МУЗЫКАНТЫ В РАННЕЙ СПАРТЕ : СОЗДАНИЕ ЖАНРОВ И ПРОТИВОДЕЙСТВИЕ ВНУТРЕННЕЙ РАСПРЕ / Musicians in early Sparta: the creation of genres and the counteraction to the internal strife [In Russian + English summary] (original) (raw)
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ΜΟΥΣΙΚΗ ΤΕΧΝΗ. ESSAYS ON ANCIENT MUSIC EDITED BY EUGENE AFONASIN, ANNA AFONASINA AND ANDREY SCHETNIKOV The book contains a number of studies and translations concerned with various aspects of Ancient musical culture and theory. After a short systematic introduc-tion and a bibliographic outline, the authors trace the development of the musical theory from Pythagoras to Archytas and study the origins of the concept of ‘har-mony’. We than turn to the Aristotelian Problems, concerned with music, Pseudo-Euclidean Sectio Canonis, extracts from the On music by Aristoxenus and Theophrastus, the Aristoxenian Elementa rythmica, the Pythagorean Elements of Music by Ptolemaïs of Kyrene, the Manual of Harmonics by Nicomachus of Gera-sa and musical sections of the Mathematics Useful for Understanding Plato by The-on of Smyrna, which amounts to a good selection of Ancient musical sources in a new Russian translation. The introductory paper discusses Ancient musical practices, outlines the sources of the science of Harmonics in Classical Greece, and reveals the role of music in the society. The exposition is supplemented with a series of color illustra-tions and a select bibliography. The first essay outlines the Pythagorean science of harmonics in its historical and theoretical aspects. It is intended to be a chapter in the history of ancient mathematical studies of nature, although the author occasionally touches upon such related areas as the history of philosophy and the history of music, and hopes that his work will be interesting to scholars working in these fields. After a short introduction, the author first turns to the phenomenology of harmony and then analyses in considerable details the harmony as a structure of numerical rela-tions and – alleged or real – acoustic experiments designed to establish the quali-ties of sound, as well as consonant and dissonant intervals. The second essays, the “birth of harmony out of the spirit of tekhe,” studies the extent to which the Mycenaean Greek influenced the formation of the very meaningful word harmonia. Even early Greek philosophers, who viewed harmo-nia as an organizing, joining and fastening principle, could not help hearing an-cient repercussions of this word, and probably unconsciously chose an appropri-ate, technical, context. As scholars, most notably P. Ilievski (1993), have convinc-ingly shown, the ancient Greek noun harmonia and the verb harmodzo are traced back to the Mycenaean word (h)armo (meaning a “wheel” in the form of a felloe having an inner connection by means of spokes). Heraclitus explains harmonia by means of lyre and bow, making us understand that this presupposes something more than a visible connection, and he chooses lyre and bow because they sym-bolize the same innate joint, which makes the wheel lighter and stronger. Emped-ocles links harmonia with Aphrodite – one of creative powers. It was important for him to represent the multifaceted character of harmonia by means of different crafts. In his philosophical views we can clearly see the process of development of the term from its technical to abstract meaning. The Problems, concerned with music in the Corpus Aristotelicum is a collection of questions and answers on the subject of music, and was compiled, as the ma-jority of scholars agree, in Lyceum during and after Aristotle's time, in the late fourth and the early third centuries BCE. Unlike later manuals, the collection is marked by its diversity: it proposes a range of working hypotheses and offers al-ternative explanations for the same phenomenon, a rare witness of vivid school discussions of the scientific matters. Although a work of several hands, rather than of Euclid (active around 300 BCE), the Sectio Canonis (an introduction and 20 propositions formulated in the manner of theorems, preserved independently and, partially and slightly differ-ently, in Porphyry and Boethius), is counted among the most important writings on ancient mathematical harmonics. The central part of the treatise could indeed be written by the great mathematician himself, undoubtedly, based on the works of early authors, such as Archytas, while the rest, esp. the introduction, is admit-tedly a later addition. Despite few logical inconsistencies, the treatise as a whole is a unique early attempt at the composing of a systematic mathematical harmonics, based on both the empirical observations and an intrinsic logic of the division of the musical kanon. The Peripatetic philosopher Aristoxenus (the 4th century BCE) is undoubtedly the most important musical theorist of Antiquity. His major piece of writings, transmitted to our days as the Elementa harmonica have recently been translated into Russian by V. G. Tsypin (1998, Moscow), while his general views on the musi-cal culture are less studied. So are his fragments on rhythm. Rhythmical phenom-ena are very widespread: “rhythm is applied to bodies that do not move, as when we speak of a statue having ‘good rhythm’, to anything that moves, as when we speak of someone walking with ‘good rhythm’… in general rhythm is perceived by three senses, which are these: sight, as in dancing; hearing, as in melody; and touch, by which we perceive, for instance, the pulsations of the arteries” (Aristides Quintilianus, De Musica 1.13, Barker’s translation). In his Elementa Rhythmica Aristoxenus builds a general and quite abstract theory of rhythm, treating it as a phenomenon, quite distinct from metre and musical intervals. Indeed, the latter are perceived as quantifiers, inherently characteristic of verse and melody. On the contrary, rhythm does not inhere in a poem or musical composition and must be imposed on them: in order to perform a piece of poetry or music, especially if they involve a bodily movement, dance, one has to apply quite an empirical art of rhythmical composition (rhythmopoiia), which allows to structure fluid and un-stable temporal events. In the chapter, we offer a translation of the Elementa Rhythmica into Russian and, commenting on it, adduce contemporary evidence for the psychological aspects of time perception and structuring of spatial and temporal patterns. The heir of Aristotle Theophrastus of Eresus (the head of Lyceum from 322 to c. 287 BCE) wrote voluminously on a great variety of subjects, including music. Unfortunately, not much survived intact, and for recovering his highly original approach to music we have to rely on a series of testimonies in later authors (fr. 714 ff. Fortenbaugh), and a relatively long extract from his treatise On Music, quoted by Porphyry in his Commentary to Ptolemy’s Harmonics. He seems to be especially concerned with educational and therapeutic value of music and, most importantly, while criticising standard Pythagorean, Platonic and Peripatetic mathematical harmonics as well as contemporary acoustical theories, have pro-posed a new qualitative approach to music, based on a re-evaluation of common empirical considerations and a very problematic (due to the lack of sufficient evi-dence) theory of the psychological nature of musical consciousness, and special power of music, manifested in the movement productive of melody which occurs in the human soul when it reveals itself in a melodic voice. Extracts from the Pythagorean Elements of Music of Ptolemaïs of Kyrene, the only female musical theorist in Antiquity, preserved by Porphyry in his Commen-tary to Ptolemy’s Harmonics, are important, first of all, because, they belongs to those very scanty testimonies that witness continuous development of the musical science from the time of Aristoxenus to this of Nicomachus of Gerasa. Apparent-ly, Porphyry quotes Ptolemaïs on the basis of the work of Didymus the Musician (active in the time of Nero), and gives absolutely no information about her live. Most recently Levin (2009) speculated that this Ptolemaïs could be a woman of noble origin and live in Alexandria in the time of Eratosthenes (c. 275–194 BCE), which would be a nice hypothesis but cannot be proved. The extracts introduce the notion of the science of kanonike and contribute to the famous polemics be-tween the mathematikoi and the mousikoi, which lead to ‘reason-based’ Pythago-rean and ‘perception-based’ Aristoxenian approaches to musical theory, and Ptol-emaïs apparently prefers the latter despite the title of her work, given by Porphyry. The fragments of Theophrastus’ and Ptolemaïs’ musical works are supple-mented with other evidences, also quoted by Porphyry, such as the most im-portant musical fragment of Archytas (fr. 1 DK), extracts from the Peripatetic De audibilibus, as well as quotes from such otherwise unknown musical writers as Heraclides the Younger (active in the time of Claudius and Nero), Panaetius the Younger (unknown date), and Aelianus (the end of the 2nd c.), all on the subject of Pythagorean harmonics and acoustic theory. In two final chapters we translate the famous Manual of harmonics by the Ne-opythagorean Nicomachus of Gerasa (the 2nd c. CE) as well as the musical sec-tions of The Mathematics Useful for Understanding Plato by Theon of Smyrna (the 2nd c. CE), which contain material taken from Thrasyllus (the beginning of the 1st c. CE) and Adrastus (the end of the 1st c. CE). The work will be useful for students of Ancient music as well as for a wider readership, including those scholars and students who are interested in Ancient philosophy and culture. The texts are illustrated and supplemented with a select bibliography.
Букина Т.В. У истоков прерванной традиции: методологические поиски в советском историческом музыкознании 1920-х годов // Художественная культура. 2023. № 2. С. 406–437. https://doi.org/10.51678/2226-0072-2023-2-406-437.
The article discusses the stage of formation of the musicological research methodology in Russia. Similarly to a significant part of the humanitarian heritage of the 1920s which was persecuted during Stalin’s Great Break, this research tradition was largely lost and forgotten in the following decades, and currently remains undervalued, despite modern interest in this era. Meanwhile, in the decade after the revolution, significant and in many ways extraordinary results were achieved in this area, all the more impressive if to consider that the methodology of the history of music was created almost from scratch. This article reconstructs the main components of the music history paradigm of the 1920s based on methodological works by B.V. Asafiev, S.L. Ginzburg, B.L. Yavorsky, K.A. Kuznetsov, and N.F. Findeizen. Most of these works have never been republished, and several still exist only in manuscripts. The undertaken analysis results in a conclusion that in the period under consideration, Russian musicology had all the necessary prerequisites for the formation of an original research school in music history which actively accumulated the latest achievements of related disciplines. Herewith, many of research issues musicologists of that time were engaged in, the questions they posed, and the research directions they set have remained relevant. The work was supported by a grant from the Alexander Institute in Helsinki (The Aleksanteri Institute Visiting Fellows Programme, 2021–22) / В статье рассматривается этап становления в России методологии музыкально-исторических исследований. Как и значительная часть гуманитарного наследия 1920-х годов, подвергнутого преследованиям в период сталинского «великого перелома», данная исследовательская традиция была во многом утрачена и забыта в последующие десятилетия и в настоящее время остается недооцененной, несмотря на современный интерес к этой эпохе. Между тем за послереволюционное десятилетие в данной области были достигнуты значительные и во многом неординарные результаты, тем более впечатляющие, если учесть, что методология истории музыки создавалась в эти годы почти с нуля. В статье реконструируются основные составляющие музыкально-исторической парадигмы 1920-х на основе методологических работ Б.В. Асафьева, С.Л. Гинзбурга, Б.Л. Яворского, К.А. Кузнецова, Н.Ф. Финдейзена. Большинство этих работ никогда впоследствии не переиздавались, а некоторые до сих пор существуют только в рукописях. На основе предпринятого анализа делается вывод о том, что в рассматриваемый период в российском музыкознании сложились все предпосылки к формированию самобытной музыкально-исторической школы, которая активно аккумулировала наиболее актуальные достижения смежных дисциплин. При этом многие исследовательские проблемы, занимавшие музыковедов того времени, поставленные ими вопросы и заданные направления научного поиска остаются актуальны и сегодня. Работа выполнена при поддержке гранта Александровского института в Хельсинки (The Aleksanteri Institute Visiting Fellows Programme, 2021–22).
В наследии Витрувия указывается на значение музыки в совершенствовании архитектурной акустики античных театров. В частности, он подробно описал звучащие сосуды, или ηχεια-«голосники», об эффективности которых до сих пор ведутся дискуссии. Методами компьютерного моделирования исследуется влияние «голосников» на акустические параметры малого классического греческого античного театра. В создании моделей «голосников» учтены описания Витрувия и музыкальные теории Аристоксена и Пифагора. В исследовании используется программа EASE4.4, с помощью которой рассчитываются акустические параметры малого театра без «голосников» и с ними. Получен позитивный результат влияния «голосников» на акустические параметры С50, C80, STI звукового поля зрительного пространства античного малого театра.
В наследии Витрувия указывается на значение музыки в совершенствовании архитектурной акустики античных театров. В частности, он подробно описал звучащие сосуды, или ηχεια-«голосники», об эффективности которых до сих пор ведутся дискуссии. Методами компьютерного моделирования исследуется влияние «голосников» на акустические параметры большого классического греческого античного театра. В создании моделей «голосников» учтены описания Витрувия и музыкальные теории Аристоксена и Пифагора. В исследовании используется программа EASE4.4, с помощью которой рассчитываются акустические параметры большого театра без «голосников» и с ними. Получен позитивный результат влияния «голосников» на акустические параметры C50, C80, STI звукового поля зрительного пространства античного большого театра.
ШАГИ/STEPS, 2020
The articles deals with two questions: (1) how, during the 1860s, the transformation of the hierarchy of genres developed in parallel with the formation of the “genre historique” in Russia, and (2) how Russian critics, basing themselves on the concept of the “sister arts”, reconsidered the status of history and genre painting. Over the centuries, “history painting” was at the apex of the hierarchy of genres. According to Horace’s concept of ut pictura poesis and Aristotle’s “Poetics”, history painting was associated with the high genres of poetry and tragedy. By contrast, genre painting occupied a low rank in the system of genres and was associated with comedy. The sister arts concept began to be revised during the 1830s, due to the emergence of the “genre historique” — a new formula for presentation of history. According to the concept of unity of literature and painting, works belonging to the new genre had to follow the principles of historical fiction and of the works of historians. In addition, the “historical genre” combined features of genre and history painting since it was formed as a consequence of the transformation of the academic hierarchy of genres. In Russian culture, literature had a higher status than the visual arts. For this reason, during this period critics advised painters to follow the example of contemporary literature and to to depict scenes from everyday life. At the end of the 1860s, journalists concluded that both “historical” and genre painting have the same objective — to depict the different sides of life — and that they are equally capable of capturing the interest of the public
Ананьев В.Г. История зарубежной музеологии: Идеи, люди, институты.
Ананьев В.Г. История зарубежной музеологии: Идеи, люди, институты., 2018
История формирования и развития зарубежной музеологии с момента зарождения музеологического знания в середине XVI в. и вплоть до начала XXI в. Опираясь на широкий круг историографии, автор характеризует основные этапы ее эволюции и содержание наиболее значимых концепций в общем контексте культуры. Наряду с интеллектуальным аспектом, анализируется также институциональная история музеологии, в рамках которой основной акцент делается на истории национальных и международных музейных организаций. И.Н. Кузнецов – не автор, а издатель книги.
2016
В очерке представлен новый взгляд на симфонические произведения А. С. Даргомыжского — фантазии «Баба-яга, или С Волги nach Riga» (1862) и «Малороссийский казачок» (1864), «Чухонскую фантазию» (1862–1867), а также неоконченную Фантазию D-dur (1860-е). Впервые подробно анализируется симфоническая пьеса «Болеро» (1839), в которой Даргомыжский использовал кастаньеты, выступив пионером использования этого инструмента в симфоническом оркестре в русской и европейской музыке. Фантазии рассматриваются в аспектах авторского замысла, программных заглавий, содержания, особенностей жанра, музыкальной формы, фольклорных источников и их интерпретаций (в частности, показано бытование в русской профессиональной музыке последней трети XVIII — середины XIX века известной народной песни «Вниз по матушке по Волге») и в сравнении с произведениями современников (в том числе фортепианной фантазией 1850 года А. Г. Рубинштейна, пьесой «Пляска запорожцев» А. Н. Серова, Фантазией и фугой на тему B-A-C-H Ф. Листа). Подвергнуты критическому пересмотру общепринятые еще со времени создания симфонических сочинений Даргомыжского представления о них, как о комических и даже сатирических пьесах, оригинальных лишь в деталях, но в целом продолжающих линию «Камаринской» М. И. Глинки. Аналитически обосновывается вывод о том, что симфонические фантазии Даргомыжского — принципиально новые по замыслу, оригинальные по драматургии и музыкальной форме сочинения. В них был найден принцип образно-тематической трансформации (метаморфозы) фольклорного источника, повлиявший на симфоническое творчество П. И. Чайковского и других русских композиторов. Ключевые слова: А. С. Даргомыжский, М. И. Глинка, А. Г. Рубинштейн, А. С. Серов, А. П. Бородин, М. П. Мусоргский, П. И. Чайковский, Ф. Лист, «Болеро», «Баба-яга, или С Волги nach Riga», «Малороссийский казачок», «Чухонская фантазия», Фантазия D-dur, «Эсмеральда». The essay presents a new perspective on Alexander Dargomyzhsky’s symphonic works such as the fantasies “Baba Yaga, or From the Volga naсh Riga” (1862), “Little Russian Cossack” (1864), “Chukhon fantasia” (1862-1867), and unfinished Fantasy in D-major (the 1860s). For the first time, a symphonic piece “Bolero” (1839) is analyzed in detail, in which Dargomyzhsky uses castanets, pioneering the use of this instrument in a symphony orchestra in Russian and European music. Fantasies are viewed in terms of the author’s design, titles, genre specifics, musical form, folklore sources, and their interpretations (in particular, it shows the presence of the famous folk song “Down the Mother on the Volga” in Russian professional music of the last third of the 18th — mid-19th centuries) compared to the contemporaries' works (including the piano fantasy of 1850 by A. Rubinstein, the play Cossacks dance by A. Serov, Fantasy and Fugue on the B-A-C-H theme by F. Liszt). Generally accepted since the creation of Dargomyzhsky’s symphonic works ideas about them being just comical and even satirical pieces original only in details, but in general, continuing the line of “Kamarinskaya” by M. Glinka, are subjected to a critical revision. The conclusion that Dargomyzhsky’s symphonic fantasies are fundamentally new in concept, original in dramaturgy, and musical form is analytically justified. The principle of figurative-thematic transformation (metamorphosis) of a folklore source, which influenced P. Tchaikovsky and other Russian composers' symphonic works, was found in Dargomyzhsky’s symphonic fantasies. Keywords: A. Dargomyzhsky, M. Glinka, A. Rubinstein, A. Serov, A. Borodin, M. Mussorgsky, P. Tchaikovsky, F. Liszt, “Bolero”, “Baba Yaga, or From the Volga nach Riga”, “Little Russian Cossack”, “Chukhon Fantasia”, Fantasy in D-major, “Esmeralda”.