected to the notion of azione invisible (“invisible action”), which is the focus of this article in the context of the composer’s artistic concept.
The research subject of this study is Sciarrino’s opera Infinito Nero (1998). The research methodology is based on a complex approach that includes systematic, interpretational, musical, and analytical methods. Through an analysis of the libretto, dramaturgy, and its acoustic realization, the author uncovers the distinctive features of “invisible action” in Infinito Nero, including the lack of traditional plot development, the leveling of a visual component, the ambiguity of character identification, the vagueness of space and time, and the modeling of a sonorous environment in which the microscopic acoustic elements with ecological origins and their transformation become of primary importance. The concept of “invisible action” is defined by the dramaturgy of listening and the new mode of listener comprehension in which the visualization process of acoustic images plays a central role in understanding the meaning of everything that’s happening.

Citations count: 1

Reference:

Myakotin E.V. — Timbre as a semiotic system. On the problem of structural analysis of music timbre
// PHILHARMONICA. International Music Journal. – 2020. – № 6. – P. 61 - 66. DOI: 10.7256/2453-613X.2020.6.33331 URL: https://en.nbpublish.com/library_read_article.php?id=33331

Read the article

Abstract: The author attempts to explain the methodology of structural analysis of music timbre. The research subject is music timbre, and the object is its semiotic system. Based on the semiotic system developed by Ferdinand de Saussure, the author outlines two algorithms within the structure of music timbre - randomness and linearity. Considering the first principle, the author explains the anthropologic nature of a timbre sign, forming the total variability of a timber sign, and some patterns of music timber perception. The second principle is considered through the prism of psycho-acoustics which helps to detect and define the structural principle of linearity as a primary mechanism of perception of music. The scientific novelty of the research consists in the first experience of studying music timbre in terms of its structural organization. For the first time timbre is considered as a semiotic system with structural principles. Since musicology still doesn’t have an appropriate conceptual framework for structural analysis of a timbre space, the model by Saussure becomes especially valuable, primarily because of the fact that it emerged as an attempt to build such a language system which would take into account the correlation and interrelation between language and speech. This is the content of the novelty and topicality of the research which is based on a certain algorithm of structural analysis of music timbre.

Citations count: 1

Reference:

Wang B. — "Academization" of the saxophone: genesis, main milestones and current trends // PHILHARMONICA. International Music Journal. – 2021. – № 6. – P. 39 - 50. DOI: 10.7256/2453-613X.2021.6.35933 URL: https://en.nbpublish.com/library_read_article.php?id=35933

Read the article

Abstract: The leading research topic in this article is the analysis of the specifics of the development of saxophone art in a symphony orchestra. The chosen problem requires the study of this direction from the perspective of a broader socio-historical context, within which it is possible to identify special signs of musical culture, both in the general context and in individual genres. In this vein, the study of saxophone music in a symphony orchestra allows us to outline, firstly, the origins of the origin of interest and the introduction of a special instrument into the cultural panorama, secondly, to trace the ways and impulses of its spread, and thirdly, to find out the problems of the saxophone as part of a symphony orchestra. In order to fully understand its special place in the cultural continuum of a certain place and epoch, music for the saxophone should be considered not just as a specific artifact that has been embodied in creativity, performance, education, but as a multi-level and three-dimensional concept in the musical art of the XIX-XXI centuries. The disclosure of the role of the saxophone as part of a symphony orchestra in the article is not just carried out through the prism of the representation of a certain number of facts, names, events, and can be traced as the correspondence of the development of the instrument to those historical, political, socio-economic and, above all, cultural and artistic processes that have formed a kind of creative reinterpretation of one of the most popular modern instruments. The purpose of the study is to substantiate the genesis, development trends and the current state of saxophone art in general, as well as, in particular, in the composition of a symphony orchestra. In the study, the author focuses on iconic performers and teachers, whose personal achievements in the field of concert, research and musical and social activities had a significant impact on the formation of the saxophone as part of a symphony orchestra.

Citations count: 1

Reference:

Kruglova E. — On Ornamentation and Improvisation in Baroque Vocal Performance // PHILHARMONICA. International Music Journal. – 2022. – № 6. – P. 13 - 23. DOI: 10.7256/2453-613X.2022.6.39508 EDN: QURDWI URL: https://en.nbpublish.com/library_read_article.php?id=39508

Read the article

Abstract: The rapid revival of baroque music in Russia places ever higher demands on singers regarding a historically grounded style of performance. This is manifested not only in the content of vocal and technical equipment (implying the presence of flexibility of the vocal apparatus, possession of a wide cantilena and light coloratura fluency), but also in the need to form your own creative approach in creating an original version, including ornamentation and improvisation in cadence, repeating parts of da capo arias. The proposed article is aimed at solving topical problems in the field of baroque performance related to vocal ornamentation and improvisation. The methodology of the research is based on a historical approach, which includes both a diachronic aspect aimed at identifying the dynamics in the evolution of the phenomenon under study from the XVI to the XVIII century, and a synchronic one, thanks to which various types of jewelry, features of improvisation in baroque performance are considered as the most important elements of style. The author draws conclusions about the significance of ornaments in the baroque music. The material of the article and the conclusions will be useful to musicians, singers performing old music, for its stylistically correct interpretation, as well as in training courses on the history of vocal performance at performing departments of music colleges and faculties of universities.

Citations count: 1

Reference:

Soboleva E.A. — “The music recurs…”. Interview with an Astrakhan composer Yu. P. Gontsov
// PHILHARMONICA. International Music Journal. – 2019. – № 6. – P. 8 - 16. DOI: 10.7256/2453-613X.2019.6.31113 URL: https://en.nbpublish.com/library_read_article.php?id=31113

Read the article

Abstract: The research subject of this interview is the creative work of a modern Astrakhan composer Yu.P. Gontsov, and the object is the history of Astrakhan music culture. The interview genre gives an opportunity to study musical creativity in great detail, from the inside, through the composer’s view of the influence of the music and non-music milieu. The author of the research gives special attention to Gontsov’s individual stylistic features (melodics, intervalics, rhythmics, harmonic plan, etc.), defining the style of his notating, and attempts to classify his vocal pieces. The author uses the method of interviewing (in-depth interview), the ideographic method (to prepare the materials), and systematization (to analyze the composer’s works). As the article is an interview, it doesn’t contain an explicit problematics which is to consider the composer’s creative work as an integral process of social interconnections. The questions used in the interview are essential as they help trace back the composer’s evolution - from direct influences to independent work. The author’s special contribution is the attempt to systematize the style language of the composer, and to classify his vocal pieces. The scientific novelty consists in a new method of studying such music material.

Citations count: 1

Reference:

Zhang Y. — The specificity of opera-vocal performance by Antonio Tamburini // PHILHARMONICA. International Music Journal. – 2023. – № 3. – P. 48 - 53. DOI: 10.7256/2453-613X.2023.3.43730 EDN: UHDBHZ URL: https://en.nbpublish.com/library_read_article.php?id=43730

Read the article

Abstract: The 19th century gave the world many talented opera performers, each of whom had his own artistic charisma and unique style of vocal performance. One of these singers was the bass-baritone Antonio Tamburini, a master of interpretation of the roles of Gioacchino Rossini, Vincenzo Bellini, Gaetano Donizetti, Saverio Mercadante, Giovanni Paccini, Carlo Coccia and Wolfgang Amadeus Mozart. The subject of the research is the work of the early 19th century operatic baritone Antonio Tamburini. The object of the study is the opera parts performed by Tamburini over the years of work in theaters. The relevance of the study is due to the role of Antonio Tamburini in the formation and development of the baritone art at the beginning of the 19th century, as well as the lack of knowledge of the processes that took place in opera art in the era of early romanticism. This period is covered in the musicological works of O.V. Zhestkovoy, L.A. Sadykova, I.P. Drach, G. Potter, A. Jacobshagen, J. Stark, A.E. Hoffmann, S.V. Reshetnikova, however, the mentioned works are mainly devoted to the study of the operatic performance of tenors and sopranos. The period of the birth of baritone performance was not considered in the above works, and the work of Antonio Tamburini remained unexplored, which indicates the undoubted novelty of the work. The article focuses on primary sources: the singer's creative biography, described by the 19th century music critic Castile-Blaz, contemporaries' reviews of Antonio Tamburini's stage performances. The work is dominated by historical and theoretical research methods. The main conclusion of the work is to identify the main aspects of the performing style of Antonio Tamburini, revealing the secret of the uniqueness of his art.

Citations count: 1

Reference:

Kholodova M.V. — Russian musical “Petersburgiana”: a historical journey
// PHILHARMONICA. International Music Journal. – 2020. – № 4. – P. 1 - 10. DOI: 10.7256/2453-613X.2020.4.33543 URL: https://en.nbpublish.com/library_read_article.php?id=33543

Read the article

Abstract: The article considers one of the most important topics of Russian discourse - the issue of St.Petersburg, particularly the understanding of the phenomenon of Petersburg in the works of composers. The purpose of the research is to trace back the process of formation of Russian musical “Petersburgiana”. The main task is to reconstruct segmentary materials related to the aspects of manifestation of Petersburg in the works of Russian composers. The research methods are determined by the interdisciplinary nature which synthesizes the approaches of comparative history, culturology, and music theory. As the key works, the author chooses the works related to the “Petersburg text”, particularly the work by V.Toporov who was the first to introduce this term into the literature studies. It serves as a basis for the understanding of the phenomenon of Petersburg in other forms of art. The scientific novelty of the research consists in the fact that it is the first to study the evolution of Russian musical “Petersburgiana”, which started in the 18th century and during its 300-year history produced more than 800 opuses. The author outlines the key topics and images of Petersburg embodiment using the examples of the works of the composers of the 18th - 21st centuries, organized according to their genre and chronologically. These materials are the result of the research work; they outline promising concepts and aspects for the further comprehensive analysis of Petersburg in Russian music culture in terms of the works of its creators.

Citations count: 1

Reference:

Zhang F., Gumerova A.T. — Du Mingxin. Piano Suite based on the ballet "Rusalka": the experience of stylistic and performance analysis // PHILHARMONICA. International Music Journal. – 2022. – № 4. – P. 27 - 38. DOI: 10.7256/2453-613X.2022.4.38407 EDN: BXQNBJ URL: https://en.nbpublish.com/library_read_article.php?id=38407

Read the article

Abstract: The object of the study is the piano work of the famous Chinese composer, teacher Du Minxin (born 1928). The genre composition of his piano work is diverse – it includes miniatures, suite cycles, concerts, fantasies, toccatas. A separate place is occupied by piano transcriptions created by the composer on the material of his own ballets – "Red Women's Squad", "Mermaid". The subject of the study is a piano suite based on the ballet "Rusalka", which is a repertoire composition in concert and pedagogical practice in China. The purpose of the work is to identify the stylistic and performing features of the work necessary for the successful interpretation of the work. In the process of preparing the material, theoretical and empirical research methods were involved, including analysis, generalization and systematization of scientific sources, stylistic and performance analysis of the suite "Mermaid" by Du Mingxin. As a result of a detailed examination of a number of plays, the features of the figurative structure, form formation, intonation, harmonic language, texture are revealed. Special attention is paid to the performing tasks that a pianist needs to solve when referring to this composition. In particular, the author deals with the issues of stroke technique, pedalization, tempo and dynamic dramaturgy, disclosure and use of the timbre-coloristic possibilities of the piano. Of particular importance in the performance of the composition is the orchestrality of the piano sound. The conclusion is made about the importance of preliminary analysis of the orchestral score when performing piano transcription of ballet music. In the Russian research literature, the suite on Du Minxin's ballet "The Mermaid" is considered in detail for the first time.

Citations count: 1

Reference:

Zakharov Y. — Witold Lutosławski as an innovator in the field of symphonic thematism (on the example of the Third Symphony) // PHILHARMONICA. International Music Journal. – 2023. – № 4. – P. 36 - 48. DOI: 10.7256/2453-613X.2023.4.43997 EDN: YBJATQ URL: https://en.nbpublish.com/library_read_article.php?id=43997

Read the article

Abstract: W. Lutosławski (1913-1994) was an outstanding Polish composer, one of the inventors of the principle of limited (controlled) aleatorics. In his symphonic music, aleatoric and sonoric types of material interact with the thematism of the traditional type. The article is devoted to the analysis of this interaction and the identification of the dramatic role of non-traditional thematism in the musical form. The Third Symphony (1983) serves as the research material. The author of the article characterizes the expressive possibilities of aleatorics of the texture, identifies two types of sonorism, and also describes 8 types of traditional thematism used in the symphony. The "dialogue" of the two main pitch structures in the epilogue of the symphony is traced. The study allows us to conclude that non-traditional thematism prevails in the introduction and in the first part, i.e. where different types of material are exposed. On the contrary, in the second part of the symphony, the personal principle intervenes in the organization of the thematic process. The composer's will, which develops the material, collides it with each other, builds dramaturgy and leads to a certain outcome. And here (with the exception of development), traditional thematism strongly prevails. Awareness of the balance between different types of material leads to the ability to follow the plot of the symphony, which manifests itself not only in the disposition of themes, but also in the interaction of various interval complexes with each other.

Citations count: 1

Reference:

Dombrauskene G.N. — Music embodiment of iconographic scenario of temple space in the cycle “Three chorales for Organ” by Cesar Franck // PHILHARMONICA. International Music Journal. – 2019. – № 4. – P. 11 - 30. DOI: 10.7256/2453-613X.2019.4.30635 URL: https://en.nbpublish.com/library_read_article.php?id=30635

Read the article

Abstract: The purpose of the study is to reveal the meaning-making impetuses of one of mysterious works of Cesar Franck “Three chorales for Organ”. The key problem in the cycle interpretation is connected with the absence of the reference to genuine melodies of ancient temple singings. Traditionally, their presence in music works forms a conceptual core due to the connotation of a choral verbal text.
The author of the article gives attention to Franck’s pioneer approach to the creation of the “Chorales” in the vein of choral fantasies, the principles of his composer’s thinking and the revelations of the inner conceptual structure of the composition. To reveal the content of the music of the “Chorales”, the author uses the complex approach taking into account the cultural and historical context, the influence of scientific concepts in the field of iconography and iconology, which had been popular in France since the 1830s, the peculiarities of Franck’s creative thinking with the signs of synaesthetic nature. The music-hermeneutical and semiotic analysis helped to consider the elements of the music language , such as music symbolism, music-rhetorical figures, semantics of modes and other representatives of the inner conceptual structure. Based on the research, the author makes an assumption that Franck’s chorales are the basic doctrinal images of Christ in terms of their spatial location in a Catholic church according to the iconic scenario developed as far back as in medieval theology. Correlations with iconographic and iconological principles in the composition of music images helped to design the following conceptual structure of the cycle: Chorale #1 - “The Nativity of Christ”, Chorale #2 - “The Passion of Christ”, Chorale #3 - “The Resurrection of Christ”. In terms of temple space, these images correspond to the entrance, the central part and the altar.

Citations count: 1

Reference:

Petruseva N.A. — Pierre Boulez and Heinz Holliger: On the Problem of the Transformation of Musical Language // PHILHARMONICA. International Music Journal. – 2020. – № 4. – P. 27 - 37. DOI: 10.7256/2453-613X.2020.4.32872 URL: https://en.nbpublish.com/library_read_article.php?id=32872

Read the article

Abstract: This article focuses on transforming a musical language and the correlation between the esthetic guideline, invention, compositional technique, and language. The author describes Pierre Boulez’s two strategies in life and work, which allowed him to gain significant cultural authority, and sets out the people who influenced Boulez’s esthetics. In a broad esthetic and philosophical context, the author shows the turn from the technique to the language in Boulez's esthetical and theoretical texts, describes the three concepts of the language, the period of synthesis following the period of rejection, and Boulez’s concerns about the problems of music perception. In the context of Boulez’s thesis about the unity of an invention, a technique, and a language, the author considers Boulez’s supporter Heinz Holliger's piece for viola, Trema(1981). The author uses a comprehensive approach as a combination of elements of comparative analysis, musical phenomenology (focusing the mind on music structures), and hermeneutics (the process of understanding and interpreting). The research material is of methodical importance for modern educational courses in the theory and history of music. The author arrives at the conclusion that Boulez, as well as Kant, directs the concept of art towards Aristotle's category of “poiesis” as “craft and creation” and focuses on overcoming the esthetics of rejection (preceding the classic-romantic tradition) in Boulez’s turn to the period of “synthesis,” which includes not only the turn from a technique to a language but also electroacoustic “sound manufacturing.” The following aspects of Hollinger’s Trema are considered for the first time: the idea, the principles of new solo music, and the new technique. The author arrives at the conclusion that Trema belongs to the “multilayered music epoch” and that radical rethinking of a musical language sharpens communication.

Citations count: 1

Reference:

Korolkova I. — Folk ballad "Prince Mikhailo" in the context of the Russian musical and epic tradition // PHILHARMONICA. International Music Journal. – 2022. – № 2. – P. 50 - 70. DOI: 10.7256/2453-613X.2022.2.37700 URL: https://en.nbpublish.com/library_read_article.php?id=37700

Read the article

Abstract: The article for the first time carries out a comparative study of variants of the Russian folk ballad "Prince Mikhailo" about the mother-in-law-destroyer. The study summarizes various sources of folk tunes вЂ“ auditory recordings of the XIX century, publications from folklore archives of collectors of the XX century, previously unpublished folklore materials. Among them are tunes recorded in the Tver, Nizhny Novgorod, Vologda, Murmansk, and Arkhangelsk regions. The author draws attention to a little-known recording of the ballad made in the Novgorod region, and designates the role of this fact as an important evidence of the involvement of Novgorodians in the hit of "Prince Mikhailo" in the Northern Russian territories. The purpose of the study is the need to give a typological and historical assessment of the ballad tunes. A special perspective of the work is aimed at finding related musical forms in other genres of the Russian musical epic. The analysis showed that the ballad tunes recorded in various regions of Russia belong to the same musical type. It is based on a single-verse line of 8-complex composition with a choreographic ending, covering 10 or 12 musical-time units. The melodic features of the tunes testify to their fret unity associated with the narrative orientation of intonation. During the study, it was found that "Prince Mikhailo" is performed only with the melodies of the described structure. Moreover, it is the only proper ballad text assigned to this model.
In Russian musical folklore, a structural type with a choreic ending was revealed (in addition to the ballad "Prince Mikhailo") in spiritual poems, tall tales, and some church hymns. The article suggests that it has developed among the Russian professional singers вЂ“ buffoons and kalik pererozhikh. The role of Ancient Novgorod in the formation of a special cultural environment that contributed to the formation of these social institutions and the musical repertoire of its representatives is indicated.

Citations count: 1

Reference:

Ван Д. — Minimalism and Postmodernism in John Adams' opera Nixon in China // PHILHARMONICA. International Music Journal. – 2022. – № 2. – P. 1 - 10. DOI: 10.7256/2453-613X.2022.2.37705 URL: https://en.nbpublish.com/library_read_article.php?id=37705

Read the article

Abstract: The subject of the study is the opera by composer John Adams "Nixon in China". This opera is written in the style of musical minimalism in the context of postmodern trends. "Nixon in China" is the first documentary opera based on the genre of reportage. On the example of the opera "Nixon in China", the peculiarities of the functioning of the opera genre in the postmodern era are clearly manifested. In "Nixon in China", the culture of performance is combined with the traditions of the bolshoi opera, refracted in the light of the spiritual quest of music of the second half of the XX century. The social problems of the opera conceal a number of philosophical issues related to the fate of the individual and the state. The main conclusions of the study are the provisions on the combination of minimalism, grand opera and postmodernism in "Nixon in China". It is determined that minimalism in the musical language is manifested in the meditativeness of the musical image, the use of patterns of development of musical material enriched with harmonic movement. Postmodernism expressed itself in intertextuality, performance culture, eclecticism and in the peculiarities of the genre nature of opera. The basis for the opera was the genre of news reporting. The vocal characteristics of the heroes have a cross-cutting development in the direction from the external diplomatic appearance to internal experiences, against the background of which philosophical questions are raised about the uncertainty of the fate of the state and the role of the individual in history.

Citations count: 1

Reference:

Subbotin I.A. — Polystylistics as a Principle of Thinking in the Works by Vladimir Mishle // PHILHARMONICA. International Music Journal. – 2018. – № 1. – P. 32 - 36. DOI: 10.7256/2453-613X.2018.1.25853 URL: https://en.nbpublish.com/library_read_article.php?id=25853

Read the article

Abstract: The subject of the article is the problem of stylistic synthesis in the works of contemporary composers. Polystylistics pecularities of vocal music by Vladimir Mishle are considered on the basis of the provisions and terms of Evgenia Chigareva’s theory that distinguishes two forms (contrast and mergence) and two types (collage and symbiosis) of interaction between the author's own and"different" styles. In general, the composer's music focuses on the peculiarities of the two polystylistic concepts — collage (inherent in the genre of fantasy characteristicof a number of choral, instrumental works) and symbiosis (prevailing in vocal and choral compositions). The research methodology is based on the theoretical aspects of polystylistics in the works by domestic and foreign scientists, and highlights a mental component of the individual original implementation of the stylistic synthesis. Stylistic modeling is a leading and at the same time poorly explored principle of thinking of composer Vladimir Mishle born in Saratov, which determines the novelty of the research. A vocal cycle to the verses by F. Garcia Lorca exemplifies the author's interpretation of the stylistic symbiosis of polar musical styles and art forms in the context of stylization, allusions, and "variations on the style."