Romanticism without Boundaries (About the Music of Elena Gokhman)
Article Sidebar
Main Article Content
Abstract
The conventional view is that 20th century art began its evolution under the sign of anti-romanticism. Thereupon it
is tacitly proliferated on the entire subsequent trajectory of the contemporary arts. However, the real compositional
practice confirms the fairness of the thought expressed in Yu. Kremlyov’s book “Proshloye i budushcheye romantizma”
[“The Past and Future of Romanticism”]. In this article the attempt is made to comprehend the “present state” of
romanticism, on the example of a number of compositions by Saratov-based composer Elena Gokhman (1935–2010).
As in the case of a number of other composers, many of her compositions are marked with romantic features. It is
important to look through the prism of the markedly individualized and the subjective. One distinct romantic feature
is the sharpness and unpredictability of contrasts, the tendency of their growing over into direct antitheses in the guise
of the dramatization of the story line. Another frontier of artistic aspirations of the art of music from the late 1970s is
Neo-Romanticism, which presumes a direct rapprochement with the genre system and styles of the artistic culture of
the 19th century. In Elena Gokhman’s case it manifested itself as the natural result of the tremulous emotionality and
impassioned lyricism inherent in her music. Neo-Romanticism is also characterized by the revival of vocal lyricism,
which received manifestation in a number of the composer’s song cycles.
Keywords: contemporary musical oeuvres, Saratov-based composers, Elena Vladimirovna Gokhman, Romanticism,
Neo-romanticism.
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. Grigor’yeva A. V. Kamernaya vokal’naya muzyka kompozitorov Rossii [Chamber and Vocal Music by Russian Composers]. Istoriya muzyki narodov SSSR [The History of Music of the Peoples of the USSR]. Volume 7, Issue 2. Moscow, 1997, pp. 153–189.
3. Demchenko A. I. Itog: mudraya sderzhannost’ i dushevnyy pokoy [The Result: Wise Restraint and Tranquility of the Soul]. Muzykal’naya akademiya [Musical Academy]. 2012, No. 2, pp. 71–82.
4. Demchenko A. I. U vremeni v plenu [In the Captivity of Time]. Saratov: Privolzhskoe kn. izd-vo, 1991. 79 p.
5. Elene Gokhman posvyashchaetsya. K 70-letiyu so dnya rozhdeniya [Dedicated to Elena Gokhman. Towards her 70th Anniversary]. Edited by A. I. Demchenko. Saratov: Saratov State L. V. Sobinov Conservatory, 2005. 244 p.
6. Kremlev Yu. A. Proshloe i budushchee romantizma [The Past and Future of Romanticism]. Moscow: Muzyka, 1968. 80 p.
7. Korolevskaya N. V. Slovo i muzyka v proizvedeniyakh saratovskikh kompozitorov: v prostranstvakh smysla [Words and Music in the Works of Composers of Saratov: in the Space of Meaning]. Saratov: Saratov State L. V. Sobinov Conservatory, 2014. 296 p.
8. Khristiansen L. L. Kak sovetskie kompozitory slyshat muzyku stikhov Garsia Lorki [How Soviet Composers Hear the Music of the Poetry of Garcia Lorca]. Muzykal’naya klassika i sovremennost’. Voprosy istorii i estetiki: sb. nauch. tr. [The Musical Classics and Moderns. Questions of History and Aesthetics: a Collection of Scholarly Papers]. Leningrad, 1983, pp. 2–24.