DOI: 10.7256/2453-613X.2022.6.39603

Аннотация: Статья посвящена истории кафедры народного пения и этномузыкологии Саратовской государственной консерватории имени Л.В. Собинова. Подробно рассматривается роль педагогической, методической и научной деятельности Л.Л. Христиансена как основоположника народно-певческого образования в Саратовской консерватории. Также внимание обращено на основателя отделения сольного народного пения, народную артистку России Е.А. Сапогову, освещены основные принципы обучения народному вокалу в её классе. Отдельный раздел посвящен многоплановой деятельности А.С. Ярешко в качестве заведующего кафедрой до 2018 года. С его именем связан современный период её развития, включивший много практических и научно-издательских проектов. В представленной работе впервые исследуется деятельность кафедры народного пения и этномузыкологии Саратовской государственной консерватории имени Л.В. Собинова за 55 лет её существования. Выявляется роль кафедры в становлении народно певческого образования в России, а также сохранения фольклорного достояния через профессиональный процесс обучения. Указываются основные творческие и образовательные достижения, уникальность структуры кафедры, подчеркивается разновекторная направленность в обучении студентов (народное пение и этномузыкология), позволяющая говорить о комплексном понятии – саратовская школа музыкальной фольклористики, зарекомендовавшая себя высоким уровнем подготовки специалистов-практиков, широким спектром тематики и географии реализующихся исследовательских проектов и направлений деятельности.

DOI: 10.7256/2453-613X.2019.6.31605

Abstract: The study of music in its relation to folklore is of indisputable interest. The present article considers one of the priority directions in musicology - the composer/folklore problem. However, some aspects of this problem haven’t been studied thoroughly enough yet, the more so since the choral pieces of Russian composers, embodying the Russian wedding music, have outlined a new level of composer/folklore relations. The synthesis of various style tendencies with ceremonial wedding songs leads to the new quality of artistic thinking and characterizes a thematically specific folklore direction as an essential field of creativity marked with genre-style and structural diversity, variability of sources and originality of the methods of their performing. This problem, being one of the key problems of Russian musicology, had been studied in detail in the publications of G. Golovinsky, I. Zemtsovsky, L. Christiansen, G. Grigorieva, L. Ivanova, etc., whose fundamental works were used for the study of the specificity of the modern composer art. The performance of Russian wedding folklore in choral works of modern Russian composers is a poorly studied field of musicology which forms the scientific novelty of this work. Thus, the author states that the latitude of style quest along with adherence to traditions is typical for modern composers. These features are connected with the graphic structure - the circle of the wedding subject, moods, and favourite statement forms.   

DOI: 10.7256/2453-613X.2019.6.40326

Abstract: The study of music in its relation to folklore is of indisputable interest. The present article considers one of the priority directions in musicology - the composer/folklore problem. However, some aspects of this problem haven’t been studied thoroughly enough yet, the more so since the choral pieces of Russian composers, embodying the Russian wedding music, have outlined a new level of composer/folklore relations. The synthesis of various style tendencies with ceremonial wedding songs leads to the new quality of artistic thinking and characterizes a thematically specific folklore direction as an essential field of creativity marked with genre-style and structural diversity, variability of sources and originality of the methods of their performing. This problem, being one of the key problems of Russian musicology, had been studied in detail in the publications of G. Golovinsky, I. Zemtsovsky, L. Christiansen, G. Grigorieva, L. Ivanova, etc., whose fundamental works were used for the study of the specificity of the modern composer art. The performance of Russian wedding folklore in choral works of modern Russian composers is a poorly studied field of musicology which forms the scientific novelty of this work. Thus, the author states that the latitude of style quest along with adherence to traditions is typical for modern composers. These features are connected with the graphic structure - the circle of the wedding subject, moods, and favourite statement forms.