DOI: 10.7256/2453-613X.2016.3.40226

Abstract: This report is dedicated to the event, which represents a significant interest to the music science: international scientific conference “Russian Musical Baroque: Tendencies and Perspectives of Research” that took place in the State Institute for Art Studies on October 24-26, 2016. Interest towards the Russian musical Baroque is currently growing in Russian and abroad, thus, this conference provided an occasion to discuss a number of topical questions, related to the exploration of the manuscript legacy of that epoch, the history and theory of partesnïy (part-song) polyphony, the peculiarities of the system of polyphonic genres (including non-liturgical and paraliturgical ones), the restoration of the biographies and the creative output of individual musicians, the evolution of music-theoretical thought about the music of the aforementioned era. further, the conference will help to reveal parallels and intersections in the development of Russian, East-European, and West-European baroque. During the course of their studying, the authors applied the methodology of theoretical analysis and source study, historical and stylistic approaches, methods of systemic and comparative analysis. Russian musical Baroque for the first time became the topic of a fundamental international conference, which was called upon to determine the most recent trends in examination of this era, synthesize the modern scientific achievements, promote new research, as well as help restore an integral, and at the same time, multifaceted image of the Russian culture of the late XVII– middle of the XVII centuries that reflected the connections with Polish, Italian, German, and French musicians. It is for the first time that Russian musical baroque becomes a subject matter for an extensive range of opinions within the framework of the scientific event, expressed by the luminaries of Russian science, alongside the young scholars, including a number of foreign guests.

DOI: 10.7256/2453-613X.2016.3.40224

Abstract: On September 17, the Rachmaninov Concert Hall of the Moscow Conservatory held the concert of the famous Bulgarian musicians Ekaterina, Konstantin, and Alexander Vladigerovs dedicated to the 150th Anniversary of the prominent Russian university. The musicians actively tour Europe and the New Word, and successfully participate in multiple international jazz festivals. Their works are also available on CD. The concert contained the compositions of various generations of Vladigerov family in arrangements, as well as Dmitri Shostakovich’s miniatures. The material presented in this article is substantiated by the genre comparative analysis traditional for a review, as well as historical angle of presentation of the events. The review underlines the high-level mastery of the musicians, impeccable command of the musical instruments, remarkable artistic impression, refined and versatile timbre and sound scales of performance. The demonstrated by the Vladigerovs’ Trio sparkling temperament and distinct national Bulgarian character, was received by the Moscow audience with great enthusiasm.

DOI: 10.7256/2453-613X.2016.3.40227

Abstract: On September 17, the Rachmaninov Concert Hall of the Moscow Conservatory held the concert of the famous Bulgarian musicians Ekaterina, Konstantin, and Alexander Vladigerovs dedicated to the 150th Anniversary of the prominent Russian university. The musicians actively tour in Europe and the New Word, and successfully participate in various international jazz festivals. Their works are also available on CD. The concert contained the compositions of various generations of the Vladigerov family in arrangements and Dmitri Shostakovich’s miniatures. The material presentation in the article is determined by comparative analysis, traditional for reviews, and the historical angle of presentation of the events. The review underlines the high-level mastery of the musicians, perfect command of musical instruments, remarkable artistic impression, refined and versatile timbre and sound scales of performance. The musicians' sparkling temperament, typical for the national Bulgarian character, was enthusiastically welcomed by Moscow audience.

DOI: 10.7256/2453-613X.2016.4.40232

Abstract: The article is a review of the concerts of Bulgarian musicians in Moscow. The author mentions the concerts of musicians, well-known in Europe and the USA, - Stefan Dragostinov and his folklore band, instrumental trio of the Vladigerovs, and a violinist Pavel Minaev. The author gives brief characteristics of the performance by the pianist Victoria Vassilenko, the singers Marianna Tsvetkova and Maria Zhekova. The review is focused on the concert of the singer Plamen Beykov and the pianist Bozhena Petrova “Shostakovich. The afterword” with a subtitle “Shostakovich, Michelangelo and Dostoyevsky in music, poems and images”, presented as a multimedia project. The author uses the historical method and the method of the study of art, which help analyze the performance of the late compositions of Shostakovich by the Bulgarian musicians. They performed these compositions in Moscow for the first time. Special attention is given to the use of an innovative multimedia format of the concert using demonstrative materials from the works of Michelangelo Buonarrotti, Dostoyevsky’s and Shostakovich’s drawings. This approach allows extend the capabilities of the modern performers’ interpretation of the music of the 20th century. 

DOI: 10.7256/2453-613X.2015.1.40182

Abstract: The author of the book is Doctor of Arts, Professor at the Moscow State P.I. Tchaikovsky Conservatory, Valentina Nikolayevna Kholopova. The object of the research is serious, classical music in general examined from the most varied sides: the history of the concept of “music,” the functions of music, the musical image, music as a language and musical intonation. A special direction of this work is the content of music, which has set the issues of comparison of “content” with “semantics” and “hermeneutics,” and has examined special concepts of music content – “specialized and non-specialized musical content” and “three sides of musical content.” Content is also examined in the triad of composer, performer and listener. Involving the psychological aspect led to the problems of conscious and subconscious in the perception of music, as well as psychological analysis of musical form. The axiological aspect has also been brought in due to the elaboration of criteria of artistic value in music. The methodology of research, thereby, became complex and interdisciplinary, having connected theoretical and historical musicology, the foundations of aesthetics, philosophy, semiotics, psychology, linguistics and axiology. The novelty of the work consists in the indicated complexity of methodology, making it possible to disclose previously undemonstrated features of the art of music – the correlation of the sides of content in various epochs, among various composers and performers, in various compositions, the differentiation of musical epochs according to the signs of canon and heuristics, the role of emotions in music, the manifestation of musical intonation in the phenomenon of sonority and pitch, the assertion of music as a language, the establishment of the role of the conscious and subconscious, the typology of listeners to music, and introduction of an original system of artistic value in music. This work merits to be translated into other languages, because of its fundamental nature, modernity and lack of precedent in world musicology.

DOI: 10.7256/2453-613X.2015.1.40180

Abstract: Author of the book is Doctor of Arts, Professor of the Moscow State. Conservatory. Tchaikovsky Valentina Kholopova. The subject of the study was to academic art of music in general, considered from various sides: the history of the concept of "music", features music, musical image, music as a language, musical intonation. A particular focus of work was the musical content, making comparisons were set problems "content" with "semantics" and "hermeneutics", discussed the concept of special musical content - "special and non-special musical content", "three sides of the musical content." Contents also considered in the triad: composer, performer, listener. Connecting the psychological aspect summarized the problems of conscious and unconscious perception of music, psychological analysis of musical form. Introduced also axiological aspect, thanks to the development of criteria for the artistic value of music. The research methodology thus became an integrated, interdisciplinary, connected the theoretical and historical musicology, installation aesthetics, philosophy, semiotics, psychology, linguistics, axiology. The novelty of the work lies in the complexity of this methodology, will open a previously not shown properties of musical art - an aspect ratio of content in different eras, different composers and performers in different works, the distinction between musical eras on the basis of the canon and heuristics, the role of emotions in music, musical manifestation of intonation in the phenomena of Sonora and the sound of music as a language statement, establishing the role of the conscious / unconscious, typology of music listeners, the introduction of the original system of the artistic value of the music. Performance deserves translation into foreign languages, thanks to its fundamental nature, and lack of modern analogues in foreign musicology.

DOI: 10.7256/2453-613X.2014.1.40161

Abstract:

DOI: 10.7256/2453-613X.2014.1.40159

Abstract: