Author: Стогний Ирина Самойловна

J.S. BACH’S CANTATA NO. 150: COMPOSITIONAL FEATURES AND AN INTERPRETATION OF THE LITERARY TEXT

Abstract: The article focuses on Bach’s musical interpretation of Psalm 24 ‘Nach dir, Herr, verlanget mich’ (For Thee, O Lord, I long) in Cantata No. 150 for choir, soloists and chamber orchestra. The approaches to research may differ depending on the artistic effect associated with the composer’s embodiment of a word. At the same time, a study of artistic features should not limit itself to the literary text selected by the composer alone. It should consider what was discarded, since the unselected enhances the meaning of what is chosen. This approach to study a work that involves a literary text is feasible as it facilitates a more effective understanding of the author’s arrangement of semantic accents. In our case, the composer discarded the verses about human sins that comprise most of Psalm 25. Instead, he laid an emphasis on the idea of ​​salvation. What is even more important is the composer’s way to translate words into music: he transforms the material from the conceptual sphere into sound and the discarded literary material finds its embodiment in music forming a new kind of holistic utterance that is different from the biblical text. D0wnload the article

“EVERY TEACHER IS THE DRIVING FORCE BEHIND SCIENCE AND EDUCATION”. An interview with Irina S. Stogniy

Abstract: Irina S. Stogniy is Doctor of Art Studies and Full Professor of the Analytical Musicology Department at the Gnesin Russian Academy of Music. She is also Editor-in-Chief of the journal Uchenye Zapiski of the Gnesin Russian Academy of Music. Prof. Stogniy is the leader and a regular participant of international research projects in musicology. She is the author of a series of research papers focusing on important theoretical issues in musicology. Among them is the monograph Connotation in Musical Texts (2013). Prof. Stogniy developed a new elective course Musical Semiology for musicologists and composers. The course is delivered in higher music education institutions. She is also the author of a number of educational programmes. The interview focused substantively on the projects initiated and lead by Prof. Stogniy. They include two research conferences: Semantics of the Musical Language and Christian Images in Art. In her interview, Prof. Stogniy shared her teaching experience with the former students and now teachers of the Gnesin Russian Academy of Music: Olga O. Moskvina and Svetlana A. Pavlova. Download the article  

Венские метаморфозы: от вальса к теории языка Л. Витгенштейна

Аннотация: В статье речь идет о поисках нового языка в искусстве и литературе на рубеже ХIХ и ХХ вв., а также о некоторых венских влияниях, которые  мощно заявили о себе в разных сферах искусства и науки. Вальс был символом венской культуры, одним из главных создателей  облика прекрасной, танцующей Вены Х1Х века вплоть до первой мировой войны. На его преобразованиях отчетливо видны все изменения, которые произошли в австрийской культуре на рубеже веков. Это проявилось в творчестве композиторов, которые,  не будучи австрийцами, ‑ например, Р. Штраус, Равель, испытали сильные венские влияния. Вальс оказался той мерой вещей, которая высветила новые тенденции. Проблема поиска языка ‑ одна из центральных идей рубежа ХIХ-ХХ веков, что проявилось даже в таком традиционном жанре, как венский вальс. Хореографическая поэма «Вальс» М. Равеля стала символом  новой картины мира. Abstract: The article focuses on the search for a new language in art and literature as well as some Viennese influences that came to the fore in various fields of art and science at the turn of the nineteenth and twentieth centuries. Waltz was a symbol of Viennese culture, and was largely responsible for the image of the beautiful, dancing Vienna of the 19th century right up to the First World War. Its transformation clearly shows all the changes that faced Austrian culture at the turn of the century. This was manifested in the work of composers who, despite their non-Austrian origin, experienced strong Viennese influences, e.g. R. Strauss, M. Ravel. Waltz turned out to be the measure of things that highlighted new trends. The search for a language is one of the central issues of the turn of the nineteenth and twentieth centuries. Despite its long-lasting tradition, the Viennese waltz could not resist the trend for change. The choreographic poem Waltz by M. Ravel became the symbol of the new picture of the world. Скачать статью

Интертекстуальность в музыке. Вариации на тему

Аннотация: В статье рассматривается проблема «своего» и «чужого», получившая в каждую эпоху свои модификации. При использовании композитором «чужого слова» собственно авторским остается замысел, в котором осуществляется определенная логика применения заимствованных элементов. Любое заимствование служит смыслу произведения. Стилевой синтез, характерный для искусства ХХ–ХХI веков, позволил открыть новые измерения привычного и, наряду со старыми модусами, создал новые модусы интертекстуальности. В этом обширном поле особый акцент стоит на музыке Баха. Постоянно обращаясь к его сочинениям, композиторы ХХ–ХХI вв. предоставили возможность изучать Баха в «отраженном» виде – в их собственных сочинениях. Автор останавливается на сочинениях П.И. Чайковского, А. Онеггера, Э. Денисова, Д. Шостаковича, А. Шнитке, В. Рябова, в которых применяются разные техники заимствования: цитата, аллюзия, монограмма, «следовая структура». Abstract: The article deals with the problem of «one’s own» and «another’s» which has received certain modifications in each epoch. When composer uses «someone else’s word» he follows some logic which is applied to the using of borrowed elements. Any borrowing serves the meaning of the work. Stylistic synthesis characteristic for the art of the ХХ-ХХI centuries allowed us to discover new dimensions of the habitual and along with the old ones created new modes of intertextuality. In this vast field special emphasis is made on J.S. Bach’s music. Constantly referring to his writings composers of the XX-XXI centuries provided us the opportunity to study Bach in a «reflected» form in their own compositions. The author dwells on the works by P.I. Tchaikovsky, A. Honegger, E. Denisov, D. Shostakovich, A. Schnittke, V. Ryabov where different techniques of borrowing are used: quotation, allusion, monogram, «trace structure». Скачать статью