Music Journal of Northern Europe № 4(28), 2021


Contents

Ekaterina G. Okuneva, Darina S. Sazhina
COMPOSITIONAL TECHNIQUE AS A SYMBOL: THE IMPORTANCE OF THE SERIAL METHOD AND CHORAL TEXTURE IN THE ARTISTIC CONCEPT OF “TEMPUS DESTRUCENDI – TEMPUS AEDIFICANDI” BY LUIGI DALLAPICCOLA | 1-20

 

Nikolay A. Kravtsov, Vladimir N. Maraev
ERGONOMICS IN THE EVOLUTION OF CHROMATIC MUSICAL KEYBOARDS | 21-36

 

Denis N. Dorofeev
THE “UNFINISHED” SONATA FOR VIOLA AND PIANO BY M. I. GLINKA IN THE CONTEXT OF THE DEVELOPMENT OF VIOLA ART | 37-45

 

Maria М. Kozak
THE TEMPTATION BY MESSIAEN: “IN PARADISUM” BY AVENIR DE MONFRED | 46-61

 

Elena A. Ankhimova
THE IMAGE OF KANTELE IN THE MUSIC OF FINNISH COMPOSERS OF THE LAST THIRD OF THE 20TH CENTURY | 62-92

 

Mikhail S. Trofimov, Wang Zi Hao
THE HISTORY OF THE DEVELOPMENT OF BAYAN AND ACCORDION PERFORMANCE IN CHINA | 93-109

 

Raul Romero
THE LEGACY OF JOSÉ ANTONIO ABREU: THE ORCHESTRAL SYSTEM IN VENEZUELA | 110-119

 

Lyubov A. Kupets
“A HERO OF NOT OUR TIME”: GIACOMO MEYERBEER IN RUSSIAN ENCYCLOPEDIC NARRATIVES OF THE LATE 19TH – EARLY 21ST CENTURIES

 

Ekaterina G. Okuneva, Darina S. Sazhina

COMPOSITIONAL TECHNIQUE AS A SYMBOL: THE IMPORTANCE OF THE SERIAL METHOD AND CHORAL TEXTURE IN THE ARTISTIC CONCEPT OF “TEMPUS DESTRUCENDI – TEMPUS AEDIFICANDI” BY LUIGI DALLAPICCOLA

 

Abstract: The article covers the analysis of Luigi Dallapiccola’s choral composition “Tempus destruendi ‒ Tempus aedificandi”, belonging to the late period of the composer’s work. The authors study the features of the serial technique of the opus, the specifics of its choral texture based on its central concept, which is determined by the idea of semantic oppositions – destruction (disintegration) and reconstruction (integration). The latter is embodied in various aspects of the composition: in the use of the diptych structure, in the appeal to polyserialism, in the types of rows and ways of their presentation, in the types of choral texture and the principles of its development. At the end of the article, conclusions are drawn about the connection between the serial and choral writing of Dallapiccola and the work of the composers of the Second Viennese School.

 

Keywords: music of the 20th century, Luigi Dallapiccola, “Tempus destruendi – Tempus aedificandi”, serial technique, derived series, choral texture, polytimbral monody

 

 

Nikolay A. Kravtsov, Vladimir N. Maraev

ERGONOMICS IN THE EVOLUTION OF CHROMATIC MUSICAL KEYBOARDS

 

Abstract: The article shows the evolution process of the types of chromatic keyboard instruments. The ergonomic roots of modifications of mechanical devices, which appeared at the request of musical culture in different eras, are revealed. The emergence of new types of systems and their varieties is substantiated in connection with the acoustic paradigm of the slipping metal tongue (the vocal bar of an accordion). Variable system elements influencing the algorithms of information channels of keyboard devices are identified and studied. The effectiveness of performance evaluation of keyboards in the field of the man-machine ergonomic system is shown, due to which, for the first time, ways of improvement in the articulatory properties of accordion keyboards are outlined.

 

Keywords: chromatics, keyboards, hydraulis, accordion, ergonomics, man-machine system, articulation, functionality

 

 

Denis N. Dorofeev

THE “UNFINISHED” SONATA FOR VIOLA AND PIANO BY M. I. GLINKA IN THE CONTEXT OF THE DEVELOPMENT OF VIOLA ART

 

Abstract: The article considers the “Unfinished” Sonata for Viola and Piano by M. I. Glinka in D minor in the context of the history of viola performance in Russian and foreign musical culture of the 18th – 19th centuries. The author pays attention to the works of C. Stamitz, I. E. Khandoshkin and M. I. Glinka – the very composers who expanded the functional scope of use of the viola as a solo concert instrument.

 

Keywords: M. I. Glinka, sonata for viola and piano, Russian musical art, viola, viola art, music of the 19th century

 

 

Maria М. Kozak

THE TEMPTATION BY MESSIAEN: “IN PARADISUM” BY AVENIR DE MONFRED

 

Abstract: The article discusses the organ piece “In Paradisum” (1947) by Avenir de Monfred (1903–1974). “In Paradisum” is a work created by the composer at the time of stylistic and compositional search, which later led de Monfred to the creation of his own method of music composition – the new diatonic modal principle of relative music [NDM principle]. The abrupt change in the range of musical and expressive means in the play “In Paradisum” made it unique among the compositions of all periods of de Monfred's work. Despite the importance of the experiment with “In Paradisum” and the means of musical expression used in the play, dating back to Messiaen's “Technique de mon langage musical”, de Monfred never mentioned either the play or Messiaen himself in his treatise published in 1970.

 

Keywords: Avenir H. de Monfred, Olivier Messiaen, “The New Diatonic Modal Principle of Relative Music” (1970), “Technique de mon langage musical” (1944), “In Paradisum” (1947), polytonality, polimodality, ametric music

 

 

Elena A. Ankhimova

THE IMAGE OF KANTELE IN THE MUSIC OF FINNISH COMPOSERS OF THE LAST THIRD OF THE 20TH CENTURY

 

Abstract: The article analyzes the music pieces for the kantele invented by Paul Salminen that were composed in Finland during the period from the 1980s to the 2000s by three composers – Pehr Henrik Nurdgren, Pekka Jalkanen, and Martti Pokela. Each of them, having reasons of their own for drawing their focus towards the instrument, wished for unleashing its potential in their own way. At the same time, the considered approaches revealed a lot in common. All authors, first of all, worked with the constructive resources of the instrument – the tone switching mechanism, which the Finnish concert kantele is equipped with. The mechanism made it possible to use different tuning options, not directed towards major or minor, and also opened the way to the use of microtonality. In addition, the composers tried various new playing techniques, which resulted in diverse sonorous effects. Together with the methods of sound production, unusual for the kantele, this allows us to speak of the modern kantele as of a “new” instrument with an extended performance technique.

 

Keywords: academization, P. Salminen, Finnish concert kantele, P. H. Nordgren, P. Jalkanen, M. Pokela, “new” instrument, extended performance technique

 

 

Mikhail S. Trofimov, Wang Zi Hao

THE HISTORY OF THE DEVELOPMENT OF BAYAN AND ACCORDION PERFORMANCE IN CHINA

 

Abstract: The article focuses on bayan and accordion performance in China. The authors address the issues of the introduction of the first instruments in the country and highlight the main stages of development of the accordion performing art. Particular attention is paid to the work of composers and the formation of a performing repertoire over different historical periods. The article also provides information on the most significant events in the history of bayan and accordion art in China.

 

Keywords: bayan, accordion, bayan and accordion performance in China, Chinese composers, music for bayan

 

 

Raul Romero

THE LEGACY OF JOSÉ ANTONIO ABREU: THE ORCHESTRAL SYSTEM IN VENEZUELA

 

Abstract: Venezuela’s National System of Children and Youth Orchestras and Choirs is a social and cultural line of work of the Venezuelan government. Conceived and founded in 1975 by the Venezuelan maestro José Antonio Abreu, El Sistema proposes to systematize the teaching and practical training of the collective and solo music performance through symphony orchestras and choirs as instruments of social organization and humanistic development. This pedagogical, artistic and social model, which has become popular worldwide, represents a social responsibility program with the greatest impact on the social development in the history of Venezuela.

 

Keywords: Venezuela, José Antonio Abreu, “El Sistema”, symphony orchestras, systematization of education, children, young people, social integration, pedagogical model

 

 

Lyubov A. Kupets

“A HERO OF NOT OUR TIME”: GIACOMO MEYERBEER IN RUSSIAN ENCYCLOPEDIC NARRATIVES OF THE LATE 19TH – EARLY 21ST CENTURIES

 

Abstract: The article analyzes the receptions of Giacomo Meyerbeer in Russia using the example of a corpus of encyclopedic publications ranging from the Brockhaus and Efron Encyclopedic Dictionary to Wikipedia. The longitudinal analysis demonstrates both the normative perception of the composer's figure in a certain era, and the transformation of his image in a various historical and cultural context. During this period of time, the Russian image of Meyerbeer changes dramatically: from the genius whose operas everyone knew and loved, to a forgotten minor character, whose music is absent for the modern Russian public.

 

Keywords: : encyclopedias, receptive analysis, Soviet canon, Wikipedia, Meyerbeer

 

 

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