по
Man and Culture
12+
Journal Menu
> Issues > Rubrics > About journal > Authors > About the Journal > Requirements for publication > Editorial collegium > Editorial board > List of peer reviewers > Review procedure > Policy of publication. Aims & Scope. > Article retraction > Ethics > Legal information
Journals in science databases
About the Journal

MAIN PAGE > Journal "Man and Culture" > Rubric "Music and music culture"
Music and music culture
Belonosova I.V. - Formation of the piano artistic performance in Siberia pp. 1-22

DOI:
10.7256/2409-8744.2016.1.16733

Abstract: The subject of this research is the processes characteristic to the piano artistic performance in Siberia in the late XX – early XXI centuries.  The author thoroughly examines the most important events and factors associated with establishment of piano arts in Siberia. The author underlines the principles of organization of concert-educational work in connection with the traditions of the Russian piano school. A special attention is given to the work of pedagogues of Novosibirsk and Krasnoyarsk departments; their biographies, as well as role and importance in the establishment of the professional artistic performance are briefly covered. The main conclusion consists in the determination of the two interconnected “schools” of the piano artistic performance in Siberia, concentrated in the major musical centers – Novosibirsk and Krasnoyarsk. The author also highlights the contribution of the Siberian performers into the development of best traditions of the Russian musical art, as well as their role in propagation of the academic music and creative work of the Siberian composers.
Prosypkina V. - The formation of national identity in the Russian urban musical culture of the XIX century pp. 1-7

DOI:
10.25136/2409-8744.2017.3.23601

Abstract:  This article gradually examines the process of searching the national identity in secular music of the XIX century by the Russian composers, beginning from the late XVIII century, when took place the first attempts of creating the classical music that includes the elements of folk songs, and endinf with the historical operas of the late XIX century. The author reviews the professional musical activity of the following composers: A. A. Alyabiev, A. L. Gurilev, A. E. Varlamov, M. I. Glinka, A. S. Dargomyzhsky, M. A. Balakirev, C. A. Cui, M. P. Mussorgsky, N. A. Rimsky–Korsakov, A. P. Borodin, P. I. Tchaikovsky, A. G. Rubinstein, and others. This process is examined using the method of music comparative studies, as well as the analysis of most influential aesthetic ideological processes, which took place in Russian cities of the XIX century. The conclusion is formulated that the inherent to Russian culture features were most intensively depicted in the opera genre oeuvres, if draw comparison with other secular music genres popular in the XIX century. The author defines the reasons that led the composers to pick opera as the most adequate musical form for expressing the peculiarities of Russian culture. 
Shvetsova O.Y. - The education of the musical ear: stylistic aspect pp. 1-12

DOI:
10.25136/2409-8744.2017.4.23755

Abstract: The article is devoted to the education of professional musical ear for intonation and style based on the solfege classes. The subject of study is stylistic education hearing as the ability to perceive musical style on the basis of the manifestations of his signs, assessment of compliance with the stylistic elements and understand the content of a musical work in the style context. Music represents a hierarchical system comprising many components, acts at different levels of aggregation, characterized by the multidimensional nature of its existence and can be known through the study of its determinants-determinants of specific historical manifestations, persisted in his categorical system.Methodological basis are the works in the field of theoretical musicology B. V. Asafyev, V. N. Kholopova, V. E. Nazaikinskii, M. K. Mikhailov, in the study of musical-auditory perception and methods of teaching solfeggio – work L. A. Ostrovsky, L. Maslenkova, Z. I. Glideskina, Z. Lissa.The author gives a list of aspects of auditory perception necessary for the formation of stylistic relationship to the musical material, based on the study of historical, national and author's styles. The proposed methods are intonation and stylistic comprehension of music are supposed to provide the concept of different layers of musical culture, revealing the traditions and innovation of composers, compositions, forms, methods and the formation of a holistic perception of the whole musical tissue that contributes to the enrichment intonation and auditory experience of the musician.
Sambueva S., Lygdenova V.B. - E. D. Prozorova: from the history of theatrical and music education in Buryatia pp. 14-23

DOI:
10.7256/2409-8744.2016.5.20197

Abstract: The relevance of this topic first and foremost is associated with the small number of research dedicated to the work of the College of Arts named after P. I. Tchaikovsky. The main attention is given to the revelation of the importance of persona of the Honored Art Worker of the Buryat-Mongolian Autonomous Soviet Socialist Republic Ekaterina Dmitrievna Mironskaya-Prozorova, who was the head of this educational facility over the period of 1944-1958. Through the coverage of various aspects of her work, the authors follow and give a generalized characteristic to the establishment and development of the theatrical and music education in Buryatia. The results of this research can serve as the starting point for the further examination of the processes of establishment of the theatrical and music education of Buryatia. The area of implementation of the results includes the history of culture of Buryatia, preservation of the cultural heritage, history of theatrical education of Buryatia, history of music education of Buryatia, as well as the history of P. I. Tchaikovsky College of Arts.   
Sambueva S., Dugarova T. - Music education of Buryatia: establishment and development of P. I. Tchaikovsky College of Arts pp. 34-43

DOI:
10.7256/2409-8744.2016.5.20769

Abstract: The object of this research is the system of professional music education during the period of 1920-1940. The subject is the history of establishment and development of the first in the Republic of Buryatia music school – College of Arts named after P. I. Tchaikovsky. The relevance of the study of the history of music education is substantiation by the need for understanding the aspects of development of the national culture and education. The results of the research can serve as the starting point for creation of the innovation institutions in the sphere of music education, which would preserve the best national traditions of the Republic. The area of application of the results is the history of culture of Buryatia, as well as history of P. I. Tchaikovsky College of Arts. The scientific novelty of this work consists in the fact that it provides a complete picture of the establishment and development of P. I. Tchaikovsky College of Art in the 1920-1940’s in the context of the specific historical circumstances of Soviet society. The authors demonstrate the impact of state policy upon formation and development of the professional music education in the Republic, as well as introduce the unique archive materials into the scientific discourse.
Chepinoga A.V. - "Idea" and "morality" as categories of the actual analysis of the score of the opera pp. 41-76

DOI:
10.7256/2409-8744.2016.1.17866

Abstract: The subject of study in this article are the "idea" and "morality" as a director effective tools of analysis of the play or the score of the opera. Special attention is paid to the development of clear definitions for each concept with a view to their precise delineation. It is stated that the "idea" and "morality" - fundamentally different from one another, expressed the idea of non-universal "mixing" of these two concepts. Shows the dangers of the concept of substitution of "morality," the concept of "idea" and their implications for the integrity and sense of play. It is emphasized that the engagement, The ideological, sotsiologichnost implemented on stage dramaturgical material just gives the usage of "morality", which is realized through strict delineation of conflicting characters into two adversarial parties. At that time, the use of such a tool, the "idea" significantly expands the possibilities of imaginative director by including in the conflict, without exception, all the actors, without distorting their character and motivations.Method and methodology of the study. The article provides a thorough theoretical analysis to give a strict definition, that is, to identify the characteristic hand, signs, features, characteristics and categories of actions the principle of "idea" and "morality." For this study on a thorough study of the classics of director effective analysis in a Drama and Opera House, the theory of drama and opera directing (a small part of which is shown in the bibliography), with detailed notes and quoting.Novelty and conclusions. The emergence over the last thirty years at the opera and dramatic theater productions, where the director conducted an artificial "updating" of the original classic dramatic material clearly indicates a crisis in the theory of directing. In particular, the absence of clear definitions of the key for the analysis of the play and the score, categories, directors either through ignorance or deliberately mixed the concept of "idea" and "morality" and thus distort the original dramatic vision, bringing deep philosophical works to ideological, partisan grandstanding.
Zakharov Y. - At the origins of music analysis in the USSR: Lev Kulakovsky pp. 41-51

DOI:
10.7256/2409-8744.2016.2.19094

Abstract: The article discusses the scientific biography of the Soviet musicologist and folklorist Lev Kulakovsky (1897-1989). Particular attention is paid to the original methodology of melody analysis developed by Kulakovsky in 1928-1930. This methodology was based on the Theory of modal rhythm by B. Yavorsky. Kulakovsky identified three formants of melody (modal structure, mode-metric structure, melody pattern), consistently demonstrating the methods of analysis of each of them. His work shows the results of the statistical analysis of 255 songs of different nations on the basis of calculating the mode-metrical index of each tune. Kulakovsky considered melodic patterns and modal tensions as two opposing forces. Nevertheless Kulakovsky’s theory was undeservedly forgotten in the USSR due to the ideological factors. In the following years scientist turned to the study of Russian folklore; also he developed the hypothesis of syncretic unity of word and singing at “The Tale of Igor's Campaign”.
Sambueva S. - From the history of Buryat music: on some features of the composer G-D. Dashipylov vocal style based on the example of the song "Buryad Oronoym Solo" pp. 52-66

DOI:
10.7256/2409-8744.2016.2.19041

Abstract: The subject of this research is the determination and generalization of the peculiarities of the Buryat composer Gur-Darma Dashipylov (1937-1980) vocal style. The goal of this work is the study of the songwriting of one of the brightest and talented composers of Buryatia, as well as definition of his uniqueness, the role and place within the musical culture of Buryatia. This article is one of the first researches dedicated to the examination of the songwriting of the Buryat composer G-D. Dashipylov based on the example of the song “Buryad Oronoym Solo”. The materials from this research can be used in the study of musical culture and professional music of Buryatia, as well as in the music education facilities of the republic. The results of this research can serve as a starting point for the further study of the processes of establishment and development of the song genre within the creative work of the Buryat composers. The area of application of the results includes the history of culture of Buryatia, preservation of cultural heritage, songwriting, and creative work of Buryat composers. It is necessary to note the composer’s ability to achieve poetically generalized and expansive imagery and psychological depth within small, aphoristically compact form of a song, as well as embodiment in his work of the traditions of Buryat folk music. The composer’s songs reached the audience’s sympathy with their psychological sensitivity, ability to express various shades of the mood, and serve as an inspirational example for their listeners.
Romanov N.A. - Decoding of opera staging in terms of the modern media space pp. 54-61

DOI:
10.25136/2409-8744.2017.3.23512

Abstract:  Modern media space explicitly and implicitly affects all forms of culture of the technologically developed regions of the world. Traditional and classical artifacts of culture are not only being represented, but also experience decoding in the modern media space. The subject of this research is the transformation of opera performance within the framework of modern media space. The author examines the main representational strategies of actualizing the visual component of modern opera productions. The work studies the influence of the phenomenon of clip culture upon the traditional musical artifact, in particular, the classical opera. The modern opera performance of classical composers is analyzed from the perspective of changes in interrelation of the role of audial and visual culture. The following conclusions are made: 1. Decoding of opera takes place in the context of visualization of the production and ways of its subsequent representation and broadcasting pnto the modern cultural reality; 2. The main role of audial content in the opera production is reduced; 3. The opera performance represents clips (fragments) of modern reality that have nothing in common with the classical art project; 4.  Rapid cuts and dynamic shooting of the opera performance contribute to its fragmented perception by the subject of culture. The scientific novelty consists in the thesis that leaning on the example of classical academic culture, namely opera, the author considers certain variants of the impact of clip culture of the modern media space upon the traditional artifacts.
Sineokii O.V. - Record Labels of the Central and South-Eastern European Countries in Terms of Social Communication at the Second Half of XX Century: Review of Documents and Information pp. 64-113

DOI:
10.7256/2306-1618.2013.3.384

Abstract: The author of the article views the history of gramophone recording in the countries of Central and South-Eastern Europe at the second half of XX century. The 'Era of Democrates' lasted for 30 years from 1945 to 1995 and was a unique phenomenon in Russian music. Even though the period is officially over, the topic is still interesting and important due to the fact that it still lacks thorough researches. The author of the article presents a conceptual model of the institution of gramophone recording as a specific social and communication phenomenon and describes its place in the system of mass communication. Special attention is paid to legal and communicative features of the development of gramophone recording of pop- and rock-music in the 'Eastern block' countries during socialism. 
Chertok M. - History of One Song pp. 73-89

DOI:
10.7256/2306-1618.2013.6.10507

Abstract: The subject matter of the research is the popular soldier's song "Rise, Falcons, like Eagles". The purpose of work is: to track song history from the moment of its first emergence, the first public execution, the first publication. Result of work - updating of the facts of its first execution in the thirties the XIX century, in 1934, during Kalishsky maneuvers, instead of in the period of Patriotic war of 1812. Results of work can be used in preparation for the publication of song collections. Scope of results - the soldier's song, military history, preservation of a cultural heritage, song art, history of the Russian people in a context of studying of song art. Research method - search and studying of all mentions of a song in printing sources, audiovisual executions. Studying of existing song soldier's collections in Russian and foreign languages. The chronological order and support on historically established facts is observed. Conclusions: The ancient soldier's front song "Rise, Falcons, Eagles" is the most favourite and popular among the military personnel. The song has the rich history connected with heroism of the Russian people during wars. Various versions of the song with confidence allow to indicate the width of creative searches of soldier's authors.The song is actual and for modern creative specialists was a reason for television movie creation.
Remishevskii K.I., . - Belorussian Bagpipe in the Documentary Film of the 1930's (based on the issue No. 7, 1939 of the camera news 'Soviet Art') pp. 81-92

DOI:
10.7256/2306-1618.2013.4.343

Abstract: Using methods of audiovisual anthropology, comparative art review and historicism, the authors conducted a compehensive study of the morphology of traditional Belarussian musical instrument - Duda (Belarussian bagpipe)  - in the northern part of Belarus. As a result of studying archive documentary films produced in the territory of Belarus during the summer of 1939, the authors managed to define different types of Duda and geographical range of expansion of this instrument in the territory of Belarus between the two wars. 
Zakharov Y. - Heinrich Schenker's theory in Russia pp. 91-101

DOI:
10.7256/2409-8744.2016.2.19008

Abstract: The article discusses the history of the spread of H. Schenker’s doctrine in Russia. While in the English-speaking world the theory of Schenker had a powerful impact on the harmonic analysis, in the USSR it almost wasn’t known. Only through the efforts of Boris Plotnikov and Yurii Kholopov Russian musicologists were able to get acquainted with this theory at the beginning of the XXI century. The article provides an overview of publications on Schenker in Russia; in particular, we consider some works of Plotnikov.The author raises the question of the special "analytic hearing," which is educated by schenkerian methodology, as well as its inherent inevitable subjective factors.Considering the possibility of applying the theory of Schenker outside tonality the author comes to the conclusion that it can’t be entirely applied to the analysis of atonal and twelve-tone music. However, the reductive method may be isolated from Schenker’s theory in order to find the middleground pitch lines. The final part of article discusses the prospects of Schenker’s theory in Russia.
Sineokii O.V. - Philophonia as Special Social Phenomenon: The Communicative Aspects of Collecting Activity in the Recreational Space of Leisure Culture pp. 97-121

DOI:
10.7256/2409-8744.2015.4.15815

Abstract: The article deals with the historical and cultural aspects of development in the plane philophonia collecting records and other musical audionositeley. The issue of research into the causes and conditions of formation and development in the socio-cultural philophonia communications under socialism is an actual scientific problem. Accordingly, the subject of the publication are the social and communicative aspects of collecting, the collecting of artifacts music recording activities in the recreational area of leisure culture. The purpose of the study is to examine the social infrastructure philophonia and its cultural and recreational functions. The methodological basis of the article is a systematic method, because the study is based on a synthesis of different perspectives in the social sciences and humanities to the phenomenon of philophonia. The author concludes that the introduction of the category "philophonia" will transform not only the theory of culture, communicative science: the typology of mass communication in the field of leisure is impossible without taking into account the experience of the creation of audio-visual collections. The particular attention is paid to the analysis of infrastructure like philophonia sociocommunicative phenomenon under socialism. This publication is characterized recreational function philophonia in leisure cultural space. The hypothesis according to which philophonia is a unique institution of social and cultural communication.
Sineokii O.V. - Rock as a Multi-Genres Reflection of the High-Tech Recording Era pp. 105-161

DOI:
10.7256/2409-8744.2015.6.16839

Abstract: The article described the social and communication essence of rock music. The author presents a recording of rock music as a special social and communication construct (twofold institution) in global cross-cultural space. The varied picture of rock music is interpreted in the framework of the communication recording system. The features of the regional-subgenres of rock music in the Social Communications. Analyzed the social and communicative origins of rock and roll, showing the diversity of the England-American Rock. Particular attention is paid to the identity of the African, Asian and Latin Rock. In the analysis of the origin and variety of the meaning of «Rock Music» is used historical-genetic method. To determine the characteristics of the genre of rock music and its constituent used musicological method. In the study of individual features of the music industry it used a structured approach that has allowed to reveal the multidimensionality and diversity of communicative performance recording rock music. In addition, the use of comparative-historical method and the phenomenological approach made it possible to identify and characterize the main stages of evolution of the recording of rock music as a communication and communication categories. Terminology method has provided an opportunity to clarify the conceptual apparatus. Method Internet-survey revealed trends in the genre among the priorities of the regular visitors to music sites. The author concluded that the rock is a reflection of social and communication the era of high-tech audio. The study offer insight into the recording of rock music as a complex cluster of socio-cultural sphere, where he formed a stable rules appear certain historical patterns, as well as specific principles apply. The novelty of the research is to establish a communication system elements of rock, since the origins of the universality of this musical roots in the music industry and in the phenomena of a wide public plan.
Bayarsaikhan S.B. - Saxophone in martial music of the Western European and American composers of the late XIX – early XX centuries pp. 110-117

DOI:
10.7256/2409-8744.2016.6.21519

Abstract: This article reveals one of the important and insufficiently studied problems of orchestration – the interpretation of saxophone family instruments as the orchestral instruments, as well as reflects part of the major scientific conclusions of the cognominal thesis research that is dedicated to the interpretation of saxophone as an orchestral instrument. Based on the results of the analysis of the military marches original scores of the late XIX – early XX centuries, written by the composers of Western Europe and America (France, Germany, Great Britain, Italy, Austria-Hungary, Spain, USA, and Mexico), as well as academic works on the questions of theory and practice of the orchestration, the article reveals the ways, peculiarities, and trends of application of the saxophone family instruments in the genre of martial music. The modern communicative means (Internet) helped to find multiple compositions in the genre of march, but at times such scores dare not the original primary sources. However, the volume of materials that became accessible allows forming the holistic perception, as well as making substantiated conclusions. Discovering the facts on the use of saxophones in marches seems purposeful if leaning on the national affiliation of a composer, or in other words, within the framework of a separate country.  
Rozin V.M. - Becoming and Theoretical Conceptualization of Classic Music in the Culture of the Early Modern Period pp. 114-184

DOI:
10.7256/2306-1618.2013.3.9458

Abstract: The article is devoted to the process of formation of classic music from the Middle Ages when it was seen as the 'sound cosmos' connecting human with God to the theory of music of our times. The appearance of so called Modern European Personality played an importat role in that process. The Modern European man seeked new ways to realize his desires and emotions. When studying the latter, the author analyzed the two interdependent spheres of human life, artificial (activity) and natural, in particular, emotional experience. The author offers his own theory of 'psychic realities' as well as the teaching about signs and schemes. At the end of the article the author concludes that classic music and certain qualities of Modern Human have being formed simultaneously. Noteworthy that formation of classic music was a necessary condition for formation of Modern European Personality and on the contrary, modern personal qualities created the grounds for formation of classic music. 
Bayarsaikhan S.B. - Saxophone in symphonic score pp. 115-124

DOI:
10.7256/2409-8744.2016.5.20625

Abstract:  This article examines one of the important but insufficiently studied problems of orchestration, musicology, as well as music pedagogy – the use by the authors the opera-symphonic and ballet music of the saxophone family instruments in their creative work. Based on the results of the study of a number of the original score of compositors’ oeuvres of various countries and cultural-historical eras, the article reveals the ways, specificities, and trends of application of the representatives of saxophone family in score of compositions for the symphony orchestra as the music-theatrical (opera, ballet, musical illustrations to dramatic compositions), as well as other directions (autonomous compositions and musical illustrations to the films). Despite the demonstrated interest of the composers to the saxophone family, such instruments have not become the permanent participants pf the symphony orchestra.  
Garmash O., Efimova N.I. - Genesis of the management of academic music in Russia pp. 121-138

DOI:
10.7256/2409-8744.2016.1.18000

Abstract:  This article draws attention to the conceptual side of the phenomenon of the musical management by determining within it as a special – the activity called the management of Academic music and aimed at the guaranteed preservation of the outstanding heritage of the Academic music within the cultural space of modernity. The authors link the history of formation of the first in Russia administrative system purposefully oriented at the promotion of Academic music in the post-reformation Russia to the work of the Imperial Russian musical society, the experience of which is very noticeable and originates the further reasoning in the chain of causes and events that reveals the in-depth problems of transformation and preservation of the system of values. Scientific novelty consists in realization of the objective analysis of the genesis of development of management in pre-revolutionary Russia. The Imperial Russian musical society gave birth to the historically first administrative system of the public-government construction in the area of Academic music that coordinates educational and concert life the country, and fits into the typology of the sociodynamic model.  
Sineokii O.V. - Tommy Bolin: phonographic discourse and digital epitaph pp. 166-220

DOI:
10.7256/2306-1618.2013.1.350

Abstract: This article presents a study of one of the most outstanding and mysterious guitarists of the second half of the twentieth century -- Tommy Bolin. Particular attention is paid to the communicative requirements of becoming a guitarist in the music business. The analysis of his life story in rock still generates many versions of his early demise. The author considers the unexpected version of 'branding error' to be one of the circumstances that indirectly, on a psychological level, became the cause of the guitarist's growing drug addiction. In addition, the article presents a detailed overview of many recorded rarities featuring Tommy Bolin, including illegally manufactured domestic 'pirate' recordings. Given the current situation in high-tech developments, the music industry has seen better days, and its future requires a new platform that will allow the building of a healthy relationship between audiences and musicians. In this regard, the article touches upon the legal issues of reproducing phonographic releases in digital format.
Zhurkova D.A. - Classical Music as an Accompaniment of Everyday Life: Forms and Principles of Functioning pp. 197-235
Abstract: The article gives a general description of the laws of existence and perception of classical music in a modern civilized environment and everyday life. The article deals wit particular functions of classical music indicated as a substitute for "empty" time, as a background in the process of working and different contexts of "live" communication. Classical music creates the illusion of harmony and aesthetic attraction of the surrounding world, everyday activities and social relationships. Furthermore classical music helps to eliminate the borders between distant historical epochs and brings the sense of the spiritual pithiness and consequence in monotonous operations. Also the article discusses the role of classical music in the structure of personal technical communication, namely virtual musical postcards and ringtones of mobile phones. By using classical melodies in this kind of communication, person can create one’s winning social and cultural image. However, the opposite trend is related to emotionally detached and full of irony treatment of the classics, when it’s involved in the process of interpersonal communication as a joke, surprise or shocking. 
Sineokii O.V. - Aprelevsk Mega-Factory and Other Producers of Gramophone Disks: Artefacts of Soviet Rock Communication pp. 197-272

DOI:
10.7256/2306-1618.2013.2.379

Abstract: The article is devoted to Aprelevsk Factory of Gramophone Disks as the central element of the Soviet sound-recording industry. The author of the present article does not claim to provide a full analysis of all aspects of creating a gramophone record of rock music. At the same time, the author of the article views the most typical features of gramophone recording under the conditions of socialism. he analyzes the main stages of development of Aprelevsk Factory and some other factors of the Melodia Company. Special attention is paid at informative, legal and socio-communicative peculiarities of recording pop- and rock music in the USSR. The author of the article would like to acknowledge all authors (including unknown Internet users) who participated in the research and whose expressions or writings lie at the root of this article. The article contains references to all expressoins or writings and the author of the article does not claim to be the author of these quotations or studies. At the same time, he has reviewed, extended and developed these ideas.The present article does not cover all music bands, disks, compact disks or record labels. However, the author hopes that his article will be able to fill in the gaps and reveal a few secrets of gramophone recording. All the singers, names of their albums and compositions are first given in their native language and only then translated into Russian. Based on the results of his research the author of the article offers a hypothesis bout music recording being a unique tool of social communication.
Denisov A.V. - Phenomenon of Parody in Music Art pp. 206-227
Abstract: The work purpose – analysis of the organizing principles underlying the musical parody. The main question – to consider the general mechanisms of the parody, the concrete musical means leading to its formation, and also its general functions in musical art.The basic principle of the parody consists in the structural-semantic inversion of the initial text forming its image overturned in the semantic relation. Parody reconsideration of the original usually occurs at the expense of parallel action of the intra text and intertext relations: a certain mutual coordination of the parody text elements, and also "comparison" of this text with the parodied original.Thus the concrete embodiment of inversion can be connected, first, with a certain immanent organization of the musical text structure, secondly – with its extra musical semantic sphere (in musical and theatrical works, vocal music). On concrete examples the main receptions of the parody in music – deformation and agglutination - are considered. At last, functions of the musical parody in a historical and cultural context are separately shown. In particular, the principle of parody inversion is opposed to the idealization and mythologization phenomena accompanying each other in development of culture. Work can be interesting to culturologists, critics, and also everything who is interested in problems of a musical art theory and history.
Sobakina O.V. - Sonoristics and Aleatorics in Polish Piano Music. Aleatoric Compositions by Bogusław Schaeffer. Role of Music Composed by Kazimierz Serocki pp. 228-257
Abstract: Piano music composed by Kazimierz Serocki and Bogusław Schaeffer includes highly original composition in the aesthetics of polish sonoristics and aleatorics. This composers created his own avant-garde piano stylistics. The main features of the works by polish composers of 1960 – 1970 are the stylistic synthesis and the interest to avant-garde techniques.
Other our sites:
Official Website of NOTA BENE / Aurora Group s.r.o.
"History Illustrated" Website