DOI: 10.7256/2453-613X.2020.2.32034

Abstract: The article considers the structure and dramaturgy of the Christmas Festive Triptych by archimandrite Matthew (Mormyl). The author notes the liturgic substantiation of the Triptych’s structure. The research subject is the pitch organization and timbre dramaturgy of the composition justified by the liturgic concept of Father Matthew. In the author’s opinion, in part I of the Triptych, the modally colored mode prevails combined with the high sonority of the choir. Part II is based on the classic functional mode and strong sonorousness of the choir. Part III is vernacular polyphony. The author applies the functional method and takes into account the P.I. Tchaikovsky’s concept of ‘all-stageness’, developed by A.N. Myasoyedov. When considering the vernacular polyphony, the author notes its typological relationship with the rules of composition of the later Renaissance studied by the representatives of Yu. N. Kholopov’s scientific school. The timber aspect of the Triptych is described in compliance with N.G. Denisov’s concept developed within the structural-typological method. The author also uses the method of graphic representation of the polyphony introduced in folklore studies by E. A. Linyova. The scientific novelty of the article is determined by several factors. The author is the first to study the pitch and timber aspects of the Christmas Triptych; the analytical methodology by Yu. N. Kholopov is for the first time applied to the liturgic material.; the music logic of archimandrite Matthew is represented as a phenomenon mediated by his theological views. The author concludes that archimandrite Matthew created the Christmas Festive Triptych not only as an offering to the two thousandth anniversary of the Nativity of Christ, but also as an opportunity to give his pastor’s message about this key event of the sacred history.   

DOI: 10.7256/2453-613X.2020.2.32318

Abstract: This article focuses on a separate branch of music theatre: the English Savoy operas, which are predominantly comic operas by William Schwenk Gilbert and Arthur Sullivan. Having the traits of ballad operas, operettas, and musicals, they combine music and performing techniques typical for these forms of performance. These plays were immensely popular both abroad and in Russia, where 177 performances were put on from 1877 to 1998. Consequently, Gilbert and Sullivan’s theatrical works incorporated the achievements of their predecessors while also introducing original elements that furthered the evolution of musical theatre; it raised operetta to a much higher level and became a starting point for new genres. The composers placed specific and rigorous requirements on the artists and performers. This research aims to study the peculiarities of the performing style seen in Gilbert and Sullivans’ operettas. The scientific value of this article lies in the accentuation of an original aspect of the research: the Savoy opera performing style, the generalization of incomplete data on this problem, and the introduction of new sources. The conceptual elements of compositions, which are at the core of the musical theatre image, take on special value. It is a dramaturgic component that determines vocal delivery, influences the approach to diction and phrasing, and determines the physical embodiment of the role. In addition, the article’s materials have methodical importance for modern performers in operettas and popular musicals.

DOI: 10.7256/2453-613X.2020.2.32468

Abstract: The subject of this article's research is the importance of sound recordings as an evolutionary source in the historiography of jazz. The importance of sound recording in the evolution and the study of jazz cannot be overestimated. It is much more significant than in the case of any other kind of music art. Sound recording is of great scientific value and jazz heritage's leading resource, which is an opinion held by most jazz researchers. The development of jazzology has led to scientific viewpoints that raise questions about the reevaluation of the role of sound recording. The research method used is the analysis of various scientific views on this problem, which helps readers understand the specificity of jazz sound recording. The author considers the opinions of researchers G. Schuller, J. Rasula, E. Clarke, M. Butterfield, and A. Batashev. This list of names shows that there’s only one Russian researcher who is studying this problem. The scientific novelty of this research lies in the author’s exploration of a relatively unexplored topic. The research has revealed the presence of contradictory scientific views that should be further studied.  

DOI: 10.7256/2453-613X.2020.2.32366

Abstract: This article studies the music novations in Aristotle’s philosophy. This research focuses on Aristotle’s philosophical and aesthetical views, with a particular emphasis on the musical novations in his philosophical works. It also aims to detect music novations in Aristotle’s philosophy. To achieve this purpose, the author performs the following tasks: studying Aristotle’s essays and defining his philosophic and aesthetic attitude to music resulting in music novations that appeared in his philosophy while also paying attention to Aristotle’s theoretical views on music. The main research methods are analytical and hermeneutical. The article analyzes the main ideas about music in Aristotle’s essays and characterizes musical innovations typical of his aesthetics. The author concludes that Aristotle’s philosophy and aesthetics contain the following novations: a music composition is the key jewel of a tragedy and is one of its components; music is divided into practical and theoretical (music art and music science); the “composer-performer” system appears in which a composer is the writer of the music, and a performer is the one who plays or teaches the music; the formation of a comprehensive concept of a piece of music; music is a melodic and harmonic reflection of life and an expression of spiritual and moral values and properties of humanity.  

DOI: 10.7256/2453-613X.2020.2.32489

Abstract: The article studies the methods (instructions, guidelines, teachings, questionnaires, and other similar documents) of collecting folk music in the context of formation and development of Russian ethno-musicology. The author focuses on the examination of sources of a wide chronological range, and the early stage of science - from the first third of the 19th century till the turn of the 20th century. Documents are considered as specific guidelines containing purposes, tasks and the basic principles of folklore recording. The author is the first to study the methods of collecting folklore within historiographic approach with the use of the methods of comparative-historical and typological analysis. The scientific novelty of the research consists in the introduction of new documentary sources; in the detection of historic dynamics of the approaches to collecting music folklore in Russian tradition; in the generalization of the results of scientific and instructional guidelines in the field research practice including ethno-notation.