DOI: 10.7256/2453-613X.2019.4.40310

Abstract: Saratov Volga region in the late 18th - 20th century had the largest centers of Old Belief, and the most significant for Old Believers was Samodurovka village (today - Belogornoye village of Volsk district of Saratov region). The research is based on the vast range of archive and handwritten materials and field study conducted by the authors in the 2000s.  The research subject is the history and church-chant traditions of the Old Believers of Samodurovka village.  The research object is the church-chant culture of the Old Believers of Saratov Volga region in the historical context. The research methodology is based on the comprehensive approach which includes the analysis of historical sources, chant manuscripts and printed books related to the Old Believers of Samodurovka, and the results of field studies. Such a comprehensive study helps to consider the tradition both in its synchronous state and its development in diachronic context. Finally, the analysis of the local tradition is based on the broad contextual approach. The scientific novelty of the article consists in the fact that it is based on the unique materials of field studies collected by the authors during their expeditions to the village. The research focuses on the analysis of handwritten chant heritage; the authors introduce several handwritten monuments into scientific discourse, including a unique “Hooked notation chant…”. The scientific novelty of the study consists in collection and classification of archive documents helping to trace the history of Old Belief development in Saratov Volga region. The research shows that church-chant practice of the Old Believers of Samodurovka retains relevant features of the stable culture of Old Believers and is still some sort of a standard for the Old Believers of Saratov.   

DOI: 10.7256/2453-613X.2019.3.30167

Abstract: The research subject is the usage of wind instruments in the scores of D.S. Bortniansky of the 1780s. The research object is the creative work of Bortniansky in the context of settlement of musical classicism in Russia and the interest in the galant style esthetics among the aristocratic circles. The authors consider the peculiarities of the galant style and the techniques of the composer’s orchestra scores. The authors analyze the instrumental composition of the scores and the manner of usage of each instrument of the wind group (in the scores under study, they are flutes, hoboys, clarinets, fagotts and French horns). The authors use the historical method revealing esthetic and style peculiarities of the epoch under study; the analytical method helping to study the role and the character of usage of wind instruments by the composer; the music-theoretical method connected with the issues of instrumentation. The research conclusions are: 1) creating the compositions of the galant style, the composer marks lyric and expressive characteristics of timbres of wind instruments, while their technical characteristics are irrelevant for Bortniansky; 2) wind instruments come to the fore in the moments of performing the affects of grief, sadness and contemplation, which  corresponds with the topos of gallantry and pastorale; 3) referring to the pair composition of a symphonic orchestra, Bortniansky strives to differentiate its composition breaking the speech into ensemble groups thus individualising the music fabric.   

DOI: 10.7256/2453-613X.2019.3.40303

Abstract: The research subject is the usage of wind instruments in the scores of D.S. Bortniansky of the 1780s. The research object is the creative work of Bortniansky in the context of settlement of musical classicism in Russia and the interest in the galant style esthetics among the aristocratic circles. The authors consider the peculiarities of the galant style and the techniques of the composer’s orchestra scores. The authors analyze the instrumental composition of the scores and the manner of usage of each instrument of the wind group (in the scores under study, they are flutes, hoboys, clarinets, fagotts and French horns). The authors use the historical method revealing esthetic and style peculiarities of the epoch under study; the analytical method helping to study the role and the character of usage of wind instruments by the composer; the music-theoretical method connected with the issues of instrumentation. The research conclusions are: 1) creating the compositions of the galant style, the composer marks lyric and expressive characteristics of timbres of wind instruments, while their technical characteristics are irrelevant for Bortniansky; 2) wind instruments come to the fore in the moments of performing the affects of grief, sadness and contemplation, which  corresponds with the topos of gallantry and pastorale; 3) referring to the pair composition of a symphonic orchestra, Bortniansky strives to differentiate its composition breaking the speech into ensemble groups thus individualising the music fabric.