DOI: 10.7256/2453-613X.2015.1.13918

Abstract:

DOI: 10.7256/2453-613X.2015.1.66496

Abstract: The subject of the article is presented by the specific method of fixation of compositional authorship in a musical work. In the annotated article the musical legacy of Sergei Vasilyevich Rachmaninoff is researched in the aspect of segregation and individualization in it of certain constant elements of the composer’s musical language, which in an invariant or a somewhat modified way migrate from one musical composition to another. Bearing in mind such personal stylistic emblems of Rachmaninoff as the “Rachmaninoff subdominant” and the Dies Irae motive, the author of the article focuses on a personal specific resource of this composer’s musical rhythm. The article’s methodology is presented as an aggregate of analytic and synthesizing methods fundamental to musical scholarship with a specially active application of comparative procedures. The conclusion that is presented in the annotated article is that Sergei Vasilyevich Rachmaninoff is in a certain sense obsessed by the declarative fixation of his compositional authorship, the idea of a ubiquitous implementation of the emblem studies of its individual style. The circumstance that on the rhythmic plane this directedness of the Russian musician appears, in all likelihood, even more explicitly and insistently than in harmony and melody, is seen as extraordinary. The novelty of the article is that it contains information about a previously unknown stylistic rhythmic emblem of Rachmaninoff, discovered during the course of research, one that spans and permeates through his mcompositions that are the most representative in the repertoire.

DOI: 10.7256/2453-613X.2015.1.13228

Abstract:

DOI: 10.7256/2453-613X.2015.1.66497

Abstract: Предмет статьи – специфический способ фиксации композиторского авторства в музыкальном произведении. В аннотируемой статье исследуется музыкально-творческое наследие Сергея Васильевича Рахманинова в аспекте обособления в нем некоторых константных элементов музыкального языка, которые в инвариантном или несколько модифицированном виде мигрируют из одного произведения в другое. Имея в виду такие уже освоенные музыкальной наукой персонально-стилевые эмблемы Рахманинова, как «рахманиновская субдоминанта» и мотив Dies Irae, автор статьи фокусируется на персонально специфицирующем ресурсе музыкальной ритмики данного композитора. Методология статьи предстает в виде совокупности фундаментальных для музыкальной науки аналитических и синтезирующих методов при особо активном применении компаративных процедур. Вывод, который дается в аннотируемой статье, состоит в том, что Сергей Васильевич Рахманинов в некотором смысле одержим декларативной фиксацией своего композиторского авторства, идеей повсеместного насаждения эмблематики своего индивидуального стиля. Неординарным видится то обстоятельство, что в ритмической плоскости эта направленность русского музыканта предстает, пожалуй, даже более рельефно и настойчиво, чем в гармонии и мелодике. Новизна статьи состоит в том, что она содержит информацию об обнаруженной в ходе исследования неизвестной стилевой ритмической эмблеме Рахманинова, охватывающей и пронизывающей его наиболее репертуарные произведения.

DOI: 10.7256/2453-613X.2014.1.11731

Abstract:

DOI: 10.7256/2453-613X.2014.1.65346

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.

DOI: 10.7256/2453-613X.2014.1.12425

Abstract:

DOI: 10.7256/2453-613X.2014.1.65347

Abstract: В музыкальном искусстве пародия использовалась и продолжает использоваться в разных ситуациях и контекстах. К ней обращаются композиторы, имеющие подчас весьма несхожие эстетические позиции и стилевые ориентиры. Вообще изучение пародии как особого художественного феномена связано преимущественно с литературными жанрами. Действительно, именно в этой сфере явление пародии обрело достаточно широкий спектр воплощений – неудивительно, что к ним обращались многие исследователи. В то же время, изучение пародии именно в музыкальном искусстве оказывается крайне актуальным. Об этом говорит уже сам масштаб явлений, связанных с пародией, более того – ее сущность, которая, как мы увидим далее, неизменно проявляет себя в разные исторические периоды. Итак, в разные исторические периоды функции пародии могли дополняться и видоизменяться. Именно пародия позволяла сформировать критический взгляд на сложившуюся систему ценностей, который иногда сопровождался почти полным отказом от нее. В то же время, становится ясной особая значимость пародии в развитии искусства, о которой говорят далеко не только музыка и литература . Пародия оказывается своеобразным двойником, неотступно следующим за самыми различными явлениями человеческой культуры – от архаического прошлого до современной действительности . Пародия раскрывает новый взгляд на мир, она же нередко взрывает традиционные схемы мышления, оказываясь катализатором дальнейших художественных поисков.

DOI: 10.7256/2453-613X.2015.3.14500

Abstract: The subject of this research is the issue of musical time within music of the XX century. Within the creative practice of this period, this issue is especially pressing. Organization of the sound events in the time continuum, comparable by level of density, comprises the reflection of the author’s inner world. Various philosophical space-time concepts are compared by the author with the examples of their understanding in the modern composing practice. The author mentions various concepts of musical time: “spherical time” of Bernd Alois Zimmermann, the concept of single unity of sound organization through the guidance by time parameter of Karlheinz Stockhausen (theory of “single unified time field”). Italian composer Salvatore Sciarrino did not theorize his time position. But in his oeuvres, this problem is constantly at the forefront, and gets various commentaries. The scientific novelty is defined by the reference to the work of Sciarrino, which has not been thoroughly studied within Russian musicology. Despite this fact, we can assert that he is a living classic of the new music. For the first time the author refers to the descriptions of the individual compositional method with the time-space aspects. The author's creative search in the process of the research enters into a resonance with the modern concepts Gilles Deleuze.  

DOI: 10.7256/2453-613X.2015.2.14952

Abstract: The subject of the research is the problem of time in the new music, considered in the context of philosophical reflection. The category of time is considered through a prism of philosophy and new music. Two readings of time - time Chronos and Eon's time, according to the statement of the French philosopher G. Deleuze, are opposite. Music is defined substantially by the ordered current of time.Research method is based on a comparative analysis of philosophical concept and aesthetic-philosophical aims composers of the second half of the twentieth century. These settings are decisive in the spatial organization of the musical fabric. Structuring musical time and its various concepts is considered in a context of musical ideas of the Italian composer S. Sciarrino. Among compositions S. Sciarrino of analyzed in article, "Vanitas" - a huge paraphrase of a canzone of Stardust where the author addresses to emptiness Eon's metaphor. Opposing to Chronos and Eon as two forms of time, properties of the first is that it is limited and infinite. Eon is also boundless as the future and the past, but as an instant. S. Sciarrino's aspiration to the musical forms, adequate processes of activity of consciousness, and memory the Theory of duration of A.Bergson becomes one of the corresponding conclusions of article, is also connected with his theory of memory. By means of properties of memory the past and the present aren't mutually, they unite unity of knowledge.Scientific novelty of the paper is that for the first time analyzed the works of Sciarrino in the context of space and time, and for the first time carried out a comparative analysis of the music of the second half of the twentieth century, from the standpoint of philosophical categories.

DOI: 10.7256/2453-613X.2015.2.14312

Abstract: The subject of the research is a philosophical understanding of the problem of time in the new music. Music as an art of time particularly acute problem confronts composer individual understanding of space-time categories. In the XX - XXI centuries. When the concept of musical time and the organization of sound events in the time continuum, correlated to the degree of density, constitute the author's reflection of his inner world, its philosophical understanding is more than relevant. Referring to the various philosophical concepts of time and projecting them on the creative ideas of composers of new music, author, building on the concepts of Chronos and Aeon in the interpretation of the French philosopher Gilles Deleuze, compares them with the concepts of time B.-A. Zimmermann and K. Stockhausen, refers to "the horizon of consciousness" Husserl and Bergson's conception of time, found their creative expression in music of Italian composer Salvatore Sciarrino. Using as a tool for investigating the empirical method, the author comes to the conclusion regarding the generality of philosophical and musical concepts of time. Referring to the statements of the composers, explains his philosophical and sound concept, including O. Messiaen, B.-A. Zimmerman, K. Stockhausen, S. Sciarrino, the author puts forward a hypothesis as to what new music - it is not "art time", and reflection time.