Towards the Question of Formation of the Solo Violin Musical Text in the Baroque Era
Article Sidebar
Main Article Content
Abstract
The issue of studying the processes of formation of the violin musical texts of the Western European Baroque is one
of the most relevant in contemporary Russian musicology. Its complexity and multidimensionality consists in the indissoluble
unity of the musical text with the diverse forms of vocal and instrumental music-making, not limited in the least to violin music.
Representing a significant stratum of the performance practice of the baroque style and period, the musical text of compositions
for solo violin still remains a enigma and a point of attraction of contemporary musicians aspiring to discover the “key”
to its authentic interpretation. At the same time in musicology an apparent preference is given to comprehension of the regular
laws of the baroque instrumental performance practice and the
reflection of its specificity in clavier and organ compositions with a contrapuntal type of thematicism. The musical
text of compositions for solo violin remains on the periphery of research interests, since having been notated on one
line it has been traditionally regarded as monophonic, connected with the melodic element. Thorough attention is
called for by the baroque practice of ensemble and orchestral music-making, in the “bosom” of which the principles
of violin solo performance has been generated. Upon examination of the most general regular laws of formation
of the solo violin musical text through the prism of the specificity of instrumental music-making of the baroque
period the approach emerged in the elaborations of the scholarly issue “The Musical Text and the Performer” at the
Laboratory for Musical Semantics (academic advisor Liudmila Shaymukhametova). It presented the possibility of
systematic study of the historical musical text as a variable and poly-structural phenomenon which contains traits of
musical texts for other instruments.
Keywords: the practice of music-making, baroque, violin, solo musical text.
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Alexeyeva I. V. The Functions of Instrumental Idioms in the Forming of Keyboard Music at the Time of Baroque. Problemy muzykal'noj nauki/Music Scholarship. 2012. No. 1, pp. 93–97. (In Russ.)
3. Asaf'ev B. V. Muzykal'naya forma kak protsess [Musical Form as a Process]. Leningrad: Muzyka, 1971. 376 p.
4. Borodin B. B. Tri tendentsii v instrumental'nom ispolnitel'skom iskusstve [Three Tendencies in the Art of Instrumental Performance]. Yekaterinburg: Bank kul'turnoy informatsii [Bank of Cultural Information], 2004. 222 p.
5. Ginzburg L. S., Grigor'ev V. Yu. Istoriya skripichnogo iskusstva [A History of the Art of the Violin]. Issue 1. Moscow: Muzyka, 1990. 285 p.
6. Gordeeva E. V. Musical Lexicography of Scenes and Images of Musicianship in the French Suittes by J. S. Bach. Problemy muzykal'noj nauki/Music Scholarship. 2008. No. 1, pp. 198–203. (In Russ.)
7. Druskin M. S. Iogann Sebast'yan Bakh [Johann Sebastian Bach]. Moscow: Muzyka, 1982. 383 p.
8. Morein K. N. Acoustic Images of Musical Instruments in Keyboard Sonatas of D. Scarlatti. Problemy muzykal'noj nauki/Music Scholarship. 2011. No. 2, pp. 165–170. (In Russ.)
9. Petrash A. L. Zhanry pozdnerenessansnoy instrumental'noy muzyki i stanovlenie sonaty i syuity [The Genres of Late Renaissance Instrumental Music and the Formation of a Sonata and Suite]. Voprosy teorii i estetiki muzyki [Questions of the Theory and Aesthetics of Music]. Issue 14. Leningrad, 1975, pp. 177–201.
10. Raaben L. N. Skripichnye kontserty barokko i klassitsizma: monografiya [Violin Concerts of Baroque and Classicism: Monograph]. St. Petersburg: Herzen State Pedagogical University of Russia, 2000. 126 p.
11. Sakharova G. P. Formirovanie sonaty v ital'yanskoy skripichnoy shkole v pervoy polovine XVII veka [The Formation of the Sonata in the Italian Violin School in the First Half of the 17th Century]. Istoriko-teoreticheskie voprosy zapadnoevropeyskoy muzyki (ot Vozrozhdeniya do romantizma): sb. tr. [Historical and Theoretical Issues of Western European Music (from the Renaissance to Romanticism): A Collection of Works]. Gnesins’ State Music and Pedagogical Institute. Issue 10. Moscow, 1978, pp. 165–185.
12. Simonova E. R. Iskusstvo arii v ital'yanskom opernom barokko (ot renessansnoy kantsonetty k arii da capo): issledovanie [The Art of Aria in Italian Baroque Opera (from the Renaissance Canzonetta to the Aria da Capo): Research]. Ufa: Editorial and Publishing Center of the Ufa State Academy of Arts named after Z. Ismagilov, 2005. 164 p.
13. Sitdikova F. B., Alexeyeva I. V. Skripichnyy tekst v sol'nykh i ansamblevykh sochineniyakh zapadnoevropeyskogo barokko [The Violin Musical Text in Solo and Ensemble Compositions of the Western European Baroque Style]. Ufa: Laboratory of Musical Semantics of the Ufa State Academy of Arts named after Z. Ismagilov, 2015. 203 p.
14. Fel'dgun G. G. Istoriya zapadnoevropeyskogo smychkovogo kvarteta (ot istokov do nachala XX veka) [The History of the Western European String Quartet (from its Origins to the Beginning of the 20th Century)]. Novosibirsk: Novosibirsk State M. I. Glinka Conservatory, 2000. 254 p.
15. Shaymukhametova L. N. Contrapuntal Compositions in the Form of Historical Dances in the Conditions of Ensemble Music-Making. Problemy muzykal'noj nauki/Music Scholarship. 2018. No. 1, pp. 156–165. (In Russ.) DOI: 10.17674/1997-0854.2018.1.156-165.
16. Yampol'skiy I. M. Sonaty i partity dlya skripki solo I. S. Bakha: izbrannye issledovaniya i stat'i [Sonatas and Partitas for Violin Solo by J. S. Bach: Selected Research Works and Articles]. Ed. by Yu. Keldysh. Moscow: Sovetskiy kompozitor, 1985. 280 p.
17. Boyden D. The History of Violin Playing from its Origins to 1761 and its Relationship to the Violin and Violin Music. Oxford University Press, 1990. 636 p.
18. Sachs C. The History of Musical Instruments. New York: Dover Publications, com., 2006. 560 p.
19. Shaymukhametova Liudmila N. The Migrating Intonational Formula as a Phenomenon of Musical Thinking. Problemy muzykal'noj nauki/Music Scholarship. 2017. No. 1, pp. 61–73. DOI: 10.17674/1997-0854.2017.1.061-073.