Abstract: In the article, the authors consider the features of the structure of the cycle and fugues in the “Polyphonic Album” for piano by Boris Napreev. The subject of study in the work was the thematism of the cycle, some features of expositions and free parts of fugues, the structure of the cycle as a whole. The authors come to the conclusion that the composer covered and demonstrated his own vision of various types of 3-part fugues (two-key, repercussion, fret-developing, contrapuntal-developing) in the collected works, mastered in the training course “Polyphony”. This circumstance makes it possible to consider Napreev's collected works as a textbook on polyphonic analysis (and as a model for composing student fugues) for musicologists, composers and performers of various fields of training.

Keywords: polyphonic cycle, Boris Napreev, “Polyphonic album”, fugues, quotations, exposition, free movement, two-way fugue, repercussion fugue, fret-developing fugue, anthology

Natalia P. Tregulova

HISTORIOGRAPHY OF THE STUDY OF MORDOVIAN PERFORMING TRADITIONS IN THE CONTEXT OF MODERN CULTURE (TO THE PROBLEM OF UPDATING) | 14-25

Abstract: The article examines the state of the Mordovian people’s performing traditions at the beginning of the third decade of the XXI century. On the basis of a number of scientific works, the author analyzes the changes taking place in the song culture of the Moksha and Erzya, and also discusses the preservation of the three-voice bourdon polyphony, which determines its identity. There is a decrease in the number of villages where three-voice polyphony exists, the disappearance of a number of song genres, violation of the performing traditions continuity mechanisms, the predominance of secondary singing groups.

Keywords: secondary singing groups, Mordovian performing traditions, UNESCO Convention, collective singing, intangible cultural heritage, three-voice bourdon polyphony

Marina M. Podguzova

METHODOLOGICAL AND PERFORMING PRINCIPLES OF SCHOOL OF K. A. ERDELY | 26-35

Abstract: The name of K. A. Erdely is a sign of the highest professionalism in the Domestic Harp Art. A brilliant performer, arranger, teacher, she left a significant legacy in every area of her work.

Pedagogy, as one of the main areas of her professional activity, Ksenia Aleksandrovna devoted seventy years of her life, raising a significant number of high-class musicians who successfully worked throughout the Soviet Union.

For the first time, an attempt was made to analyze in detail the methodological foundations of the school of K. A. Erdely, and a conclusion was made about their synthetic nature. The reasons for the initial rejection by the harpist of the new way of playing the instrument during the years of its introduction into the educational process of the Moscow Conservatory are considered.

Keywords: K. A. Erdely, harp, Posse-Slepushkin method, methodological principles, pedagogy, harp art

Xun Gao

FEATURES OF TRADITIONAL CHINESE CULTURE IN TSZO CHZHEN-GUAN'S TRIPTYCH FOR THREE FLUTES | 36-47

Abstract: The article is dedicated to “Triptych for three flutes” by Tszo Chzhen-Guan. This chamber-instrumental work, which is based on an organic fusion of Chinese and European cultures, represents the features of the composer's orchestral music. The striking features of the composition are the narrative dramaturgy, reliance on slow tempos associated with ancient Chinese musical genres built on religious and philosophical principles of contemplation. Tszo Chzhen-Guan refers to the modal, intonation and rhythmic features typical of Chinese music (the technique of inaccurate rhythmic acceleration and deceleration, second harmonies, etc.), imitates the playing of Chinese bamboo flutes by introducing trills, glissando, frullato, ornamentation and other performing techniques. “Triptych for Three Flutes” is a non-programme composition, however, thanks to the analysis of musical means, it reveals a reliance on Chinese philosophy.

Keywords: Tszo Chzhen-Guan, “Triptych for three flutes”, Chinese culture, flute, performing techniques of playing the flute

Vera I. Nilova, Eleonora G. Bosenko

CHAMBER VOCAL OEUVRE OF MAURICE RAVEL AND HIS POETIC PREFERENCES | 48-60

Abstract: Traditionally, one of the topical directions in the study of vocal work of composers is the identification of the interaction between word and sound. Referring to Ravel (and French music in general), analytical procedures will be effective if the researcher has good phonetic skills in French. Even more important is the mastery of French phonetics for vocalists. But for the leader no less important than the performing school of the vocalist is the issue of interpreting vocal music of the early twentieth century. To solve this problem, it is necessary to expand the usual framework of the stylistic context of Ravel's oeuvre. The article is devoted to the study of Ravel's chamber vocal works in the aspect of his poetic preferences.

Keywords: Ravel, chamber vocal music, Marot, Verlaine, Mallarmé, tradition, poetry

Danila V. Lyubimov

ORCHESTRAL AND CHOREOGRAPHIC INTERPRETATION ROBERT SCHUMANN’S PLAY “PAPILLONS” | 61-83

Abstract: The article is dedicated to the orchestral and choreographic versions of the play “Papillons” from R. Schumann’s piano cycle “Carnaval”. The features of N. Tcherepnin’s orchestration are considered. While maintaining the basic elements of the structure, the tonal-harmonic plan, the texture of the piece, Tcherepnin’s orchestration demonstrates free handling of registers and various orchestral writing techniques. Colorful orchestration brings freshness and novelty to Schumann’s music, helping to embody the plastic image of the Butterfly in Fokine’s one-act ballet “Carnaval”. The plot continuation of the scene “Butterfly and Pierrot” was the subsequent one-act ballet “Les Papillons” by Fokine to the music of the cycle of the same name by Schumann, orchestrated by Tcherepnin.

Keywords: R. Schumann, N. N. Tcherepnin, M. M. Fokine, piano cycle “Carnaval”, play “Papillons”, score, orchestration, instrumentation, interpretation, one-act ballet “Carnaval”

Tamara M. Egorova

THE IMAGE OF EVIL IN PETERIS VASKS’S INSTRUMENTAL MUSIC | 84-96

Abstract: This article is dedicated to the image of evil in Peteris Vasks’s instrumental music. Although the composer doesn’t consider this sphere familiar, he is looking for ways to represent it in music. This is due to the Christian idea of the victory of good over evil, which is one of the most important ideas of Vasks’s oeuvre. Vasks’s methodology of representation of good and evil is based on the ontological distinction between the two phenomena. Negative images are rather ‘pictured” than embodied. In spite of expressiveness the music material of non-good is like a formula and incapable of essential developing. In the process of creation of negative images Vasks permanently quotes his own works. That makes the music material a symbol, which cannot embody, but only designate evil.

Keywords: Peteris Vasks, evil, canto perpetuo, toccata, “ironico”, neoromantism, instrumental music, Latvian music

Olga V. Semenova

STUDYING THE CREATIVE WORK OF RUSSIAN COMPOSERS DURING CLASSES OF RUSSIAN AS A FOREIGN LANGUAGE | 97-109

Abstract: The article attempts to identify the key stages for working with foreign students of higher music education institutions and humanitarian universities in studying the creative work of Russian composers from the point of view of an integrated approach, which consists in step-by-step mastering of the material taking into account the level of proficiency in the Russian language, the study of musical art in the context of other types of art (painting, architecture, sculpture), and also provides formation of one of the most important competencies – cultural one. The article justifies the necessity of acquaintance with Russian art and culture, including the creative works of Russian composers, already at the initial stage of training future musicians, as well as students of humanitarian universities. The article presents a brief review of special study guides for applicants of higher music education institutions, as well as textbooks on Russian art and culture.

Keywords: musical art, Pyotr Ilyich Tchaikovsky, methods of teaching Russian as a foreign language, university for arts

Music Journal of Northern Europe № 4(36), 2023

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