Scientific Journal of KubSAU

Polythematic online scientific journal
of Kuban State Agrarian University
ISSN 1990-4665
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135 kb

CHOIR THEATHRE: EXPERIENCE OF COMPREHENSION

abstract 1341710012 issue 134 pp. 146 – 154 29.12.2017 ru 1259
In the center of the article, there is the problem of establishing a new socio-cultural phenomenon of choral theatre. Because its borders were fluid and blurred, the epicenter of the search is genre mixing, which involved the drama theatre, academic and folk choral performance, musical. Stage movement is used particularly active in the works of folk themes. One of the simple shapes that meet the needs of visualization in music is performance in a "media escort." Close border of theatrical and choral genres with the actual choir is often manifested at the level of the dual nature of the performing life works: in a traditional concert performance and in staging
172 kb

ROLE OF SEMANTICS IN MUSICAL THEMATIC OF THE CHINESE CONCERTS FOR THE PIANO WITH ORCHESTRA

abstract 1341710077 issue 134 pp. 957 – 967 29.12.2017 ru 1256
The Article is devoted to substantial aspects of the Chinese piano concerts. As the carrier of sense, semantics is investigated. Examples of semantics are given from three program concerts: "Yellow River" Yin Chengzonga and creative group – Chu Wanghua, Liu Zhuang, Sheng Likhoun, Shi Shuchen and Xu Feysin, "The mountain wood" of Liu Dunan and "Beauty of spring" of Du Mingxin. One of important typological features of the Chinese piano concerts is caused by the appeal to model of the European classical tool concert in respect of interpretation of a form, performing structure, a role of the soloist tool, its ratio with orchestra, etc. All the composers initially sought to embody national musical contents in the European genre. It is implemented first of all through a semantic complex. Proceeding from hierarchy of the semantic importance, it can be classified as follows: 1) semantics of images of the nature, 2) semantics of sounding of national tools, 3) semantics of melodies, popular in the Chinese environment, 4) genre semantics, 5) semantics of means of musical expressiveness. Introduction of semantics to musical language bears communicative function. The important value had also that presence of a semantic range at the art text is natural to consciousness and art perception of the Chinese
548 kb

PIANO CONCERTO “ТHE ELEGANCE OF SPRING” BY DU MINGXIN: FIGURATIVE SYSTEM, MAIN STYLE LINES

abstract 1321708013 issue 132 pp. 156 – 175 31.10.2017 ru 1227
The article is devoted to history of creation of the piano Chinese concert – “Тhe elegance of spring” by Du Mingxin. On the basis of the biography of the composer reconstructed by the author of article on materials interviewed by him and to other sources, the history of emergence of the Concert is recreated. The short characteristic of contents and the theoretical analysis of the main means of expression and composition of all three parts is given. It is established that the first part is written in the form of sonata Allegro with a mirror reprise and a masterly large-scale cadence in it, the second part – an irregular three-part shape with an episode and the final – shining the rondeau sonata. In the conclusion, it is emphasized that Du Mingxin has created the work, national on contents and intonation, on the basis of the European classical canons. National it is embodied first of all through attitude, intonation, the rhythmic drawing. Among a big complex of conclusions, the paramount role of traditions of S. Rachmaninov is especially noted. In his piano concerts, expressive opportunities of east music, first of all mode and intonation, are embodied with unique art perfection. In Du Mingxin's Concert classical balance between a ratio of parties of the soloist and orchestra is reached. The invoice of party of the pianist is masterly, rich with lyrical melodies, the pair structure of orchestra is fully used. “Тhe elegance of spring” – a concert competition of equal creative sizes
238 kb

GOGOLEANA IN THE RUSSIAN MUSIC OF THE XI--XXIST CENTURIES

abstract 1321708075 issue 132 pp. 965 – 985 31.10.2017 ru 742
The article is devoted to the panoramic historical review of works by N. Gogol's plots in the Russian music. The overall historical picture of development of the Gogol direction in musical theater and in other genres is created. In the XIXth century the history of process is traced from the moment of his formation – in 1840 - 1850, from A. Verstovsky, A. Serov, M. Glinka's unrealized plans, etc. The culmination falls on the last quarter of the century when there are P. Tchaikovsky, N. Rimsky-Korsakov, N. Lysenko's operas, unfinished operas by M. Mussorgsky. The conclusion is drawn that for the XIXth century the appeal to Gogol's poetic images, his fantasy, national images and household humour is characteristic. The XX century opens a new stage in development of a musical gogoleana. On the example of works of D. Shostakovich, Yu. Butsko, N. Kuznetsov, R. Shchedrin, A. Schnittke and young composers – S. Nesterova, A. Bespalova, V. Kruglik it is shown that the main lines of the Russian gogoleana of this time are connected with the appeal to Gogol's realism, his social accusatory satire, the embodiment of a subject of "the slight person". The author of article comes to a conclusion that works on Gogol's plots are a perspective and considerable direction in the Russian music. In the conclusion on the example of the oratorio " Hear, my God, my voice" V. Dovgan it is suggested that in the XXIst century the new turn in the musical gogoleena - the embodiment of philosophical aspects and sacral aspirations of the writer is planned
2673 kb

WATERCOLORIST OLEG POMERANTSEV (1949-2012) AS A SUCCESSOR OF THE TRADITIONS OF REALISTIC ART. ARTISTIC IMAGE OF THE SETTLEMENT OF KIRILLOVSKOE IN WATERCOLORS AND GRAPHIC WORKS OF THE MASTER

abstract 1231609030 issue 123 pp. 433 – 456 30.11.2016 ru 1296
The article tells about St. Petersburg distinctive watercolor painter, Oleg I. Pomerantsev (1949-2012). Master's career is inseparably linked with Russian realism. The artist acts as a successor of fundamental high artistic traditions of realistic art. Working in a landscape genre, Pomerantsev managed to create more than 500 paintings deep in a content and meaning. In his spare time Master developed his own techniques of watercolor art. The entire artist’s works were performed under his impression. He received inspiration on fishing trips, in woods and then at home master reproduced what he saw from memory. Most of his works are in private collections and galleries all around the world. Romantic landscapes of Oleg I. Pomerantsev affect by their transparency, complex color techniques and inexpressible atmosphere, full of air and light. Complex colour manners and inexpressible atmosphere full of air and light. Graphic works by the artist, executed in pencil on paper are very interesting too. Sometimes master was fond of drawing in details, so such works were not suitable for watercolors. In his watercolor works Pomerantsev did only hardly visible pencil drawing. The artist did not specialized in graphics so he ruled out his pencil sketches as unsuitable, but the wife of the artist has kept them. Watercolorist Oleg I. Pomerantsev is unknown to Russian art-critics. In view of that, the article was tasked to give for the first time an art rating to the artist’s creation, to make an art analysis of his works from the cycle "The Karelian isthmus" dedicated to the settlement of Kirillovskoe in Vyborg district. The study of creativity of Oleg Pomerantsev by professional critics will allow to expand qualitatively the history of watercolor painting of Russia
1453 kb

VYBORG’S PERIOD OF A GREAT RUSSIAN ARTIST NICHOLAS ROERICH

abstract 1231609031 issue 123 pp. 457 – 479 30.11.2016 ru 1468
A Karelian stage in the life of the great Russian artist, Nicholas Roerich, is relatively well-known. However, researchers have not been practically studied the period of residence of the Roerich family in Vyborg. It is known that N. Roerich was friends with the Finnish artist A. Gallen-Kallela, who helped him to remain in Finnish Vyborg in the period of revolutionary events in Russia. From October 1918 to May 1919 the Roerich family lived in Viborg in Ladaunkatu (now Turgenev St.), №8. The painting «Autumn» (1919) was written by the artist during the Vyborg’s period. The painting was created in a fantastic manner which was usual for the artist. Unfortunately, at the moment nothing is known about his other works with views of Vyborg. However, in the catalog of his works, published in the USA in the 1920-es , under the name of each picture is given information about where and when it was created. Thus, under some of the works of the artist is the mark: «Painted in Viborg». So, today we can say about some works of master, which he wrote in Vyborg. In the first place, there are famous paintings of the artist: «Repentance», «Call of the bell. Old Pskov», «Sons of the Heavens», «The heat of the Earth», «Autumn – Vyborg», «Les Miserables (Outcast)», «Treasure» and others. As well, in 1918 at the time of staying the family in Vyborg a number of sketches in "Vyborg Notebook" were made by his son, Svetoslav Roerich, who was then 16 years old. Probably, inexhaustible diligence of Roerich gave a rise to other works with the theme of Vyborg, which scientists do not know because this topic has not been investigated
190 kb

ABOUT POETRY OF THE COUNTRIES OF ASIA IN THE REGION OF THE PACIFIC OCEAN IN THE RUSSIAN TO VOCAL LYRICS OF THE XX CENTURY

abstract 1211607091 issue 121 pp. 1487 – 1503 30.09.2016 ru 1481
The article is devoted to the characteristic of poems of east poets (Japan, China, Korea) on which vocal cycles were written by the Russian composers of the XX century. It becomes perceptible that the appeal to east poetry became a tendency, which appeared during the era of the Silver age of the Russian culture. The reasons of the origin of this tendency were revealed. The names of I. Stravinsky, S. Vasilenko, M. Ippolitov-Ivanov, D. Shostakovich, G. Sviridov, S. Slonimsky, L. Grabovsky, A. Nemtin, A. Raskatov, D. Smirnov, V. Kikta, G. Belov, G. Firtich, I. Ostromogilsky, etc. are given as an example of its implication. The large-scale literary list includes poetic of Ancient Chinese poetry, Japanese ancient (medieval) poetry, classical Korean poetry, folklore verses. In the conclusion, typical lines of vocal cycles on these poetic works are shown. The center of this poetry is images of the nature, communication with it of inner world of the person. This poetry is distinguished by a reserved manner of the embodiment of rich inner world, thin psychological gradation. Other figurative constants – love collisions, philosophical reflections about meaning of life, loneliness, exile. They are embodied emotionally frostily, laconically by means of expression
155 kb

ROLE OF AN INTERTEXT IN D. D. SHOSTAKOVICH’S OPERA “GAMBLERS”

abstract 1171603042 issue 117 pp. 664 – 675 31.03.2016 ru 1139
We investigate D. D. Shostakovich's opera “Gamblers” is in the context of an intertext. In this opera, the psychological drama develops; this complex artistic task is solved largely thanks to masterful introduction of a variety of intertextual links. “Gamblers” is an example of recitative opera with an intense, “passionate” vocal style and flexible technique ranging from secco to a gushy accompagnato. The text directs melodic development and intertextual links. The appeal to a method of the intertextual analysis opens interaction between “Gamblers” and their dialogue with musical classics and other Shostakovich’s works. Own creativity and the whole layer of classical works first of all acts as donor texts: operas style bel canto, opera-buffa, D. Verdi’s opera “La traviata”, Russian recitative opera – A. S. Dargomyzhsky, N. A. Rimsky-Korsakov, M. P. Mussorgsky, works by A. P. Borodin, P. I. Tchaikovsky, and of painter and literary texts – P. A. Fedotov, A. S. Pushkin, L. N. Tolstoy, F. M. Dostoevsky. The intertextual artistic methods, enabled by Shostakovich express a complex psychological content
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PRINCIPLES OF CLASSIFICATION OF MUSICAL EDUCATION

abstract 1171603085 issue 117 pp. 1303 – 1316 31.03.2016 ru 1320
The article explores the main types of musical education. We created a table of classification based on the experience of world and Russian culture, personal educational experience. The classification table shows the main features of music education and provides brief comments for each species. We show the multiplicity and multidimensionality of the types of educational activities. Educational activities were classified into nine types of classification: form, volume, organizational complexity, subject, audience, socioeconomic status, genres, performing music composition, connection with media space. It is noted that the main forms are musical-educational lecture and educational concert. Other forms derive from these main types. The article made an important conclusion: music education should be considered a form of communication between musicians and listeners, which along with the aesthetic component plays an important role cognitive component aimed at the formation of the musical (or artistic) culture of the public
1739 kb

MARTIAL ARTIST – ENGRAVER MIKHAIL MATORIN (1901-1976). IMAGE OF THE TOWN OF VYBORG IN THE LINOCUTS OF THE ARTIST

abstract 1111507018 issue 111 pp. 299 – 333 30.09.2015 ru 1857
Virtuoso of prints, Mikhail Matorin, is undeservedly forgotten today both by ordinary spectators and by professional art critics. Twenty-five years of fruitful work of the artist have made a great contribution into the development of the domestic drawing. The album of linoleum prints called "Vyborg", created as a result of his staying on the finnish front in june 1944, takes up a special place in his creative work. Vyborg has attracted Matorin by the originality of its northern architectural landscape and the severe beauty of forms. The town was empty; it was left by Finnish residents. Bright sunny days of June with white nights even more emphasized the epic expressiveness of architectural ensembles of the city. Language of Matorin’s linocuts is sharp, clear and emotional. Sonority of strokes and rhythm of lines are in harmony with the noble colors. Matorin’s prints were made on the basis of front-line sketches. The color linocut printmaker used up to 12 boards, achieving the effect of real painting. Matorin’s engravings are remarkable for its special harmony of tones, terseness of colours. This article is aimed at the introduction into the scientific usage of russian artcriticism new unique artistic and history- cultural material, revealing features of creativity and way of life of the engraver, M.V.Matorin. The author for the first time in Russian art-criticism examines and gives an appreciation of the album of linoleum prints "Vyborg" (1944), which is a valuable documentary material
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