Music Journal of Northern Europe № 3(19), 2019

Contents

Tatyana S. Ekimenko, Olga A. Pilitsyna
“Slavic Concerto-Fantasy” for domra and orchestra by Alexander Tsygankov in the context of time | 1-24

Nina A. Feofanova
About some interpretation features of the “Seven Tunes Heard in China” cycle by Bright Sheng | 25-39

Darya V. Voinova
The Russian piano traditions and musical-pedagogical continuity: Vladimir V. Pukhalsky and Alexander O. Satanovsky | 40-51

Larisa G. Lialikova
Specificity of the work of a pianist-accompanist in a ballet class | 52-58

Abstract: The article is devoted to the analysis of the specifics of the thematic invention and the mode-harmonic sphere, form, and dramaturgy in the “Slavic Concerto-Fantasy” for Domra and Orchestra by Alexander Tsygankov. The authors reveal the concept of the music piece in accordance with the creative mindset of the composer.

Keywords: Alexander Tsygankov, “Slavic Concerto-Fantasy” for Domra and Orchestra, musical quotation theme, monogram theme

Abstract: The article is devoted to the cycle “Seven Tunes Heard in China” for solo cello, which belongs to Bright Sheng, the contemporary American composer of Chinese origin. This piece is examined from the perspective of merging elements from different cultures in it. In particular, the composer adapts for the cello performance techniques that have developed on such traditional Chinese instruments as Erhu and Qin. The article analyzes the original performing techniques that arise as a result of the union of Western and ancient Chinese musical styles.

Keywords: Bright Sheng, “Seven Tunes Heard in China”, cello solo, onomatopoeia, imitation, blending of styles, Erhu, Qin

Abstract: The article covers some aspects of performing and pedagogical activity of Vladimir V. Pukhalsky, the founder of the Kiev piano school and his student – Alexander O. Satanovsky, the representative of the Saratov piano school, the successor of the traditions of his teacher. On the basis of exploring the performing activity and pedagogical policies of Vladimir V. Pukhalsky and Alexander O. Satanovsky, the author reveals common features and traces the musical and pedagogical continuity of these musicians.

Keywords: Russian piano traditions, Saratov piano school, Vladimir V. Pukhalsky, Alexander O. Satanovsky

Abstract: The article addresses the issues of the pianist’s concertmaster work in a ballet class. This creative profession requires not only excellent musical skills, but also the knowledge of choreography. Taking into account the great demand for such specialists worldwide, a student-pianist should be acquainted with the specifics of this work as part of the educational process.

Keywords: ballet accompanist, choreographic accompaniment, ballet exercise