"Musiqi dünyası" № 3 (60) 2014

 

Article №1; 7146 - 7156 pages.
Валентина Холопова. Понятие «Русская музыка» и вопрос об адресате музыки у современных российских композиторов. /
Valintina Kholopova. The concept of "Russian music" and problem about the addressee of music from contemporary Russian composers.

Abstract

The article presents a generalization of the conceptions of contemporary Russian composers about the traits of Russian music today. For some musicians, such as Rodion Shchedrin, his toes with Russian music are obvious, whereas for others, such as Sophia Gubaidulina, they are in question. Victor Ekimovsky asserts that he has never written "Russian music" specially. Yuri Vorontsov supposes that life itself in Russia brings the Russian national element into music and other art forms. Many composers concur with each other that Russian music is characterized by philosophical moods, reflecting on the profound questions of existence, broad strokes and the attitude itself towards art as towards a mission or religious service. These features and values of Russian music are especially perceived by composers who live and write music outside of Russia.
Keywords: composer, music, modernity, musical content, contemporary musicology

Article №2; 7157 - 7180 pages.
Alexander Panov. Towards the Tact and Tactus in German baroque treatises

Abstract

 In music history during the period encompassing the years beginning from the late 15-th to the middle of the 18-th centuries a fundamental significance in music theory and practice had been designated to the definition of Tact and Tactus. Such a broad historical scope of our paper inevitably involves the inclusion of much material, and the authors were forced to concentrate mainly on materials of the 17-th and beginning of the 18-th centuries. In the discussion of the meaning of the terms Tact, Tactus and also the verb tangere we applyed not only to treatises on music, as compared with other scholars, but to different kind of language dictionaries of that period, such as: A. de Fulda, P. Dasypodio, I. Serrano, Chr Wase, A. Ornitoparchus, J. Dowland, T. de Santa-Maria, Chr. Demantius, H. Faber, A. Gumpelzhaimer, J. Quirsfeld, A. Wilfflingseder, G. Falck, J. R. Ahle, J. G. Walther and many others. In result it has been certainly defined that the general meaning of Tact and Tactus (along with the verb tangere) was 'to beat the meter', and the last had to be done with great precision.
Keywords: tact, tactus, tactibus, tactistæ, compas, Tango, tangere, Schlag, Anrühren, Valor, Geltung, to beat, steady/regular/equal, Augenblick, Niederschlag, Auffheben, die Seele der Music, the soul of music.

Article №3; 7181 - 7186 pages.
Rövşanə Kərimova. Bəstəkar yaradıcılığında dini mövzuların tətbiqi yolları/
Rovshana Karimova. The religious themes in the creativity of composers and ways of its spread.

Abstract

 The article provides an overview of the works of Azerbaijani composers devoted to religious themes, as well as victims of the Karabakh war, in which the tragic images require adequate implementation by using different text, melodic intonation, genre features. The author describes these works in two directions: on the one hand, it works trends of contemporary world music, on the other hand works emerged as a response to the tragic events that took place in Azerbaijan in the past decade.
Keywords: religion, music, imagery, text, genre.

Article №4; 7187 - 7194 pages.
Римма Поспелова. Встречное движение: богословие и физика? К 75-летию В.В Медушевского /
Rimma Pospelova. The oncoming traffic: theology and physics? To the 75th anniversary of V.V.Medushevsky

Abstract

The paper deals with activities of Viacheslav V. Medushevsky (Professor of Moscow Chaikovsky Conservatory, born in 1939), whose anniversary (75) is celebrated in 2014. His main achievements are outlined – talent to write about spiritual beauty of music so sincerely as St.Augustine did, gift of eloquence, gift of prophecy, civic virtue. Theological foundations combined with staggering erudition allow him to be in front line of the modern musicology.
Keywords: Viacheslav V. Medushevsky (Professor of Moscow Chaikovsky Conservatory, born in 1939), methodological problems of modern musicology, theology and music.

Article №5; 7195 - 7205 pages.
Rohat Cebe. Yaylı ve üflemeli çalgılarda yeni çalım tekniklerinin 20. Yüzyıldan günümüze tarihsel gelişimi ve bu tekniklerin notalanması. /
Rohat Cebe. A new opinion at the performing technique of playing the traditional instruments of the 20th century and their notation

Abstract

 Musicians, as of the early 20th century, played an important role in the development of instrumental techniques and new sound resources more than that of any other musical periods ever before. Music is composed by a composer. The composer concludes her/his creativity by considering technical and physical features of instruments and instrument groups that he or she will use within the bounds of possibility. This is a necessity. This necessity, in parallel with cultural, political, and technological developments, reached the most active and maybe the most creative levels in the early 20th century. The development of instrumental techniques and new sound resources brought about new composition and performance techniques. Many composers living in this period sought to produce different timbres and colors from instruments in their works than those existing until that day whereas another group of composers denying inheritance that passed to them endeavored to create new instruments developed by electronic techniques, and to produce new timbres from these instruments. Apart from the idea of creating new instruments, the endeavor to acquire new timbres from existing instruments caused a new form of notation that was different from conventional notation. The search for new and the practice of discovered innovations in this period reached the highest levels not only through composers but also many soloist instrumentalists determining and exploring her/his own instrument's sound capability. This article inquires into the developments within the period starting from the first quarter of the 20th century to this day in terms of new performance techniques in woodwinds, and particularly strings instruments, by illustrating samples of pieces and notation of new composition techniques.
Keywords: New Performance Techniques, New Composition Techniques, Strings Instruments, Woodwinds.

Article №5; 7206 - 7211 pages.
Надежда Рахманова. Звукорежиссура как творческий процесс. Сравнение стилей двух великих мастеров эпохи реализма. /
Rakhmanova Nadezhda. Comparison of styles of the two great masters of the era of realism

Abstract

The article examines the sound engineering as art, which has stylistic features. At the example of a comparative analysis of phonograms of American recording engineers Fred Plaut and Harold Chapman.
Keywords: art sound design, style, jazz, soundtrack