The term “author function,” derived from the famous work of Michel Foucault What is an author?, is projected in this work on a number of works by contemporary composers in Russia and other countries. The theme of discussion is music: Sounding Letters by Alfred Schnittke, Clavier Music by J. S. Bach (The Zagny Collection) by Sergei Zagny, Bridges to Bach by Giya Kancheli, Quartet Fragmente-Stille, an Diotima by Luigi Nono and Anamorphosi by Salvatore Sciarrino. The problem of authorship is included in the mainstream of urgent issues associated with the study and interpretation of the meaning of contemporary musical compositions. In some of them, the composer’s figure is marked in the music itself, while in others, on the contrary, it marks its absence. Various diverse ways of functioning of the composer’s voice often arise in the intertextual space, which makes it possible to capture the distance between different works and composers’ styles. Our field of vision also includes the composer’s words dedicated to the problem of authorship.
The article is devoted to the anniversary date — 95th anniversary of the outstanding scientist, professor of the Gnessin Russian Academy of Music, Doctor of Art History Natalia Sergeevna Gulyanitskaya. Gulyanitskaya is a prominent figure in modern musical science, whose works are well-known in Russia and abroad, for thirty years she headed Department of Music Theory of Gnessin Russian Academy of Music, for twenty years she headed the Dissertation Council of the Academy. As a scientific adviser N. S. Gulyanitskaya trained dozens of young scientists (candidates of art criticism). The article deals with Gulyanitskaya’ major monographic works and textbooks in such thematic areas as modern harmony, Russian sacred music, modern composition, and the methodology of modern musicology. In each of these branches of musicology, this scientist made a huge scientific contribution, laying the fundamental foundations for further research. The article gives a broad idea about the books of this famous scientist, published in the famous publishing houses in the period from the late 1970s to today. «Introduction to Music Harmony» (1984), «Modern Harmony: A Series of Lectures on the Course of Harmony for Students of Music Universities» (1977), Harmony and Rationalization Methods in the Music of 50s (Interpretation and Criticism) (1982) –– books by N. S. Gulyanitskaya devoted to the harmony in the music of the XXth century. «Russian “Harmonic Singing”» (XIXth Century) is the first study in Post-Soviet science that studies the Russian tradition of liturgical singing of the XIX century. «Poetics of Musical Composition: Theoretical Aspects of Russian Sacred Music of the 20th Century» (2002) – work by N. S. Gulyanitskaya, which presents the sacred music of the beginning and end of the twentieth century. «Russian Music: the Formation of the Tonal System, XI-XX centuries» (2005) examines tonal organization in works if various styles and genres, including spiritual ones. «Music Science Methods» (2009) is a pioneering study on the methodology of modern music science. «Musical Composition: modernism, postmodernism (history, theory, practice)» (2014) and «About Modern Composition» (2019) are devoted to the study of contemporary art of musical composition.
Магия повтора» в музыке Ираиды Юсуповой Современное музыкальное искусство Аннотация. Статья посвящена рассмотрению композиционного метода современного российского композитора Ираиды Юсуповой. В центре внимания находятся три сочинения -«Портрет жены художника» (2012), «Поликордия» (2001), «Прекрасные ивы в прекрасном амбиенте» (2010). Определение «магия повтора», вынесенное в название статьи, принадлежит композитору Николаю Сидельникову, педагогу Юсуповой по композиции в Московской консерватории. Несмотря на метафоричность, это понятие удачно передаёт своеобразие сочинений Юсуповой. В её композиционной технике присутствуют методы, близкие к репетитивности, а также существенно отличающиеся от них. Первый тип представлен сочинением «Портрет жены художника», второй характерен для произведений «Поликордия» и «Прекрасные ивы в прекрасном амбиенте». В анализе композиции «Портрет жены художника» выдвигается гипотеза о криптофоническом характере данного произведения-портрета. Исследовательское предположение, нашедшее подтверждение, базируется на свойствах звукового материала, который является музыкальным воплощением композиторского имени. Идея повторности реализована здесь средствами репетитивной техники. Метод «стихийной полифонии» (термин Юсуповой) раскрывается на примере двух других рассматриваемых в статье сочинений.
The article “Modern / Postmodern” by the famous contemporary French composer, conductor and theorist Pierre Boulez, published for the first time in Russian, presents the text of his speech during the concert performed by the Ensemble InterСontemporain in Bordeaux in 1987. The typewritten original of text is kept in the Paul Sacher Foundation, and in printed form this material can be found in the second volume of the compilation of Boulez’ literary works Regards sur autrui, compiled by Jean-Jacques Nattiez and Sophie Galaise. The article is devoted to the issues of modernism/ postmodernism in music, the problems of musical language and compositional technique. Boulez reinforces the generalized view of contemporary European music with specific examples and examines works by three major avant-garde composers. The compositions in question are György Ligeti’s Trio, Luciano Berio’s Sequenza for violin and two compositions by Boulez himself — Domaines and Dialogue de l’ombre double. The translation of this text is dedicated to the next “anniversary” issue of the journal “Sovremenny problemy muzykoznaniya” [“Contemporary Musicology”], one of the scholarly themes of which is the 95th anniversary of professor of the Gnessin Russian Academy of Music Natalia Sergeevna Gulyanitskaya. The translator of the article, Yulia Panteleeva, had the honor of studying with this famous musicologist at the Academy on an individual basis in the late 1980s, and Pierre Boulez’ musical works comprised one of the first topics studied by her.
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