Music Journal of Northern Europe № 3(27), 2021


Contents

Tatyana V. Kraskovskaja
MODERN KARELIAN MUSIC ARCHEOLOGY:LOSSES AND GAINS | 1-9

 

Anna G. Chupova
SILLABAZIONE SCIVOLATA AND MODULAR MELOPOEIA: FEATURES VOCAL STYLE OF SALVATORE SCIARRINO | 10-31

 

Olga V. Kanina, Chen Baiyu
FEATURES OF THE PIANO PART IN THE ROMANCES OF SERGEI LYAPUNOV | 32-47

 

Natalia Alexandrovna Gorbunova
MORPHOLOGY OF THE JOURNAL “SOVIET MUSIC” IN THE STALINIST ERA | 48-60

 

Tsuy Sho
BRIGHT SHENG'S CREATIVE CAREER IN THE CONTEXT OF MODERN CHINESE MUSIC DEVELOPMENT | 61-77

 

Si Yang
THE IDEAS OF TAOISM IN TAN DUN’S MUSIC | 78-90

 

Algyte Merkeliene
CONTRIBUTION OF ALGIRDAS VYŽINTAS TO THE FORMATION AND DEVELOPMENT OF THE FOLK INSTRUMENTS ORCHESTRA OF LITHUANIA | 91-104

 

Ekaterina A. Dorokhova, Olga A. Pashina
“I STARTED TO PLAY, THE PIPE BEGAN TO SPEAK LIKE A HUMAN” (Review on: Boyarkin N. I., Boyarkina L. B. Mordovian Instrumental Traditions: Musical and Ethnographic Research: In 2 volumes. Saransk: Publishing house of the Mordovia State University, 2019) | 105-112

 

Tatyana V. Kraskovskaja

MODERN KARELIAN MUSIC ARCHEOLOGY:LOSSES AND GAINS

 

Abstract: The article deals with the issue of using the methodology of music archeology in the study of cantata-oratorio creative work of the Soviet Karelia composers. The author presents the results of the work with archival sources, namely: a manuscript, a clean copy, a draft, a fragment, which allowed to make a number of discoveries in this direction. The process of creating the first cantata written in Karelia in 1927 by the American Finn, the composer Karl Rautio is analyzed. As a result of the comparative analysis of the songs by American Finns and the music of the Rautio’s anthem, the author reveals the stability of their intonation layer. The analysis of the archival documents indicates the intention to compose a second cantata.

 

Keywords: art music of Soviet Karelia, Music archaeology, American Finns, Karl (Kalle) Rautio, cantata

 

 

Anna G. Chupova

SILLABAZIONE SCIVOLATA AND MODULAR MELOPOEIA: FEATURES VOCAL STYLE OF SALVATORE SCIARRINO

 

Abstract: Through the example of the operas “The Killing Flower” (“Luci mie traditrici”) and “From Frost to New Frost” (“Da gelo a gelo”), the main elements of Salvatore Sciarrino’s vocal style, which he called sillabazione scivolata (a gliding syllable articulation), are examined. Special attention is paid to the module, which has a two-part basic structure: a long note (messa di voce), performed by niente-crescendo, and a rapidly articulated almost spoken arabesque, going into niente-diminuendo. The author clarifies the composer's strategy of semantic codification of sillabazione scivolata and various forms of colloquial speech, and also addresses the issues of constructing the whole, based on the process of variant repetition and transformation of the vocal modules, which eventually forms the original modular melopoeia.

 

Keywords: Salvatore Sciarrino, vocal style, sillabazione scivolata, messa di voce, modular principles, “Luci mie traditrici”, “Da gelo a gelo”

 

 

Olga V. Kanina, Chen Baiyu

FEATURES OF THE PIANO PART IN THE ROMANCES OF SERGEI LYAPUNOV

 

Abstract: The article is devoted to the understudied topic of vocal music by the Russian composer of the late 19th – early 20th centuries S. M. Lyapunov. The authors examine the features of the functionally diverse piano parts in the composer's romances. The analysis of the romances created in the period from 1900 to 1919 allows to assert that at that time vocal music had been of key importance in the creative work of Sergei Lyapunov.

 

Keywords: vocal music, Russian composer of the late 19th – early 20th centuries S. M. Lyapunov, romances, piano part

 

 

Natalia Alexandrovna Gorbunova

MORPHOLOGY OF THE JOURNAL “SOVIET MUSIC” IN THE STALINIST ERA

 

Abstract: The article describes typology, structure analysis and problem-thematic complex of the only Russian specialized music journal “Soviet Music” during the period of 1933–1953 (in modern Russia it is published under the name “Music Academy”). The content of the publication reveals the general principles, which were specific to the Soviet press, such as bditel’nost’ (vigilance), partiynost’ (partizanship), massovost’ (mass character), ritualism, and patriotism; all of them were markers of socialist realism and were used in the formation of the “Soviet grand style” in art.

 

Keywords: “Soviet Music” journal, Soviet music magazine, socialist realism in music, history of Soviet music of the Stalin era

 

 

Tsuy Sho

BRIGHT SHENG'S CREATIVE CAREER IN THE CONTEXT OF MODERN CHINESE MUSIC DEVELOPMENT

 

Abstract: The author reflects on the work of the Chinese composer Bright Sheng, whose creative development was directly influenced by Chinese history, including the era of the Cultural Revolution. The process of mastering the stylistics of modern European music by the Chinese composer is explored, the issue of Sheng's search for an individual author's style and the combination of the foundations of the Chinese national identity with the European technique of composition in his work are considered.

 

Keywords: Bright Sheng, China, composer, culture, traditions, piece

 

 

Si Yang

THE IDEAS OF TAOISM IN TAN DUN’S MUSIC

 

Abstract: The article examines the influence of the ideas of Taoism on the work of the Chinese composer Tan Dun. The origins of the formation of the musician's Taoist worldview were the impressions of his childhood and youth, spent in the province of Hunan (South China). Especially important for the creative work of Tang Dun were the Taoist idea of harmony between man and nature and the rituality associated with the ancient shamanic cults. The embodiment of these ideas is demonstrated through the example of the “Ghost Opera”, the symphonies “On Taoism”, “Heaven Earth Mankind”, and the cycle “Orchestral Theatre”.

 

Keywords: Tan Dun, China, culture, composer, music, Taoism, ritual

 

 

Algyte Merkeliene

CONTRIBUTION OF ALGIRDAS VYŽINTAS TO THE FORMATION AND DEVELOPMENT OF THE FOLK INSTRUMENTS ORCHESTRA OF LITHUANIA

 

Abstract: The article covers Algirdas Vyžintas’ social, creative and pedagogical work aimed at establishing a special model of a Lithuanian folk instruments orchestra. The author sets a goal to reveal the essence of A. Vyžintas’ humanitarian and musical thinking, his views on folk musical culture that influence the formation of orchestras and the education of their participants.

 

Keywords: Algirdas Vyžintas, Lithuanian folk instruments orchestra, Jonas Švedas, Lithuanian State Ensemble of Song and Dance, Folk Music Department of the Klaipėda Faculty of the Lithuanian State Conservatoire

 

 

Ekaterina A. Dorokhova, Olga A. Pashina

“I STARTED TO PLAY, THE PIPE BEGAN TO SPEAK LIKE A HUMAN” (Review on: Boyarkin N. I., Boyarkina L. B. Mordovian Instrumental Traditions: Musical and Ethnographic Research: In 2 volumes. Saransk: Publishing house of the Mordovia State University, 2019)

 

Abstract: The article represents a review of the fundamental work of N. I. and L. B. Boyarkin, dedicated to the musical and instrumental culture of the Mordovian people. The authors have worked their way of comprehending the Mordovian instrumental traditions from the development of the proprietary technology of field research to the creation of a large-scale typology of both musical instruments and music performed on them.

 

Keywords: Mordovians, musical instruments, tunes, musical transcription, ethnography of performance, folk terminology

 

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