MUSICAL AND AESTHETIC VIEWS OF V.F. ODOEVSKY

2021 ◽  
pp. 166-185
Author(s):  
Svetlana Gudimova ◽  
Keyword(s):  
Musical Composition ◽  
Music School ◽  
The Public ◽  
Old Russian ◽  
Russian Music ◽  
Music Theorist

Vladimir Fedorovich Odoevsky (1804-1869) was a man of truly encyclopedic knowledge and interests: writer (author of the first philosophical story in Russia and SF), philosopher, scientist, educator, popularizer of science, inventor, music theorist, researcher of Old Russian song art, founder of professional musicology in Russia, pianist, composer. This article deals only with his musical and aesthetic activities. Odoevsky was a Schellingian philosopher and fully shared the concept of art of the early German romanticists, in unison with whom he opposed the dogmas of rationalist classicist aesthetics. He is characterized by the romantic affirmation of music as the highest science and highest art. Odoevsky made a huge contribution to the formation of the Russian musical school. Paying special attention to specific forms of nationality in a musical composition, he constantly emphasizes that the composer's borrowing of folklore material without vivid melodic images only leads to a handicraft «cobble together» the rented material. The music critic does not miss a single attack by semi-literate scribblers directed against Glinka, Dargomyzhsky and other representatives of the Russian music school; he is engaged in musical enlightenment of the public. At the end of his life, Odoevsky wrote with hope: «The thought that I have sown today will rise tomorrow, in a year, in a thousand years…».

Regarding Electronic Music

Tempo ◽  
1966 ◽  
pp. 2-11 ◽  
Author(s):  
Aurelio de la Vega
Keyword(s):  
Twentieth Century ◽  
Electronic Music ◽  
Aesthetic Experience ◽  
The Other ◽  
Musical Composition ◽  
Electronic Medium ◽  
The Public ◽  
The World ◽  
Twentieth Century Music ◽  
Long Time

For a long time now—long when we consider the quick, changing time-scale of our days—electronic music has been with us. The public at large usually remains cold, confused or merely dazed when faced with any new aesthetic experience. Critics, musicologists and the like still seem, as usual, to be unable to predict what will happen to this peculiar, mysterious and often anathematized way of handling musical composition, while many traditionally-minded composers consider it a degrading destruction of the art of music. On the other hand, the electronic medium seems to attract a long, motley caravan of young, inexperienced and often unprepared ‘beatnik type’ self-titled composers, who believe that the world began yesterday and that you only have to push buttons and prepare IBM cards to obtain magical results. Probably not since Schoenberg proclaimed the equal value of the twelve semitones of our sacred but by now obsolete tempered scale has twentieth-century music been faced with such a bewilderment.

scholarly journals Music education in the context of new information and distance technologies

2021 ◽  
pp. 127-132
Author(s):  
Evgeniya R. Toropkova ◽  
Keyword(s):  
Music Education ◽  
Information Technologies ◽  
New Technologies ◽  
Educational Process ◽  
Children's Art ◽  
Music School ◽  
Russian Music ◽  
New Information ◽  
Musical Scores ◽  
Art Schools

The article is dedicated to the analysis of forms and methods of application of information technologies in the educational process of children’s art schools in the implementation of programs in the field of musical performance. The article considers the synthesis of the unconditional preservation of the existing traditions of the primary level of the Russian music school and the methodological expediency of using new technologies in the educational process of children’s art schools. Specific software developments, electronic educational resources are proposed for use, the application effect in the educational process is described. The article shows that the introduction of new musical information technologies provides additional opportunities for musicians when working with musical scores, orchestral parts, when performing creative tasks in subjects of the theoretical cycle. The article also discusses and analyzes the interactive educational programs of the series «Playing with Music».

scholarly journals Features of teaching piano in pop-jazz style

2020 ◽  
pp. 135-138
Author(s):  
T. V. Sachkova ◽  
Keyword(s):  
Music Education ◽  
Approaches To Teaching ◽  
Traditional Methods ◽  
Music School ◽  
Music Schools ◽  
Russian Music ◽  
The Past ◽  
Piano Repertoire ◽  
Jazz Style ◽  
And Training

Russian music school has undergone major changes over the past 20–30 years. The emergence of mass musical styles and genres and their huge popularity, the opening of pop and jazz faculties and training areas, as well as private music schools and studios – all this aff ects the approaches to teaching piano in modern preprofessional music education. The approaches to the development of performing piano skills described in this article include not only traditional methods of studying the academic piano repertoire, but also methods of development in pop and jazz stylistics, using which one can achieve both improved fluency and the development of new sound skills.

scholarly journals Komposisi Karawitan dalam Perspektif Estetika Posmodern

2020 ◽  
Vol 3 (2) ◽  
pp. 181-200
Author(s):  
I Komang Sudirga
Keyword(s):  
Data Analysis ◽  
Qualitative Method ◽  
New Music ◽  
Musical Composition ◽  
The Public ◽  
The Aesthetic ◽  
Musical Understanding ◽  
Aesthetic Characteristics ◽  
Document Review ◽  
Aesthetic Concepts

Purpose: This article examines some works of musical composition which are dissected by the aesthetic approach of postmodernism. Research methods: The method used is a qualitative method by collecting data through observation, literature review, and document review (discography). Data analysis uses tri angulation of data from raw data collection (scripts), selection, processing, to drawing conclusions. Results and discussion: The idioms along with the aesthetic characteristics of postmodernism are applied to uncover the phenomenon of postmodernity in musical compositions with diverse ideas and perspectives. Even now, there have been a variety of new terms such as new music for new gamelan which are conceptually not familiar to the public and need to be discussed further.Implication: Various musical phenomena as well as aesthetic concepts have moved towards musical progression which not only breaks down shapes and structures but also musical understanding that has undergone a paradigm referring to the 'deconstruction' concepts of the search for identity in the era of local-global aesthetic struggles.

scholarly journals Contribution of the “Mighty Bunch” Composers to the Development of Russian Music Pedagogy of the XIX Century

2020 ◽  
pp. 201-211
Author(s):  
Lyu Nanqiao
Keyword(s):  
Music Education ◽  
Educational Institutions ◽  
Creative Work ◽  
Music Pedagogy ◽  
Music School ◽  
Russian Music ◽  
Aesthetic Ideas ◽  
Xix Century ◽  
The 19Th Century ◽  
Conceptual Foundations

The article considers the pedagogical component of the activity of the composers of the “Mighty bunch” — M. A. Balakirev and N. A. Rimsky-Korsakov, who had a significant influence on the formation and development of Russian music education. Developing the musical and aesthetic ideas put forward by the creative work of the kuchkists, both representatives of the “New Russian music school” justified progressive pedagogical attitudes and principles that are in great demand in the modern practice of music education. Realizing their pedagogical views in the process of leadership and teaching in such Russian musical and educational institutions of the 19th century as the free music school, the Court singing Capella, the St. Petersburg Conservatory, etc., the above-mentioned representatives of the “Mighty bunch” moved to solve the problem they faced from alternative positions: if Balakirev was characterized by an empirical approach to solving creative, including pedagogical tasks, then Rimsky-Korsakov was able to justify the conceptual foundations and basic provisions of Russian music pedagogy. This article is devoted to the consideration of these provisions.

scholarly journals Creative Work of Novgorod Original Singers as a Reference for Modern Folk-Singing Education

2020 ◽  
Vol 8 (3) ◽  
pp. 159-174
Author(s):  
Marina K. Buryak
Keyword(s):  
Folk Song ◽  
Educational Process ◽  
Pedagogical Practice ◽  
Children's Music ◽  
Music School ◽  
Old Russian ◽  
Singing Style ◽  
Teachers And Students ◽  
Academic School ◽  
High Level

The article presents the theoretical grounding of the folk-singing technologies of Novgorod original singers (authentic performers) as fundamental to the developed author’s methods: intonational-formulaic, vocal-phonatory, polyphonic-specific, local-style. The identified features of authentic intonation-formulaic education and the study resulted singing fund of children’s song folklore became “key” and end-to-end mechanisms in the author’s method of forming and developing skills of sustainable singing intonation with each participant in the educational process aimed at preserving and further developing the traditions of Novgorod folk-song creation. Based on the study of the general-style singing specifics, vocal-phonation and polyphonic texture of ensemble singing of Novgorod authentic singers developed local-style singing classification, which, according to the terminology of the author of the article, Novgorod folk-singing styles are: old Slavic, Old Russian, part singing, as well as four mixed folk-singing styles. The differentiating mechanism of classification is the potential of the applied types of folk vocal phonation, polyphony in the ensemble singing and the type of singing articulation. On this local-style foundation, the author formed a specific Novgorod mixed folk-singing style, combining locally-style folk-singing technologies of Novgorod authentic performers and the academic school of Russian folk singing. This style is used in the singing of teachers and students of the Novgorod Children’s Music School of Russian Folklore. The implementation of the technologies developed by the author in pedagogical practice helps children achieve a high level of singing training and become ethno performer, a future ethnophore and a bearer of Russian local / regional folk song traditions.

scholarly journals Modal Intonation Features of Crowd Scenes in the Operetta “O olmasyn, bu olsun” (“Not that, so this”) by U. Hajibeyli

2021 ◽  
Vol 4 (1) ◽  
pp. 73-88
Author(s):  
Naiba Shakhmamedova
Keyword(s):  
Folk Music ◽  
Contemporary Music ◽  
Historical Analysis ◽  
Point Of View ◽  
Musical Composition ◽  
The Public ◽  
History Of ◽  
Inner World ◽  
Musical Patterns ◽  
First Time

The article analyses the features of the crowd scenes’ structure in the operetta “O olmasyn, bu olsun” (1910) by the outstanding composer Uzeyir Hajibeyli (1885–1948), who founded the Azerbaijani professional composer school at the beginning of the 20th century. In this operetta rich in comic imagery, the composer’s style is reflected in choral scenes influenced by harmonious recitatives and musical patterns and analyzed as a philosophical sphere of reflection of events in the comical plane. He also interprets the development of the operetta genre as a genre of contemporary music in the professional traditions of Western European music in Azerbaijan, as well as the features of intonation that are relevant in Azerbaijani folk music in terms of its structure and thematic focus. The purpose of the research is to analyze the modal features of the operetta “O olmasyn, bu olsun”. For this, the variety of characters available in the work, the line of development of these characters as an issue to study the compatibility of the inner world of characters, given both emotionally and comically, come to the fore. It is also noteworthy that the comparison of moods and intonations in the events taking place in the crowd scenes is naturally reflected here. The research methodology draws attention to the comparative and historical analysis of music theory and history of music, axiological and cultural approaches. Here, the principle of using texts in musical scenes reflects the originality of the composer’s style. Our analysis made it important to consider the research of various researchers who adhere to the principle of secularism. The scientific novelty of the research lies in the fact that for the first time in U. Hajibeyli's operetta “O olmasyn, bu olsun”, an extensive analysis of fret features in crowd scenes with different editions was carried out. The emergence of these features also serves as an example for musicians and composers working in the field of musical composition. Conclusions. The analysis of the modal intonations’ features of crowd scenes in the operetta by U. Hajibeyli “O olmasyn, boolsun” shows the clarity of the intonation principles in Azerbaijani folk music from the point of view of the  correspondence of images. This aspect also shaped the composer’s intonation concept. Musical materials suitable for the composer’s comedy scene explain the different situations of the protagonist. The article draws attention to the combination of images and choral performance used in public scenes, for example, the combination of mood and intonation. The use of historical, musical theory, composition, modal intonation features on the public stage is more consistent with the fret concept created by the composer U. Hajibeyli.

scholarly journals B. Tishchenko’s music to the ballet “Yaroslavna” in the context of the revival of Russian symphonic style in the 1960s–1970s

2021 ◽  
pp. 29-38
Author(s):  
Iurii Eduardovich Serov
Keyword(s):  
Russian Text ◽  
Music Culture ◽  
Old Russian ◽  
Russian Music ◽  
Leading Role ◽  
Ballet Music ◽  
The 1960S ◽  
Modern Era ◽  
Outstanding Work

This article analyzes the music to the ballet “Yaroslavna” by the prominent Russian composer of the late XX century B. Tishchenko (1939–2010). The written and staged in 1974 ballet has become one of the most remarkable musical achievements of that time. Emphasis is palced on the fact that Tishchenko composed “Yaroslavna” using all available modern orchestral means of expression on the basis of the Old Russian text “The Tale of Igor's Campaign”. Tishchenko did not seek stylization of his work, but brought the word of the nameless chronicler closer to modern era. He introduces choir to the ballet music to augment its power. The author features Tishchenko's outstanding work with orchestral texture and various instrumental timbres and colors. The novelty of this research lies in studying the music to the ballet “Yaroslavna” in the context of general vector of the revival of Russian symphonic style in the 1960s–1970s. The author notes the leading role of Boris Tishchenko in this remarkable process. The conclusion is made that the composition turned out to be multigenre, consisting of multiple parts; and that Tishchenko has broadened musical lexicon of the Russian music culture to the maximum. The music to the ballet was saturated with truly symphonic content, opened new artistic paths, and enriched modern orchestral palette.

scholarly journals “On the System of Stravinsky’s Harmony” by Yuri Kholopov

2013 ◽  
Vol 19 (2) ◽  
Author(s):  
Philip A. Ewell
Keyword(s):  
Twentieth Century ◽  
Present Article ◽  
Central Element ◽  
Structural Element ◽  
Entire Life ◽  
Important Concept ◽  
Russian Music ◽  
Early Twentieth Century ◽  
Music Theorist ◽  
Serial Works

Yuri Kholopov is generally regarded as the foremost Russian music theorist in the latter half of the twentieth century. Though he published articles in a wide array of topics, he was happiest when discussing twentieth-century concepts; it was to this end that he devoted a large part of his life’s work. The essay by Kholopov translated in the present article is from 1997, six years before he died. There are several significant points that he makes with respect to Stravinsky’s music. First, Kholopov links a quotation from Stravinsky on harmony to Sergei Taneev’s Invertible Counterpoint in the Strict Style, thus suggesting that by borrowing ideas from Taneev, the Petersburg-based Stravinsky was influenced by the Moscow-based Taneev. This speaks to a possible Russian influence on Stravinsky aside from Rimsky-Korsakov, whose influence on Stravinsky is not in doubt. Second, Kholopov posits a new fundamental “neotonality” in Stravinsky’s music, which exhibits a “central element” (CE) to which all other tones gravitate. Third, Kholopov’s work situates octatonicism into a broader framework of Stravinsky’s compositional practices. Ultimately, it is but one aspect of this music and is not emphasized as a fundamental structural element in Stravinsky’s music, as it is in writings by Arthur Berger, Pieter van den Toorn, and Richard Taruskin, for example. Fourth, in the section on polarity, Kholopov posits that when Stravinsky uses this term in relation to his music, he may have meant to say “stability,” which was a term from the writings of Boleslav Yavorsky that most Russian musicians knew in the early twentieth century. This reinterpretation of polarity sheds new light on this most important concept in Stravinsky studies. Lastly, there is the idea that Stravinsky was, in fact, a serial composer for his entire life. Of course, Stravinsky famously claimed so himself late in life; Kholopov solidifies this claim, traces the evolution of Stravinsky’s serial works, and finds an intriguing four-note series in Firebird.

scholarly journals On creative activity of the master of church-singing art Ivan (Is aiah) Lukos hkov (died circa 1621)

2020 ◽  
Vol 20 (04) ◽  
pp. 72-87
Author(s):  
N. Parfentiev ◽  
N. Parfentieva
Keyword(s):  
Scientific Study ◽  
Structural Method ◽  
Creative Activity ◽  
Old Russian ◽  
Russian Music ◽  
Wide Range ◽  
Art School

The authors of the scientific study summarize and investigate data about one of the most prominent representatives of old Russian music — Ivan (in monasticism — Isaiah) Lukoshkov, son of Trofim. Contemporaries knew him as master of Usol’e (Stroganovs) church singing art school of the 16th—17th centuries. The authors provide an overview of the artworks — Lukoshkov’s chants, and on the example of the most representative of them the creative principles and techniques of this raspevshik (Old Russin composer) are shown. The researchers base their observations and conclusions on the study of a wide range of documentary and narrative sources, church singing manuscripts of the 12th—17th centuries. In the course of the study of the Old Russian music artworks they use the author’s textological formula-structural method.

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