Concerning the Issue of Influence of the Religious Source on the Orchestral and Piano Music of Alemdar Karamanov
Article Sidebar
Main Article Content
Abstract
symphony, which was formed during his mature musical period.
Religious subject matter provided the foundation for: his
symphonic macro-cycles “Sovershyshasya” [“It is Finished”]
in ten movements, inspired by the four Gospels, “Byst’” [“That
Which Shall Be”] consisting of six symphonies, based on the
Book of Revelation, and the Third Piano Concerto, “Ave Мaria.”
The inluence of the religious source material on the composer’s
music formulates the conceptual invariant of his religious musical
compositions. It is deined by the presence of a religious title and a
religious program, the creation of his personal symbolic language,
the usage of traditional rhetorical Baroque igures and symbols a
la Bach, Biblical semantics interpretations of separate instruments,
a semantic rendition of form as a “constructive” analogue to a
religious program, the inluence of the principle of construction of
the religious source on the form of the composition, as well as the
uniication of symphonies into macro-cycles capable of embodying
the scale, diversity and integrity of the religious sources.
Keywords: Alemdar Karamanov, religious symphony, cycles
of symphonies “Soversyshasya,” “Byst,” Piano Concerto “Ave
Maria”, symphony-revelation
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. Aranovskiy M. G. Simfoniya i vremya [The Symphony and Time]. Russkaya muzyka i XX vek: Russkoe muzykal’noe iskusstvo v istorii khudozhestvennoy kul’tury XX veka [Russian Music and the 20th Century: the Russian Musical Art in the History of 20th Century Artistic Culture]. Edited and Compiled by M. Aranowsky. Moscow: State Institute of Art, 1997, pp. 303–371.
3. Aranovskiy M.G. Simfoniheskie iskaniya [Symphonic Search]. Leningrad: Sovetskiy kompozitor, 1979. 286 p.
4. Vasilenko L. I. Kratkiy religiozno-filosofskiy slovar’ [Concise Religious-Philosophical Dictionary]. Moscow: Istina i zhizn’, 2000. 256 p.
5. Dabayeva I. P. Dukhovnyy kontsert v kul’ture sovremennoy Rossii: traditsii i novatorstvo [The Sacred Concert in the Culture of Contemporary Russia: Traditions and Innovations]. Problemy muzykal’noy nauki [Music Scholarship]. 2013, No. 2 (13), pp. 134–138.
6. Kazantseva L. P. «Pogranichnye zhanry»: za i protiv [“Borderline” Genres – Pro et Contra]. Problemy muzykal’noy nauki [Music Scholarship]. 2008, No. 1 (2), pp. 26–31.
7. Medushevskiy V. V. O tserkovnoy i svetskoy muzyke [About Church and Secular Music]. Muzykal’noe iskusstvo i religiya: mat-ly nauch. konf. «Otechestvennaya kul’tura XX veka i dukhovnaya muzyka» [The Musical Art and Religion: Texts of the Scholarly Conference “National Culture of the 20th Century and Sacred Music”]. Gnesins’ Russian Academy of Music. Moscow, 1994, pp. 20–45.
8. Men’ A. V. Chitaya Apokalipsis [Reading the Apocalypse] Moscow: Istina i zhizn’, 2000. 262 p.
9. Pol’dyaeva E. Apokrif ili poslanie? O tvorchestve Alemdara Karamanova [An Apocrypha or a Message? About the Music of Alemdar Karamanov]. Alemdar Karamanov. Muzyka, zhizn’, sud’ba. Vospominaniya, stat’i, besedy, issledovaniya, radioperedachi [Alemdar Karamanov. Music, Life, Destiny. Memories, Articles, Interviews, Research, Radio] Moscow: Klassika–XXI, 2005, pp. 102–132.
10. Svyashchennik Nikolay Orlov. Apokalipsis Svyatogo Ioanna Bogoslova. Opyt pravoslavnogo tolkovaniya [The Apocalypse of St. John the Theologian. An Essay of Orthodox Christian Interpretation]. St. Petersburg: Voskreseniye, 1999. 576 p.
11. Kholopov Yu. N. Autsayder sovetskoy muzyki: Alemdar Karamanov [An Outsider in Soviet Music: Alemdar Karamanov]. Muzyka iz byvshego SSSR: sb. st. [Music from the Former USSR: a Collection of Articles]. Ed. B. Tsenova. Issue 1. Moscow: Kompozitor Press, 1994, pp. 120–138.
12. Chigareva E. I. Muzyka v nauchnoy mysli A. V. Mikhaylova [Music in the Scholarly Thought of A.V. Mikhaylov]. Mikhaylov A. Muzyka v istorii kul’tury: izbrannye stat’i [Music in the History of Culture: Selected Articles] Moscow: Moskovskaya konservatoriya, 1998, pp. 243–258.