PHILHARMONICA. International Music Journal
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MAIN PAGE > Journal "PHILHARMONICA. International Music Journal" > Contents of Issue № 03/2021
This issue is currently being formed. All articles presented on this page have already been included in this issue, are considered published, and will remain unchanged in the final version of the issue along with other metadata of the articles.
Учредитель: Даниленко Василий Иванович, w.danilenko@nbpublish.com
Главный редактор: Петров Владислав Олегович, Doctor of Art History, petrovagk@yandex.ru
Contents of Issue № 03/2021
Cherkasova Z. - Scientific and educational activities of the Jewish folk music society in St.Petersburg (1908-1921)
pp. 1-12


Abstract: The research subject is scientific and educational work of the Jewish folk music society established in St.Petersburg in 1908. Using the example of this Society, the author considers the realized ideas of public music education which became popular in Russia in the early 20th century. Special attention is given to the historic role of the folklore component in the music education of urban dwellers. In this context, the author considers the activities of the Society connected with ethnographic research of the pieces of Jewish folk music, their processing and usage in educational work. The author’s special contribution is the consideration of organization of the educational process in the Society. The author studies the activities of one-year music courses training Jewish folk music performers, and the well-known pedagogues: I.S. Tomars, I.Yu. Akhron, M.E. Bukinik. Besides, the information about music albums, issued by the Society, and Jewish folk music concerts, organized by it, which contained not only music performances, but also music lectures, is of great scientific and historical value.   
History of Music
Serov I.E. - The impact of literature-centric concepts on the development of the symphonic creativeness of Boris Tishchenko in the 1960s
pp. 13-21


Abstract: The research subject is the symphonic creativeness of an outstanding Russian composer of the late 20th century Boris Ivanovich Tishchenko (1939 - 2010). The author studies his works of the 1960s inspired by classical and modern Russian poetry. The author focuses on such issues as the interrelation between music and poetry in Tishchenko’s orchestra compositions, and the significant influence of literature concepts on the development of his symphonic style. Special attention is given to the four outstanding works of the composer: “The Twelve”, a ballet based on A. Blok’s poem (1963), Symphony No.2 Marina to M. Tsvetaeva’s lyrics (1964), Requiem to the poem by A. Akhmatova, and a dramatic music “The Death of Pushkin” (1967). The author arrives at the conclusion that the most part of Tishchenko’s symphonic creativity was based on his love of literature, words, artistic image begotten by literature and poetry. The author’s special contribution to the research of the topic is a detailed study of large symphonic works by Tishchenko of the 1960s based on poetry. The scientific novelty of the research consists in the fact that literature-centric works by Tishchenko are being for the first time considered in the context of the development of his symphonic creativeness; the article detects a close connection between the author’s style and the composer’s language and the non-music confluence on his creative thinking.  
History and Theory of Musical Performance
Gabrielyan N.Z. - A.Arensky’s A minor violin concerto: performance analysis of the solo section pp. 22-31


Abstract: The author studies A.Arensky’s violin concerto which is a chamber lyrical model of one-part structure. The purpose of the article is to search for the performance features of the violin section which are necessary for a successful interpretation of the composition. The object of the research is the violin concerto genre. The subject of the research is the performance peculiarities of the solo section of A.Arensky’s violin concerto. The author uses theoretical and empirical research methods including analysis, generalization, and systematization of scientific sources, as well as a comprehensive performance analysis of Arensky’s violin concerto. The author analyzes the functions of the soloist in various themes and episodes of the composition, formulates the methodic guidelines for the bow change and allocation and its movement speed, defines the technical and intonation difficulties of the violin section. Special attention is given to dash performance. The author is the first to find out that the performance values of the solo section are one of the keys to the successful performance. They create the melodic, smooth and plastic sound achieved by means of appropriate allocation of the bow, its smooth change, a good command of legato, and the creation of wide breath phrases. The performer has to take into account the performing ideals of the epoch when the composition was created, which to a large extent consist in pedagogical guidelines of L. Auer about the appropriate pressure of the forearm and the shoulder on the bow. Based on the performance analysis of the violin section, the author finds out that to create an artistic image of the composition, the performer needs to find an individual color palette of the violin section based on the performance ideals of the creation time of the composition.  
Wang B. - pp. 32-46


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