2010 № 1(1)
Moscow Tchaikovsky Conservatory publishing activities:
the past — the present — prospects
The article presents a brief survey of Moscow Conservatory publishing activities from its foundation to nowadays. Little known data concerning the history of the conservatory editions are presented. They give evidence that from its very beginning Moscow Conservatory played a leading part among Russian musical institutes of higher education in publishing methodological and scientific literature. Also a report of basic tendencies and forms of publishing activities in Moscow Conservatory today is given. They include textbooks and tutorials, monograph, series of scientific collections of various subject matters, musical editions, translations of ancient treatises and texts of modern authors, source-study manuals and catalogues. Publishing projects of basic structural units of Conservatory are also covered there.
Key words: Moscow Conservatory, history, publishing activities.
History of music as a science and process of education:
on some problems and prospects
The article considers modern condition of the history of music and its teaching in conservatories, depending actually on the methods of musical literature in colleges. The article also outlines some ways to: a) widen the problems and structure of history of music courses in the conservatories, b) create a more active inner system of the musical history as a science and its theoretical potential increase. The way to achieve this purpose, in the author’s opinion, is to study the basic concept of historical style. The problems and difficulties of this study are shown on the example of the attitude to the concept of romanticism in the published works of the last years.
Key words: musicology, history of music, musical literature, musical education,
historical formation in art, style, “the nineteenth century”, romanticism.
A Change of Time in a Time of Change:
Towards the Half Century Out-comes
of Ear Training Education in Russia
The article is dedicated to the problems of professional musical ear training in the field of the Russian solfeggio teaching tradition. The specific character of ear training evolution is analyzed and the most topical problems are disclosed. They are investigated in relation to general trends in music perception, as well as specific social and cultural conditions. As a historical aspect, examples of the ear training teaching process in the Moscow Conservatory classes are presented. The ways to increase an efficiency of ear training education are proposed. Among them is the dynamic integration of traditions and innovations as well as the finding of new aspects in the interrelations between general and professional music educational areas.
Key words: ear training, good ear for music, music education, music cognition,
synesthesea, creativity, modern music, linguistics.
On history of teaching music theory courses
at the Moscow Conservatory
The article is dedicated to history of teaching theoretical subjects in Russia, from the time of conservatories opening to the present day. One can consider the correlation of traditions and innovation while teaching theoretical subjects in the late 19th — early 20th centuries as a main problem put in the article. As well, the most important methodological principles that had been being formed over a century are also considered: they are the principle of historicism, the principle of sciences’ complexity and their practical orientation. At the same time a musical theoretical scientific school, mentioned in the article, was being developed. The most important scientific and methodological principles were laid by such outstanding scientists and educators, as Taneyev, Catoire , Sposobin, Kholopov, and they are still continued by the activity of their followers.
Key words: history, tradition, teaching, harmony, Moscow Conservatory, training courses,
music theory, musical form, function, functionality, musical science
Brief Historical Essay
of Moscow Conservatory Composition Department
The article is dedicated to the history of the Moscow Tchaikovsky Conservatory Composition Department. It contains chronologically arranged information about musicians who were teaching there, and their main achievements are marked. The author gives capacious and versatile characteristics to the most important professors of the department supported by their students and colleagues’ statements.
Key words: Moscow Conservatory, Composition Academic Department,
Composition Department, theory of composition.
Elena Kolokolnikova, Anna Loseva
The Music History through Documents:
Festival on the Centenary of G. F. Handel
by Charles Burney`s Eyes
This article is the first translation into Russian of one of the most important documents concerning English musical life of the XVIIIth century — “An Account of Musical Performances in Westminster Abbey, and the Pantheon, May 26th, 27th, 29th, and June the 3rd and 5th, 1784, in Commemoration of Handel” by Charles Burney (1726–1814), an outstanding English musician and music historian. This document is an evidence of how Handel`s music was perceived 25 years later after his death and what new tendencies in performance developed in the XIX–XXth centuries. Moreover, “An Account…” contains much valuable information concerning the state of English music in the second half of XVIII century and leading musicians of that period. Of special interest are Burney`s excursions into the historical domain and his reflections of Handel`s music peculiarities. Except its indubitable scientific value, “An Account…” possesses considerable literary merits which turn reading into true pleasure. The publication is accompanied with an introductory article (“…[This] enterprise would form an era in music”) and necessary scientific commentaries.
Key words: G. F. Handel, Ch. Burney, Handel Commemoration, Westminster Abbey.
Character and characterization in G.F.Handel’s operas
The problem of character, one of the key-stones of the musical theatre of the XVIIIth century, is considered there basing on the operas by Handel. Despite a popular opinion that typical characters are in the nature of a baroque opera, rather than individual characters, the author believes that Handel’s theatre was developing towards psychological insight and combined both old and new principles.
Key words: G. F. Handel, opera, character, libretto.
Two Gazes on Baby Christ.
The Story of the Nativity told by H. Schütz and J. S. Bach.
Essay I. “…Ich verkündige euch große Freude”
The present publication is the first of two essays on the interpretation of the gospel story of the Nativity (Lc 2:1, 3–21; Mt 2:1–12) in “Weihnachtshistorie” by Heinrich Schütz and “Weihnachtsoratorium” by Johann Sebastian Bach. Both composers` approach to the text is in full accord with their Lutheran religion, but they contemplate the sacred image of Baby Christ in two different ways. Schütz describes biblical personages in the manner of opera characters. In the Intermedia, which reproduces their direct speech, he treats the words of Gospel as the libretto text. At the same time, his music keenly responds to all the details of the stories of Luke and Matthew, and dissimilarity of them helps Schütz to reflect the profound essence of the events: the appearance of Christ to the world makes a lot of people move, and for everyone the Nativity bears different meaning. However, the emotional atmosphere of the Feast is defined not by that people but by peacefully sleeping Baby Christ Himself — the main character of the work.
Key words: Nativity in music, H. Schütz, Lutheran historia,
musical rhetoric, Baroque music.
Introduction to the Art of Boris Schloezer
This article is dedicated to Boris de Schloezer, an outstanding thinker of the Silver Age. A writer, philosopher, sociologist, translator, music and literature critic, Boris de Schloezer happened to be a mediator between two great cultures — i.e. Russian and French ones. A connoisseur of Lermontov, Chekhov, Dostoevsky, Tolstoy, Gogol, Leskov, Bunin, Zamyatin, Shestov and Rozanov, he revealed Russian literature and philosophy to the European reader. Realizing the lack of philosophical analysis of music and works on psychology of creative work, Schloezer tried to fill in the gaps writing a number of reviews on new compositions, notes about performers and their performing, works devoted to theoretical questions. In the centre of his reflection there are problems of the New Music analysis, of the interlink between the author and his work, music language, means of expression, interrelations of form and substance.
Key words: musical critique, russian musical culture of the Silver Age.
Variation on a Kazakh Theme.
About the unfulfilled Opera by S. Prokofiev “Khan Buzay”
The article is dedicated to an unfinished opera by Prokofiev from the war years. Basing on the archive issues, the author uncovers the history of the opera creation, marks the features of libretto and musical material, which also have appeared in other works by composer in 1940-ies.
Key words: S. Prokofiev, opera, Khazakhstan.
Luigi Dallapiccola: Tre Laudi (1936–1937)
Luigi Dallapiccola is one of the most prominent composers of the XXth century, the first Italian musician who mastered the method of dodecaphony. That was organically related to national Italian traditions. Contacts with the art of Schoenberg (1924), Berg (1934), Webern (1935) are also significant, and he left important reminiscences about that in his articles and essays.
Vocal cycle of Dallapiccola (for high voice and chamber orchestra), analyzed in this work, follows medieval texts and contains images and emotional states inherent to ancient Italian laudas. This source helped the composer to find the expression that will later appear in his most significant works — operas (“Volo di notte”, “Prigioniero”, “Ulisse”) and others.
Study of the composer’s methods of using poetic text shows how syllable counting, common to medieval Italian syllabic poetry, creates a 12-note (syntaxically) and makes the use of dodecaphony natural.
Key words: L. Dallapiccola, dodecaphony, lauda, Francesco d’Assisi,
A. Schoenberg, Volo di notte, Ulisse.