The Traditions of Biedermeier in the Children’s Album for Piano in Russia
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Abstract
The article examines the impact on the formation of Biedermeier on the genre of children’s album for piano in Russia. Definitions are given for the children’s Biedermeier code and its manifestation in the children’s albums for piano by Schumann and Tchaikovsky, a number of pre-revolutionary Russian composers, as well as composers from the beginning and end of the Soviet era. The author demonstrates that the children’s Biedermeier code remained stable in the children’s albums for piano written by Russian composers of the pre-revolutionary era. During the Soviet era the culture was transformed and the family nucleus was eliminated from the Biedermeier code, children’s characters and the content of their activities is changed. The absence of the family circle is compensated by deep immersion into the world of nature and folk music. The multinational approach to musical folklore symbolizes a «new social family,» while nature and music restore the psychological balance. At the same time the musical sphere broadly develops traditional types of instructional and educational content. The erosion of children’s Biedermeier code was caused by social-psychological and cultural problems, which generated counter-trends in the semantic code of Russian children’s albums for piano.
Keywords: children’s piano album, Biedermeier, Romanticism, semantic code, children’s Biedermeier code
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