The Modernity of Nikolai Popov: Novelty of Music – Novelty of his World View
Article Sidebar
Main Article Content
Abstract
Nikolai Popov is a talented Russian composer of the younger generation, whose music is regularly performed in his native country and in other countries. His worldview combines together the most ancient and the most contemporary parameters. The objects of his philosophical and musical thinking are the cosmos, the physical sound of the world, and in the sphere of human history – antiquity and new technologies. His musical language synthesizes classical instrumental timbres with electronic sounds, as well as with video footage. Popov was born in Bashkortostan, graduated from the Moscow Conservatory, participated in the master-classes of many innovative composers from outside of Russia. He created video-musical multimedia compositions in collaboration with several video-artists. Especially noteworthy are his compositions from 2013 – “The Song of Uldra,” writted in collaboration with Andrew Quinn and Alena Skornyakova, based on Scandinavian folklore, “Artra,” written in collaboration of Todor Pozarew and Andrew Quinn with a quotation from the “Danses des adolescentes” from Stravinsky’s “The Rite of Spring” heard on a disc of the spacecraft Voyager, “Nibiru 20/13” together with Skornyakova and Quinn, based on motives from Sumerian-Acadian mythology. For the most part finding solutions to the issue of correlation of the audio and the visual effects, Popov also admits pure sounds without video footage in some of his compositions. Such is one of the versions of his composition “The Song of Uldra,” as well as his early compositions for bayan, strings and percussion. The emotional “message” to the listener provides a specially important component for him.
Keywords: young composers of Russia, electonic music, “The Song of Uldra,” “Artra,” “Nibiru 20/13,” Todor Pozarew, Alena Skornyakova, Andrew Quinn, Igor Stravinsky.
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. Lyskova S. Put' k gradu Arkaimu: audiovizual'nyy eksperiment [The Path to the City of Arkaim: Audiovisual Experiment]. 11.10.2013. URL: http://stnmedia.ru/?id=6362 (31.07.2017).
3. Nikolay Popov: «Dlya menya rabota s videokhudozhnikom – neveroyatnyy protsess» [Nikolai Popov: “For Me, Working with a Video Artist is an Incredible Process”]. The material was prepared by E. Kravtsun. 20.09.2013. URL: www.muzcentrum.ru/news/2013/09/8808 (29.07.2017).
4. Platonov O. Russkaya tsivilizatsiya: entsiklopediya [Russian Civilization: Encyclopedia]. URL: http://dic.academic.ru/dic.nsf/russian_hystory/924 (31.07.2017).
5. Popov N. A. Elektroakusticheskaya kompozitsiya [Electroacoustic Composition]. URL:http://ceammc.com/wp-content/uploads/2013/10/Nik_Popov_text-1.pdf (29.07.2017).
6. Kholopova V. N. Muzykal'nye emotsii [Musical Emotions]. Moscow: Al'teks, 2012. 348 p.
7. Kholopova V. N. «Tayna» kak nesformirovannaya kategoriya teorii iskusstva i ee prisutstvie v tvorchestve Sofii Gubaydulinoy [“Mystery” as an Unformed Category of the Theory of Art and its Presence in the Works of Sofia Gubaidulina]. Sofii s lyubov'yu: k 80-letiyu Sofii Asgatovny Gubaydulinoy [To Sofia with Love: Towards the 80th Anniversary of Sofia Asgatovna Gubaidulina]. Moscow, 2014, pp. 32–48.
8. Shornikova A. V. O vzaimodeystvii audio- i videoryadov v sochinenii «Tri istorii» Stiva Raykha – Beril Korot [About the Interaction of the Audio and Video Elements in the Composition “Three Tales” by Steve Reich and Beryl Korot]. Problemy muzykal'noj nauki/Music Scholarship. 2017. No. 3 (28), pp. 20–26. DOI: 10.17674/1997-0854.2017.3.020-026.