name
Ovsyankina Galina Petrovna
Scholastic degree
• Dr.Sci.Art
Academic rank
professor
Honorary rank
—
Organization, job position
• Gertsen’s State Pedagogical University of Russia
профессор кафедры музыкального воспитания и образования
Research interests
творчество Д.Д. Шостаковича и композиторов России второй половины ХХ века – Б.И. Тищенко, Г.И. Уствольской, Б.А. Чайковского, Г.Г. Белова, Д.А. Толстого, Г.И. Фиртича, В.А. Успенского, С.А. Осколкова, Г.О. Корчмара, А.М. Изосимова и др.; проблемы психологии творческого процесса в музыке, текстологии нотных автографов, музыкальной семантики, взаимосвязи литературы и музыки
Web site url
Current rating (overall rating of articles)
0
TOP5 co-authors
Articles count: 2
Сформировать список работ, опубликованных в Научном журнале КубГАУ
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ROLE OF AN INTERTEXT IN D. D. SHOSTAKOVICH’S OPERA “GAMBLERS”
DescriptionWe investigate D. D. Shostakovich's opera “Gamblers” is in the context of an intertext. In this opera, the psychological drama develops; this complex artistic task is solved largely thanks to masterful introduction of a variety of intertextual links. “Gamblers” is an example of recitative opera with an intense, “passionate” vocal style and flexible technique ranging from secco to a gushy accompagnato. The text directs melodic development and intertextual links. The appeal to a method of the intertextual analysis opens interaction between “Gamblers” and their dialogue with musical classics and other Shostakovich’s works. Own creativity and the whole layer of classical works first of all acts as donor texts: operas style bel canto, opera-buffa, D. Verdi’s opera “La traviata”, Russian recitative opera – A. S. Dargomyzhsky, N. A. Rimsky-Korsakov, M. P. Mussorgsky, works by A. P. Borodin, P. I. Tchaikovsky, and of painter and literary texts – P. A. Fedotov, A. S. Pushkin, L. N. Tolstoy, F. M. Dostoevsky. The intertextual artistic methods, enabled by Shostakovich express a complex psychological content
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ROLE OF SEMANTICS IN MUSICAL THEMATIC OF THE CHINESE CONCERTS FOR THE PIANO WITH ORCHESTRA
DescriptionThe Article is devoted to substantial aspects of the Chinese piano concerts. As the carrier of sense, semantics is investigated. Examples of semantics are given from three program concerts: "Yellow River" Yin Chengzonga and creative group – Chu Wanghua, Liu Zhuang, Sheng Likhoun, Shi Shuchen and Xu Feysin, "The mountain wood" of Liu Dunan and "Beauty of spring" of Du Mingxin. One of important typological features of the Chinese piano concerts is caused by the appeal to model of the European classical tool concert in respect of interpretation of a form, performing structure, a role of the soloist tool, its ratio with orchestra, etc. All the composers initially sought to embody national musical contents in the European genre. It is implemented first of all through a semantic complex. Proceeding from hierarchy of the semantic importance, it can be classified as follows: 1) semantics of images of the nature, 2) semantics of sounding of national tools, 3) semantics of melodies, popular in the Chinese environment, 4) genre semantics, 5) semantics of means of musical expressiveness. Introduction of semantics to musical language bears communicative function. The important value had also that presence of a semantic range at the art text is natural to consciousness and art perception of the Chinese