Пять лекций по английскому письменному музыковедческому языку

1. Пять лекций по английскому письменному музыковедческому языку Д-р Ильдар ДамировичХаннанов

2. Абстракт Параграф Образцы Задание Лекция 2

3. Ildar Khannanov • Music Analysis in the Soviet Union. • Largely untouched by recent political and economic changes, Russian musical pedagogy and scholarship has retained the methodology developed over the past two centuries. Russian conservatories employ two methods of musical analysis. The first of these is often called "form analysis,” or simply, "form." The second has different names: "tseolstnui analiz" (which I translate as “integral analysis), "complex analysis," or, "analysis of a musical work." The entire history of music scholarship in Russia is marked by the struggle between these camps of formalists and integralists.

4. Dr. Ildar Khannanov, • Non-Verbal Specificity of Musical Language: Reaching Over from Philosophy to Music • The problem of non-verbal specificity of music has been actively researched in the Soviet Union by scholars of interdisciplinary background combining philosophy, aesthetics and music theory. This problem, approached from semiotic point of view, has occupied the central place in European music scholarship. There are different ways to approach this problem, much of which can be solved by means of semiotics and semiology. The theory of speech act of John Austin, and the developments in the works of Aldirdas Greimas, Teun van Dijk, Paul Scherer, Herbert Paul Grice, etc., are, indeed, very helpful in thinking on this topic. However, the problem of musical language (if to accept its validity) requires making steps outside the linguistics and revising the idea of language and its objects. This has been done many times within the science of language, starting with the project of semiology of Ferdinand de Saussure, but music still needs a more radical overhaul. For example, problematization of the fundamental categories of verbal language, such as name, number, identity, grammar, content and reference, is necessary to reinterpret for understanding musical non-verbal specificity. • As a hypothesis, this paper suggests an attempt to listen to language in a Heideggerian sense. The concept of avoiding conceptuality, the idea of so-called anti-logos, proposed by Gilles Deleuze and Félix Guattary in the early 1980s, seems also to be applicable to music. For that, an alternative view on ancient Greek music theory and philosophy is needed. The secondary meanings of the word logos could come into play and change the centennial stereotypes of music theory. The non-verbal character of music, in this sense, is the specific capacity of music to avoid the Gestell of the scientific object and to escape from the presence as being. Semiotically speaking, this is realized by a number of shifters which allow music to transcend from the planes of signifiers/signifieds to the plane of immanence. The questions of linearity of escape (a very different from Schenkerian), of musical affect as rhythmization (again, not the same as the 18th- century musical rhetoric suggested), of musical interval as intensity (away from the numeric proportions), and the question of musical signification as production, are discussed in this paper. For the musical examples, I chose nineteenth-century instrumental music, as well as non-European vocal styles, that of Bashkyrian prolong songs in particular. Non-verbal specificity is thus interpreted neither as the byproduct of absolute music, nor as the effect of generative grammar, but as a specifically musical function which allows to deal with the constitutive aspects of being.

5. Ildar D. Khannanov • Russian Theory of Formal Functions in Comparison with Schoenberg-Ratz'sConcept • Formal functions have played crucial role in modern German, American andRussian theoretical traditions. It is evident in the texts of Arnold Schoenberg, Erwin Ratz, Carl Dahlhaus, and William Caplin, as well as in the works of Igor Sposobin, Jury Kholopov, Victor Bobrovsky, Valentina Kholopova, and Jury Tjulin. Russian concept of formal function remains in the shadow of a century-long isolation. Both Russian and recent American concepts have the same roots, such as A. B. Marx's Ruhe-Bewegung-Ruhe principle, yet there are some important differences. Ratz suggests three functions: basic idea, continuation and closing. In Russian tradition there are initio, movere and terminus, referring to Aristotelian triad and to the eighteenth-century teaching of musical rhetoric (inventio, elaboratio and conclusio). Russian theorists also separate compositional functions from the dramaturgic and determine functions by so-called "types of exposition of material." The most exciting aspect of Russian theory is the idea that not always a segment has a corresponding type of exposition. This means, that the position of a segment in the form of the whole often contradicts its actual function. Moreover, there are many examples in which the function of a segment changes in the process of unfolding of the form. Bobrovsky calls this phenomenon "compositional modulation," a kind of change of form "on the way," common in music of Glinka, Chopin, Tchaikovsky and Shostakovich. I will follow these analyses and will touch upon the irregularities of function/grouping relationship in Glinka's Kamarinskaya, Chopin's First Ballade, Tchaikovsky's Romeo and Juliet, and Shostakovich's 6th Symphony.

6. This year the organizers especially encourage submissions on topics such as: musical ‘gesture’; ‘feeling, emotion and meaning’, today; bodily roots of the musical mind; metaphor in music; image and embodied schemata in musical semiosis, composition and analysis; synaesthesia and transductions ‘interartes’; body as musical medium; etc.  • Ildar Khannanov • Performance and Analysis of Music of Sergei Rachmaninov: to the Question of Feelings and Meaning • There are exciting qualities in music of Rachmaninov: emotional high voltage and the ability to touch upon the feelings that every human being is ready to understand. Yet, in the field of scholarly publications, this aspect is commonly downplayed, ignored or, for the worse, harshly criticized. Apparently, the topic of feelings does not seem to jive with both meta-language of science and traditional circle of topics of musicology. The theory of performance also remains quite cold to this topic: very different values are set to be the goals of true performance. The latter is so prevalent, that the Russian way of playing piano has been ousted lately from the international competition circuit and replaced with something more modern. It is a general divide, or, to use Derridean word, the abyss that separates Russian musicians from the rest of the Western world, and the major point of this separation is emotions, feelings, and their place in creation of musical meaning. Tchaikovsky has left the legacy of “truth of feelings in music.” Since then, Russian musicians carefully maintain and develop this idea. The questions for performers remain the same for more than a century: • is it possible to sustain emotional tension without error of trivialization; • what qualities should a musician develop in order to be capable of such act; • what are the musical means of expression that allow to sustain such high-power tension.  • The questions that a musicologist faces are different: • is music the language of feelings (a still-needed response to Hanslik); • if yes, what is the difference between every-day life affects and musical affectation • is music a tool of communication, or, it is an existential force, a constitutive force • what is good, and what is bad emotion, in relationship to music; • if emotions are transgressive, how can musicology be a “rigorous science” (in Husserlian terms).