THE ZAVOD TOPIC

Current Musicology, 2020

2020

This article reviews the approaches to work with sound in contemporary art music. These approaches are studied from the point of view of the most widespread conceptions of sound treatment. From many existing ones at our time the attention in the article is paid to two. The first conception is defined as sound creation and includes all methods of composer’s work with new (non-musical) sound. The second conception is defined as sound studying and connected with electro-acoustical experiments and spectral compositional technique. The concrete variants of these conceptions realization are demonstrated on the works by Ukrainian composers of the middle generation: "Vocerumori" (2012) by Anna Korsun and "Ars naturalis" (2008) by Oleg Bezborodko.

Current Musicology, 1998

Music and Letters, 2006

Computer Music Journal, 2014

Over 100 delegates came to Berlin to attend presentations by 74 experts from the field of electroacoustic music studies at the annual Electroacoustic Music Studies Network Conference (EMS14). Several days of surprisingly tropical weather allowed the delegates to enjoy the relaxed and welcoming atmosphere of the host city. The theme of the conference was Electroacoustic Music Beyond Concert Performance. It was hosted by the Universität der Künste Berlin in cooperation with the

It has long been a truism of music criticism that nineteenth-century Russian symphonic music lacks a true sense of development when compared with a normative German model. This article puts forward an alternative way of approaching Russian instrumental music, from the perspective of a different conception of musical and historical time. By interrogating both musically and culturally this idea of temporality, the article suggests a potential distinction between a specifically Western model of time and historical progress - marked by the qualities of onward teleological process and the capacity for organic development, as celebrated in the archetypal Beethovenian symphonic style - and a static, cyclical, repetitive, even timeless conception that may be seen to apply more aptly to several pieces of the nineteenth-century Russian repertory. Yet this neat binary opposition created between East and West is seen to be overly simplistic for many pieces that fall outside the small group of high-profile nationalist works from the Kuchka. The article ultimately argues for a richer understanding of music’s relation with time within both Russian and Austro-German traditions

Slavic Review, 2007

Paper [Рукопись], 2022

In morphological analysis, the musical work and the listener are seen as elements of one communicative duality. Each element of this duality may play the role of either subject or object. Morphological analysis takes sound construction as its main target. This makes possible a more flexible approach to analyzing a musical text. The morpheme, one of the cornerstones of morphological analysis, can be defined as a sound construction with a typical set of characteristic features. The other cornerstone, the morph, transforms a morpheme into a genеriс, stylistic “flesh and blood” of a specific musical text, on the basis of polymorphism. One shining example of the depth and rapidity of morphic transformations in Tchaikovsky’s music is the finale of his First Piano Concerto. From the point of view of morphological analysis, the musical development in the “Introduction” to Stravinsky’s Rite of Spring is based on a step-by-step approach to an externally existing object, permitting us to perceive (see or hear) its details. The object itself is polymorphic, i.e., like an embryo, it contains within itself, from the start, every element it needs for further development. The starting point of the “Introduction,” the high-register bassoon melody accompanied by the supporting French horn voice, can be defined as a forest seen in a distance, from where the sound of a shepherd’s horn can be heard. The ten intonational elements of the initial three measures of the ballet are the base from which the form of the “Introduction” is developed. Keywords: oeuvre of Tchaikovsky and Stravinsky, morphological analysis, Rite of Spring, object-descriptive polymorphism. В морфологическом анализе музыкальное произведение и слушатель рассматриваются как элементы коммуникативного двуединства. Каждый элемент этого двуединства может играть роль либо объекта, либо субъекта. Морфологический анализ выбирает в качестве своей главной цели звуковую конструкцию. Благодаря этому сoздается возможность более гибкого подхода к анализу музыкального текста. Морфема — один из краеугольных камней морфологического анализа — может быть определена как звуковая конструкция с типовым набором характерных черт. Другой краеугольный камень — морф трансформирует мофему в жанрово-стилистическую «плоть и кровь» конкретного музыкального теквта на основе полимофизма. Ярким примером глубины и стремительности морфных превращений в музыке Чайковского является финал Первого фортепианного концерта. C позиций морфологического анализа музыкальное развитие во Вступлении «Весны священной» Стравинского является поэтапным приближением к вовне существующему объекту, позволяющим воспринять (разглядеть, услышать) его детали. Сам объект полиморфен, т.е. изначально содержит в себе в как эмбрионе все необходимые элементы дальнейшего развития. Исходную точку Вступления – мелодию фагота в высоком регистре, сопровождаемую подголоском валторны, можно определить как видимый вдали лес, из которого доносится звук пастушьего рожка. Десять интонационных элементов начального трехтакта балета являются основой развертывания формы Вступления. Ключевые слова: творчество Чайковского, Стравинского, морфологический анализ, «Весна священная», объектно-изобразительный полиморфизм

Paper [Рукопись], 2022

The article is a continuation of the author’s reflections on the phenomenon of musical polymorphism (the beginning is in Vol. 124, 2019; the continuation is in Vol. 128, 2020). Stravinsky’s use of the environment, space, motion, dissonance, and Janus morphemes is considered as his inheritance from a tradition dating back to the work of his great predecessors. The musical tableau Sadko by Rimsky-Korsakov, the introduction Dawn on the Moscow River to Mussorgsky’s Khovanshchina, and Borodin’s symphonic poem In the Steppes of Central Asia are a clear confirmation of this. In Sadko Rimsky-Korsakov reveals himself as the founder of musical polymorphism. The multi-element polymorphism of Mussorgsky’s Dawn on the Moscow River forms the basis of the first tableau in Stravinsky’s Petrushka. In the Steppes of Central Asia is an example of a multi-elemental, polymorphic structure, recreated outside an existing object: a native caravan crossing the desert, guarded by a Russian military detachment. Its stereophonic nature appears in the displacement of the textural elements to the rear and the foreground, their spatial compression or expansion, changes to the acoustic volume, sound coloration. Introductory violins octave unison in In the Steppes of Central Asia displays its hidden timbre-polyphonic nature. In the historical perspective, this compositional discovery by Borodin foreshadows a similar approach in Stravinsky’s musical language. The timbrical layering of the unison can be traced in Dances of the Young Girls from The Rite of Spring, The Lullaby in the Storm from The Fairy’s Kiss. The rhythmic ostinato features of Rimsky-Korsakov’s and Borodin’s scores are developed by Stravinsky to the elaborated part of his musical language. The structures with more or less constant, exact repetitions are used in The Rite of Spring, Three Tales for Children, Three Pieces for String Quartet, The Soldier’s Tale, The Wedding, Symphony of Psalms. Key words: oeuvre of Rimsky-Korsakov, Mussorgsky, Borodin, Stravinsky, Sadko, Dawn on the Moscow River, In the Steppes of Central Asia, Petrushka, The Rite of Spring, Three Tales for Children, Three Pieces for String Quartet, The Soldier’s Tale, The Wedding, The Fairy’s Kiss, Symphony of Psalms, polymorphism.