PHILHARMONICA. International Music Journal - номер 1 за 2018 год
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PHILHARMONICA. International Music Journal
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MAIN PAGE > Journal "PHILHARMONICA. International Music Journal" > Contents of Issue № 01/2018
Contents of Issue № 01/2018
Column of main editor
Petrov V.O. - The Perspectives of The Journal Development pp. 1-3

DOI:
10.7256/2453-613X.2018.1.40256

Abstract: Dear readers and authors of "PHILHARMONICICA International Music Journal"! The year of 2018 is the period of the Journal policy reform. According to the new requirements, the Journal accepts articles in specialty 17.00.02. – «Musical Art». The Editorial Board consists of the leading experts in the field of musicology (both domestic and foreign) who have made a meaningful contribution to the development of the science. We incourage academic musicologists – Doctors and Candidates of Sciences, Professors, Associate Professors, Professors of Secondary and Higher Musical Education Institutions, graduate students, undergraduates to publish articles in "PHILHARMONICA. International Music Journal" in 2018! Each Journal issue will be an event in the field of musicology and will consist of at least 7-8 scientific articles. We remind you that all articles are to undergo mandatory review and Anti-Plagiarism check. You can submit an article to the journal via your personal account after registration on the website of NOTA BENE Publishing House in the Author's section. The articles’ submission requirements are listed on the official website of the journal at the following link: http://e-notabene.ru/phil / The Journal is registered in the ISSN international Centre. It has the following ISSN: 2453-613X. The Journal is included into the largest credible international database ERIH PLUS, it assigns the international universal identification number DOI to all published articles, it is included into the Russian Science Citation INDEX (RSCI), is registered in The Scientific Electronic Library (NEB). 
Philosophy of Music
Soboleva E.A. - A System Approach to the Study of Music Culture pp. 4-9

DOI:
10.7256/2453-613X.2018.1.40257

Abstract: The object of this article is musical culture. The subject is musical culture as a system. The author closely considers such aspects of the matter as the concept of musical culture, the study of musical culture within the framework of the system approach including domestic practice. Particular attention is paid to the analysis of musical culture elements which the author suggest to collect in a single categorical list — three main elements called "categorical triad block" consisting of three common elements — "Creation/Re-Creation", "Conservation", "Translation". The capacity of the model elements allows the author to encompass all the components of the music system. The system approach is applied as the main method of study of musical culture. This approach correlates with the concept of musical culture as a special form of systemic activity reflecting the cultural state of society, where the coherence of all elements of the system indicates a certain state of culture as a whole. The scientific novelty of the study lies in an attempt to determine the general  model of musical culture which includes all the elements of the system - the categorical triad block. All the elements of musical culture can be combined into the "categorical triad block" which includes three main elements: "Creation/Re-Creation", "Conservation", "Translation". The absence of one or the availability of all three elements of the block indicates that musical culture as a system can evolve "completing" itself by inclusion either of new aspects of already existing elements, or of a new blockthat provides the necessary level of music consumption by society. The scheme of the categorical triad block applied to study of the history of musical culture of any level provides insights into the rate of its development at one time or another. 
Problems of Music Theory
Rais M. - To the Definition of the Concept of 'Timbre' pp. 10-19

DOI:
10.7256/2453-613X.2018.1.40255

Abstract: The subject of the article is the conception of timbre used in musicology and the clarification of the concept denoting it. The current definition according to which timbre is a quality of sound due towhich the tones of the same pitch level and loudness sound differently does not withstand the slightest criticism. Firstly, not all sounds have a certain pitch level. Secondly, even if they have a certain pitch level, in reality this pitch is a collectionof frequencies. Thirdly, this formulation does not take into account the instances when instruments do not have a common sound. And, finally, it does not refer to the noises that are distinguished by timbre but do not have a certain pitch level. Moreover, it tacitly implies that only several instruments can be distinguished by timbre. However, in this respect, there are groups of instruments that rarely have one and the same sound and are not usually comparable in volume. The author analyses the spectra of various instruments, describes their evolution, compares the sounds of traditional instruments and voices with the sounds electronically synthesized. On basis of this research, the author suggests to consider timbre as a collection of simultaneous sounds expressed through the constancy of their overtone series maintaining their loudness in relation to each other. The author suggests to consider the timbre of one instrumenta particular instance of this set of sounds when it consists of only one member. The author also describes the types of mutual transition of timbres.
Contemporary Composition
Zagidullina D.R., Wu M. - Choral Works by He Luting pp. 20-31

DOI:
10.7256/2453-613X.2018.1.40254

Abstract: The article considers choral works by He Luting (He Luting, 1903-1999) — a great Chinese composer, musician-theorist, teacher, public figure, who had a considerable influence on the development of musical culture of China, the author of a large number of diverse works for orchestra, piano, and chorus (approximately 48 pieces). He Luting also wrote music for films. There are several works in Chinese focused on his life and work, but there is no such a research in Russian. The choral works by the composer haven’t been given any special consideration both in Chinese and Russian musicology. The first section of the article describes the main biographical landmarks of the composer, the second section analyses the choral works by He Luting. "The Collection of Choral Works" is a collection of twenty-three works written in the forty-four years period, which were collected and prepared for publication by the composer himself. The article analyses themes, features of the performing line-up, composition, musical language, as well as choral texture of the compositions.
Subbotin I.A. - Polystylistics as a Principle of Thinking in the Works by Vladimir Mishle pp. 32-36

DOI:
10.7256/2453-613X.2018.1.40258

Abstract: The subject of the article is the problem of stylistic synthesis in the works of contemporary composers. Polystylistics pecularities of vocal music by Vladimir Mishle are considered on the basis of the provisions and terms of Evgenia Chigareva’s theory that distinguishes two forms (contrast and mergence) and two types (collage and symbiosis) of interaction between the author's own and"different" styles. In general, the composer's music focuses on the peculiarities of the two polystylistic concepts — collage (inherent in the genre of fantasy characteristicof a number of choral, instrumental works) and symbiosis (prevailing in vocal and choral compositions). The research methodology is based on the theoretical aspects of polystylistics in the works by domestic and foreign scientists, and highlights a mental component of the individual original implementation of the stylistic synthesis. Stylistic modeling is a leading and at the same time poorly explored principle of thinking of composer Vladimir Mishle born in Saratov, which determines the novelty of the research. A vocal cycle to the verses by F. Garcia Lorca exemplifies the author's interpretation of the stylistic symbiosis of polar musical styles and art forms in the context of stylization, allusions, and "variations on the style."
Lavrova S.V. - Body - Instrument – Sound. Metaphysics of Sound in the "Mani" Cycle by Pierluigi Billone pp. 37-45

DOI:
10.7256/2453-613X.2018.1.40259

Abstract: The article is devoted to the phenomenon of sound corporality in the creative concept of Italian composer Pierluigi Billone. In the course of study, a continuity of the elements of his creative paradigm is traceable in "sound types of new music" by Helmut Lachenmann and in ideas of the focused point of hearing and "sound vision" by S. Sciarrino. The basic material for the analysis is the instrumental cycle "Mani" to which the composer was inspirited by works of contemporary conceptual artists. The study concludes that there is a continuity of the creative ideas of new music of the second half of the twentieth century in the works by Billone in the twenty-first century, which are objectified within the framework of different instrumentation that uses specific everyday items and objects as percussion instruments. The study applies an integrated approach to the material under consideration. The article will be interesting to specialists in the field of contemporary music and musical performance, it is addressed to professional musicologists, as well as to a wide range of readers interested in the issues of contemporary musical art in general and issues of musical actionism.
Vishnevskaya L.A. - At the Origins of the Circassian Composer School pp. 46-51

DOI:
10.7256/2453-613X.2018.1.40260

Abstract: The subject of this article is the life and creative activity of Aslan Alievich Daurov, a founder of the Circassian Composer School. This name has become a legend for the whole North Caucasus and beyond. The composer accumulated the power and strength of the artistic talent of the Circassian people, as well as their craving for creativity in his music, literary, theoretical and educational works. The titanic activity of the composer reveals features of a personality of historical importance comparable to the largest Circassian enlighteners of the XIX and XX centuries. The article explores the composer's style in the context of the features of traditional North Caucasian and academic European musical cultures. Their intersection identifies the genre, performance, compositional and dramaturgical specifics of music by Aslan Daurov. For the first time the creative work of Aslan Daurov is exposed to scientific reflection. On the basis of the research the author comes to the following conclusions. Song and dance are a genre and thematic platform for the composer's works. They are explored at the level of artistic discovery of Caucasian folk music which can act as a thematic "grain" for academic works. The composer-academician creates his anthology of history and musical culture of the Caucasian peoples using the "signs" of the folk model, but not repeating it. In other words, folklore becomes the only authentic and always contemporary "text of culture" for the composer.
History and Theory of Musical Performance
Reshetnikova S.V. - MANUEL GARCÍA’S ALLEGED MISTAKE. AN ATTEMPT TO DESTROY THE MYTH OF THE CORPORATE SECRET OF GARCÍA’S SCHOOL pp. 52-55

DOI:
10.7256/2453-613X.2018.1.40253

Abstract: The article describes Manuel Patricio Rodríguez García’s pedagogical activity focusing on his theoretical work Traité complet de l’art du chant which evoked continuous debates among singers and vocal teachers. The researcher analyzes and substantiates the difference between the editions of 1840-1847 and 1856. Actually, García recommended different types of respiration in the treatise of 1840-1847 and 1856, and the researcher tries to understand his motives. The research methodology involves the analysis of musical and pedagogical problems, the cultural-historical analysis, the comparative analysis. In the middle of the XIX century vocal pedagogics developed according to the performing practice and new esthetic requirements of the Romanticism epoch, that’s why the author of the treatise Manuel García the Junior developed his previous work in 1856 and recommended singers to use diaphragmal respiration instead of the clavicular one described in 1840-1847. The author concludes that García’s alleged “mistake” can be explained by the necessity to consider new tendencies in the development of vocal art. The study proposes a non-traditional approach to Manuel García’s pedagogical heritage, such an approach may be of interest for musicologists, singers, vocal teachers.
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