Classics and Mass Media Music in the Works of Sergey Slonimsky

2021 ◽  
pp. 6-25
Author(s):  
О.Л. Девятова
Keyword(s):  
Mass Media ◽  
Theoretical Foundation ◽  
Symphony Orchestra ◽  
Musical Culture ◽  
Cultural Interpretation ◽  
The Everyday ◽  
The Sixties ◽  
Classical Traditions ◽  
Historical Comparative ◽  
Electric Guitars

Статья посвящена актуальной в ХХ–ХХI веках проблеме диалога элитарной и массовой культур. Теоретическую базу работы составляют труды видных современных ученых: О. Астафьевой, А. Костиной, Н. Кирилловой и других. В ее основу положена методология культурологического исследования, включающая комплексный, междисциплинарный и историко-сравнительный подходы, а также методы культурологической интерпретации и музыковедческого анализа. На примере творчества выдающегося русского композитора петербургской школы Сергея Слонимского — представителя поколения «шестидесятников» — исследуются его взгляды на конфликт «двух музык» — «серьезной» и «легкой», а также способы преодоления их противоречий (на примере Первой, Второй, Тридцать четвертой симфоний, Концерта для симфонического оркестра, трех электрогитар и солирующих инструментов, балета «Волшебный орех», вокальных сочинений, фортепианных пьес). В результате исследования делается вывод о двух путях, по которым шел композитор в решении данной проблемы: активного противостояния «музычке» масс-медиа и всей продукции псевдокультуры и органичного взаимодействия классических традиций и жанров массовой музыкальной культуры, поднимающего бытовую массовую стилистику на высочайший художественный уровень. The article is devoted to the problem of the dialogue between elite and mass cultures, in its own way manifested in music, which was topical in the XX and early XXI centuries. The theoretical foundation of the article is the culturological works of prominent modern scientists: O.  Astafieva, A. Kostina, N. Kirillova, etc. It is based on the methodology of culturological research, including complex, interdisciplinary and historical-comparative approaches, as well as methods of cultural interpretation and musicological analysis. Using the example of the work of the outstanding Russian composer of the St. Petersburg school Sergey Slonimsky — a representative of the generation of the “sixties” — his views on the conflict of the “two musics”, “serious” and “light”, are investigated, as well as the ways of overcoming their contradictions (on the example of the First, Second, Thirty-fourth symphonies, the Concerto for a symphony orchestra, three electric guitars and solo instruments, “The Magic Nut” ballet, vocal compositions, piano pieces). As a result of the study, it is concluded that the composer follows two paths in solving this problem: the path of active opposition to the poppy “music” of the mass media and all the products of pseudoculture and the path of organic interaction of classical traditions and genres of mass musical culture, which raises the everyday mass stylistics to the highest artistic level.

ABOUT THE CHILDREN'S SEGMENT OF MUSICAL MASS MEDIA CULTURE IN THE XXIST CENTURY

2021 ◽  
Vol 1 (3) ◽  
pp. 58-65
Author(s):  
E. V. Chernova ◽  
Keyword(s):  
Mass Media ◽  
Web Search ◽  
Modern Society ◽  
Musical Culture ◽  
Internet Applications ◽  
Xxist Century ◽  
The Media ◽  
Entertainment Products ◽  
Cultural Reality ◽  
Analytical Tools

The children's segment of culture — "music about children" and "music for children", being formed in the media environment, under new conditions needs close attention of scientists and updating of analytical tools for research. Acquiring features and qualities that differ from those previously inherent, this area requires scientific comments on various parameters — in terms of dynamics, prevailing directions, etc., opening new horizons for studying musical culture of the information community. The article discusses the possibilities of using search engines (Google, Yandex) to review children's musical products in the media space of modern society. The changing environment and conditions for musical culture determine the necessity of new approaches, including those from marketing technology for researching the content of genre trends, studying consumer interest, obtaining statistical information, etc. With the help of Internet applications (Trends, Wordstat) there is a prospect to analyze musical and cultural reality of society in the web search mode, revealing the comparative degree of popularity of different objects, in this case, related to the children's mass media sphere. The results obtained allow to state the predominant demand for entertainment products, which is a general trend in cultural life, regardless of the age category of consumers.

scholarly journals Classical Traditions of the Piano Concerto by Ruslan Agababayev

2021 ◽  
Vol 4 (1) ◽  
pp. 130-139
Author(s):  
Parvin Rustamova
Keyword(s):  
21St Century ◽  
Complex Analysis ◽  
Symphony Orchestra ◽  
Research Work ◽  
Scientific Work ◽  
Point Of View ◽  
Specific Work ◽  
Piano Concerto ◽  
Methodological Basis ◽  
Classical Traditions

The article is devoted to the analysis of the concert for piano and symphony orchestra by the modern Azerbaijani composer R. Agababayev. The article is very relevant from the point of view of identifying ways to implement classical traditions in a modern piano concerto of the 21st century. It must be said that in this issue we have found many such stylistic features that testify to the strong reliance of Azerbaijani composers on classical traditions. This article is devoted to the study of identifying the stylistic features of R. Agababayev’s piano concerto in the context of the historical development of this genre. Research methodology. The choice of the methodological basis for this study is due to the above goals and tasks that we set ourselves in the framework of this work. Based on the subject matter of the article, the methodological basis of this scientific work is a complex analysis, which implies the interaction of several research methods at different levels. The basis for the analytical analysis of the piano concerto was a theoretical approach, in which such aspects of the work as the problem of form formation, stylistic features of individual elements of the musical language are subject to research. The scientific novelty of the research lies in the fact that for the first time as special research work is the study and detailed analysis of R. Agababayev’s piano concerto. Conclusions. The main conclusion of our scientific research was to determine the stylistic features of the Azerbaijani piano concert created in the 21st century. Based on the data obtained during the analysis, we were able to determine the main trends and ways of development of this genre at the present stage of the development of Azerbaijani academic music. One of the important, if not decisive, aspect in achieving this kind of goal is to identify issues of preserving and transforming traditions, as well as innovative tendencies in the composer’s solution of a particular work. Single-movement piano concertos have become widespread in academic music since the beginning of the era of romanticism. And in the Azerbaijani one-part piano concerts, connections with romantic traditions are deeply felt. Moreover, in each specific work, these traditions are reflected especially. Since the concert by R. Agababayev demonstrates an interesting and original one-part interpretation, combined with an inner poly-part one, this is a typically romantic tendency associated with the composers’ desire to compress the cycle.

ORGANIZATION AND CONDUCT OF FOREIGN TOURS OF THE MOSCOW STATE SYMPHONY ORCHESTRA HEADED BY V. B. DUDAROVA IN THE 1970S

2021 ◽  
pp. 65-75
Author(s):  
Mikhail A. Andreev ◽  
Keyword(s):  
Symphony Orchestra ◽  
Point Of View ◽  
National Program ◽  
Musical Culture ◽  
Musical Works ◽  
The Status ◽  
The Media ◽  
Soviet Ideology ◽  
And Performance ◽  
General Range

The article considers the reasons for foreign tours of the Moscow State Symphony Orchestra’s headed by V.B. Dudarova in the 1970s, the specifics of those tours, as well as their results both from the point of view of popularizing symphonic music and from the point of view of popularizing Soviet ideology abroad. Among the most important reasons for the organization of the first foreign tours by the Moscow State Symphony Orchestra of V.B. Dudarova in the 1970s, one can mention the active participation of the orchestra in numerous Soviet festivals, competitions for young performers, the preparation and performance of new works by Soviet composers, the expansion of the repertoire of performed musical works, the work with foreign conductors, Also the participation of V.B. Dudarova as a guest conductor in foreign tours with other orchestras, the musical community positive reviews and reports on the work of the orchestra as well as increasing the status and prestige of the orchestra in the general range of symphony orchestras of the USSR. The organization and conduct of foreign tours in the Polish People’s Republic and the GDR included the briefing, the development of a concert program, which provided for concerts in several major cities with a developed musical culture, as well as in the capitals of the countries selected for the foreign tour. In addition to the concerts themselves, the organization of the tour included a meeting of the Orchestra’s direction with the cultural intelligentsia of the People’s Republic of Poland and the GDR after each of the concerts, advertising concerts and the orchestra’s work in the media of the People’s Republic of Poland and the GDR, selling souvenirs and recordings of the orchestra. Thus, the concerts of the Moscow State Symphony Orchestra conducted by V.B. Dudarova were only a part, or rather one of the instruments, of the national program of Soviet propaganda and the maintenance of a favorable image of the USSR abroad.

Musical Analyses of Mordechai Gebirtig's Chosen Pieces

2018 ◽  
pp. 112-122
Author(s):  
Małgorzata Kaniowska
Keyword(s):  
Everyday Life ◽  
Jewish Community ◽  
Historical Background ◽  
Crucial Importance ◽  
Musical Culture ◽  
Universal Language ◽  
The Everyday ◽  
Polish Jews ◽  
Language Of Music ◽  
Musical Analyses

Restoring the memory of the irretrievably lost word of a Jewish community is important for many reasons. To start with, familiarization with the unknown helps with better understanding of the everyday life of Polish Jews, often perceived as a hermetic society, rousing anxiety particularly among those who are totally unfamiliar with Jewish culture and traditions. Secondly, for the young, currently developing Jewish community, it is the way of building their identity by recalling their own historical roots. Gebirtig's creativity is portrayed in this chapter in two inextricably connected aspects: (1) the historical background of musical culture at the turn of the nineteenth and beginning of the twentieth centuries in Cracow; (2) the perspective of analysis of the musical layers of his pieces. The study emphasizes how the universal language of music is of a crucial importance for building a dialogue based on education, cultivation of memory, and restoration of identity.

scholarly journals SOUTH KOREAN TV SERIES IN THE SERVICE OF MUSIC EDUCATION

2020 ◽  
Vol 16 (3) ◽  
pp. 133-156
Author(s):  
SERGEI A. AIZENSHTADT ◽  
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Symphony Orchestra ◽  
Working Environment ◽  
The South ◽  
Musical Culture ◽  
Musical Life ◽  
Modern Culture ◽  
South Korean ◽  
Serial Films

In this article we study forms and methods used to popularize western classical music in a South Korean TV series. The main subject of analysis is the TV series Beethoven Virus (2008) devoted to a symphony orchestra in a fictional South Korean city. The main purpose of this TV series is the promotion of classical music, and the author of the article comes to the conclusion that its popularity among Korean audience is explained by its engaging, convincing artistic methods with respect to national cultural specificities, which were used to show the working environment of professional musicians. The series reveals real problems of modern Korean musical culture: “crisis of overproduction” of academic musicians; discrimination of graduates of South Korean musical educational institutions; prejudice that classical music is only for the rich. The author emphasizes that immersion into the atmosphere of professional musical life allows the viewers to apprehend the educational value of the TV series more clearly. Beethoven Virus demonstrates traditional Korean attitude towards European classical music determined by the Confucian roots; and at the same time, it depicts changes in the modern culture conditioned by gradual departure from traditional values. The two main characters — the young and the old conductors — symbolize the old and the new in the Korean musical culture. They interact in a traditional eastern way: the new spirit does not openly conflict with the established convention, but sprouts from it. The author suggests that the music is explained in the film through emotional associations which let the viewers fully perceive the musical idea. The author believes that this method, compared to other ways widespread in the West, corresponds to the nature of the specific sensation of European classical music associated with Confucian cultural roots. An opinion is expressed that methods of music education used in Beethoven Virus were chosen in accordance to the South Korean serial genre traditions: leitmotivs in the soundtrack and gesture clichés are of particular significance here. The author suggests that the South Korean experience of promoting musical classics by means of serial films can be used abroad — given that the differences in mentality and realities of musical life are taken into account.

scholarly journals PERSON OFJERZY GACHE THROUGH THE PERIODICALS IN THE 20-30TH YEARS OF THE XX CENTURY

2020 ◽  
pp. 42-48
Author(s):  
Oksana Lehkun
Keyword(s):  
Music Education ◽  
Interwar Period ◽  
Educational Institution ◽  
Symphony Orchestra ◽  
Music Teacher ◽  
Teacher Leader ◽  
Creative Activity ◽  
Musical Culture ◽  
Cultural Life

The article is based on the analysis of publications of periodicals in the 20-30th of the XX century the character and musical and creative activity of Jerzy Gache, one of the most active figures in the cultural life of Kremenets’ region of this period is characterized. The pedagogical activity of Jerzy Gache, who for 20 years worked as a music teacher, leader of the symphony orchestra and choir of the Kremenets’ Lyceum of the interwar period, was investigated. The geography of the concert performances and the repertoire of the musical groups of the educational institution is considered. It was found that being a head of the department of the Lviv Music Institute, which operated at the Kremenets’ Lyceum, and a teacher of the Musyczne ognisko wakacyjne, contributed to the deepening of music education in Kremenets’ region. Publications in periodicals of the 20-30s of the XX century. reveal the importance of musical auditions that took place on the initiative of Jerzy Gache, in deepening the musical culture and artistic and aesthetic education of the students of the Kremenets’ Lyceum. Based on the publication in «Życie Liceum Krzemienieckiego», the role of Jerzy Gache as the organizer and leader of the Volyn Symphony Orchestra was determined, the repertoire and concert performances of the collective were traced. It has been found out that the artist's participation in public and cultural and educational events is evidence of his active position in the music and educational life of the region. Key words: Kremenets’ Lyceum, Jerzy Gache, Volyn Symphony Orchestra, pedagogical and concert activities.

The Global Open Society: Civilizations and Cultural Interpretations

2019 ◽  
Author(s):  
Algis Mickunas
Keyword(s):  
Mass Media ◽  
Cross Cultural ◽  
Mutual Understanding ◽  
Cultural Communication ◽  
Open Society ◽  
Cultural Interpretation ◽  
Critical Questions ◽  
Cross Cultural Communication ◽  
The Way

Mass media are global and involve numerous and varied cultures whose customs, languages, beliefs, and arts are different. The differences require bridges for mutual understanding, and such bridges are offered as cross-cultural communication. The latter point raises a question of translation and interpretation, showing how cultures are suppressed, absorbed by other cultures, or how they survive. Historical examples will be provided to form basic canons for an understanding of cross-cultural interpretation. The analyses of interpretation suggest that cultures belong to civilizations with more fundamental and more encompassing structures, capable of providing frameworks for their own cultures. At this level, cultures become symbolic designs of a given civilization. With this turn, cross-cultural communication is shifted toward comparative civilizations and their capacity to offer more fundamental frameworks of cross-cultural communication. Moving through major theories of comparative civilization, the critical questions are as follows: Does a specific theory favor the structure of one civilization over others, and does it contain features that do not belong to other civilizations? In brief, do scholars of civilizations assume the concepts of their civilization and contextualize all other civilizations in one context? In spite of these questions, civilizations, by virtue of their cultures as symbolic designs, offer phenomena that allow the formation of basic rules available in all civilizations. By comparing such rules, it is possible to decipher the way that such rules form the communicative ground at the level of cultural symbolic designs as interpretations of the broader structures—civilizations.

scholarly journals Chinghiz Aitmatov’s Humanistic Principles in On-Screen Interpretations: A Dialogue of Cultures

2018 ◽  
Vol 15 (5) ◽  
pp. 556-565
Author(s):  
Natalya B. Kirillova
Keyword(s):  
Cultural Identity ◽  
Research Topic ◽  
World Community ◽  
The Third ◽  
The Sixties ◽  
Historical Comparative ◽  
Social Upheaval ◽  
Literary Classics ◽  
Artistic Image ◽  
Thaw Period

The purpose of this article is to actua­lize the humanistic principles of Chinghiz Aitmatov (1928—2008), one of the brightest writers and humanists of the 20th century, whose 90th birth anniversary is being celebrated by the world community. The article considers the problems of on-screen interpretations of Chinghiz Aitmatov’s works in the Soviet and post-Soviet periods. The author considers interpreting of literary classics not only as a “translation” of a work from the language of one art into the language of another, but also as a “dialogue of cultures” (according to M. Bakhtin) — in this case, the book one (culture of the word) and the screen one (audiovisual culture). The article uses the historical-comparative and interdisciplinary methods: the artistic and cultural approaches are combined with the method of lite­rary analysis of texts. The chosen research topic is relevant due to both the revival of interest in Ch. Aitmatov’s works, which raised the problems of “cultural me­mory” and “cultural identity” to the rank of universal, and the increase of scientific interest in the issues of on-screen interpretations. The article analyzes the films by A. Konchalovsky, G. Bazarov, L. Shepitko, I. Poplavskaya, S. Urusevsky, T. Okeev, B. Shamshiev, K. Gevorkyan, B. Karagulov, and other directors who filmed Aitmatov’s prose. The author concludes that on-screen interpretations are able to “actualize” and “moder­nize” the classics in the era of globalization; and the task of the interpreter is extremely complex and responsible.The article has three main sections. The first one, “In Line with the ‘Sixties’”, considers the proximity of young Aitmatov’s works to the search and discovery of the artists of the “Thaw” period. The second one, “How a Man Can Be a Man...”, reveals the features of the worldview of the writer who rethinks the Soviet reality, which changes the atmosphere of the films based on his works. In the third section “From Drama to Philosophical Parable”, the author focu­ses on the strengthening of moral and philosophical problematics in Aitmatov’s works, which complicates the artistic image of on-screen adaptations and makes them a kind of mirror of the era of social upheaval.

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