THE HISTORY OF THE DEVELOPMENT OF THE MUSICAL CULTURE OF BASHKIRIA IN THE 1950S - MID-1980S

In the 1950s-1980s. the musical culture of Bashkiria was further developed, acquiring specific forms. As a result of the influence of various musical cultures, forms of professional art that were not inherent in traditional national culture were actively developing in the republic. Historically, the artistic and aesthetic experience of Bashkiria was limited to monodic forms of folk music (monophonic songs and instrumental tunes). The problem of overcoming the predominance of traditional monody in professional musical culture was urgent. Having adopted and creatively using the best traditions of classical and Soviet music, Bashkir professional music has gone an accelerated path from traditional monophonic folk music to complex genres of professional art. For several decades, such genres as opera, symphony, ballet were created in Bashkiria. Already in 1950-1970. a national style is formed on the basis of the creative implementation of folklore and the interaction of national and international in musical art. In the 1960s. against the background of the continuous interest of Bashkir composers in chamberinstrumental and chamber-vocal genres, the center of gravity is shifting to the field of musical-theatrical, symphonic music. In the musical life of the republic, great importance was attached to the popularization of musical culture. Bashkir radio paid great attention to the promotion of musical knowledge and works. Back in the early 1960s. musical and educational programs were conducted in the Bashkir and Russian languages, concerts of Bashkir, Chuvash and Russian composers were broadcast. Often, the radio played works by amateur composers with the participation of the authors themselves. At the same time, with the huge genre diversity of the musical culture of Bashkiria, significant and talented works of many authors remained outside the active cultural life, unable to popularize them and bring them to the mass audience. As a result, a serious gap was noticeable between the musical culture itself and its consumer. The low level of culture of perception of music by the population, due to the lack of professional musical education, formed preferences for pop, popular music.

Friendship of Well-known and Undeservedly Forgotten Masters in Late 19th and Early 20th Century Russian Piano Music. The Life and Work of Medtner, Rachmaninoff, and Scriabin

"In this study, I explore the life and work of three outstanding pianists and composers in the late 19th and early 20th century: Medtner, Rachmaninoff, and Scriabin, who were not only contemporaries and colleagues but also supportive friends to each other. All three were largely influenced by their years at the Moscow Conservatory, where they became prominent pianists and first showed promise as composers. They received similar impulses and could learn from the same teachers. As a defining common element in their lives, they explored and strived to combine Russian musical traditions and Western classical music. At the same time, their different personalities are apparent from their music, so despite their common roots, their individual musical language is unmistakable. Even at the beginning of their careers, it was clear that despite the commonalities, their lives and careers took a different direction. All three tried their luck abroad, but only Scriabin returned home for the rest of his short life. In addition to their distinct life paths and musical language, their recognition is quite different. Scriabin’s name sounds familiar to many, but he does not belong to the most popular composers of our time. Rachmaninoff’s widespread popularity can be observed among professional musicians as well as the public. In contrast, it is not impossible to meet a professional for whom Medtner’s music is unknown. This is not necessarily explained by disparities in talent and abilities but rather by differences in circumstances, opportunities, and personalities. In this study, I attempt to shed light on the reasons for the three composers’ contrasting popularity from the perspective of their life and work. Keywords: Russian composers, Russian music, Late 19th, and early 20th century, Rachmaninoff, Scriabin, Medtner "

Psychiatric and other Diseases of Russian Composers

In this article the authors are presenting medical diseases of the Russian composers. On the first place the authors analyzed “The Five” (M. A. Balakirev, A.P. Borodin, C.A. Cui, M.P. Musorgski and N. Rimski-Korsakov). “The Five” created special and different musical expression in the contrast to the rest of the Europe. Their work is a spontaneous continuation of one tradition and also the inspiration for the other composers. The other 29 Russian composers and their patographies are presented chronologically.

ANTHROPOLOGICAL DIMENSIONS OF THE MODERN MUSICAL ART OF EASTERN EUROPE

The peculiarities of the world model and the human model in the Eastern European music art of the postmodern era were revealed. The research is based on a hermeneutical analysis of the contemporary Russian and Ukrainian composers’ works. The research method builds on the systematic and historical approaches. It allows to consider the individual musical text as a subsystem of a higher order system. The sociocultural context was considered. The scientific novelty consists in revealing the specifics of the Eastern European artists’ worldview of the last third of the XX and beginning of the XXI centuries. It is the consequence of studying their creativity in an anthropological dimension. The anthropological essence of the music of contemporary Ukrainian and Russian composers lies in a certain inconsistent polarity. The polarity is represented by the ironic and fragmented worldview combined with the religious quest. The awareness of the chaos and apocalyptic culture is combined with the religious support in its various manifestations. Therefore, the character in modern music has a dual essence. He is both marginal and a personality with strong spiritual support. In the works of contemporary Russian and Ukrainian composers, two postmodern worldview poles are organically combined: a destructive worldview and a desire for harmony. This polarity is caused by the crisis mentality of the modern post-totalitarian society.

Transcription for a synth keyboard (the case study of the work of A. Artemiev, V.Martynov, Yu. Bogdanov - the disc “Metamorphoses”)

The author analyzes the experience of transcription of the compositions of J. Bull, C. Monteverdi, J. Bach, C. Debussy and S. Prokofiev for a synth keyboard Synthi 100 done by the Russian composers A. Artemiev, V. Martynov, Yu. Bogdanov in 1980, and released on the disc “Metamorphoses”. The author also considers the composers’ range of artistic tasks and sound solutions and the variants of work with the texture of the original compositions. The electronic interpretations, contained in the “Metamorphoses”, not only demonstrate the examples of transcribing the original text for a synth keyboard, but also illustrate the 4 criteria of electronic music formulated by K. Stockhausen: unified temporal structuring (a common temporal field), the disintegration of sound, a multidimensional spatial composition, and the equality of the tone and the noise.  In spite of the fact that the transcription of classical music pieces for a synth keyboard was carried out by the Russian composers several decades ago, this experience hasn’t been studied yet. Probably, it is explained by the fact that the analysis and description of electronic music using traditional means is complicated, since the material under study is not noted: all transformations carried out by the interpreter are fixed only in the audiorecord.  The analysis of transcriptions is complicated by the fact that electronic instruments are regularly upgraded and transformed, and therefore their artistic capacity is increased. The change of instruments caused the transformation of approach to music art. The article analyzes the transformation of the author’s text, the transformation of a piano texture into the electronic score, and the role of the arranger as a co-author of the composition.  

AZERBAYCAN BESTECİLERİNİN ESERLERİNDE ETÜD TÜRÜ THE GENRE OF ETUDE IN THE WORKS OF AZERBAIJANI COMPOSERS

The etude genre is one of the examples characterized by the emergence of different types of music that develop at certain stages of musical art. Although the introduction of studies as an independent genre in musical literature dates back to the XVII-XVIII centuries, its main function in the development of piano art was already present in other musical genres. The next stage in the development of the study genre is related to the work of the Romantic Movement representatives F.Chopin, R.Schumann, F.List. The acquisition of new features of the genre is due to the work of Russian composers. Thus, with the increase in the content features of art-concert studies, new features such as programming and integration with other genres were observed in Russian music. Interest in piano in Azerbaijan in the late 19th and early 20th centuries first appeared in aristocratic strata, but gradually spread to a wider area. The development of the art of performing on the piano also influenced the creativity of the composer an gave impetus to the formation of the national repertoire for this instrument. Although the etude genre in the works of Azerbaijani composers is not common in the works of European and Russian composers, there are important examples only in the early stages of the formation of miniatures. Azerbaijani composers E.Nazirova, F.Guliyeva, A.Azizov, A.Abbasov, Niyazi, J.Hajiyev, R.Shafag, Kh.Mirzezadeh and others managed to create interesting examples of this genre. One of the main features of the analysis of Azerbaijani somposers etudes is that these examples are pioneered for educational purposes. For this reason, some of the studies we analyzed (M.Mirzayev, J.Hajiyev etc.) are aimed at the first stage of music education with its small volume and simple structure. Studies of relatively large artistic and technical complexity (E.Nazirova,Niyazi,F.Guliyeva) are suitable for the upper classes of music schools. Although the evolution of the study genre and the features of its various genres are not embodied in these works with the splendour seen in the works of European and Russian composers, Azerbaijan is an interesting example of piano music in its educational repertoire. As a result, we can say that the etude genre is not a special development stage in the works of Azerbaijani composers, but each of the existing examples is important in the formation of the aesthetic tastes of young pianists, musical performances on a national basis, and it is successfully applied in the educational repertoire.

COMPOSITIONAL-DRAMATIC FEATURES OF THE SONATA FOR OBOE AND PIANO BY F. POULENC

Backround. Chamber instrumental music by F. Poulenс is a bright, original and important part of the composer’s creative heritage. The sonata genre, represented by ten works for different instruments, occupies a special place in it. F. Poulenc’s appealed to it throughout his career, so studying samples of this genre belonging to different periods helps to trace the evolution of F. Poulenc’s compositional style. However, despite the widespread popularity of performers, chamber and instrumental works by F. Poulenс are not sufficiently covered in music studies. The purpose of the article is to reveal the compositional and dramatic features of the Sonata for oboe and piano by F. Poulenс. Results. Some specific techniques characteristic of S. Prokofiev’s works as a sign of respect for the Russian composer are used in the Sonata for the oboe and piano by F. Poulenc. This work has a genre and narrative-psychological program, as evidenced by the names of the movements: “Elegy”, “Scherzo”, and “Sorrow”. The title of the first movement – “Elegy” – means “mourning song” in Greek. This genre is quite common in the works of Russian composers. It seems legitimate that, in devoting his sonata to S. Prokofiev, F. Poulenc gave the first movement a title related to Russian culture. Songful, clear in structure melody is harmonized with the involvement of transitions to the distant keys. The second movement of the Sonata – “Scherzo” – contrasts sharply to Elegy. Exquisite harmonies and complex polyphonic combinations are replaced by monophony. If in the first movement the text of the piano part indicated the use of a soft deep carcass, the second movement applied a sharp, sometimes too rough, martellato. Elegy’s sophisticated agogics are destroyed by “iron” metricity, precision, and regular Scherzo’s accents. The Scherzo genre is interpreted here in a sharp grotesque way. The introduction begins in the dynamics of f and has a rigid rhythm. The parts of both instruments are completely equal. The endsections of Scherzo are steeped with “hypnotic” rhythmic movement. The middle section of the second movement is lyrical. The thematicism of the Scherzo middle section refers to the lyrical pages of S. Prokofiev’s work. The semantic center of the entire sonata for the oboe and piano by F. Poulenс is the third movement – “Sorrow”, which is a kind of musical epitaph. Created shortly before the composer’s death, the sonata can be considered one of thefinal results of his career. Perhaps this is not only a tribute to S. Prokofiev, but also a musical monument to himself. The textual presentation of the third movement is reminiscent of the choral. The melodic basis of the sonata finale is a set of intonations that are associated with spiritual singing of the Orthodox tradition. The main theme is exhibited in piano solo and has a mournful character, almost completely surreal. Conclusions. F. Poulenc’s Oboe and Piano Sonata is a three-movement cycle that has a genre and psychological program, as evidenced by the names of the movements. None of them uses the sonata form itself. All movements have a threesectionreprise structure. This, along with the program, points to the influence of suite logic, which fits into the tendency for the genre to be renewed in the 20th century, including combining the sonata genre with others. Working with different genre models and their hybrids is also a reflection of the neoclassical trends of 20th-century music that have always been inherent in F. Poulenc’s work. Signs of influence of Russian composers – S. Prokofiev, I. Stravinsky, M. Mussorgsky – are manifested not only at the level of thematicism, quotations, intonational allusions, types of texture presentation, but also at the level of dramaturgy. Thus, the interaction of lyrical and grotesque musical images in the second part is reminiscent of the conflict of love and enmity in S. Prokofiev’s ballet “Romeo and Juliet”.

Boris Tishchenko and the new generation of Soviet composers of the 1960s: political and economic context

The subject of this research is the period of the Russian symphonic music of the early 1960s. The scene saw the emergence of a new generation of composers – the so-called “Sixtiers”, making themselves known with remarkable artistic achievements, novel and modern musical language. Emphasis is place on such aspects of the topic, as the system of music education that established in the Soviet Union by the mid XX century, sustained material affluence of the Soviet composers, and ideological pressure of the government in return for such care. Special attention. Special attention is given to the new artistic opportunities for the young Russian composers that emerged as a result of the political “thaw”. The scientific consists in introduction into the scientific discourse of a wide range of memoir literature and critical articles of the representatives of the “new wave” movement, as therefore, a more comprehensive understanding of the complex processes that unfolded in the Soviet academic music. A detailed analysis is conducted on the role and place in the struggle for “new music” of the youngest musician out of the “Sixtiers” – a prominent Russian symphonist of the XX century Boris Ivanovich Tishchenko (1939 – 2010). The main conclusion is reflected in the thought on a certain triumph of the School of Soviet Composers and the system of music education, which is most clearly described by the last three decades of the existence of the Soviet Union.

EXPANDING THE CIRCULATION OF FOREIGN STUDENTS IN THE ASPECT OF SOCIO-CULTURAL EDUCATION

The article provides a methodological description of the lesson on the topic "Music and We: Famous Russian Composers" using regional material of a socio-cultural nature. At the beginning of the lesson, a system of goals and objectives is given, aimed at the formation and development of knowledge, abilities and skills. Then the structure of the lesson is given, indicating the test material on the stated topic and comments on each part. The lesson is based on a mini-lecture by the teacher about famous Russian composers (P.I.Tchaikovsky, M.I. Glinka, I.P. Mussorgsky, S.V. Rachmaninov, G.V. composers, fragments of their musical works. The teacher can choose the composer himself, about whose life and work the text will be read. The indispensable condition is the use of regional material. So, in this particular lesson, the author proposes to include information about G.V. Sviridov, who is directly related to the Kursk province, where he was born and received his primary musical education. In addition, folk musical traditions characteristic of this region are reflected in his work. The Kursk School of Music bears the name of the famous Kurian composer. The story about the Kursk composer can be accompanied by a presentation depicting streets, buildings, monuments associated with the name of the composer and familiar to students.