Music Journal of Northern Europe № 2(26), 2021
Contents
Marianna S. Vysotskaya
ON THE COMPOSITIONAL FEATURES OF THE “JOURNEY TO LOVE” BY FARAJ KARAEV | 1-14
Ekaterina G. Okuneva
ALBAN BERG’S “CONSTRUCTIVE RHYTHMS” IN THE ASPECT OF THE SERIAL IDEA | 15-41
Nadezhda A. Petruseva, Nadezhda N. Alekseeva
DEBUSSY'S PRELUDE “THE TOY-BOX ASLEEP” FROM THE BALLET “THE TOY-BOX”: ABOUT COMPOSITIONAL TECHNIQUES | 42-67
Veronika A. Ilyushkina
JOHN GAY’S BALLAD OPERA AS A GENRE MODEL | 68-78
Mariia L. Monich
THE DERIVATIONS OF ONE CANONICAL SEQUENCE: STUDYING TANEEV’S DRAFTS TO THE “OVERTURE ON THE RUSSIAN THEME” | 79-99
Alexey A. Kubyshkin, Denis I. Morozov
CHOIRMASTER-MUSICOLOGIST: FORMATION OF SCIENTIFIC WORK SKILLS IN STUDENTS OF CONDUCTING FACULTIES | 100-109
Lyudmila N. Chernovskaya
ON THE USE OF MARI MUSICAL FOLKLORE IN THE SOLFEGGIO COURSE | 110-116
Angelina S. Alpatova
ARCHAISM AND ITS MANIFESTATION IN THE COMPOSER’S WORK: ON THE OCCASION OF THE 90TH BIRHDAY OF VELJO TORMIS AND ON THE 50TH ANNIVERSARY OF THE CHORAL WORK “CURSE UPON IRON” | 117-142
Elena A. Spist
WITH GRATITUDE TO THE TEACHER. ON THE OCCASION OF THE 75TH BIRTHDAY OF ELEONORA GEORGIEVNA BOSENKO | 143-150
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Marianna S. Vysotskaya ON THE COMPOSITIONAL FEATURES OF THE “JOURNEY TO LOVE” BY FARAJ KARAEV |
Abstract: The research focuses on Faraj Karaev's mono-opera “Journey to love” in the aspect of genre synthesis and organizational features – both external, defined by the structure of the libretto, and internal, determined by serial and other patterns. The features of the author's work with the series are analyzed; the schemes that illustrate the generating function of the original series and the constructive function of the serial transformations on the scale of the entire work are presented. The conclusion is made about the significance of the mono-opera and the type-forming importance of its characteristics in the context of the composer's work.
Keywords: Karaev, mono-opera, composition, set, structure, sound
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Ekaterina G. Okuneva ALBAN BERG’S “CONSTRUCTIVE RHYTHMS” IN THE ASPECT OF THE SERIAL IDEA |
Abstract: The article discusses Alban Berg's innovations in the field of rhythmic structuring. The composer called the rhythms used in his music constructive and defined them in the score as RH (from the German Hauptrhythmus). The peculiarities of Berg’s rhythmic technique are studied through the example of individual fragments from the operas “Wozzeck” and “Lulu”, the Chamber Concert and the “Lyric Suite”. The author of the article shows the connection of the constructive rhythms to the serial idea. Special attention is paid to the methods of rhythms transformation by augmentation or diminution, combining rational and irrational rhythms, shifting accents, etc. The reasons why Berg’s rhythmic technique was underrated by the young generation of the Western European serialism composers are discussed separately.
Keywords: Alban Berg, constructive rhythm, Hauptrhytmus, serialism, duration row, “Wozzeck”, “Lulu”, Chamber Concert, “Lyric Suite”
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Nadezhda A. Petruseva, Nadezhda N. Alekseeva DEBUSSY'S PRELUDE “THE TOY-BOX ASLEEP” FROM THE BALLET “THE TOY-BOX”: ABOUT COMPOSITIONAL TECHNIQUES |
Abstract: The article covers compositional techniques of “The Toy-Box Asleep” prelude which serves as an introduction to “The Toy-Box” ballet by Claude Debussy. The history of its creation, the influence of Mussorgsky and Stravinsky, the interpretation of the genre and the cycle are examined. The aesthetic attitude, the features of the composer's creative thinking in the aspect of the interaction of modal and metric structures and the process of shaping are demonstrated. For the first time the form, the metro-thematic structures and the modal and harmonic techniques of the prelude “The Toy-Box Asleep” are defined in the aspect of the essential dimensions of Debussy's music: the relationship between sound and space, movement and time. The thematism in its interaction with the process of shaping is explained from the standpoint of the Neo-Riemannian theory of the metric period, based on the structuralist worldview. An integrated approach is used as a combination of components of the biographical, comparative, structural and musical methods.
Keywords: Debussy's “The Toy-Box” ballet, pastoral worldview, installation method, form of “The Toy-Box Asleep”, choreic meter type, structural variation, modal and new harmonic techniques
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Veronika A. Ilyushkina JOHN GAY’S BALLAD OPERA AS A GENRE MODEL |
Abstract: In this article “The Beggar’s Opera” by John Gay is considered as a genre model that gave rise to a number of entertaining musical performances in foreign culture between the 18th and the 20th century.
Keywords: ballad opera, John Gay, “The Beggar’s Opera”
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Mariia L. Monich THE DERIVATIONS OF ONE CANONICAL SEQUENCE: STUDYING TANEEV’S DRAFTS TO THE “OVERTURE ON THE RUSSIAN THEME” |
Abstract: Long before writing his Study of a Canon Sergei Taneev was actively investigating the qualities and possibilities of the Russian melodic materials by applying different polyphonic tools to it. He has found a number of simple but rare imitative forms which later were not even described in his theoretical works. This article attempts at continuing the composer’s practical study based on his counterpoint samples from the drafts to his “Overture on the Russian Theme” C Major. Our research shows both the process of finding the rare derivations of the canonical sequence and the results of this process. The method of our analysis was partly based on the theory formulated by the scholars of Taneev counterpoint school and partly on the empirical trials close to the experiments of the composer himself in his post-conservatory years.
Keywords: S. I. Taneev, “Overture on the Russian Theme”, thee-party canonical sequence, derivations in canons
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Alexey A. Kubyshkin, Denis I. Morozov CHOIRMASTER-MUSICOLOGIST: FORMATION OF SCIENTIFIC WORK SKILLS IN STUDENTS OF CONDUCTING FACULTIES |
Abstract: The integration into the Bologna system has changed the goals of the music education system and actualized the need for a scientific component in the professional activities of practicing musicians. The article focuses on the formation of scientific work skills in students of the conducting faculties of creative universities. By studying the issues of the Bologna process, the authors consider the synthesis of progressive trends in the European education system and the traditions of domestic pedagogics to be fruitful. Methods of activating the research potential of choirmaster students are examined by the example of the experience of the Choral Conducting Department of the Gnesin Russian Academy of Music.
Keywords: Bologna Convention, competence, creative university, choirmaster, elective subjects, student scientific and creative society, scientific work of students, Gnesin Russian Academy of Music
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Lyudmila N. Chernovskaya ON THE USE OF MARI MUSICAL FOLKLORE IN THE SOLFEGGIO COURSE |
Abstract: The article covers the experience of using the Mari musical folklore in solfeggio classes, and the need of including folk music samples in the educational process as an important component of the formation of a moral character, and the preservation of the traditional values of the people.
Keywords: educational environment, educational issues, Mari folklore, solfeggio
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Angelina S. Alpatova ARCHAISM AND ITS MANIFESTATION IN THE COMPOSER’S WORK: ON THE OCCASION OF THE 90TH BIRHDAY OF VELJO TORMIS AND ON THE 50TH ANNIVERSARY OF THE CHORAL WORK “CURSE UPON IRON” |
Abstract: The article is dedicated to the 90th birthday of the outstanding contemporary Estonian composer Veljo Rikhovich Tormis (1930–2017) – the representative of the Neo-Folklore trend and the Neo-Folklore style (the «New Folkloristic Wave» in Soviet Music). The main research problem is the identification of the peculiarities of the transformation of the archaic music elements and the disclosure of the archetypes’ possibilities in the work “Curse Upon Iron” (1972) for soloists and mixed choir accompanied by a percussion instrument.
The methodological basis consists of the theoretical musicology and ethnomusicology approaches. The author distinguishes between the concepts of archaism and new archaism, introduces and presents the conceptual triad archaism – new archaism – pseudo-archaism and demonstrates where the phenomenon of archeomusic belongs in it, the concept of archeofolklorism as a designation of the branch of the Neo-Folklore trend and the Neo-Folklore style in art music of the 20th–21st centuries.
The manifestation of the archaism in Tormis' “Curse Upon Iron” can be observed at four main levels: archaeomusic itself as the sound of an authentic instrument (a Koryak shaman tambourine from the museum collection); onomatopoeia of jaw's harp sounds, ritual singing and spells; archaic modal archetypes based on oligotonic and chasmatonic scales (unichord, dichord, trichord); and rondo-shaped structure as the basis of the musical form of the composition.
Keywords: Veljo Rikhovich Tormis, Neo-Folklore Trend, the “New Folkloristic Wave” in Soviet Music, Choral Music, Estonian Musical Culture, “Curse Upon Iron”
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Elena A. Spist TWITH GRATITUDE TO THE TEACHER. ON THE OCCASION OF THE 75TH BIRTHDAY OF ELEONORA GEORGIEVNA BOSENKO |
Abstract: A wonderful musician and a great teacher Eleonora Georgievna Bosenko turned seventy-five on August 13, 2020. In 2021 it will be 50 years since she started working at the Chamber Ensemble and Piano Accompaniment Department of the Petrozavodsk Glazunov State Conservatoire. The author shares her recollections of her mentor E. G. Bosenko and her experience of being Bosenko’s student, and reflects on the influence of the personality of a mentor in the development and education of young musicians. The paper uses documents from the archives of the Saint Petersburg Secondary Special Music School and the Rimsky-Korsakov Saint Petersburg State Conservatory.
Keywords: E. G. Bosenko, L. I. Zelikman, M. Ya. Halfin, T. L. Fiedler, the Secondary Special Music School, the Leningrad State Conservatory, Petrozavodsk State Conservatory
