Music Journal of Northern Europe № 2 (42), 2025
Contents
Maria V. Kalimova, Lyubov A. Kupets
CESAR СUI AND ALEXANDER GLAZUNOV: CREATIVE PARALLELS AND MUSICAL-HISTORICAL PERCEPTIONS | 1–13
Citation link: Калимова, М. В. Ц. А. Кюи и А. К. Глазунов: творческие параллели и музыкально-исторические рецепции / Мария Владимировна Калимова, Любовь Абрамовна Купец // Музыкальный журнал Европейского Севера. 2025. № 2 (42). С. 1-13. URL: https://doi.org/10.61908/2413-0486.2025.42.2.1-13
Anastasia A. Sikorskaya
Citation link: Сикорская, А. А. Педагогические и методические принципы саратовской школы хорового дирижирования на примере деятельности Е. П. Сидоровой / Анастасия Александровна Сикорская // Музыкальный журнал Европейского Севера. 2025. № 2 (42). С. 1-13. URL: https://doi.org/10.61908/2413-0486.2025.42.2.14-31
Anna G. Chupova
MUSIC IN THE ARTISTIC WORLD AND THE SRUCTURE OF NOVEL BY GÜNTER GRASS DIE BLECHTROMMEL (PART TWO) | 32–72
Citation link: Чупова, А. Г. Музыка в художественном мире и структуре романа Гюнтера Грасса "Жестяной барабан". Ч. 2 / Анна Гурьевна Чупова // Музыкальный журнал Европейского Севера. 2025. № 2 (42). С. 1-13. URL: https://doi.org/10.61908/2413-0486.2025.42.2.32-72
Elena V. Biteriakova
THE SIBERIAN EXPEDITIONS IN 1944: TASKS, CIRCUMSTANCES, RESULTS | 73–87
Citation link: Битерякова, Е. В.Сибирские экспедиции 1944 года: задачи, обстоятельства, результаты / Елена Викторовна Битерякова // Музыкальный журнал Европейского Севера. 2025. № 2 (42). С. 1-13. URL: https://doi.org/10.61908/2413-0486.2025.42.2.73-87
Vera G. Boldyreva
THE CAPTURE OF KAZAN BY IVAN THE TERRIBLE IN UDMURT AND RUSSIAN MUSICAL FOLKLORE OF UDMURTIA | 88–99
Citation link: Болдырева, В. Г. Взятие Казани Иваном Грозным в удмуртском и русском музыкальном фольклоре Удмуртии / Вера Геоленовна Болдырева // Музыкальный журнал Европейского Севера. 2025. № 2 (42). С. 1-13. URL: https://doi.org/10.61908/2413-0486.2025.42.2.88-99
Polina A. Stolbova
APPLICATIONS OF GENERATIVE MODELS FOR CREATING SOUNDSCAPES IN EXHIBITION ACTIVITIES | 100–114
Citation link: Столбова, П. А. Возможности применения генеративной модели для создания звуковых ландшафтов в выставочной деятельности/ Полина Алексеевна Столбова // Музыкальный журнал Европейского Севера. 2025. № 2 (42). С. 1-13. URL: https://doi.org/10.61908/2413-0486.2025.42.2.100-114
Tatiana N. Budanova
THE POETICS OF VLADIMIR UGRYUMOV'S PIANO SUITES | 115–124
Citation link: Буданова, Т. Н. Поэтика фортепианных сюит Владимира Угрюмова/ Татьяна Николаевна Буданова // Музыкальный журнал Европейского Севера. 2025. № 2 (42). С. 1-13. URL: https://doi.org/10.61908/2413-0486.2025.42.2.115-124
Praskovia S. Tanikova
THE SYSTEM OF PROFESSIONAL TRAINING FOR A VIOLINIST IN ORCHESTRAL PERFORMANCE | 125–138
Citation link: Таникова П. С. Система профессиональной подготовки скрипача к оркестровой деятельности / Прасковья Серафимовна Таникова // Музыкальный журнал Европейского Севера. 2025. № 2 (42). С. 1-13. URL: https://doi.org/10.61908/2413-0486.2025.42.2.125-138
Gong Mingchuan
Citation link: Гун Минчуань. Глиссандо и их связь с китайской тональной системой языка: на примере сочинений для скрипки / Гун Минчуань // Музыкальный журнал Европейского Севера. 2025. № 2 (42). С. 1-13. URL: https://doi.org/10.61908/2413-0486.2025.42.2.139-156
Ren Yaobin
PERFORMANCE OF THE ART SONG “ON THE SONGHUA RIVER” BY CHINESE TENORS: A COMPARATIVE ANALYSIS | 157–171
Citation link: Жэнь Яобинь. Исполнение художественной песни "На реке Сунгари" китайскими тенорами: опыт сравнительного анализа / Жэнь Яобинь // Музыкальный журнал Европейского Севера. 2025. № 2 (42). С. 1-13. URL: https://doi.org/10.61908/2413-0486.2025.42.2.157-171
MORE DETAILS
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Maria V. Kalimova, Lyubov A. Kupets CESAR СUI AND ALEXANDER GLAZUNOV: CREATIVE PARALLELS AND MUSICAL-HISTORICAL PERCEPTIONS | 1–13 |
Abstract: The article is devoted to the research of the creative relationship between two representatives of different generations of the St. Petersburg composer’s school – C. Cui and A. Glazunov. The article examines the details of the composer’s creative biographies, the history of their relationships, and possible examples of mutual professional influence from a comparative perspective.
Keywords: Cesar Cui, Alexander Glazunov, the Five, Russian musical culture of the 19th – 20th centuries, Russian music criticism
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Anastasia A. Sikorskaya |
Abstract: The article is devoted to the work of Evgenia Petrovna Sidorova (1917–2003), an outstanding teacher of the Saratov State Conservatory named after L. V. Sobinov and a graduate of the Gnessin State Musical and Pedagogical Institute in Moscow. The article examines pedagogical and methodological principles of the Saratov School of Choral Conducting through the professional approaches of E. P. Sidorova. The sources for the study were the memoirs of colleagues and students, as well as previously unpublished archival materials introduced into scholarly discourse for the first time. The author concludes that there is a clear continuity with the pedagogical principles of the Moscow School of Choral Conducting, which remain relevant and responsive to the needs of the time. The examined aspects of Sidorova’s work reflect a systematic approach to addressing challenges in choral education, and serve as a guide for solving current educational, pedagogical and performance-related tasks.
Keywords: school, methodological principles, pedagogical principles, choral conducting, teacher, performer, E. P. Sidorova
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Anna G. Chupova MUSIC IN THE ARTISTIC WORLD AND THE SRUCTURE OF NOVEL BY GÜNTER GRASS DIE BLECHTROMMEL (PART TWO) | 32–72 |
Abstract: The article is devoted to the study of the specifics of literary and musical dialogue in G. Grass’s novel Die Blechtrommel. The second part reveals how musical intertext functions within the novel’s pages as a system of direct references to musical compositions, genres, and specific composers. The study concludes that the thematization of music in Grass’s novel Die Blechtrommel is inextricably linked to the depicted era of the Third Reich, which determines a negative attitude towards the historically conditioned role of music and reflects the crisis of language and culture in the first half of the twentieth century. Each stylistic sphere of the novel’s musical world - classical, sacred, military, popular, and folk music - is revealed not only in connection with a certain optics of the hero-narrator but also with the position of the author, who employs grotesque imagery to create an impressive picture of the “dehumanization of art”.
Keywords: Günter Grass, “Die Blechtrommel”, musical intertext, Beethoven, Wagner, classical music, popular music, liturgy, songs
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Elena V. Biteriakova THE SIBERIAN EXPEDITIONS IN 1944: TASKS, CIRCUMSTANCES, RESULTS | 73–87
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Abstract: In 1944, two expeditions were sent to Siberia to “sites of Comrade Stalin’s Siberian exile”: the Turukhanskaya – to Kureika (Turukhansky District, Krasnoyarsk Krai) and the Narymskaya – to Narym and Parabel (Tomsk region). The directives on the organization of work came directly from the Central Committee of the CPSU, and the reports of the expedition leaders were accepted there as well. The Committee for Arts Affairs under the Council of Ministers of the USSR was responsible for planning, specialist recruitment, and implementing the jubilee project. The All-Union House of Folk Art named after N. K. Krupskaya handled team assembly, their equipment and dispatch. Documents from the archives of the Kliment Kvitka Folk Music Research Center at the Moscow Conservatory reveal the circumstances of this episode in Soviet ethnomusicology, involving outstanding musicians and scholars, such as K. V. Kvitka, E. W. Hippius, N. I. Zhemchuzhina, I. P. Ponomarkov, P. G. Bogatyrev, B. O. Dolgikh, V. M. Sidel'nikov, A. M. Novikova.
Keywords: Siberian expeditions of 1944, Stalin’s jubilee, Turukhansk and Narym sound recordings, Moscow Conservatory, Kliment Kvitka Folk Music Research Center, All-Union House of Folk Art named after N. K. Krupskaya
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Vera G. Boldyreva THE CAPTURE OF KAZAN BY IVAN THE TERRIBLE IN UDMURT AND RUSSIAN MUSICAL FOLKLORE OF UDMURTIA | 88–99 |
Abstract: The article examines folklore works that emerged in response to the historical events of the XVI century – Ivan the Terrible’s capture of Kazan. In Udmurt and Russian Udmurt musical culture, genre attribution manifests itself in different ways. Among Udmurts, this is an instrumental march, adopted by the peoples of the Volga region. In Russian culture, the event is presented in song form, which has undergone genre-level transformations over the past century.
Keywords: Ivan the Terrible, capture of Kazan, legend, instrumental march, historical song
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Polina A. Stolbova APPLICATIONS OF GENERATIVE MODELS FOR CREATING SOUNDSCAPES IN EXHIBITION ACTIVITIES | 100–114 |
Abstract: An artificial soundscape is an environment for the existence of sound in a virtual space, created using algorithms and mathematical formulas. This approach enables the development of unique, dynamically evolving soundtracks that adapt to events in both virtual and physical environments. For example, the virtual space of a game, movie, or exhibition can be created using a generative model. The article considers the prospect of introducing a system of procedural artificial soundscape into the exhibition organization system. This model provides a diverse, constantly evolving and updating audio space, which provides a unique, more natural sound and coherent unfolding of artistic concepts.
Keywords: artificial soundscape; exhibition; sound design; generative model; sound space
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Tatiana N. Budanova |
Abstract: The music of Karelian composer Vladimir Ugryumov (b. 1947) holds a significant place in contemporary musical culture. He is one of the first graduates of the Petrozavodsk branch of Leningrad Conservatory in composition class of professor Albert Semenovich Lehman. Ugryumov developed his own neo-romantic style without embracing experimentation. Its features are most clearly manifested in the chamber genre, particularly in suites for piano. In these works, the composer's original engagement with genre models of ancient and romantic suites attracts attention.
Keywords: Vladimir Ugryumov, Karelian music, piano suite, program miniature
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Praskovia S. Tanikova THE SYSTEM OF PROFESSIONAL TRAINING FOR A VIOLINIST IN ORCHESTRAL PERFORMANCE | 125–138 |
Abstract: The article is devoted to the professional training of a violinist for orchestral performance, which is undoubtedly one of the urgent issues in modern performing art. It examines core aspects of orchestral work that are essential for developing competent orchestral musicians and presents an author's training system that enables violinists to acquire necessary skills for successful orchestra auditions within a relatively short time.
Keywords: violin, orchestra, preparation for orchestral performance, orchestral difficulties
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Gong Mingchuan |
Abstract: This article examines various types of glissandi in Chinese violin compositions and their correlation with the tonal system of the modern national language. Particular attention is paid to phonetic features and intonational patterns that correspond to glissando forms in violin music. The study proposes a hypothesis that the absence of what we refer to as the “ascending-returning glissandi” in Chinese violin music may be related to the lack of a similar pitch change pattern in the Chinese linguistic system.
Keywords: glissando, Chinese violin music, tonal system, the Chinese language, musical intonation, national style
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Ren Yaobin PERFORMANCE OF THE ART SONG “ON THE SONGHUA RIVER” BY CHINESE TENORS: A COMPARATIVE ANALYSIS | 157–171 |
Abstract: The article presents a comparative analysis of three Chinese tenors’ interpretations of Zhang Hanhui’s song “On the Songhua River”. The only student of L. Pavarotti in Asia Dai Yuqiang, opera singer Wei Song and the “king of Western songs” Wang Hongwei created three musical interpretations of the song that are different in style, emotional content, expressive techniques, but equally convincing in terms of artistic image. It seems interesting to compare the performing style of famous tenors using one vocal work as an example. The study concurrently examines musical expressive devices in Zhang Hanhui's song “On the Sungari River” and provides brief biographical profiles of each performer.
Keywords: Zhang Hanhui, “On the Songhua River”, Dai Yuqiang, Wei Song, Wang Hongwei, vocal art, tenor, bel canto, China, interpretive style
