Mif, muzyka, obrjad po materialam meždunarodnoj naučnoj konferencii ; [sbornik statej]
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Datensatz im Suchindex
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| adam_text | СОДЕРЖАНИЕ
От составителя
........................................................................................................7
МИФ КАК УНИВЕРСАЛЬНАЯ КАТЕГОРИЯ
Ольга Осадчая. Мифология музыкального текста
....................11
Владимир Мартынов. Музыка, космос и космическое
пространство.....
.................................................................................26
Римма Поспелова. Иоанн
де
Мурис
,
квадривий и наша
современность
...................................................................................31
Константин Зенкин. Миф, мистерия и границы искусства
в авангарде второй половины
XX
века (Дж. Кейдж,
К. Штокхаузен)
................................................................................42
Виктория Адаменко. О мифологическом в творчестве
Крама
...................................................................................................53
МИФОЛОГИЯ В СЮЖЕТНЫХ ИНТЕРПРЕТАЦИЯХ
Лариса Гервер. Совокупный поэтический текст
романсового
творчества композитора как объект
мифологической реконструкции
...............................................65
Андрей Денисов. «Персефона» И. Стравинского
—
новая жизнь мифа о возвращении из царства смерти
.........73
Аудроне Жюрайтите. Библейские мотивы и музыкальные
«мифы» в творчестве Онуте. Нарбутайте
...............................82
Вера
Валькова.
Архетип куклы в творчестве
Д.Шостаковича
...............................................................................95
Анна Булычева. Цирцея и ее сестры. Волшебницы
в музыкальном театре французского барокко
.....................103
Татьяна Тихонова. Диалог Восток-Запад в контексте
мифологического содержания балета Б. Бартока
«Чудесный мандарин»
.................................................................114
КУЛЬТУРНЫЕ МИФЫ
Виталий Шуранов. Музыка французских клавесинистов и
эстетическая традиция рококо: теория против практики
... 131
Евгения Чигарева. Мифу Моцарта. Миф о Моцарте
..............139
Марина Раку. «Мифологичные» структуры советской
музыкально-эстетической мысли 20-х
-
30-х годов
..........151
Гражина Дауноравичене. Сакральность современной
музыки
—
миф или реальность?
...............................................159
Маргарита Катунян. Новый тривий
XX
века: звук, число,
обряд (А. Пярт, Л. Рубинштейн)
...............................................179
Михаил Просняков. Творчество К. Штокхаузена
и Новая мифология в современной музыке
.........................195
МИФ И ОБРЯД В ТРАДИЦИОННЫХ КУЛЬТУРАХ
Марина Альтшулер. Калужская кукушка и ее звуковой
образ в системе обрядов символических похорон
.............205
Мария Сытник. Музыка современной англиканской
церкви
................................................................................................214
Ирина Шугайло. Метафизика танца
..............................................228
МИФ И ОБРЯД В КОМПОЗИТОРСКОЙ КУЛЬТУРЕ
Людмила Дьячкова. Символ и ритуал в Мессе
И.Стравинского
........................................................................-.... 241
Галина Григорьева. «Ритуал» П. Булеза
........................................253
Марина Переверзева. Хэппенинги Джона Кейджа
..................263
Юлия Пантелеева.
Musica
rituális
в композициях
Н. Корндорфа
.....................................................,...........................285
Елена Николаева. «Литургия св. Ионна Златоуста»
Валерия Кикты: память жанра
..................................................297
МИФ И ОБРЯД ГЛАЗАМИ КОМПОЗИТОРОВ
Дэвид Гомппер. Миф, ритуал и структура
в композиции
..................................................................................307
Виктор Екимовский. «Макроминимализм»
.................................312
Сергей Загний. Новые средства коммуникации
против концерта
.............................................................................315
Об авторах
....................................................... 317
SUMMARY
................................................................ .....324
4
SUMMARY
Myth as a Universal Category
OlgaÖSADCHAYA
The mythology of a musical text
The article considers the problem of fundamental identity of such
phenomena as myth and music, and clarifies mythological structure as a
mechanism that gives birth to a musical text. From the field of research on the
correlation of myth and music the author selects four main paradigms:
symbolic, psychoanalytic, ritualistic, and structural. These are treated as
conceptual foundations in an attempt to solve the problem of their interaction.
The totality of these four paradigms forms a paradigmatic sum
-
a subject
located at the intersection of ontology and semiotics. It expresses integration
of the principle of culture s development into the metaphysical picture of the
whole of music.
In the course of research, the mythological model comes forward as a
universal structural code that receives a concrete
semiotic
embodiment
within a musical text. In this context, musical works represent a sort of
art metamorphoses , revealing mythological archetypes at their core. The
multiplicity of meanings associated with the notion of metamorphose
allows to see in this notion a philosophical symbol, which supposes, thanks
to the mythological model, an attribution of onto-logos onto musical
phenomena.
Vladimir MARTYNOV
Music, cosmos and the cosmic space
In this lecture I consider the coordination between the views about
music with their coeval views about cosmos. The emergence of the specific
forms of the composers music from the seventeenth century onwards can be
connected with the downfall of the interpretation of the cosmos as a living
harmonic wholeness. This idea of cosmos has been replaced with that of
cosmic space
-
the room for everything . As a result, now music leaves life.
So and life, too, leaves music. Now one has to listen to music, while sitting
still in a concert hall. In the past, cosmos was here and everywhere. Now
cosmos begins just outside the stratosphere. In order to enter space, one
needs a space-suit. In the earlier times, music was here and everywhere.
Now music can be heard only in a concert hall under the condition of halting
most functions of the human organism. The exploration and assimilation of
324
cosmic
space is akin those of musical space, via the creation of musical
compositions
-
opuses .
Rimma POSPELOVA
Johannes
de Muris,
Quàdrivium
and our Modernity
The author regards the theory of Johannes
de Muris
as a part of the
phenomenon of the Quadrivium. Present-day music theory has a need for a
modern equivalent of the Quadrivium, as well as for a new theology, which
might revive contemporary music theory.
Konstantin
ZENKIN
Myth, mystery, and the limits of art in the musical avant-garde during
the second half of the twentieth century (J. Cage and K.
Stockhausen).
The phenomena of new music, which extended its definition beyond limits,
are considered in this article from the perspective of art as mystery
(mystéria).
The different types of mysteries and aesthetic conceptions are considered in
connection with their mythological sources. In particular, Stockhausen s
interview with his statement about the terrorist attack in the USA on
September
1
1th
2001
is interpreted in the context of the composer s religious
and mythological ideas.
Victoria ADAMENKO
The Mythological in the Works of George Crumb
Neo-mythologism, a largely unstudied element of twentieth-century
music, describes a central feature of the modernist artistic consciousness.
Neo-mythological artists endeavor in their work to forge a macrocosmic fusion
of history, culture, and society
-
to manufacture, in short, an idiosyncratic
myth about the world .
Like Jungian psychology, neo-mythologism concerns the unconscious
activity of imagination, specifically the manner in which this activity
furnishes a symbolic construction of existence. Together with such symbols
as the segmented circle (or
mandala)
and the tree of life, a neo-mythological
preoccupation with astrology and occult-based numerology is discernible
in the structures of many modernist standards. Use of neo-mythological
ciphers peaks among later modernist composers, allowing them to encode
their creative psychologies
-
their unconscious apperception of reality
-
into their works.
This paper defends this claim using the example of George Crumb, who
confessed an obsession with the relationship of music and myth. The first
325
section
of the paper summarizes my extensive discussions with the composer
on the topic of neo-mythology
;
the second presents a primary-source-based
analysis of Crumb s Ancient Voices of Children . The overall aim of the
paper is to introduce neo-mythologism as a theoretical paradigm for twentieth
century music, and to justify its relevance for the theory and practice of
modernism.
Myth as Subject Matter and Its Interpretations
Larisa
GERVER
The integral poetic text of all
Lieder in
a composer s output as the
object of a mythological reconstruction
What if one considers the totality of all various poetic texts, which were set
by a particular composer, as an integrated and a single text? By the whimsy of the
composer, the poems, which were not related originally, now turn to be
correspondent with each other and put
int
a new context. Certain closeness
between characters and situations is thus revealed, as is persistent repetitiveness
of motifs. The integrated poetics of thus combined art songs displays a unity of
worldviews, no matter how many different poets are involved. Moreover, a certain
cosmology can be discerned behind such a unified text. In order to reveal the
main parameters of this cosmology, I will use the method of myth reconstruction
by Vyacheslav
V. Ivanov
and Vladimir
N. Toporov
based on the structural
anthropology of Claude
Lévi-Strauss
and the principles of structural linguistics.
I use the list of main features of the unified mythological system (the pantheon of
gods, paradigmatic set of repeated motifs, universal mechanisms of binary
opposition, transformation and equalization, and others) to examine the integral
poetic texts of art songs (romansy) by Mussorgsky and Rimsky-Korsakov.
Andrey DENISSOV
Stravinsky s Persephone : a new life of the myth about the return
from the dead
This paper investigates semantics of the subject matter and genre of
Stravinsky s Persephone . First, it considers the primary mythological source
of Persephone , and second, refraction of the scenario s basic motifs in various
forms (such as the myths containing the motifs of abduction, wanderings in
the other worlds .) The connections between Persephone and other
compositions by Stravinsky are examined. The embodiment of the fundamental
images of myth (those of life and death) is shown in their correlation with the
genre idea of Persephone .
326
Audronè
ŽIURAITYTÉ
The biblical motifs and the musical myths in the works of
Omite
Narbutaité
The Second symphony
(2001)
by
Onuté Narbutaité
provides relevant
material for discussing two archetypal dimensions in music, which may be
described as mythological and immanent-internal (V.
Val kova).
Both
structurally and semantically this composition is indirectly referring to a
biblical situation (Christ s last prayer in the Garden of Olives before his
capture), but at the same time is quite independent and freely deviating
from it. The semantics of this two-movement cycle may be also explained
through application of romantic archetypes (or more specifically, stylistic
archetypes ). The archetypal structures of the composer s intonation
vocabulary, borrowed from both Mozart s Requiem and different pieces
by Schubert and Chopin, undoubtedly point to the semantics of sadness:
transcendental and beyond-reaching in
Mozartsommer (1991);
desperate
and burdened with life in Winterserenade
(1997);
marked with mourning
and presentiment of death in Rudens
riturnelé .
Hommage
à
Fryderik
(1999).
However, in all these cases the symbiotic construction of musical
material is not formal: it is as if
Narbutaité
identified herself with the
cited authors and shared their fates. By employing the material created by
other composers and consciously or unconsciously incorporating
archetypal formations (images and structures) in her music,
Narbutaité
always leaves a clear trace of her individuality in secret inter-texts or
internal essential structures (M.
Raku),
in which she reconciles precise
calculation with the spontaneous development of thought and the
semantics of sadness.
VeraVAL KOVA
The archetype of the plaything in the music of Shostakovich
A plaything, a toy, a puppet show
-
the associations with these images
constantly accompany Shostakovich s music. In the article their archetypical
nature is emphasized. In Shostakovich s work, the association with a puppet
receives psychological complexity, and a morbid, even tragic, character. In
this vein the author interprets the autobiographic theme-monogram DSCH
from the Tenth symphony, the episode in a toy-like mode from the final
movement of the Fourth symphony, the first movement of the Fifteenth
symphony, and other works. The author also points to the connection
between the images of toys with the traditions of Russian classical ballet, as
well as the folk market booth show, linked to the characteristic image of
Petrushka.
327
AnnaBULYCHEVA
Circe and her sisters: sorceresses in the musical theatre of the French
Baroque
The article deals with various scenario treatments of such characters as
Circe, Alcine, Armide, and
Médée
-
the sorceresses in love
-
in ballets
de cour,
Semi-operas, and tragedies
en musique.
The popularity of these characters
was conditioned by the predominance of the aesthetics of
le merveilleux
in
the musical theatre of the French Baroque. Such plots were treated in a variety
öf
modes: in moral and religious modes in early ballets
de cour,
and in a
philosophical (Masonic) mode in the operas of the mid-eighteenth century.
The main focus is on the operas of the late seventeenth century in which magical
rites are represented in detail. A scene from
Médée
by M.-A.
Charpentier
(1693)
is examined as an example. An interest in magic was prominent during
the reign of Louis
XIV.
In particular, a great number of operas featuring
vindictive sorceresses is linked with the famous
L Affaire des
Poisons , which
had shocked Paris in
1679/
Tatiana
TIKHONOVA
Dialogue between the East and the West in the mythological context
of
Béla Bartók s
The Miraculous Mandarin
The author analyzes the mechanism of mythologizing, which characterized
the musical-theatric compositions by European composers in the first quarter
of the twentieth century. Many of these compositions were conceived within
the stream of an ongoing dialogue between the East and the West. The process
of mythologizing manifests itself on different levels in the ballet The
Miraculous Mandarin : in the libretto, the musical dramaturgy, and in the
overall concept of the work.
The Cultural Myths
VitalySHURANOV
Music of the French clavecinists and the aesthetic tradition of the
rococo: theory versus practice
The paper is devoted to the contemporary paradoxical notions about the
music of the French rococo
-
in particular, regarding the performers on the
clavecin in the first half of the eighteenth century. According to the author s
idea, the present-day view
ofthat
style reiterates the original eighteenth-
century understanding of aims and expressive means of the art. A look at the
328
music as the artistic embodiment of the essential semantic notions about the
world uncovers a larger depth than that which is read in the original
discussions of the aesthetics of the rococo (the doctrine of affections).
Eugenia CHIGAREVA
Myth in Mozart. Myth about Mozart
This paper elucidates the reception of Mozart s
oeuvre
(with a particular
emphasis on quotations, quasi-quotations and allusions) through the relation
his music bears on mythology. While examining this point, the contributor
adopts the approach of Dr. Margarita Izvorska-Elizarjeva, who posits in her
book Myth. Music. Mozart (Minsk,
1998)
that, being conceived as a musical
comprehension of a cosmogonal myth , Die
Zauberflöte
sheds a new light
on the composer s music output. It is argued that the mythological motives
appeared to be some kind of a link between the music at the times of Mozart
and the so called new mythology of the eighteenth century, the main
principles of which were famously admired by the freemasons. Last but not
least it is stated that, in the twentieth century Mozart s
oeuvre
enjoyed the
rank of a myth. It became a symbol of the lost integrity.
Marina
RAKU
Mythological structures of Soviet musical-aesthetical ideas in the
1920s
and
1930s
The author considers, from a new perspective, the processes in Soviet
musical aesthetic: its formation and its specific features. The author points
to the subordination of these processes to mythmaking, as it is described
by contemporary mytholographers. The main instrument of musical
mythologization is word about music, presented in the musicological
writings of the epoch. The Soviet musical periodicals of the
1920s
and
1930s
steadily display functioning of a number of mythological oppositions,
which are subordinated to the general axiological dichotomy: useful/
useless. The place of musical aesthetic was practically occupied by musical
pragmatics. The oppositions were also teleological, and indicative of latent
idealism of the analyzing subject, as well as of its spontaneous
Platonism
and
Hegelianism.
The tautological character of the discourse typical of
Soviet musical-cultural mentality conforms to the suggestive nature of
modern mythmaking as it is explored by Roland Barthes. Soviet aesthetic
discourse attempts to invoke and conjure the existing reality into the
desired state of things, with the purpose of naturalizing of the newly created
mythology.
329
Gražina DAUNORAVIČIENÉ
Sacredness in contemporary music: myth or reality?
When posing the problem of the spiritual contents of contemporary music,
the most meaningful prognosis for the future can be found in the compositions
of
post-avant garde
conservative composers. Their works are characterized by
the tendency to revitilise old traditions, techniques, styles and forms, based on
memories of the modal system. Such neoarchaic reconstructions are intended
to recapture the spirituality of composers such as Gyrecki,
Scelsi,
Part, Kancheli,
and Martynov. Despite such declarations, this problem is becoming ever more
complicated in contemporary music. A large group of non-believers parody
Part s mystical tendency to seek God and his becoming a New Age guru.
Commentaries by well-known German music critics range from praises to new
spirituality, cosmic awareness, and the embodiment of the sacred ideal of art, to
scepticism regarding the music s
pseudo
simplicity .
In this context, this article investigates a non-orthodox
Missa
in
musica
(1992— 1993)
by Feliksas Bajoras. In regard to this work, the author attempts to
demythologize the signs of liturgical music and its tradition. This composer s
interpretation of the canonized liturgical text of the mass is a psychological
one. Jung s psychoanalytical phenomenology and Eliade s theory
aîhierophany
both serve as methodological analytical basis in dealing with the work. The
manifestations of the sacred can be heard in its several movements.
The composer was religiously inspired. However, his position makes a
contrast with the documents of the Second Vatican Council (Dignitalis
humanae Declaration). One should not disdain this non-dogmatic approach.
For Bajoras, the egalitarian composer like himself is characterised by
individualism and an original blending of the sacred and the profane. Such
solution of the problem of spirituality as Bajoras s may prove fruitful on the
path for more artistic discoveries.
Margarita KATUNYAN
The new
trivium
of the twentieth century: sound, number, ritual
(Arvo
Pürt,
Lew Rubinstein)
Collaborât
ion between different arts is a constant process. All arts, having
left their original union in archaic ritual and myth (where they were in a state
of syncretism), have not forgotten about their primordial interconnectedness.
The arts display traces of certain generic memory about those primordial
times. Paradoxically, this is especially evident when a particular media presents
it self in the pure forms of its own specific language.
Although the syncretism never ceased to exist, its new kind clearly emerged
in the twentieth century, within avant-garde art. One of the main achievements
330
of that art was that, while aiming for innovative techniques, the artists
rediscovered the archetypal and mythological structures of thinking. These
structures affected the musical fabric and proved to be text-forming. They took
the place of the specific laws of music. The very encounter with these structures
is a discovery of such depth that made the problem of the new materials of
music marginal. This article analyzes the archetypal structures of a row, circle,
and agon. On their basis the author presents ways of reconstructing the artists
methods of text creation both in music and in literature. Lev Rubinstein s
poems and
Arvo
Part s
Trivium
for organ serve as examples. The analysis
corresponds to the method of composition chosen by both authors. It is set at
the intersection of three paths: music (sound organization), arithmetic (number
as concept of time and as a symbol), and dialectics (ritual as a model of structural
logic). In Part s tintinnabuli technique his individual
trivium
is discernible,
which evokes medieval
trivium.
Behind its seeming simplicity, Part s
Trivium
is a complex
architecten
(a
term by
Kasimir Malevich)
and, therefore, warrants this summary. Clearly, the
composer sought such a balance between the extra-musical and the musical
that would allow perceiving the former through the latter. The easier the
perception of the sounding matter he creates, the more transparent are the
■sacred symbols and the spiritual endeavors concealed behind these sounds.
Michail PROSNYAKOV
The works of
Stockhausen
and the new mythology of contemporary
music
Any whole worldview that is based on the principle of manifestations is a
mythological worldview. The principle of manifestations means that phenomena
are not existing independently but are connected with each other by a great
number of associations; they are the elements of a more general idea or of a
myth. The manifestation-ism proposes the view of reality as a manifestation of
the primordial God (god instance), that is, of a unified Principle-Source.
The most impressive example of this synthetic worldview in the realm of
new music is the work of
Stockhausen.
His very name has been handled as a
mythologem
in its own right. In particular, the composer has been viewed as a
leader , a discoverer , and as a performer who realizes contemporary music.
The results of his creative work have obtained the meaning of a model, a sample
for the new paradigms in the field of newest music.
The most fundamental idea in the work of
Stockhausen
is a manifestation
of integral unity of all levels of the total Being (the latter is understood as a
sacred reality). In addition to the subject and the object of philosophical
discourse, a transcendental dimension, or the spiritual element receives a special
331
meaning in Stockhausen s ideas. This constitutes the essence of the so-called
New cosmology of contemporary music (also could be defined as New
mythology ). Under this condition, the individualism of a composer s
personality is transcended; this personality is becoming a myth . A composer
is perceived as the bearer of the ultimate Principle-Source, as one of its many
potentialities.
Stockhausen
said: As a name I am a myth
[...]
Someone has come
into the world accompanied by this myth
[...]
This is a spiritual force
[...]
And
that engenders a world within the world .
Stockhausen s opera cycle
Licht
is an example of multifarious metamor¬
phosis of this oldest mythological complex.
Myth and Ritual in Traditional Cultures
Marina ALTSHULER
The cuckoo of Kaluga region and its sound image within the system of
symbolic burials
The paper describes a local variant of the traditional ceremony of the
symbolic burial, which is an important rudiment of the heathen culture.
Musical ethnographic structure of the so named cuckoo christening and burial
ceremony is shown in the example of a research expedition to the Ludinovsky
district of Kaluga region, where this ceremony is prominent. The mythological
conceptions concerning the cuckoo are analyzed, its function as an
intermediary between the worlds of living and of the dead is uncovered.
Based on the statements of informants, all of the stages of this ceremony are
traced: making a doll, its christening, secret burial in the rye, and
commemoration with ritual merry-making. In the villages where the ceremony
,
is most developed, the burial of the cuckoo is necessarily accompanied with
wailing, that is viewed in the context of the funeral wails of Kaluga region.
The question is posed regarding the function of sound in the cuckoo burial
ceremony in comparison with the sound scores of the analogous actions-
ceremonies: the absence of the ritual noise possibly indicates the cuckoo
image being differentiated from the other characters of the local demonology.
Maria SYTNIK
The music of contemporary Anglican Church service
The music of contemporary Anglican Church has been insufficiently
researched in Russian musicology. Historical, cultural, theological, and
philosophical aspects of the Anglican religion and their determining influence
on the church rites of this Christian confession are explored and discussed. As
an example the author considers one of the Sunday Communion services of St.
332
Mary s Church in Weybridge, England. The author defines the specific features
of music in the rich context of the vast history of religion in England.
Irina
SHUGAYLO
The metaphysics of dance
The article is an attempt to disclose the archetypes of a dancer. Dance is
considered as the dialectic interrelations of the four elements: earth, water,
fire, and air. The author suggests a specific approach to the analysis of some
principles of form in dance and to the reading of dance figures. These figures
are considered as mythologems. Thus dance is presented as a latent ontology
of creative individuality.
Myth and Ritual in the Culture of Composition
Lyudmila DYACHKOVA
Symbol and ritual in Stravinsky s Mass
The author considers the embodiment of sacred ritual model in the musical
composition of Stravinsky s Mass. The central symbol pertinent to this model
embraces two contrast spheres: the world of the sacred, heavenly, godlike, on the
one hand, and the earthly, human world, on the other. Accordingly, the dramaturgy
of the Mass also incorporates these two different spheres. Two types of musical
space are clearly distinguishable within this composition: large and small; infinite
and pointillist (extremely limited); rarefied and dense. Two genres, in broader
terms, can be distinguished: lyricism and prayer. Two musical images are prominent:
first, the angelic singing representing the art of beauty and light, and second, the
abstract image of prayer. Two singing styles are prominent: a melismatic singing
of the soloists, and a chordal-syllabic declamation of the chorus
tutti.
Stravinsky
s
Mass in its conception, structure and style demonstrates a
possibility of an embodiment of a Christian ritual.
Certain features of the Mass awaken in Alfred Schnittke s Second Symphony
( St.
Florian ),
and in
Missa
Sancii
Nicolai
by Lars
Edlund (b.
1922).
Galina
GRIGORIEVA
Pierre
Boulez s
Ritual
The author, dealing with this less-known composition, analyzes its
embodiment of ritual qualities on different planes. The starting point of the
discussion is the program epigraph supplied by the composer. The epigraph
contains the motivic and structural order to which the original combinational
rariation process is submitted. The sacred number
7
organizes this process,
erecting a spectacular
/«n^ère-ritualistic
composition.
333
Marina
PEREVERSEVA
The happenings of John Cage
The happenings of John Cage represent an absolutely new form of art in
which the traditional limits of music were expanded in order to include visible
and audible events and objects of everyday life. The composer included dance,
speech, graphics, noises of the environmental and
nonmusical
activities, and
other phenomena. The happening appears as an alternative form of the traditional
recital, which was presentable in a concert hall setting. Cage s world view
allowed to create the opposition between enclosed space of music and such an
open space of it that include painting, word, motion, and everyday life with
its sounds and noises. This is connected with his concept of expanding the art s
space that corresponded with the chief tendencies in American arts of the second
half of the twentieth century.
YuliaPANTELEEVA
Musica
rituális
in the compositions by Nikolai Korndorf
The author reports on the problem of the ritual principle in the works of
the Russian composer Nikolai Korndorf
(1947-2001 ).
The idea of instrumental
theater as embodiment of rituality in music is considered in relation to the
evolution of genre in the composer s individual style. The author touches on
the subject of the style of the time citing as an example the fact that
contemporary music is marked with attention to myth and ritual.
Elena
NIKOLAEVÁ
Liturgy of St John Chrysostom by
Valéry
Kikta: the memory of the
genre
The problem of whole liturgy as a unified musical composition is the
focus of this article in which author comments on the different aspects of
this well-known Kikta s masterpiece. In his work
(1994),
dedicated to the
memory of the great singer Ivan Kozlovsky, the composer relies on a wide
range of traditions of national spiritual and vocal culture, including
polyphonic
a cappella
singing of Ukrainian and Russian Orthodox church
(eighteenth and nineteenth centuries), as well as early twentieth-century
Ukrainian masters of church music
N.
Lyssenko, A. Koshits, and S.
Ljudkevitch. Old stylistic idioms are synthesized here with innovative
harmonic and melodic texture; Special timbre qualities are felt in the episodes
mixing boys and men s choirs. Thanks to the individual interpretation of an
archaic singing principle, the Liturgy is perceived like an indivisible song,
as if performed in one breath.
.
334
Myth and Ritual from the Composers Perspective
David Carl GOMPPER
Myth, ritual, and structure in the composition
Structural analysis of myths, established by Claude Levi-Strauss, attempts
to unify and show commonalities between seemingly disparate narratives. In a
similar way, a composer s structural approach to original as well as found or
borrowed material, especially from folk or other indigenous sources, can yield up
important organic and creative musical ideas that give rigor to a composition.
Two original compositions with examples attempt to show a way to unlock and
extract musical ideas without resorting to established formalistic approaches.
Victor EKIMOVSK
Y
Macrominimalism
The author considers one of the specific structural means of minimalism,
namely, pattern. Originally, the pattern was a basic melodic-harmonic cell,
constant in all its parameters, steadily reiterated, in size of approximately one
bar. As time passed, the pattern became more complex and its size expanded in
both vertical dimension (its space) and horizontal (its unfolding in time).
The pattern s parameters
-
harmony, rhythm, mode, texture, etc.
-
also gained
more complexity. Ultimately, the pattern became mobile, that is, its repetitions
ceased to be exact. It transformed itself into a spacious complex
structureÇhence
the paradoxical term macrominimalism ). The third
movement of Symphonic Dances by Ekimovsky is analyzed as an illustration,
Sergei ZAGNY
New means of communication against the concert
This report examines the medium of public concert, which, in author s
opinion, is in a serious crisis now
,
approaching its historical exhaustion. The
author discusses these alternative forms that he considers more viable and
adequate to the present time: happening, music installation, multimedia
project, home concert, music making in the absence of listeners, and listening
to recordings. The author s presentation itself is cast in a form unusual for an
academic setting. The author s reading of the paper is interrupted and resumed
many times, apparently influenced by the sound of music, which is played
simultaneously with the unfolding report. In the author s opinion, such manner
of reading correlated to the contents of the paper: the report itself represents
one of the new means of communication it describes.
335
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| genre | (DE-588)1071861417 Konferenzschrift 2003 Moskau gnd-content |
| genre_facet | Konferenzschrift 2003 Moskau |
| geographic | Russland (DE-588)4076899-5 gnd |
| geographic_facet | Russland |
| id | DE-604.BV023271035 |
| illustrated | Illustrated |
| indexdate | 2024-12-23T20:59:34Z |
| institution | BVB |
| isbn | 5852858293 |
| language | Russian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016456047 |
| oclc_num | 260086628 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 335 S. Ill., graph. Darst., Notenbeisp. |
| publishDate | 2007 |
| publishDateSearch | 2007 |
| publishDateSort | 2007 |
| publisher | Izdat. Dom "Kompozitor" |
| record_format | marc |
| spellingShingle | Mif, muzyka, obrjad po materialam meždunarodnoj naučnoj konferencii ; [sbornik statej] Mythos (DE-588)4075159-4 gnd Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4075159-4 (DE-588)4040802-4 (DE-588)4076899-5 (DE-588)1071861417 |
| title | Mif, muzyka, obrjad po materialam meždunarodnoj naučnoj konferencii ; [sbornik statej] |
| title_auth | Mif, muzyka, obrjad po materialam meždunarodnoj naučnoj konferencii ; [sbornik statej] |
| title_exact_search | Mif, muzyka, obrjad po materialam meždunarodnoj naučnoj konferencii ; [sbornik statej] |
| title_full | Mif, muzyka, obrjad po materialam meždunarodnoj naučnoj konferencii ; [sbornik statej] [red.-sost. M. Katunjan] |
| title_fullStr | Mif, muzyka, obrjad po materialam meždunarodnoj naučnoj konferencii ; [sbornik statej] [red.-sost. M. Katunjan] |
| title_full_unstemmed | Mif, muzyka, obrjad po materialam meždunarodnoj naučnoj konferencii ; [sbornik statej] [red.-sost. M. Katunjan] |
| title_short | Mif, muzyka, obrjad |
| title_sort | mif muzyka obrjad po materialam mezdunarodnoj naucnoj konferencii sbornik statej |
| title_sub | po materialam meždunarodnoj naučnoj konferencii ; [sbornik statej] |
| topic | Mythos (DE-588)4075159-4 gnd Musik (DE-588)4040802-4 gnd |
| topic_facet | Mythos Musik Russland Konferenzschrift 2003 Moskau |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016456047&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016456047&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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