DOI: 10.7256/2453-613X.2021.5.36727

Abstract: The authors of the research focus on Antonio Pasculli, a famous Italian virtuoso oboe player and composer of the late 19th - the early 20th century, whose name had long and undeservingly been in the wilderness. In the last two-three decades, his legacy has been getting a new lease on life. Pasculli’s compositions are on the concert list of oboe players all over the world. Despite the performance popularity, the personality and creative work of the outstanding Italian musician are still on the periphery of the research focus of Russian musicologists. All valuable information is contained in rare foreign researches. Therefore, the purpose of the article is to reconstruct the artistic portrait of Antonio Pasculli in the context of time. This research is the first in Russian musicology to introduce into Russian scientific discourse the data from foreign sources revealing the peculiarities of Pasculli’s creative life. Based on the analysis of the collected data, the authors conclude about the necessity to revise the role of Pasculli’s work and legacy in the context of European music culture of the 19th century. It is believed that familiarization with the information about the Italian musician, unknown to the Russian audience, will help to not only dive deeper into the specificity of Pasculli’s compositions, but also to reinterpret his place and role in the evolution of playing woodwind instruments.

DOI: 10.7256/2453-613X.2021.5.36784

Abstract: The research subject is the scope of symphonic works of an outstanding Russian composer of the late 20th century Boris Ivanovich Tishchenko (1939 - 2010). The article continues a brief analysis of all 17 symphonies of the composer, and considers his works of the 1980s - the 2000s: French Symphony, Pushkin Symphony, Dante Symphonies, and Symphonies No 7, 8, 9.  The author considers in detail such aspects of the topic as Tishchenko’s innovatory role in the renewal of Russian symphonism of the second half of the 20th century, the interrelation between and poetry in his large orchestra compositions, the significant impact of literary concepts on the development of his symphonism. Special attention is given to Tishchenko succeeding to the great Russian symphonic tradition. The main idea of the article is that Tishchenko is one of the few in his generation who remained committed to the genre of a large “pure” symphony and succeeded to his genius teacher D. Shostakovich. A special author’s contribution to the development of the topic is a detailed consideration of all symphonic works by Tischenko. Such a research has never been held in the history of Russian music before. The scientific novelty of the research consists in the fact that the author proves a close connection between Tishchenko’s symphonism with his time and the controversial cultural and social processes suffered by the composers of the sixties.  

DOI: 10.7256/2453-613X.2021.5.36819

Abstract: The research subject of the article is the theoretical and methodological basis of music education represented in a traditional four-level structure (developed by A. Yudin within the system approach), consisting of: 1) a philosophical, 2) a general scientific, 3) a specific scientific, 4) a methodological level. Based on the thesis about the connection between theory and practice in music education, the second part of the article briefly describes the contents of the first three levels of the structure of the theoretical and methodological basis which are believed to be the most academical. The author focuses on two aspects: 1. The goals and potentials of the level under consideration; 2. The problems arising at each level. The author arrives at the following conclusions: 1) the philosophical level of the theoretical and methodological basis of music education, being the most general and therefore the leading one, is necessary for training prospective musicians for the formation of the value, moral and spiritual, and esthetic components of education; 2) the general scientific level helps systematize the philosophic provisions and concepts into certain approaches and principles which can be introduced into the pedagogical practice as models of integral formation of education processes; 3) the level of socio-scientific disciplines, which is the most thoroughly developed due to the close connection with practical aspects and problems, consists in the aspects of the contents of education (musicology), the methodology of teaching (pedagogics), and the study subject/instrument (performance art).   

DOI: 10.7256/2453-613X.2021.5.35666

Abstract: The Russian tradition of piano performance has been winning international recognition for several centuries. The names of S.V. Rachmaninoff, S.T. Richter, K.N. Igumnov, A.B. Goldenweiser and others, are inscribed in the history of the piano music and pedagogics. At the same time, such a sphere as accompaniment remains unheralded. The author of the research attempts to estimate the role of the above mentioned pianists in the formation of accompaniment art. Based on the analysis of the experience of performance and pedagogical work of the pianists, the author reveals their importance for the development of the Russian accompaniment tradition. This topic hasn’t been critically considered and analyzed. However, the history of piano music is rich in examples when concert pianists take on the role of accompanists. Their contribution to the practice of ensemble performance has influenced the development of accompaniment art. The work of S.V. Rachmaninoff, S.T. Richter, K.N. Igumnov, and A.B. Goldenweiser has influenced various aspects of accompaniment art: the extension of functions of an accompanist; the importance of the role of an accompanist in the interpretation of music pieces; the extension of the pedagogical function of an accompanist in the ensemble; the formation of a methodological background based on the accompaniment experience.   

DOI: 10.7256/2453-613X.2021.5.36938

Abstract: The author analyzes the experience of transcription of the compositions of J. Bull, C. Monteverdi, J. Bach, C. Debussy and S. Prokofiev for a synth keyboard Synthi 100 done by the Russian composers A. Artemiev, V. Martynov, Yu. Bogdanov in 1980, and released on the disc “Metamorphoses”. The author also considers the composers’ range of artistic tasks and sound solutions and the variants of work with the texture of the original compositions. The electronic interpretations, contained in the “Metamorphoses”, not only demonstrate the examples of transcribing the original text for a synth keyboard, but also illustrate the 4 criteria of electronic music formulated by K. Stockhausen: unified temporal structuring (a common temporal field), the disintegration of sound, a multidimensional spatial composition, and the equality of the tone and the noise.  In spite of the fact that the transcription of classical music pieces for a synth keyboard was carried out by the Russian composers several decades ago, this experience hasn’t been studied yet. Probably, it is explained by the fact that the analysis and description of electronic music using traditional means is complicated, since the material under study is not noted: all transformations carried out by the interpreter are fixed only in the audiorecord.  The analysis of transcriptions is complicated by the fact that electronic instruments are regularly upgraded and transformed, and therefore their artistic capacity is increased. The change of instruments caused the transformation of approach to music art. The article analyzes the transformation of the author’s text, the transformation of a piano texture into the electronic score, and the role of the arranger as a co-author of the composition.