scholarly journals Pierre Boulez and Heinz Holliger: on the problem of transformation of a musical language

2020 ◽  
pp. 27-37
Author(s):  
Nadezhda Andreevna Petruseva
Keyword(s):  
Comparative Analysis ◽  
Music Perception ◽  
Comprehensive Approach ◽  
Cultural Authority ◽  
Musical Language ◽  
Pierre Boulez ◽  
Research Material ◽  
Solo Music ◽  
History Of ◽  
First Time

The article focuses on the problem of transformation of a musical language, the correlation between an esthetic guideline, an invention, a composition technique and a language. The author describes the two strategies of life and work of Pierre Boulez which allowed him to gain significant cultural authority, and enumerates the persons who had influenced Boulez’s esthetics. In a broad esthetic and philosophical context, the author shows the turn from the technique to the language in esthetical and theoretical texts of Pierre Boulez; describes the three concepts of the language, the period of synthesis following the period of rejection, and Boulez’s concerns about the problems of music perception. In the context of Boulez’s thesis about the unity of an invention, a technique and a language, the author considers the piece for viola “Trema” (1981) by Heinz Holliger, Boulez’s adherent. The author uses a comprehensive approach as a combination of elements of comparative analysis, musical phenomenology (focusing of mind on music structures), and hermeneutics (the process of understanding, interpreting). The research material is of a methodical importance for modern educational courses of theory and history of music. The author arrives at the conclusion that Boulez, as well as Kant, directs the concept of art towards Aristotle's category of “poiesis” as “craft and creation”; focuses on the overcoming of the esthetics of rejection (preceding the classic-romantic tradition) in Boulez’s turn to the period of “synthesis” which includes not only the turn from a technique to a language, but also electroacoustic “sound manufacturing”.  The following aspects of Hollinger’s “Trema” are considered for the first time: the idea, the principles of new solo music, the new technique. The author arrives at the conclusion about “Trema” belonging to the “multilayered music epoch” and that radical rethinking of a musical language sharpens communication.   

“Can a Leopard Change His Spots?”: The American Composers’ Fortunes in Nicolas Slonimsky’s Letters to Vladimir Dukelsky

10.34690/26 ◽  
2019 ◽  
pp. 170-189
Author(s):  
А.С. Максимова
Keyword(s):  
20Th Century ◽  
Library Of Congress ◽  
American Composers ◽  
20Th Century Music ◽  
Research Material ◽  
The Usa ◽  
History Of ◽  
First Time

Исследовательским материалом статьи послужили письма Н. Слонимского к В. Дукельскому из Коллекции Вернона Дюка Библиотеки Конгресса США. Впервые публикуются фрагменты писем с 1937 по 1969 год, в которых Н. Слонимский высказывался о музыкальной жизни ХХ века. Кратко освещена история знакомства (1918) и общения Н. Слонимского и В. Дукельского. Тема избранной для статьи переписки - судьбы профессии композитора в США, включая взаимоотношения композитора и дирижера, проблему творческого успеха. В статье освещены некоторые подробности визита Слонимского в СССР. The research material of the article comprise Nicolas Slonimskys letters to Vladimir Dukelsky from the Vernon Duke Collection of the Library of Congress (USA). Large fragments from the letters of 1937 to 1969 which contain Slonimskys thoughts on the 20th century music are being quoted for the first time. The author briefly observes the history of the two musicians acquaintance (1918) and contacts. The correspondence selected for the article embraces such topics as: the profession of composer in the USA, arrangements between composers and conductors, and a problem of public success. The article also contains some details on Slonimskys visit to the USSR.

Anton Grigoryevich Rubinstein and his Russian Publishers

2021 ◽  
Vol 18 (3) ◽  
pp. 284-298
Author(s):  
Elena M. Shabshaevich
Keyword(s):  
Comparative Analysis ◽  
Creative Process ◽  
Historical Research ◽  
National Museum ◽  
Archival Documents ◽  
History Of ◽  
Publishing Houses ◽  
The 19Th Century ◽  
First Time ◽  
Extensive List

The article presents a focused look at the professional relations of the composer and pianist Anton Grigoryevich Rubinstein (1829—1894) with his main Russian publishers — V.V. Bessel and P.I. Jurgenson. The article is based on musical and historical research concerning the history of the Bessel and Jurgenson publishing houses, works on copyright, A.G. Rubinstein’s epistolary, and archival documents from the Russian National Museum of Music. For the first time in music science, there are revealed some pages of the history of personal and business contacts of the three named persons, primarily the conflicts related to the rights to publish the composer’s works in Russia. The first documented contract for the publications of A.G. Rubinstein was received by P.I. Jurgenson (for op. 82, 1868). However, the contract of A.G. Rubinstein with the trading house “Bessel and Co.”, concluded in 1871 (though Rubinstein’s first work had been published by Bessel two years earlier), was much more extensive and significant. Under this contract, it was supposed to publish more than fifty A.G. Rubinstein’s works of various genres, so in the 1870s, V.V. Bessel became the main Russian publisher of the composer. However, in 1879, A.G. Rubinstein unexpectedly changed his main publisher in Russia. This position was taken by P.I. Jurgenson, whose trading house also published an extensive list of Rubinstein’s compositions, as well as his literary works. This is evidenced by several notarized contracts, stored in the Russian National Museum of Music, between Rubinstein and “P.I. Jurgenson” company. Thus, the two leading Russian publishers of A.G. Rubinstein legally formalized their relations with the composer, which allows us to follow, in a reasoned and substantive way, the process of maturation of the institution of copyright for music publications in Russia in the last third of the 19th century.Using the example of A.G. Rubinstein, in comparison with the position of M.A. Balakirev, the article also raises the issue of granting copyright to a publisher not only in Russia, but also “forever and for all countries”. The comparative analysis of publications of the same composer by different publishing companies is also new to Russian musicology, this helps identify certain accents that publishers put in popularizing A.G. Rubinstein’s works. The publication of the composer’s works by various publishers also highlights new aspects in his creative process, in the history of the creation, receipt of the opus number, and the titles of some of his works.

scholarly journals Motet “Jesu, Meine Freude” by Johann Sebastian Bach: Comparative Analysis of Editions of Musical Text

2021 ◽  
pp. 167-181
Author(s):  
Dmytro Savon
Keyword(s):  
Comparative Analysis ◽  
Johann Sebastian Bach ◽  
Historical Reconstruction ◽  
The Third ◽  
Choral Repertoire ◽  
History Of ◽  
Baroque Era ◽  
The One ◽  
First Time

Relevance and scientific novelty of the selected subject for the research. In the Ukrainian musicology, the motets written by Johann Bach were mainly studied from the compositional means standpoint, considering the system of polyphony, the role of chorale and fugue in dramaturgy as well as the composition of works. Scientists have not previously researched the motets performance specificity. Meanwhile, motets, particularly the one reviewed in the article “Jesu, meine Freude”, are among the most frequently performed works of the choral repertoire. For the first time in the Ukrainian musicology, three edited versions of the motet “Jesu, meine Freude” are analyzed from the standpoint of historically oriented performance. Based on the study of editors’ comments and source literature (mostly German), the question of compliance of the musical text with the task of performing reconstruction of the baroque vocal and choral style was studied. The aim of the article lies in the need to find out specificity of the editors’ interpretation of motet “Jesu, meine Freude” written by Johann Bach and suitability extent of different edited versions for the historical reconstruction of the vocal-choral style of the German Baroque. During the development of particular article, such methods were utilized: historical — the history of edited versions of “Jesu, meine Freude” motet was traced, comparative — the comparative analysis of three edited versions of motet “Jesu, meine Freude” written by Johann Bach (Franz Wulner, Konrad Ameln and Mykhailo Berdennykov) was completed. Main results and conclusions. According to the completed comparative analysis, the first two of the three considered edited versions are textual, while the third one is adopted for performing. Textual versions are characterized by the preservation of the composer’s text in the smallest details, including comments to clearly identify the extent of changes made by the editor in the text. The peculiarities of the version adopted for performing contain the large amount of remarks added by the editor, covering dynamic shades, strokes, tempo notation, etc. It is noted that the choice of version type is determined by performance goals: to perform the works of Johann Bach in an authentic manner, the conductor should focus on facsimile versions, and if they are absent (as in the case of the “Jesu, meine Freude” motet), the one should use textual type of edited versions. The version developed for performing cannot correspond to the authentic performing, as the first does not reflect specific tendencies of the time when it was created. It is specified that the conductor should be familiar with the peculiarities of fixing the means of performance in the musical text of the Baroque era.

scholarly journals Franz Brentano’s Influence on Ukrainian Philosophy: A Methodological Introduction to Research

2019 ◽  
Vol 6 (1) ◽  
pp. 125-146
Author(s):  
Stepan Ivanyk
Keyword(s):  
Nineteenth Century ◽  
Comparative Analysis ◽  
History Of Philosophy ◽  
Constructive Method ◽  
Scientific Philosophy ◽  
History Of ◽  
Franz Brentano ◽  
The University ◽  
First Time ◽  
Ukrainian Society

This article ponders, for the first time, the question of whether Austrian philosopher Franz Brentano (1838-1917) influenced the development of the school of Ukrainian philosophy. It employs Anna Brożek’s methodology to identify philosophers’ influence on one another (distinctions between direct and indirect influence, active and passive contact, etc.); concepts of institutional and ideological conditions of this influence are also considered. The article establishes, first, that many Ukrainian academics had institutional bonds with Brentano’s students, especially Kazimierz Twardowski at the University of Lviv. Second, it identifies an ideological bond between Brentano and his hypothetical Ukrainian “academic grandsons.” Particularly, a comparative analysis of works on the history of philosophy of Brentano and the Ukrainian Ilarion Svientsits'kyi (1876-1956) reveals that the latter took over Brentano’sa posteriori constructive method. These results allow to draw a conclusion about the existence of Ukrainian Brentanism, that not only brings new arguments into the discussion about the tradition of and prospects for the development of analytic (scientific) philosophy on Ukrainian ground, but also opens new aspects of the modernization of Ukrainian society in general (from the end of the nineteenth century to the present day).

scholarly journals Theonyms in Safaite inscriptions: preliminary remarks

2021 ◽  
Vol 18 (1) ◽  
pp. 53-61
Author(s):  
Faris O. Nofal
Keyword(s):  
Comparative Analysis ◽  
Present Article ◽  
The North ◽  
History Of ◽  
Oriental Studies ◽  
First Time

The present article reviews the theonyms mentioned in the corpus of Safaite epigraphic inscriptions. For the first time in the history of Russian Oriental Studies, the author conducts a comparative analysis of Safaite, Hismaite and Samudi texts and acquaints the Russian reader with the major deities of the North-Arabian pantheon. On the basis of this analysis, the work marks the two levels of Safaite Olympus: the cosmic one, represented by common Arab deities (al-Lat, Belshmin and Radw), and the tribal one, which includes the mythical characters of Salam, Yath, Dath and gadd-deities. In addition, the author observes the use of the reviewed theonyms by the denizens of pre-Islamic Arabia for the purposes of nomination.

Preposition Repetition in Phrases with Homogeneous Parts of a Sentence in Business Texts of the 18th Century

2020 ◽  
Vol 1 (8) ◽  
pp. 171-184
Author(s):  
A. S. Ulitova
Keyword(s):  
Comparative Analysis ◽  
Russian Language ◽  
Decisive Factor ◽  
History Of ◽  
Language Norms ◽  
Different Origins ◽  
First Time

The question of dialect differences in the use of homogeneous parts of a sentence and prepositions in business texts of the 18th century is considered. Attention is paid to the factors that influenced the preposition repetition in such groups. The results of comparative analysis of peripheral (in particular, Chelyabinsk) and Moscow business texts of the 18th century are presented. The question is raised whether the syntactic role of words in the group under study affected the preposition repetition. Special attention is paid to the duplication of the preposition in a number of stable expressions typical for the business usage of the 18th century. For the first time, the task is to identify differences in the use of repeated prepositions in business texts that relate to different territories. The relevance of the research is due to the fact that it draws readers’ attention to a new aspect in the history of the formation of Russian language norms. It is proved that in the business texts of the 18th century, which have different origins, territorial affiliation was not a decisive factor. The author points out that along with the place where the document was written, the author’s preferences, the functioning of prepositions in formula expressions, the syntactic role of homogeneous members, and the genre of the document may have influenced the duplication of the preposition.

scholarly journals Orthodox joke as a phenomenon of modern Orthodox culture

2021 ◽  
Author(s):  
Olha Smolina
Keyword(s):  
Comparative Analysis ◽  
Folk Culture ◽  
Cultural Consciousness ◽  
Secular Culture ◽  
Cultural Specificity ◽  
History Of ◽  
First Time ◽  
Modern Orthodox ◽  
The Church ◽  
Pastoral Practice

The purpose of the article is to reveal the specifics of the Orthodox joke as a phenomenon of modern Orthodox culture. Methodology. In the context of the culturological approach, the method of comparative analysis, induction, deduction, typology, and classification was used. Scientific Novelty. For the first time the phenomenon of the Orthodox joke was investigated in the context of cultural studies; assumptions were made regarding the time and reasons for its appearance; its sources are highlighted, the typology of the Orthodox joke is proposed; supplemented with data on the cultural specificity of this phenomenon. Conclusions. In secular and folk culture, a joke is a form of uncensored folk art, a sphere of dissent. The Orthodox joke, by contrast, is one of the ways of preachingand does not oppose the official church line. A parable in the form of a joke is more understandable and acceptable to the cultural consciousness of a modern person. The following types of Orthodox jokes are distinguished: curious cases from the history of the church, the life of individual parishes, or pastoral practice; «Children's perception of religion»; «In front of Paradise doors»; «Dialogue between a believer and an unbeliever»; self-irony of Orthodox monks and laity. The development of the genre of the Orthodox joke testifies to the processes of adaptation of the Orthodox culture, which exists under the prevailing secular culture.

scholarly journals Consonantism of Plautdietsch, the language of the German Mennonites of Siberia: the problem of identifying labial phonemes

2021 ◽  
pp. 95-106
Author(s):  
Ye. A. Libert ◽  
K. V. Shindrova
Keyword(s):  
Magnetic Resonance Imaging ◽  
Native Speakers ◽  
Resonance Imaging ◽  
Research Material ◽  
Novosibirsk Region ◽  
Word Forms ◽  
History Of ◽  
North And South America ◽  
First Time ◽  
North And South

This work aims at identifying and describing the articulatory characteristics of the labial-labial and labial-dental consonant phonemes of the language of the Mennonite Germans of Siberia by distributive analysis and magnetic resonance imaging. The language of German Mennonites, referred to as Plautdietsch (self-designation Plotdich), or Mennonitenplatt, has a complex mixed character due to the history of its speakers. Through the centuries changing their place of residence, Mennonites, representatives of a special ethno-confessional community, now live in various countries of North and South America, European countries, and Russia. Of particular interest is the phonetic appearance of this language. For the first time, the description of its phonemic composition is carried out using the methods of experimental phonetics. The research material was collected from two native speakers (Neudachino, Novosibirsk region). Twenty tomograms were described and analyzed using the methodology of the Laboratory of Experimental Phonetic Research named after V. M. Nadelyaev, Institute of Philology, SB RAS. The tomography program comprised eleven word forms, with the target sound in the initial and final positions. The paper provides language material, with series of words in different phonetic contexts, a summary distribution table, and three tables describing the tomograms. Following N. S. Trubetskoy’s rules of phoneme selection, sound analysis identified five labial phonemes: noisy labial-labial mouth-bowed / p/ and / b/, noisy labial-dental mouth-slotted /v/ and /f/ and sonorous nasal-bowed /m/. Also, the analysis of MRI images determined the constitutive-differential features characteristic of the phonetic subsystem of labial consonantism of Plautdietsch.

scholarly journals The chronicles “Tarikh Chachan” by Iznaur Nesserhoev (translation and commentaries)

2021 ◽  
pp. 82-97
Author(s):  
Zelimkhan Adamovich Tesaev ◽  
Khasan Usmanovich Basnukaev
Keyword(s):  
Comparative Analysis ◽  
New Records ◽  
Scientific Research ◽  
Medieval History ◽  
North Caucasus ◽  
Additional Source ◽  
The North ◽  
Introductory Part ◽  
History Of ◽  
First Time

This article is first to examine one of the lists of chronicle that goes under the code name “The Chronicle of the Exodus of the ancestors of the tribe Nahci from the Settlement of Nahcivan" (N. S. Semenov). Iznaur Nesserhoev – scribe of the list – names the chronicle “Tarikh Chachan”, which is taken as the basis in this article. H. U. Basnukaev translated the text of this list of manuscript; Z. A. Tesaev compiled the commentaries on the translation and conducted scientific research relying on analysis of the contents of manuscript and its comparison with other lists. The author carries out a comparative analysis between this version of “Tarikh Chachan” and the previously published materials (N. Semenov, P. Takhnaeva, A. Salgiriev, etc.) is carried out. Publication of the translation and examination of the contents of the manuscript “Tarikh Chachan” are performed for the first time. This article reveals the similarities, discrepancies and new records on the content of a number of other lists of the chronicle under review. The examined text of “Tarikh Chachan” indicated the new, previously unpublished details in the narrative dedicated to the personalities of the Kalmyk Khan – Nowruz Khan along with other Caucasian rulers of Kakhar and Surakat. The author observes the identity of the introductory part of the text and the main plotline in the lists of the aformentioned authors (N. Semenov, P. Takhnaeva, A. Salgiriev, etc.). The conclusion is made that this list of the chronicles "Tarikh of Chachan" is an additional source on the medieval history of the North Caucasus.

scholarly journals Secrets of the Soviet Archive: Buryat Shaman Materials in the Book of B. Rinchen

2021 ◽  
pp. 68-81
Author(s):  
Lyudmila S. Dampilova ◽  
Keyword(s):  
Comparative Analysis ◽  
Point Of View ◽  
Archival Data ◽  
Russian Academy Of Sciences ◽  
Unique Material ◽  
History Of ◽  
Tibetan Studies ◽  
Academy Of Sciences ◽  
First Time

For the first time, the author presents results of her long-term work on comparative analysis of the archive materials included in the collection of shaman texts of the Buryats of Russia “Les materiaux pour L'etude du shamanisme Mongol.” The book was published by academician B. Rinchen in Wiesbaden in 1961. As shaman texts were published without accompanying records, the scientific research cries out for comparison of texts from B. Rinchen’s anthology with archival materials of the Institute of Oriental Manuscripts of the Russian Academy of Sciences (IOS RAS) and those of the Center of Oriental Manuscripts and Xylographs of the Institute for Mongolian, Buddhist, and Tibetan Studies of the Siberian Branch of the Russian Academy of Sciences (COMX IMBTS SB RAS). Shaman materials are considered in the context of ethnocultural history of the Buryats. The author strives to reconstruct the archival data in order to identifying territorial and temporal context. The introduction of this unique material into scientific use seems significant. While working recurrently with shaman materials of the fond 62 of Ts. Zh. Zhamtsarano from the archive of the Institute of Oriental Manuscripts, a comparative analysis of archival materials and texts from the B. Rinchen’s book has been conducted. It has been identified that 19 songs from 56 texts contained in Rinchen’s book were copied from the fond 62 of Ts. Zhamtsarano. In the fond 753 of T. K. Alekseeva from the COMX IMBTS SB RAS 20 more texts have been found, that were included in the Rinchen’s book. The comparative analysis of shaman songs from the Alexeeva fond with Rinchen’s book reveals one major difference (minor variations notwithstanding): the description of rites clarify the text semantics. Repeated search and comparative analysis of materials has allowed the author to conclude that texts from the T. Alexeeva’s fond are not absent in the fond of Ts. Zhamtsarano from the archive of the IOS RAS. Thus, shaman materials published in B. Rinchen’s book can’t originate just from the C. Zhamtsarano fond, as has been formerly assumed. It is quite possible that the book mostly contains poetic songs from the fond of T. K. Alexeeva (90 of 134 pages). Thus textual comparative analysis of songs concludes that T. K. Alexeyva fond is of great scientific interest from ethnographic point of view. It is believed that future researchers may require its data for further research and publication of unique shaman materials with full supplementary records and names of collectors.

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