THE FORM OF THE SUITE IN BALLET AND ITS METRORHYTHMIC ORGANIZATION

2021 ◽  
Vol 1 (4) ◽  
pp. 41-46
Author(s):  
A. V. Galyatina ◽  

The article reveals the peculiarities of metrorhythmic organization of the classical dance cycle (suite), typical for Russian ballet of the XIXth century and its evolution in the early XXth century under the influence of innovations in the field of rhythm in the ballets by Igor Stravinsky. The purpose of this article is to find mechanisms of interaction between dance and music based on coordination of their temporal parameters. The material of analysis is the classical dance cycle that performs both compositional and dramaturgical functions in the ballet. Apart from the metrorhythmic and compositional system of organizing time in ballet music, other types of time can be distinguished: real, psychological (subjective) and conceptual, artistic time organizing the processes of the characters' life cycle and the development of action in the virtual time of the artwork. In a classical dance cycle in each number, real time predominates, but when the numbers alternate, subject to the principle of contrast, the conceptual time has a corrective effect. The alternation of musical and choreographic numbers in a ballet determines the rhythm of the form or "compositional rhythm" (according to V. P. Bobrovsky). The correlation of temporal proportions of numbers is considered on the example of ballets "Swan Lake" by P. Tchaikovsky and "Petrushka" by I. Stravinsky. The compositional unit is the duration of the stage segment of the musical form, the change of which creates the rhythm of the form.

2015 ◽  
Vol 56 (1) ◽  
pp. 71-90
Author(s):  
Daniel-Frédéric Lebon

Following a brief survey into the history of the ballet d’action, the article examines the techniques of musique parlante Dohnányi used in his pantomime Der Schleier der Pierrette. The subcategories illustrated with music examples include the direct speech imitation (focusing on the syllabic and rhythmic structure of single words) and the musical analogy of the question-answer complex. The analytical overview is extended to further indirect categories such as the recitative-like structures (built up not merely on speech, but on an already emancipated equivalent, the instrumental recitative) and the leitmotif technique which – although being more distant from speech – can, in some cases, still be seen as part of musique parlante. In an attempt to describe the position of Der Schleier der Pierrette in ballet music history, the author addresses Béla Bartók’s reception of Dohnányi’s pantomime and distinguishes the tradition followed by Dohnányi from the denial of musique parlante characteristic of the works Igor Stravinsky composed for the Ballets Russes.


2019 ◽  
Vol 31 (6) ◽  
pp. 1817-1822
Author(s):  
Zdravka Hvarkata

The composition “Movements for 13 string instruments” was completed in 1967 and belongs to the group of works by Simeon Pironkov whose titles include the word “music” – “Night music”, which is written the year before, “Ballet music in memory of Igor Stravinsky”, created at the beginning of the ‘70s of the last century, and “Music for two pianos and orchestra”. The external connection is the genre uncertainty of their names, which is equally characteristic of the notion “movements” which emphasizes the continuity of the musical process over time without suggesting a connection to a particular genre. At the same time, unlike the three “music”-s, the plural form used in the title – “movements” – draws attention to the plurality of the musical impulses that make up the whole musical thought. The strength of the 13 string instruments indicates the belonging of the work to the chamber orchestral music and fits it into the objective European tendency towards chamberhood, which was established in the first decades of the twentieth century. Listeners are unexpectedly involved in “Movements for 13 string instruments” to hear about eight minutes 37 of micro-episodes – movements that resemble fast-moving movie frames or short theatrical scenes – before the colorful kaleidoscope of parallel-moving melodic lines, clusters, peculiar rhythmic formulas and characteristic strokes to be abruptly cut off by the “guillotine of the four-bars final” (according to the exact expression of the musicologist Rosalia Bix). The versatility of the used vehicles of expression and the masterful handing of them are important prerequisites for the artistic impact of the work, recreating with a laconic expression part of the ever flowing life stream in the form of a series of changing movements. At the same time, it is also a way of the composers playing with its own creation, an expression of the typical for the 20th century tendency for the art to entertain with its means. In any case, “Movements for 13 string instruments” express the youthful spirit of their creator, because, according to the extremely inventive maxim of the theater producer Nicolay Georgiev, “man has stopped playing not because he is old but he is old because he has stopped playing”.


2015 ◽  
Vol 26 (3-4) ◽  
pp. 116-123
Author(s):  
A. P. Korzh ◽  
T. V. Zahovalko

Recently, the number of published works devoted to the processes of synanthropization of fauna, is growing like an avalanche, which indicates the extreme urgency of this theme. In our view, the process of forming devices to coexist with human and the results of his life reflects the general tandency of the modern nature evolution. Urbanization is characteristic for such a specific group of animals like amphibians, the evidence of which are numerous literature data. Many researchers use this group to assess the bioindicative quality of the environment. For this aim a variety of indicators are used: from the cellular level of life of organization up to the species composition of the group in different territories. At the same time, the interpretation of the results is not always comparable for different areas and often have significantly different interpretations by experts. Urban environment, primarily due to the contamination is extremely aggressive to amphibians. As a consequence, the urban populations of amphibians may be a change in the demographic structure, affecting the reproductive ability of the population, the disappearance of the most sensitive species or individuals, resizing animals, the appearance of abnormalities in the development, etc. At the same time play an important amphibians in the ecosystems of cities, and some species in these conditions even feel relatively comfortable. Therefore, it is interesting to understand the mechanisms of self-sustaining populations of amphibians in urban environments. To assess the impact of natural and anthropogenic factors on the development of amphibian populations were used cognitive modeling using the program Vensim PLE. Cognitive map of the model for urban and suburban habitat conditions were the same. The differences concerned the strength of connections between individual factors (migration, fertility, pollution) and their orientation. In general, factors like pollution, parasites, predators had negative impact on the population, reducing its number. The birth rate, food and migration contributed to raising number of individuals. Some of the factors affected on the strength to of each other as well: the majority of the factors affected the structure of the population, had an influence on the fertility. Thanks to it the model reflects the additive effect of complex of factors on the subsequent status of the population. Proposed and analyzed four scenarios differing strength and duration of exposure. In the first scenario, a one-time contamination occurs and not subsequently repeated. The second and third scenario assumes half board contamination, 1 year (2 scenario) and two years (scenario 3). In the fourth scenario, the pollution affected the population of amphibians constantly. In accordance with the results of simulation, much weaker than the natural populations respond to pollution - have them as an intensive population growth and its disappearance at constant pollution is slow. Changes to other parameters of the model showed that this pollution is the decisive factor -only the constant action leads to a lethal outcome for the populations. All other components of the model have a corrective effect on the population dynamics, without changing its underlying trand. In urban areas due to the heavy impact of pollution maintaining the population is only possible thanks to the migration process – the constant replenishment of diminishing micropopulations of natural reserves. This confirms the assumption that the form of existence metapopulations lake frog in the city. In order to maintain the number of amphibians in urban areas at a high level it is necessary to maintain existing migration routes and the creation of new ones. Insular nature of the placement of suitable habitats in urban areas causes the metapopulation structure of the types of urbanists. Therefore, the process of urbanization is much easier for those species whicht are capable of migration in conditions of city. In the initial stages of settling the city micropopulationis formed by selective mortality of the most susceptible individuals to adverse effects. In future, maintaining the categories of individuals is provided mainly due to migration processes metapopulisation form of the species of existence is supported). It should be noted that the changes in the previous levels are always saved in future. In the case of reorganizations of individuals we of morphology can assume the existence of extremely adverse environmental conditions that threaten the extinction of the micropopulations. 


During his lifetime, Nikolai Rimsky-Korsakov (1844–1908) was a composer whose work had great influence not only in his native Russia but also internationally. While he remains well-known in Russia—where many of his fifteen operas and various orchestral pieces are still in the standard repertoire—very little of his work is performed in the West today beyond Scheherezade and arrangements of The Flight of the Bumblebee. In Western writings, he appears mainly in the context of the Mighty Handful, a group of five Russian composers to which he belonged at the outset of his career. This book finally gives the composer center stage and due attention. In this book, Rimsky-Korsakov's major operas, The Snow Maiden, Mozart and Salieri, and The Golden Cockerel, receive multifaceted exploration and are carefully contextualized within the wider Russian culture of the era. The discussion of these operas is accompanied and enriched by the composer's letters to Nadezhda Zabela-Vrubel, the distinguished soprano for whom he wrote several leading roles. Other chapters look at more general aspects of Rimsky-Korsakov's work and examine his far-reaching legacy as a professor of composition and orchestration, including his impact on his most famous pupil Igor Stravinsky.


Author(s):  
Dzhulyetta Adleyba

In the present edition “The stylistic and poetical-compositional system of a fairy tale” in 2 volumes, the author's works in the field of the study of the stylistic system of a fairy tale, carried out within the framework of an experimental direction in folklore studies, are combined. The study of the problem in this direction was undertaken by the author on the initiative of the outstanding scientist V.M. Gatsak, Doctor of Philology, Corresponding Member RAS, and was conducted over a number of years. The monograph “Oral stylistic foundations of a fairy tale. Experimental study on the abkhaz material”, which constituted 1 volume of this edition “The stylistic and poetical-compositional system of a fairy tale”, is devoted to topical problems of folklore studies, dictated by the urgent need for a comprehensive audio-visual study of folklore style. The work was carried out according to a special methodology, providing for the study of samples of oral poetry in their living existence in the light of the requirements of the experimental direction in folklore with the obligatory use of repeated recordings of fairy texts at different times, as well as film and photo documents. The aim and task of the research is to reveal the peculiarities of the style of fairy tale narration in their conditionality by the laws of preservation and transmission of traditions. The section “Appendices” contains samples of tabular analysis and intonation recording of typed repetitions, a package of film and photographic documents, a disc with a recording of the text being executed and rhythmic segments.


1999 ◽  
Vol 1998 (2) ◽  
pp. 93-114
Author(s):  
Anders Brändström
Keyword(s):  

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