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Publications of Denisova Zarina Mukhriddinovna
Culture and Art, 2020-4
Denisova Z.M. - Editing in the symphonies of S. Slonimsky pp. 15-28

DOI:
10.7256/2454-0625.2020.4.32341

Abstract: The object of this research is editing as an artistic phenomenon in the Russian musical culture of the late XX century. The subject of this research is works of the prominent Russian composer Sergei Mikhailovich Slonimsky. Analysis of musical texts of the composer demonstrated that editing manifests as the paramount method of creating an artistic space of his oeuvres. The main principle for this this research served the principle of historicism as one of the fundamental within national musicology, where an artistic phenomenon is viewed in unity of realization of the traditions and trends of modernity. The author comes to the conclusion that in the works of S. Slonimsky editing first and foremost is a unique principle of realization of the artistic plot, providing exclusive freedom to the composer, exposing all achievements of musical art, allowing to actively work with different cultural codes and freely transform them and reproduce most bold and artistically significant philosophical ideas. The scientific novelty consists in determination of specificity of functionality of the system of expressive means of S. Slonimsky in the context of editing. In the course of research, the author also formulated a number of questions requiring further scientific analysis and new research interpretation.
PHILHARMONICA. International Music Journal, 2020-3
Denisova Z.M. - Compositional Ellipsis as a Fundamental Principle of Editing Form-making in the Works of Russian Composers in the Late 20th Century pp. 67-74

DOI:
10.7256/2453-613X.2020.3.31468

Abstract: The object of research is the editing form in a piece of music. The research subject is the music of Russian composers of the late 20th century. The purpose of the article is to denote the appearance of a special form which hasn’t been noticed in music before - an editing form - in the works of Russian composers of the late 20th century, and to describe its specificity. To achieve this goal, the author refers to the key provisions of V.Bobrovsky’s concept about a “compositional ellipsis”, which in its turn is based on B. Asafiev’s understanding of the process of music form-making as switching of the functions of the associates of the “i-m-t” formula. The author uses the theoretical and analytical research methods, and general scientific methods within comparative and logical analysis including the methods of observation, generalization and comparison. The author arrives at the following conclusions. The editing method is a universal method of constructing an artistic space of a composition in Russian musical art of the late 20th century. In many respects, it was promoted by the spiritual and intellectual environment of that time with its striving for eclecticism, multilayer character, and polarity. The analysis helps to identify the peculiarities of the editing form of a piece of music: a high degree of disintegration of a thematic material, sudden switching of genre and thematic lines, patchiness, and polythematic character of structures. The scientific novelty of the research consists in the fact that the author is the first to use the principle of “compositional ellipsis” (authored by V.Bobrovsky) as a fundamental principle of editing form-making, which extends the spectrum of objective scientific interpretation of music compositions.   
Man and Culture, 2020-2
Denisova Z.M. - The problem of analysis methodology of spatial and time model in a musical composition of Russian art of the late XX century pp. 14-23

DOI:
10.25136/2409-8744.2020.2.31470

Abstract: The relevance of the chosen topic is substantiated by insufficient study of this problematic within Russian musical culture of the late XX century in the Russian-language scientific literature. The object of this research is the artistic space and time of a musical composition. The author examines meaning of the categories of space and time and their existing philosophical concepts. The subject of this research is music of the Russian composers of the second half of the XX century. The work leans on the analytical method and carries a systemic cross-disciplinary character. The scientific novelty consists in suggesting of M. Bakhtin’s theory as a methodological framework for space and time analysis in a musical composition of that period that was further advanced by the art historical V. Chaikovskaya. As a conclusion, the author systematizes and generalizes the key ideas pertaining to the historical-social context of the indicated period, as well as harmoniousness of the art concept of V. Chaikovskaya to the musical texts of compositions, which reveals its peculiar polychronotopic space and time structure.
PHILHARMONICA. International Music Journal, 2020-1
Denisova Z.M. - On the issue of interpreting the intertextuality category pp. 19-27

DOI:
10.7256/2453-613X.2020.1.31174

Abstract: The research object is intertextuality in a scientific context. The research subject is the bulk of scientific works studying the intertextuality category within the system of general fiction. The topicality of the issue is determined by the fact that it helps estimate the scientific status of this category. The author delves into the study of intertextuality in the humanities and addresses the analysis of the general provisions of this category formulated in the works of A. Veselovsky, Yu.Tynyanov, Yu. Kristeva, M.Bakhtin, H.Bloom and others. The author uses general scientific research methods within comparative and logical analysis including observation, generalization and comparison. The research is comprehensive and interdisciplinary, and is also based on the analytical method. The author comes to the conclusion that intertextuality as an artistic category is thoroughly studied in scientific works. Despite the variety of interpretations of this category, in the scientific field it appears as a certain mechanism representing a scientific text as a system operating according to particular laws and acting as a theoretical and practical basis for the modern methodology of musicology as a science revealing the content of a composer’s canvas and its connection with the cultural texts of previous epochs.   
Man and Culture, 2020-1
Denisova Z.M. - Intonation and genre montage in the compositions of Alfred Schnittke pp. 26-34

DOI:
10.25136/2409-8744.2020.1.31469

Abstract: The subject of this research is the works of the prominent national composer Alfred Schnittke. The analysis of musical compositions demonstrated that one of the dominant technique of their thematic development consists in the intonation and genre montage, and dramaturgy is structured as a peculiar intertwinement of imagery-thematic lines, each of which is formed as an assemblage of themes referred to the same genre. The main principle for this research served the principle of historicism as one of the fundamental within national musicology, which views an artistic phenomenon in unity of transformation of traditions and modern trends. The scientific novelty consists in determination of the leading principle of musical compositions of A. Schnittke – the principle of “generalization through the genre”, presented as an intonation and genre montage. In conclusions formulated in the article, the author summarizes and systematizes the results of study: combining different genres in a single sound space, the composer interprets them as so-called intonation-semantic signs formed in the process of prolonged historical-cultural development, generating valid content, and at the same time, in its intertwinement, creating an individual artistic view of the world.
PHILHARMONICA. International Music Journal, 2019-6
Denisova Z.M. - Montage organization of a piece of music's verbal text pp. 1-7

DOI:
10.7256/2453-613X.2019.6.31165

Abstract: The research subject is music texts with montage organization of a verbal text. The study covers a range of works of Russian composers of the late 20th century, including The Fourteenth Symphony by D. Shostakovich, Light Sorrow and Styx by G. Kancheli, requiems by V. Silvestrov, V. Artemov, A. Popov, V. Platonov. Analyzing the 20th century composers’ work with texts, the author gives special attention to the western composer Luciano Berio’s attitude to a text. The author formulates the main principles of montage organization of a verbal text on the base of the research of Yu. Lotman, M. Yampolsky, R. Bart and C. Levi-Strauss. These works serve as a methodological background which helps reveal the specificity of a montage-oriented verbal text. As a result, such a text is interpreted not as a bearer of an integral semantic code, but as a crossing of the plurality of codes which, in its turn, defines its characteristic features - fractionality, laconicism, associativity, and paradoxicality of correlation of verbal phrases. The scientific novelty of the research consists in the consideration of a poorly studied issue, in the choice of research methodology, and in the revelation of specific features of a verbal text functioning in the context of montage dramaturgy. The author systematizes and generalizes the results of the analysis of music texts with montage organization of a verbal text.   
Philosophy and Culture, 2019-1
Denisova Z.M. - Artistic phenomenon of editing in the Russian scientific context pp. 1-12

DOI:
10.7256/2454-0757.2019.1.28089

Abstract: The object of this research is the editing as an artistic phenomenon in the national scientific context. The subject is the scientific literature about editing within the system of artistic culture. The author examines the phenomenon of editing in musicology. Special attention is given to the analysis of Russian music of the XX century, namely the works of Sergei Prokofiev, Dmitri Shostakovich, Igor Stravinsky, and other composers. For the purpose of systematization of the material, the author conducted a branch-wise analysis of the existing literature: film studies, art history, musicology, and other humanitarian sciences. The selected methodology allowed determining the meaningfulness for one or another branch and the background of such interest. A conclusion is made that editing as an artistic phenomenon is widely covered in the works of the scholars. Each author attempts to describe editing from the perspective of philosophical, culturological and technological systems of the XX century. For the first time, based on the sequential analysis, the author traces the gradual process of mastering of this artistic phenomenon by the scientific thought. The scientific novelty also lies in raising the relevant questions that require a new scientific interpretation.
Man and Culture, 2018-6
Denisova Z.M. - Concept of УmontageФ within the system of artistic culture pp. 21-29

DOI:
10.25136/2409-8744.2018.6.28119

Abstract: The subject of this research is the determination of the degree of scientific exploration of the concept of “montage” within the system of artistic culture, consideration of the processes of its establishment and subsequent transformation. The object of this research is the analysis of fundamental works comprise the basis of the montage theory in the system of artistic culture and fully reveal the figural-dramaturgical and compositional-structural peculiarities of this phenomenon (works of S. Eisenstein, L. Kuleshov, V. Pudovkin, Y. Tynyanov, Y. Lotman. V. Ivanov, T. Efremova, R. Salganik, N. Volkov and others). For achieving the set foal, the author selected the methodology of exploration of the term “montage” in various fields: literary studies, book publishing, culturology, aesthetics, and cinematography. A conclusion is made that the concept of “montage” was viewed by the scholars from various perspectives: as the means for expressing authorial positions; realization of figurative theme; composition of artwork; one of the types of artistic thinking that becomes common for the national art of the late XX century. This article is first to consider the concept of “montage” in the context of various humanitarian spheres. The scientific novelty lies in determination of the relevance of montage principles outside cinematography, despite the origin of the montage theory in the area of cinematic art. Modern artists of different types and genres continue to widely interpret the capabilities of montage in their works.
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