The Synthetic Idea of Nikolai Roslavetz in the Form-Generation of his First Violin Concerto
Article Sidebar
Main Article Content
Abstract
The article is devoted to the specific features of form-generation in Nikolai Roslavetz’s Violin Concerto, examined
in the aspect of modernization of classical structures. The accent in the analysis is made on the study of the mechanism
of emancipation of the conventional algorithm of functions within the standard form, leading to a new quality of musical
synthesis. The originality of Roslavetz’s compositional thinking is disclosed by means of revealing the continuous
connection of typological constants with functional diffusion. Since the given process differs in a qualitative manner
from the so-called mixed forms, the article discloses a hypothesis about the composer’s search of a certain equivalent
of his technique of “synthetic chords,” applied on a more large-scale level of the composition. The conceptual basis of
this goal is presented by the dialectic pair of traditional vs. innovative, which became the “visiting card” of Roslavetz’s
style. An indicator of the traditional in the new sound continuum of the work is the reference to one of the most brilliant
themes of the classical musical heritage – the main theme of the finale of Brahms’ Violin Concerto.
Keywords: Nikolai Roslavetz, Johannes Brahms, synthetic chord, synthetic mode, musical cycle, violin concerto,
musical form, compositional technique.
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. Lobanova M. N. Nikolay Andreyevich Roslavets i kul’tura ego vremeni [Nikolai Andreyevich Roslavets and the Culture of his Time]. St. Petersburg: Petroglif, 2011. 384 p.
3. Pol’dyaeva E. G. Russkiy muzykal’nyy avangard 1910-kh godov. K voprosu ob istokakh «novoy muzyki» XX veka: avtoref. dis. … kand. iskusstvovedeniya [The Russian Musical Avant-Garde of the 1910s. Concerning the Question of the Origins of “New Music” of the 20th Century: Thesis of Dissertation for the Degree of Candidate of Arts]. Moscow, 1993. 21 p.
4. Roslavets N. A. O sebe i svoem tvorchestve [About Myself and My Work]. Russkiy avangard. Manifesty, deklaratsii, programmnye stat’i (1908–1917) [The Russian Avant-Garde. Manifestos, Declarations, Programmatic Articles (1908–1917)]. Editor and Compiler I. Vorobyev. St. Petersburg: Kompozitor, 2008, pp. 246–250.
5. Stanishevskiy Ya. Ob odnoy neulovimoy teoreticheskoy sisteme: Nikolay Roslavets i ego teoriya «tonal’nogo rodstva» sintetakkordov [On one Elusive Theoretical System: Nikolai Roslavets and his Theory of the “Tonal Relationship” of Synthetic Chords]. Nauchnyy vestnik Moskovskoy konservatorii [Scholarly Newsletter of the Moscow Conservatory]. Moscow, 2014. No. 2, pp. 123–135.
6. Tsenova V. S. Edison Denisov i Nikolay Roslavets: paralleli [Edison Denisov and Nikolai Roslavets: Parallels]. Russkiy avangard i Bryanshchina: stat’i, ocherki, issledovaniya [The Russian Avant-Garde and Bryansk. Articles, Essays, Research.]. Edited by M. Belodubrovskiy. Bryansk, 1998. 384 p.
7. Bazayev Inessa. The Circle of Fifths in Russian Non-Tonal Music: A Case Study of Selected Works by Roslavets and Stravinsky. Dutch Journal of Music Theory. Vol. 18. No. 2. 2013, pp. 51–68.
8. Bazayev Inessa. The Expansion of the Concept of Mode in Twentieth-Century Russian Music Theory. Music Theory Online. 20.3.6. September, 2014.
9. Bazayev Inessa. Triple Sharps, Qnt Relations, and Symmetries: Orthography in the Music of Nicolaĭ Roslavets. Music Theory Spectrum. Vol. 35. No. 1. 2013, pp. 111–131.
10. Bazayev I., Carpenter, E. Introduction: Russian Theoretical Thought Reconsidered and Reevaluated. Music Theory Online. 20.3.4. September, 2014.
11. Ewell Philip. Russian Pitch-Class Set Analysis and the Music of Webern. Online Journal of the Music Theory Society of the Mid-Atlantic. Vol. 6. No. 1. 2013, pp. 219–276.
12. Ewell Terry B. Set Operations in the Music of Nikolai Roslavets. Bridges: Mathematical Connections in Art, Music, and Science. 2002, pp. 17–24.
13. Sitsky Larry. Music of repressed Russian Avant-Garde, 1900–1929. Greenwood press, Westport Connecticut. London, 1994. 360 p