Composer Viktor Ulyanich: Christian Worldview and Artistic Style
Main Article Content
Abstract
The article presents a concise overview of the musical oeuvres of Russian composer Viktor Stepanovich Ulyanich, whose life witnessed a harmonious intertwining of music, science and faith. The Christian world-perception traverses throughout his entire musical output, whether it is vocal, choral, chamber-instrumental, orchestral, or theater music. the sphere of imagery in his musical compositions is comprised by subjects of nature, the universe and human existence. The musical technological innovations in Ulyanich’s music are vindicated by the necessity of creating an artistic image. He prefers to incorporate completed forms, giving a great deal of attention to the proportions of the respective sections of musical compositions; for him pure harmonies and vivid thematic material become the chief means of expressing musical thought. In terms of development of the musical material, he prefers various types of combinatorial combinatorics, which reflect the mathematical laws of nature. In his music the composer touches upon issues of the fundamental principles of existence, juxtaposing Good and Evil, Life and Death, Light and Darkness, thereby reminding of the initially lofty calling of the human being..
Keywords: composers of Russia, Viktor Ulyanich, computer music, Easter troparion
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. Gulyanitskaya N. S. Zametki o stilistike sovremennykh dukhovno-muzykal’nykh sochineniy [Notes on the Style of Contemporary Sacred Compositions]. Traditsionnye zhanry russkoy dukhovnoy muzyki i sovremennost’ [Traditional Genres of Russian Sacred Music and Modernity]. Issue 1. Moscow, 1999, pp. 117–149.
3. Gulyanitskaya N. S. Metody nauki o muzyke [The Methods of Musical Scholarship]. Moscow: Muzyka Press, 2009. 256 p.
4. Gulyanitskaya N. S. Interaction: vzaimodeystvie nauki i muzyki v tvorchestve V. Ul’yanicha [Interaction of Science and Music in Viktor Ulyanich’s Compositions]. Muzykal’naya akademiya [Musical Academy]. Moscow, 2000, No. 1, pp. 51–58.
5. O zhizni skhiarkhimandrita Vitaliya [On the Life of Schema-Archimandrite Vitaliy]. Moscow: Novospassky Monastery, 2006, pp. 272.
6. Smirnova I. A. Tvorcheskiy portret kompozitora Viktora Ul’yanicha v ego proizvedeniyakh i vyskazyvaniyakh [An Artistic Profile of Composer Viktor Ulyanich in His Compositions and Utterances]. Protsess muzykal’nogo tvorchestva [The Process of Musical Creativity]. Issue 5. Edited by E. Vyazkova. Gnesins’ Academy of Music. Moscow, 2002, pp. 151–175.
7. Mozgot S. A. Kontseptual’noe prostranstvo v muzyke kompozitorov XX veka [Conceptual Space in the Music of 20th Century Composers]. Problemy muzykal’noy nauki [Music Scholarship]. 2014, No. 4, pp. 20–24.
8. Ul’yanich V. S. Komp’yuternaya muzyka. Osvoyenye novoy khudozhestvenno-vyrazitel’noy sredy v muzykal’nom iskusstve [Computer Music: Exploring a New Artistic and Expressive Environment in the Art of Music]. Moscow: Erebus, 2012. 146 p.
9. Ul’yanich V. S. O kompozitorskom tvorchestve. (Opyt razmyshleniya) [On the Art of Composition (Reflections)]. Khristianskaya kul’tura: proshloe i nastoyashchee (K 2000-letiyu Rozhdestva Khristova): sb. st. po mat. nauch. konf. [Research Conference: The Christian Culture: Past and Present (Commemorating the 2000th Anniversary of the Nativity of Jesus Christ): Compilation of Articles]. Compiled by N. Gulyanitskaya. Moscow, 2004, pp. 105–114.
10. Ul’yanich V. S. Svetozvony-II i Svetozvony- VI: avtorskiy kommentariy [Svetozvony (Luminous Peals of Bells)-II and Svetozvony-VI: Commentaries Composer]. Muzykovedenie k nachalu veka: proshloe i nastoyashchee: Mezhdunar. nauch. konf. 24-26 sent. 2002 g. [International Research Conference: Musicology Towards the Turn of the Century: Past and Present, 24– 26 September 2002]. The Gnesins Academy of Music. Moscow, 2002, pp. 236–251.
11. Urvantseva O. A. Dva vektora razvitiya russkoy dukhovno-kontsertnoy muzyki XX–XXI vv. [Two Vectors of Development of Russian Sacred Concert Music of the 20th and 21st Centuries]. Problemy muzykal’noy nauki [Music Scholarship]. 2012, No. 2, pp. 28–32.
12. Shepshelyova O. V. Smyslovoy potentsial khorovogo zvuchaniya v sovremennoy muzyke [Potential of Meaning in the Choral Sound in Modern Music:]. Problemy muzykal’noy nauki [Music Scholarship]. 2012, No. 2, pp. 98–102.