On the Interpretation of the Concept of “Children’s Music” in Russian Musicology
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Abstract
The article analyzes and compares various interpretations of the concept of “children’s music,” proposed by
Russian scholars of the 20th and early 21st century. Certain changes in the approaches towards understanding the
concept of “children’s music” are observed in the historical perspective. For composers of the second half of the 20th
century the most important attributes of musical compositions are the following two criteria: the correspondence to the
performance possibilities of children and the consideration of the peculiarities of their perception. The contemporary
viewpoint of the phenomenon of children’s music spans a wide circle of phenomena – from the expression of the
general semantics of “childlike features,” a certain nostalgic image in the soul of adults, to the inclusion of a child into
the overall system: composer (music written by children) – performer – listener. The questions peculiar for the studied
problem range are those of application of the corresponding terminology in the separate varieties of genre in the given
field (for example, in the conditions of children’s musical theater). Here most often there is a tendency of adoption of a
set of terms of the initial genre “prototype,” which may be distinctly observed on the example of musical compositions
for the stage. The field of interactions between different genres in the sphere of children’s music is immensely wide,
which in its turn may serve as a basis for prospects for a great amount of scholarly research in this domain.
Keywords: children’s music, music for children, children’s music in scholarly works of Russian musicologists,
terminology for children’s music, music for performance and perception by children, types of children’s music, genres
of children’s music.
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