Istorija fortepiannoj transkripcii: monografija
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Russian |
| Veröffentlicht: |
Moskva
"Deka-VS"
2011
|
| Schlagworte: | |
| Online-Zugang: | Abstract Inhaltsverzeichnis |
| Beschreibung: | PST: The history of piano transcription. - Text in kyrill. Schr., russ. - Zsfassung in engl. Sprache |
| Beschreibung: | 507 S. Ill., graph. Darst., zahlr. Notenbeisp. |
| ISBN: | 9785901951392 |
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| 100 | 1 | |a Borodin, Boris Borisovič |d 1951- |e Verfasser |0 (DE-588)1041357206 |4 aut | |
| 245 | 1 | 0 | |a Istorija fortepiannoj transkripcii |b monografija |c B. Borodin |
| 246 | 1 | 3 | |a The history of piano transcription |
| 264 | 1 | |a Moskva |b "Deka-VS" |c 2011 | |
| 300 | |a 507 S. |b Ill., graph. Darst., zahlr. Notenbeisp. | ||
| 336 | |b txt |2 rdacontent | ||
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| 500 | |a PST: The history of piano transcription. - Text in kyrill. Schr., russ. - Zsfassung in engl. Sprache | ||
| 648 | 7 | |a Geschichte |2 gnd |9 rswk-swf | |
| 650 | 0 | 7 | |a Transposition |g Musik |0 (DE-588)4392602-2 |2 gnd |9 rswk-swf |
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Datensatz im Suchindex
| _version_ | 1804148976807575552 |
|---|---|
| adam_text | ОГЛАВЛЕНИЕ
Введение
.................................................................................................. 7
1.
Метод трансформации
................................................................... 7
2.
Задачи и структура исследования
................................................. 12
3.
Методологическая основа исследования
.................................... 17
4.
Определение основных тенденций в развитии
инструментального искусства
........................................................... 20
5.
Обзор литературы
.......................................................................... 22
а) инструментально-исполнительский аспект
........................... 23
б) структурно-композиционный аспект
...................................... 30
в) стилистический аспект
............................................................ 42
г) культурологический аспект
....................................................... 51
Глава первая. Тенденция к относительной инструментальной
нейтральности
...................................................................................... 59
1.
Формирование тенденции
............................................................. 59
2.
Логика в искусстве
......................................................................... 65
3.
Чувственное и интеллектуальное
................................................. 70
4.
Абсолютная музыка
....................................................................... 72
5.
Тембровая абстрактность
.............................................................. 74
6.
Инструментальная нейтральность у Бетховена
.......................... 77
7.
Инструментальная нейтральность у романтиков
........................ 79
8.
На рубеже
XIX-XX
веков
.............................................................. 85
9.
Инструментальная нейтральность в
XX
веке
.............................. 87
10.
Симметрия
.................................................................................... 93
11.
Игнорирование инструментального фактора
............................ 96
12.
Беззвучная музыка
....................................................................... 99
Глава вторая. Центростремительная тенденция
.......................... 103
1.
Формирование тенденции
............................................................. 103
2.
Центростремительная тенденция в клавирный период
.............. 109
3.
От клавира к фортепиано
.............................................................. 112
4.
Резонансное педальное фортепиано
............................................ 117
5.
«Клавир с молоточками»
.............................................................. 126
6.
Центростремительная тенденция в
XX
веке
............................... 131
Глава третья. Центробежная тенденция
......................................... 141
1.
Техника транскрипции
................................................................... 141
2.
Вокальная сфера
............................................................................. 142
3.
Органная сфера
.............................................................................. 149
4.
Скрипичная сфера
.......................................................................... 155
а) транскрипции Баха
.................................................................... 155
б) авторская транскрипция скрипичного
концерта Бетховена
...................................................................... 159
Оглавление
в) транскрипции «по Паганини»
................................................... 162
г) транскрипции «по Баху»
........................................................... 170
д) транскрипции С. В. Рахманинова
............................................. 176
е) транскрипции из камерного репертуара
................................. 179
5.
Оркестровая сфера
......................................................................... 184
а) фортепианная инструментовка
.............................................. 184
б) симфоническая трактовка фортепиано
................................. 190
в) конверсия
..................................................................................... 197
г) средства фортепианной инструментовки
.............................. 199
д) четыре обработки
Isoidens
Liebestod .................................. 205
6.
Оперная сфера
................................................................................ 214
Глава четвёртая. Виртуозность
......................................................... 228
1.
Сущность виртуозности
................................................................ 228
2.
Формирование понятия виртуозности
......................................... 232
3.
Виртуозничество
............................................................................ 240
4.
Виртуоз барокко
............................................................................. 243
5.
Венский классицизм
...................................................................... 247
6.
Трансцендентная виртуозность
.................................................... 251
7.
Демоническая виртуозность
......................................................... 254
8.
Бутафорский демонизм
.................................................................. 261
9.
Виртуозность в
XX
веке
................................................................ 263
10.
Этический императив и профессиональная игра
...................... 277
Глава пятая. Пианистичность
.......................................................... 287
1.
Определение пианистичности
...................................................... 287
2.
Формирование пианистичности
................................................... 290
3.
Понятие позиции
............................................................................ 295
4.
Принципы пианистичности
.......................................................... 297
а) повторность
............................................................................... 297
б) параллельность
.......................................................................... 302
в) симметричность
........................................................................ 307
г) принцип «оси»
............................................................................. 313
д) дополняющая координация рук
................................................. 314
е) воображаемый комплекс
........................................................... 320
5.
«Культура одной руки»
.................................................................. 322
6.
Транскрипции для левой руки соло
.............................................. 332
Глава шестая. Метод трансформации:
структурно-композиционный аспект
................................................ 338
1.
Проблемы терминологии
.............................................................:. 338
2.
Виды трансформации
.................................................................... 340
3.
Переложение
................................................................................... 342
4.
Переложение с точки зрения семиотики
...................................... 347
5.
Обработка
....................................................................................... 350
Оглавление
6.
Виды обработок
............................................................................. 353
7.
Пианистическая и семантическая трансформация в рамках
центробежной тенденции
.................................................................. 355
8.
Пианистическая и семантическая трансформация в рамках
центростремительной тенденции
..................................................... 365
9.
Транскрипция и жанр
.................................................................... 377
10.
Жанровые разновидности в области транскрипций
................. 379
11
.Транскрипция и форма
................................................................. 382
Глава седьмая. Метод трансформации: стилистический
аспект
...................................................................................................... 389
1.
Виды стилистических взаимодействий
........................................ 389
2.
Доминирование стиля подлинника
............................................... 393
3.
«Сплав стилей»
............................................................................... 402
4.
Трансформирующее воздействие фортепианного стиля
............ 409
5.
Стилистическая трансформация образной сферы
...................... 412
6.
Стилистическая трансформация в каденциях
............................. 420
7.
Стилистические трансформации в концертных фантазиях
....... 429
8.
Традиция виртуозных импровизаций
........................................... 435
Заключение
............................................................................................. 449
Библиография
........................................................................................ 468
Указатель имен
...................................................................................... 494
Summary
.................................................................................................. 507
Указатель имен
_____________________________________________507
Spinacino,
Francesco - 104 Virdung, Sebastian - 104
Sternfeld F. W. - 156 Vitale
V.
- 40
Stuckenschmidt H. - 48 Vonhögen, Jeroen - 357
Summer W.L. - 24
Sutcliffe, W. Dean - 111 Walker A. - 27
Suttoni, Charles R. - 39 Wellerz E. - 156
Werner, Carl - 308
Ubber, Christian - 40 Winkler G..T. - 40
SUMMARY
В.
Borodin
The History of Piano Transcription: Evolutionary Trends,
Styles, Methods
The monograph is the first fundamental comprehensive study of the
phenomenon of piano transcriptions in the domestic musicology, which is
represented in the broader context of related phenomena of music and
other art forms. The book consistently addresses instrumental, structural
and compositional, stylistic and cultural studies aspects of this kind of
creative activity, there can be traced the historical fate of transcription, the
conditions of its existence in various artistic era, revealed patterns of the
creative process, transforming existing works of art in the new art reality.
The author extends the concept of basic trends in the development of
instrumental art, on the basis of which the process of formation of
performance is studied, explores the phenomenon of virtuosity and art of
piano playing justified by their criteria and the typology, it is proposed
systematic classification of types of transcription determined by techniques
of creating transcriptions; he clarifies the place of transcription in the
traditional system of genres indicated by specific stylistic interactions in
the field of transcription and related fields
-
cadences, fantasies on the
themes.
This book is addressed to musicologists, musicians-performers, as well
as all readers interested in the history of music and musical performance.
|
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| author | Borodin, Boris Borisovič 1951- |
| author_GND | (DE-588)1041357206 |
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| era_facet | Geschichte |
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| illustrated | Illustrated |
| indexdate | 2024-07-10T00:15:42Z |
| institution | BVB |
| isbn | 9785901951392 |
| language | Russian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-024846202 |
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| physical | 507 S. Ill., graph. Darst., zahlr. Notenbeisp. |
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| publishDateSearch | 2011 |
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| spelling | Borodin, Boris Borisovič 1951- Verfasser (DE-588)1041357206 aut Istorija fortepiannoj transkripcii monografija B. Borodin The history of piano transcription Moskva "Deka-VS" 2011 507 S. Ill., graph. Darst., zahlr. Notenbeisp. txt rdacontent n rdamedia nc rdacarrier PST: The history of piano transcription. - Text in kyrill. Schr., russ. - Zsfassung in engl. Sprache Geschichte gnd rswk-swf Transposition Musik (DE-588)4392602-2 gnd rswk-swf Klaviermusik (DE-588)4030993-9 gnd rswk-swf Klaviermusik (DE-588)4030993-9 s Transposition Musik (DE-588)4392602-2 s Geschichte z DE-604 Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024846202&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024846202&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Borodin, Boris Borisovič 1951- Istorija fortepiannoj transkripcii monografija Transposition Musik (DE-588)4392602-2 gnd Klaviermusik (DE-588)4030993-9 gnd |
| subject_GND | (DE-588)4392602-2 (DE-588)4030993-9 |
| title | Istorija fortepiannoj transkripcii monografija |
| title_alt | The history of piano transcription |
| title_auth | Istorija fortepiannoj transkripcii monografija |
| title_exact_search | Istorija fortepiannoj transkripcii monografija |
| title_full | Istorija fortepiannoj transkripcii monografija B. Borodin |
| title_fullStr | Istorija fortepiannoj transkripcii monografija B. Borodin |
| title_full_unstemmed | Istorija fortepiannoj transkripcii monografija B. Borodin |
| title_short | Istorija fortepiannoj transkripcii |
| title_sort | istorija fortepiannoj transkripcii monografija |
| title_sub | monografija |
| topic | Transposition Musik (DE-588)4392602-2 gnd Klaviermusik (DE-588)4030993-9 gnd |
| topic_facet | Transposition Musik Klaviermusik |
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