The European Xylophone: Evolution and Performance
Article Sidebar
Main Article Content
Abstract
and symphony orchestra have already found relection in a set
of scholarly-methodological works of authors from Russia and
other countries. However the subject of the emergence and
development of solo performance on pitched keyboard percussion
instruments have still remained outside of the perspective of
researchers. There are virtually no works in existence about solo
performance practice on xylophones of European construction.
The article makes an attempt of systematizing separate data
gathered by researchers in Russia and in other countries on the
xylophone constructed by Mikhail-Iosif Guzikov. Examination is
made of the evolution of solo performance practice on the fourkeyboard
xylophone. The examined period spans a substantial
part of the 19th century and concludes with the second half of the
20th century.
Keywords: pitched percussion instruments, Mikhail-
Iosif Guzikov, four-keyboard xylophone, performance on the
xylophone
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. Denisov E. V. Udarnye instrumenty v sovremennom orkestre [Percussion Instruments in the Modern Orchestra]. Moscow: Sovetskiy kompozitor, 1982. 255 p.
3. Dmitriev G. P. Udarnye instrumenty: traktovka i sovremennoe sostoyanie [Percussion Instruments: Their Interpretation and their Current State]. Moscow: Sovetskiy kompozitor, 1973. 136 p.
4. Zrelishche [Sight]. Odesskiy vestnik [Odessa Herald]. 1833, No. 63, p. 252.
5. Ksilofon [The Xylophone]. Muzykal’nyy entsiklopedicheskiy slovar’ [Musical Encyclopedic Dictionary]. Edited by G. V. Keldysh. Moscow, 1990, p 282.
6. Kupinsky K. M. Shkola igry na ksilofone [The School of Xylophone Playing]. Moscow: Muzgiz, 1952. 209 p
7. Liszt F. Pis’ma bakalavra muzyki [Letters of a Bachelor of Music]. Sovetskaya muzyka [Soviet Music]. 1936, No. 9. pp. 43–56.
8. Oleynik D. B. Iz istorii evropeyskogo ispolnitel’stva na ksilofone [From the History of European Performance on the Xylophone]. Dukhovye i udarnye instrumenty. Istoriya. Teoriya. Praktika: sb. nauch. tr. [Wind and Percussion Instruments. History. Theory. Practice: Compilation of Scholarly Texts]. Ed. V. M. Guziy, V. A. Leonov. Issue 2. Rostov-on-Don, 2012, pp. 76–106.
9. Pushkin A. S. Ya vas lyubil: stikhotvoreniya [I had loved you: Poems]. Moscow: EKSMO–Press, 1999. 528 p.
10. Rakov L. V. Troe iz trekhsot [Three out of Three Hundred]. Sovetskaya muzyka [Soviet Music]. 1966, No. 11. pp. 72–76.
11. Ralo A. N. Formirovanie funktsiy udarnykh instrumentov v orkestrovoy muzyke [The Formation of the Functions of Percussion Instruments in Orchestral Music]. Odessa, 2008. 102 p.
12. Khizhdeu B. Iosif Guzikov. Biograficheskiy ocherk [Joseph Guzikov. Biographical Sketch]. Odesskiy vestnik [Odessa Herald]. 1844, No. 77, pp. 385–386.
13. Shteyman V. P. Zhizn’, otdannaya lyubimoy professii (K. M. Kupinsky) [A Life Devoted to his Beloved Profession (K. M. Kupinsky)]. Muzykal’noe ispolnitel’stvo [Musical Performance]. Issue 10. Moscow: Muzyka Press, 1979, pp. 194–200.
14. Yuzefovich V. A. Portrety muzykantov [Portraits of Musicians]. Sovetskaya muzyka [Soviet Music]. 1973, No. 1, pp. 81–87.
15. Yampolskiy I. M. Pervyy virtuoz na ksilofone [The First Virtuoso Xylophone]. Sovetskaya muzyka [Soviet Music]. 1959, No. 11, pp. 134–136.
16. Blades J. Percussion Instruments and Their History. London, SW 7, 2005. – 515 p.
17. Eyles R. Ragtime and Novelty Xylophone Performance Practices. Washington: D.C., 1989. 147 p.
18. Keune E., Ockert E. Schlaginstrumente. Ein Schulnerk. Teil 4. Leipzig, 1982. 148 s.
19. Kotonsky W. Leksykon współczesnej perkusji [Lexicon of contemporary percussion]. Krakоw: PWM, 1999. 176 s.