History of Music
Reference:
Serov I.E. —
Requiem for Akhmatova
// PHILHARMONICA. International Music Journal.
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– P. 1 - 13.
DOI: 10.7256/2453-613X.2021.1.34978 URL: https://en. nbpublish.com/library_read_article.php?id=34978
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Review:
The research subject is a monumental semi-orchestral composition created by an outstanding Russian composer of the late 20th century Boris Tischenko “Requiem” with lyrics by A. Akhmatova. A funeral service over Akhmatova was read at the church of St. Nicholas Naval Cathedral in Leningrad on March 10, 1966. The score of the “Requiem” was finished on August 16, 1966. Thus, the composition with the lyrics by Akhmatova has become a tribute to her, a musical offering, and even the first monument not built with hands. The author gives special attention to the symphonic form of the “Requiem”, differences in the interpretations of the poetic theme in the works of Tischenko and Akhmatova, the role of the symphonic orchestra and the leading singers; the author also considers an important issue of a high-quality performance of the hardest scores created by Tischenko. The main conclusion of the research is the fact that Tischenko’s “Requiem” has become an important element in the process of renovation of Russian symphonic style of the 1960s - the 1970s. As a composition, written in a modern language, it has become one of the drivers of this renovation. As such, the composition is a vocal symphony, and the composer develops the symphonic form step-by-step. The scientific novelty of the research consists in the fact that it is the first work in Russian musicology to consider Tischenko’s “Requiem” in detail, to reveal the contensive aspect of the composition, and to analyze the difficulties of performing the composition. The author reasonably reckons the symphonic composition by Tischenko among the most significant pieces in the history of Russian music.
Keywords:
Symphony orchestra, tenor, soprano, Symphony, Requiem, Dmitry Shostakovich, Anna Akhmatova, Boris Tishchenko, poetry, drama
References (transliterated):
Boris Tishchenko: Brodskiy byl tolstyy tsenitel' muzyki // Classical Music News [elektronnyy resurs]: https://www.classicalmusicnews.ru/interview/boris-tishhenko-2010 (data obrashcheniya: 04.01.2021).
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Burdina S. V. Bibleyskie obrazy i motivy v poeme A. Akhmatovoy // Filologicheskie nauki. – 2001. – ¹6. – S. 3–12.
Basalaeva N. Miry smyslov v prostranstve vremen i kul'tur: «Rekviem» B. Tishchenk
Philosophy of Music
Reference:
Rykunin V.V. —
The first jazz gramophone record: the music of the moment which became timeless
// PHILHARMONICA. International Music Journal.
– 2021. – ¹ 1.
– P. 14 - 22.
DOI: 10.7256/2453-613X.2021.1.35023 URL: https://en. nbpublish.com/library_read_article.php?id=35023
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Review:
Jazz is the first type of music art the earliest stage of development of which had been recorded. A single play recorded in 1917 by the quintet Original Dixieland “Jass” Band from New Orleans is known in history as the first jazz record. There’s a perception in the academic community that the musical material on this record can hardly be considered as a typical representative of jazz music of that period. The music was performed by the white musicians, though most first jazz bands were black, and the music was far from a real solo improvisation. However, it was not typical in the first place because it had been recorded. The research subject of the article is the influence of sound recording technology on jazz culture at the stage of its foundation.
In those years, if jazz musicians wanted to make a recording they had to bear in mind numerous peculiarities of sound recording technology. The author gives special attention to the analysis of the consequences of reproducibility of a recording for jazz musicians, and for the audience’s perception. As a research methodology, the author uses the comprehensive approach which includes the study of historical sources and jazz musicians’ memoirs related to the sound recording industry. The research proves that audio recordings are not sufficient as a source for critical research of the first jazz gramophone record, and suggests alternative approaches to its interpretation.
Keywords:
Henry Ragas, Nick LaRocca, ODJB, phonogram, sound recording, pop music, jazz, Larry Shields, Edwin Edwards, Tony Sbarbaro
References (transliterated):
Batashev, A. N. Sovetskiy dzhaz. Istoricheskiy ocherk / A.N. Batashev ; – Moskva: Muzyka, – 1972. – 173 s. – Tekst : neposredstvennyy.
Ignatov, P. V. Evolyutsiya sredstv khudozhestvennoy vyrazitel'nosti v tvorchestve zvukorezhissera : spetsial'nost' 17.00.09 «Teoriya i istoriya iskusstv»: dissertatsiya na soiskanie uchenoy stepeni kandidata iskusstvovedcheskikh nauk / Ignatov Pavel Vyacheslavovich ; Sankt-Peterburgskiy gumanitarnyy universitet profsoyuzov. – Sankt-Peterburg, 2006. – 193 s. – Tekst : neposredstvennyy.
Berton, R. Remembering Bix: A Memoir of the jazz age / R. Berton ; – New York: Harper & Row, – 1974. – 472 p. – Text.
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Donegall. The marquis of donegall reminisces on the ODJB / Donegall. – Text // Jazz Tempo ; editor J. Rowe, – London,
Hermeneutics, Semantics and Musical Meaning
Reference:
Tereshchenko V.P. —
// PHILHARMONICA. International Music Journal.
– 2021. – ¹ 1.
– P. 23 - 36.
DOI: 10.7256/2453-613X.2021.1.34936 URL: https://en. nbpublish.com/library_read_article.php?id=34936
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Keywords:
Taneev, cantata, musical semantics, Khomyakov, Christianity, allegory, symbol, metaphor, microcosm, macrocosm
References (transliterated):
Bernandt, G. S. I. Taneev. — M.–L.: Muzgiz, 1950. — 379 s.
Keldysh, Yu. V. Novye knigi o Taneeve i Rakhmaninove // Sovetskaya muzyka. 1948. ¹6.
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Protopopov, Vl. Tvorcheskiy put' Taneeva // Pamyati Sergeya Ivanovicha Taneeva. M.: Muzgiz, 1947. — S. 60-102.
Aminova, G. U. Zhanr kantaty v tvorchestve S. I. Taneeva (k voprosu o natsional'nykh istokakh stilya kompozitora) // Khudozhestvennye zhanry: istoriya, teoriya, traktovka. — Krasnoyarsk: KGII, 1996. — S. 172-187.
Serebryakova, L., Kovalenko, N. Religiozno-filosofskaya kontseptsiya kantaty «Po prochtenii psalma» // Novoe o Taneeve. M.: OOO «Deka-VS», 2007. — S. 236-256.
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Taneev, S.I. Po prochtenii psalma, kantata ¹2 / partitura. — M.: Gosudarstvennoe muzykal'
History of Music
Reference:
Krasnova O.B. —
// PHILHARMONICA. International Music Journal.
– 2021. – ¹ 1.
– P. 37 - 51.
DOI: 10.7256/2453-613X.2021.1.34332 URL: https://en. nbpublish.com/library_read_article.php?id=34332
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Keywords:
Wilhelm Mueller, Ludwig Berger, romanticism, Schubert vocal cycles, leaderspiel, the Berlin song school, circle of songs, symbolism, German Lied, The Lovely Maid of the Mill
References (transliterated):
Berkovskiy N.Ya. Romantizm v Germanii. SPb.: Azbuka-klassika, 2001. 512 s.
Berkovskiy N.Ya. Stat'i i lektsii po zarubezhnoy literature. SPb.: Azbuka-klassika, 2002. 480 s. URL: http://19v-euro-lit.niv.ru/19v-euro-lit/berkovskij-lekcii/index.htm
Bogomolov S. N. Pesni Frantsa Shuberta kak vysokiy zhanr: diss. … kand. iskusstvovedeniya: 17.00.02. SPb., 2000. 150 s.…
Botnikova A.B. Nemetskiy romantizm: Dialog khudozhestvennykh form. M.: Aspekt Press, 2005. 351 s.
Vasina-Grossman V. A. Muzyka i poeticheskoe slovo. Ch.2: Intonatsiya. Ch.Z: Kompozitsiya. M..: Muzyka, 1978. 365 s.
Vul'fius P. Shubert: Monografiya. M.: Muzyka, 1983. 447 s.
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Dolgushina M. G. Kamernaya vokal'naya muzyka v Rossii pervoy poloviny XIX veka: k probleme svyazey s evropeyskoy kul'turoy: avtoref. diss…doktora iskusstvovedeniya: 17.00.02. SPb., 2010. 47 s.
Dolgushina M. G. Russkiy romans nachala XIX veka i
Problems of Music Theory
Reference:
Zagidullina D.R., Nikiforova E.E. —
// PHILHARMONICA. International Music Journal.
– 2021. – ¹ 1.
– P. 52 - 66.
DOI: 10.7256/2453-613X.2021.1.34175 URL: https://en. nbpublish.com/library_read_article.php?id=34175
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Keywords:
Russian music, modern music, Boris Tchaikovsky, symphony, symphonic music, symphonic work, orchestra, timbre, orchestral aspect, orchestral techniques
References (transliterated):
Likht V. Novaya simfoniya B. Chaykovskogo // Boris Aleksandrovich Chaykovskiy, 1981. S. 109–121.
Ovsyankina G. Fenomen «Simfonii s arfoy» Borisa Chaykovskogo // Tvorcheskoe nasledie Borisa Chaykovskogo. M., 2015. S. 26–32.
Kelle V. Bol'shoy khudozhnik Boris Chaykovskiy // Tvorcheskoe nasledie Borisa Chaykovskogo. M., 2015. S. 96–123.
Kelle V. Vmeste s Borisom Chaykovskim… // Muzykal'naya akademiya. 1996. ¹ 1. S. 5–10.
Kelle V. Razmyshleniya o khudozhestvennom metode / Simfonicheskie poemy B. Chaykovskogo «Podrostok» i «Veter Sibiri» / (Muzyka Rossii. M., 1988. Vyp. 7. S. 255-270.
Vul'fov A. Bol'shoy khudozhnik Boris Chaykovskiy // Tvorcheskoe nasledie Borisa Chaykovskogo. M., 2015. S. 124–128.
Evdokimova Yu. Boris Chaykovskiy i ego Vtoraya simfoniya // Sov. muzyka. 1970. ¹ 2. S. 26–34.
Borisova E. Khudozhestvennoe vremya v «Simfonii s arfoy» Borisa Chaykovskogo // Tvorcheskoe nasledie Borisa Chaykovskogo. M., 2015. S. 33–52.
Abdokov Yu. Teatral'nyy orkestr Borisa Chaykovskogo // Teatr. Zhivopis'. Kino. Muzyka. 2019.C. 55–70.
Music Theatre
Reference:
Miozzi F. —
// PHILHARMONICA. International Music Journal.
– 2021. – ¹ 1.
– P. 67 - 80.
DOI: 10.7256/2453-613X.2021.1.34770 URL: https://en. nbpublish.com/library_read_article.php?id=34770
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Keywords:
ballerina, dancer, theater, XVIII - XXI century, Italy, Russia, ballet, intercultural dialogue, art, Saint-Petersburg
References (transliterated):
Agrippina Vaganova: Stat'i. Vospominaniya. Materialy. L.-M.: Iskusstvo, 1958. 343s.
Boglacheva I.A. Artisty Sankt-Peterburgskogo imperatorskogo baleta XIX vek. SPb.: Chistyy list, 2015. 344s.
Bogolyubova N.M. Ital'yanskiy opernyy teatr v Peterburge // Vestnik SPbGUKI. ¹3(20), 2014. S.80-85.
Vazem E.O. Zapiski baleriny Sankt-Peterburgskogo Bol'shogo teatra 1867 – 1884. SPb.: Lan', 2009. 448s.
Krasovskaya V.M. Russkiy baletnyy teatr vtoroy poloviny XIX veka M.-L.: Iskusstvo,1963. 551s.
Maksimova E. Madam «Net». M.: AST-press kniga, 2003. 344s.
Peterburgskiy balet. Tri veka: khronika. T. III (1851 – 1900). SPb.: Akademiya Russkogo baleta im. A.Ya. Vaganovoy, 2015. 431s.
Pleshcheev A.A. Nash balet (1673 – 1899). Balet v Rossii do nachala XIX stoletiya i balet v Sankt-Peterburge do 1899 goda. SPb.: Lan', 2009. 576s.
Plisetskaya M. Ya, Mayya Plisetskaya. M.: AST, 1998.496s.
Sveshnikova A. Peterburgskie sezony Artura Sen-Leona (1859 – 1870). SPb.: Baltiyskie sezony,2008. 424s.
Slonimskiy Yu. Baletnye strok
Music Theatre
Reference:
Kireyeva N.Y., Kuts A.L. —
// PHILHARMONICA. International Music Journal.
– 2021. – ¹ 1.
– P. 81 - 101.
DOI: 10.7256/2453-613X.2021.1.34909 URL: https://en. nbpublish.com/library_read_article.php?id=34909
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Keywords:
opera comique, academic vocals, romantic irony, deconstruction, interpretation, Tales of Hoffman, Offenbach, musical theater, opera lyrique, musical hermeneutics
References (transliterated):
Faris, Alexander Jacques Offenbach. London: Faber and Faber, 1980. Istochniki I. Offenbakh Zh. Skazki Gofmana: klavir. Red. F. Oyzera. Alkor-Edition Kassel, 2014. II. Dimitrin Yu.G. «Skazki Gofmana» i drugie komediynye p'esy dlya muzykal'nogo teatra. SPb.: Lan', Planeta muzyki, 2018.III. Gofman, Ernst Teodor Amadey Pesochnyy chelovek. Per. s nem. A. A. Morozova. SPb.: Kristall, 2000.IV. Gofman, Ernst Teodor Amadey Serapionovy brat'ya. V 2-kh tomakh. T. 1. Per. s nem. A. L. Sokolovskogo. M.: Navia Morionum. 1994. V. Gofman, Ernst Teodor Amadey Zhiteyskie vozzreniya Kota Murra // Polnoe sobranie sochineniy v dvukh tomakh. Tom 1. Per. s nem. K. D. Bal'monta. M.: Al'fa–kniga, 2017.
Rissin, David Offenbach, ou le Rire en Musique. Paris: Fayard, 1980.
Gasparov, M. L. Parodiya // Bol'shaya sovetskaya entsiklopediya v 30-ti tomakh (3-e izdanie) pod red. A. M. Prokhorova. T. 10. Iva – Italiki. M.: Sov. entsiklopediya, 1972. S. 225.
Mikhaylov A. V. Ironiya // Novaya filosofskaya entsiklopediya v 4 tomakh pod red. V. S. Stepina. T. 2. M.
Ethnomusicology
Reference:
Korolkova I. —
// PHILHARMONICA. International Music Journal.
– 2021. – ¹ 1.
– P. 102 - 122.
DOI: 10.7256/2453-613X.2021.1.35025 URL: https://en. nbpublish.com/library_read_article.php?id=35025
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Keywords:
folklore archive, folklore genres, Russian North, local traditions, musical epos, ballads, spiritual verses, memorial chants, Novgorod folklore, folk songs
References (transliterated):
Agreneva-Slavyanskaya O. Kh. Opisanie russkoy krest'yanskoy svad'by s tekstom i pesnyami: obryadovymi, golosil'nymi, prichital'nymi i zavyval'nymi. V 3-kh ch. Ch. 3. Plachi i prichitaniya po umershim i po rekrutam; stikhi velikopostnye; byliny i legendy; starinnye pesni i velichaniya; skazki, zagadki, poslovitsy, pribautki. Moskva : tipografiya A. A. Levensona, 1889. – 213 s.
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Byliny. Russkiy muzykal'nyy epos / Sost. sostaviteli B.M.Dobrovol'skiy, V.V. Korguzalov. Moskva : Sovetskiy kompozitor, 1981. – 614 s.
Ivanova T.G. «Malye» ochagi severnorusskoy bylinnoy traditsii. Issledovanie i teksty. – S-Pb. : «Dmitriy Bulanin», 2001. – 455 s.
Kastrov A.Yu. Napevy pudozhskikh prichitaniy tiradno-stroficheskoy kompozitsii. Russkiy fol'klor. T. XXIX. Sankt-Peterburg : Nauka, 1996. S. 192–241.
Komu povem pechal' moyu: dukhovnye stikhi Verkhokam'ya. Issledovaniya i publikatsii / Pod red. I.V. Pozdeevoy.