K 110-letiju so dnja roždenija Viktora Petroviča Bobrovskogo: materialy Meždunarodnoj naučno-praktičeskoj konferencii 22-24 nojabrja 2016 g.
К 110-летию со дня рождения Виктора Петровича Бобровского материалы Международной научно-практической конференции 22-24 ноября 2016 г.
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| Format: | Conference Proceeding Book |
| Language: | Russian |
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Moskva
Naučno-izdatelʹskij centr "Moskovskaja konservatorija"
2018
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| Series: | Žiznʹ muzyki
vypusk 2 Naučnye trudy Moskovskoj gosudarstvennoj konservatorii imeni P.I. Čajkovskogo sbornik 84 |
| Subjects: | |
| Online Access: | Inhaltsverzeichnis Abstract |
| Physical Description: | 359 Seiten Illustrationen, Porträts, Notenbeispiele |
| ISBN: | 9785895983461 |
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Record in the Search Index
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| adam_text | СОДЕРЖАНИЕ От составителей........................................................................................................... 5 Ճ. В. Бобровская (Ганновер, Германия). Страницы семейной биографии В. П.
Бобровского........................................................................................................Ю НАСЛЕДИЕ В. П. БОБРОВСКОГО СЕГОДНЯ Е. Р. Скурко (Уфа). Основные направления научных трудов B. П.
Бобровского....................................................................................................... 27 Е. И. Чигарева (Москва). В. П. Бобровский об исполнительстве (по архивным материалам) .......................................................................................41 Г. В.
Григорьева (Москва). Функциональная теория В. П. Бобровского и современный курс анализа музыкальных форм в Московской консерватории................................................................................... 53 К. В. Зенкин (Москва). О динамическом понимании музыкальной формы в русской теории
музыки. От А. Ф. Лосева к В. П. Бобровскому...................... 59 Е. Б. Трембовельский (Воронеж). О функциональном понимании музыкальных явлений в методе порождающего описания..................................74 Т. Ю. Чернова (Москва). О жизни теории: некоторые перспективы учения В. П.
Бобровского о музыкальной форме.................................................. 94 ЖАНР. ФОРМА. ИНТЕРПРЕТАЦИЯ C. 3. Исхакова (Уфа). Мелизматический органум и его след в истории западноевропейской музыки.............................................109 Е. В. Карман (Новосибирск).
Стилистические особенности раннего англиканского антема................................................................................123 В. А. Шуринов (Уфа). Барочный цикл прелюдий и фуг: в поисках смыслового архетипа..............................................................................139 О. П. Савицкая (Минск, Беларусь). Полиструктурные формы в больших хоралах из третьей части «Клавирных упражнений» И. С. Баха.................................................................................................................... 150 В. Н. Холопова (Москва). Риторическая диспозиция как первооснова формы в первой части Третьей симфонии Бетховена........170 Н. Ю. Жоссан (Уфа). О жанровой структуре оперы Н. А. Римского-Корсакова «Сказка о царе Салтане»..........................178 Н. С. Ганенко (Санкт-Петербург). К истории создания вокальных ансамблей С. И. Танеева из журнала «Захолустье»....................... 192 В. Б. Валькова (Москва). Вокруг Десятой симфонии Шостаковича: к истории рецепции произведения 207
ТЕМАТИЗМ. ДРАМАТУРГИЯ. СТИЛЬ Cheong Wai-Ling (HongKong). Orthography in Scriabins late works.................. 220 P. T Хусаинов (Уфа). О проявлении некоторых принципов конструктивистской эстетики в тематизме камерно-инструментальных сочинений Пауля Хиндемита............................. 236 Е. В.
Ищенко (Киев, Украина). Тематизм А. Мосолова и Н. Рославца как проявление эстетики конструктивизма 1920-х годов.................................246 О. В. Синельникова (Кемерово). Тематизм как фактор музыкального мышления Родиона Щедрина (на примере инструментального творчества
композитора)....................................................259 Е. Н. Завьялов (Уфа). О некоторых особенностях драматургии оркестровых концертов Р. К. Щедрина.................................................................275 Ц. Г. Мовсисян (Ереван). Претворение принципа триадности музыкального
развития на примере Концерта-барокко Эдгара Оганесяна.. 286 Ш. А. Сагитова (Уфа). О роли звукоизобразительности в симфониях Мурада Ахметова: «Варган-синфония».......................................298 ТРАДИЦИЯ В ИСТОРИИ И ТЕОРИИ МУЗЫКИ В. Н. Юнусова (Москва). Музыкальная форма глазами исполнителя: о
методах музыкального востоковедения............................................................. 310 Т. В. Харламова (Астана, Казахстан). Этапы становления и развития казахской академической музыки: камерно-инструментальные жанры....... 319 Н. К. Евдокимова, Л. К. Шабалина (Екатеринбург).
Интегративные исследовательские направления в научных трудах Уральской консерватории: вехи
истории.............................................................. 329 Научные работы В. П. Бобровского, изданные после 1990 года............................ 343 Книги и статьи о В. П. Бобровском, изданные после 1990 года.........................345 Сведения об авторах..................................................................................................348 Summary........................................................................................................................351
SUMMARY L. V. Bobrovskaja (Gannover, Germany). V. P. Bobrovsky family biog raphy pages. The content of the article based on archival documents (Rus sian Foreign Historical Archive in Prague, the Museum of Glory in Sevasto pol, Central Naval Library in St. Petersburg) is Bobrovskiy s genealogy that goes from the French family of Alderbarndt, ancient Swedish Comstadius’s family, the hero of the Crimean War L. A. Ergomishev and other persons. The essential point is the tragical life story of Petr Semionovitch Bobrovsky, Victor Petrovitchs father. All periods of the family story are treated in the context of Russian history: exploration of Crimea, the Crimean War (18531856), realization of Russian intelligentsia in the second half of the 19th cen tury, evacuation of Wrangel’s Army and civilian population from Sevastopol in 1920, life of Russian emigrants, Butyrka prison at the beginning of the 20th century and after World War II. E. R. Skurko (Ufa). On main trends of scientific works by V. P. Bo brovsky. The article takes into consideration the V. P. Bobrovsky’ scientific researches main trends, created during 1950-1970. It discusses the musical form functional concept, the theory of thematism and musical dramatur gy. The author pays attention on semantic and immanently musical aspects of thematism as a factor of the XVII-XX century composers artistic men tality (J. S. Bach, J. Haydn, W. A. Mozart, L. van Beethoven, R. Schumann, F. Chopin, C. Debussy, M. Mussorgsky, P. Tchaikovsky, S. Rachmaninoff, A. Scriabin). The article emphasizes the special importance and the place
of D. Shostakovich’s creative activity in the Ufe of V. P. Bobrovsky. Togeth er with the author’s personal memories about her studying at the Moscow Conservatory and then at the postgraduate course under the instruction of V. P. Bobrovsky reveals multisided image of the outstanding researcher, mu sician, philosopher and teacher. £. I. Chigareva (Moscow). V. P. Bobrovsky and the art of perfor mance (based on the archive data). Professional life of V. P. Bobrovsky was unique. Externally, his life was divided by two parts, he was a pianist before he truned 40, and a musicologist later on. But interpenetration and interplay of two areas of the music art had been taking place during all years of his pro fessional life. This had also been demonstrated in creative biography of Bobrovsky: for 18 years he had been teaching piano and music theory classes in Voro nezh Music College and for 21 years he had been teaching special course on the music writings analysis in Moscow Conservatoire (plus concert-lectures
352 Summary in the university of culture attached to the Conservatoire as well as in FlatMuseum of A. B. Goldenveizer). This kind of combination of the perfor mance and analytical approaches to the art of music characterizes his works on music as well as his diary notes. On the hasis of archive data, the article deals with this phenomenon. G. V. Grigorieva (Moscow). Functional theory of V. P. Bobrovsky in practical course of music form analysis in Moscow state conservatory. The article takes into consideration the issues of the musical content in its connection with V. A. Zukkerman and L. A. Mazel method of integrated analysis. The V. P. Bobrovsky’s functional theory is represented by such ac tual ideas as the similarity of levels, a connection between the theme type and the form type, unexpositional type of the period, rising and descend ing modulations in the form. The article especially notes the connection of the Bobrovsky’s theory with the B. Asafiev’s concept about the musical form. The author touches on the examples, which were analyzed by V. P. Bo brovsky (music by Debussy, Chopin, List, Scriabin, Shostakovich, etc.). The article also contains the author’s personal memories about his collabora tion with V. P. Bobrovsky. K. V. Zenkin (Moscow). On the dynamic understanding of the musical form in Russian music theory. From A. F. Losev to V. P. Bobrovsky. The tradition of the processual-dynamic approach to musical form, established in the Russian music science, is analysed in the article: from its philosophi cal foundation by Losev and musical-theoretical one — by
B. V. Asafiev — through the concept of L. A. Mazel’s and V. A. Zuckerman’s holistic analysis, I. V. Sposobin’s functional theory — to V. P. Bobrovsky’s functional theory. The meaning and value of the dynamic approach to musical form in contrast to the static one is demonstrated. Exemplified by the results of L. A. Mazel’s, V. A. Zuckerman’s, V. P. Bobrovsky’s analysis the concrete original analytical solutions, whose capabilities were ensured by the dynamic approach, are il lustrated, mainly based on Chopin’s works. The theoretical problems asso ciated with the dynamic perception of form in modern music and the need for an appropriate modification of the process-dynamic approach are also dwelled upon. E. B. Trembovelsky (Voronegh). On functional understanding of musi cal phenomena in the method of createved escription. The approach to a musical work as if from the point of view of a creating composer, makes it possible to conduct an analysis withthe methodology of creative descrip tion. With this method, the researcher, by understanding the subject/purpose and the permissible expressive means of the specific style, gets into the process of recreating (generating) logically the parameters of the musical piece such as the particularities of its form, itstheme, the details of the text,
Summary 353 the specific elements of its melody etc. The musical and theoretical back ground of this method are included, in particular, in the functional concept of form by V. P. Bobrovsky, who defines it metaphorically as a sort of projec tion of artistic ideas on a “flesh” of intonation. The common aesthetic and philosophical justification hassupported the judgments of Y. M. Lotman about the idea, realising itself in an adequate structure and the inefficiency of the “dualism of form and content.” The advantages of the creative descrip tion as an auxiliary method is demonstrated not only during the analysis of musical works, but also whendealing with individual terminological issues related to harmony and structure. T. Y. Chernova (Moscow). About music theory: some perspec tives in V. P. Bobrovsky’s study about music form. The article con siders the ways of innovating the music form category which was point ed in earlier V. P. Bobrovsky’ studies. This category (among some others in this issue such as idea, content, expression, matter) is dis cussed in the context of the Russian philosophy tradition in the first half of 20th century, namely in certain I. A. Iljin s aesthetic studies. To con tinue and develop the idea, mentioned above, is extraordinary impor tant for the adequate understanding as well as for solving the princi pal issues of music aesthetic, including the entity and specificity of music. Relying on these philosophical and aesthetical foundations Victor Bo brovsky’ musical heritage gains a new actuality. S. Z. Iskhakova (Ufa). Melismatic organum
and its trace in the West ern music history. The article is devoted to research of the functioning in French churches melismatic organum which came into being as an effect of the improvised ornamentation over the so-called free organum. The manu scripts reflected completely this ornamentation preserved only in French Li moges and Spanish Compostela. The oral practice of the vox organalis color ation by the “fleurettes” (as singers called it themselves) then spread over the Italy modern territory but changed its base: instead of improvisation over the written upper voice it became ornamentation of the given plainchant itself. The result of this cultural translation was Italian madrigal of the XIV century. £. V Karman (Novosibirsk). Stylistic features of the early Anglican an them. The article is devoted to the style of Anglican anthem on the stage of its formation in the context of confessional and musical-historical processes in the first half of the XVI century. Observed the basic principles and modi fications motet composition in full anthem for example work Christopher Tye and Thomas Tallis. The verbal basis is characterized as a factor that de fines the internal structure works. Analyzes the methods of polyphonic mu sical texture based on imitation and not imitation contrapuntal technique,
354 Summary a variant-polyphonic paraphrase material, elaborate logic development as a formative means in the anthem Tye. Explores the influence of communitybased and professional Church singing in contrasting musical and stylistic variants of works Tallis. High lighted specific features of the Anglican an them early stage. V. A. Shuranov (Ufa). Baroque cycle of preludes and fugues: in search of notional archetype. The article is based on the idea about hier archical differentiation of the art work content. Back in early European days was set the problem of recognizing meaningfifl depth of the text. In the ar ticle this objective is realized by the example of the Baroque instrumental cycle of preludes and fiigues. The author believes that the diversity of works in these genres is combined by the single symbolic and semantic canon. It is this inner sense canon that served forming a small baroque cycle as genre in tegrity. To refer to it in the article is used the term “archetype” (C. G. Jung). O. P. Savitskaya (Minsk). Polystructural forms in large chorals from the third part ofJ. S. Bach’s “Clavier Exercises”. On the material of large chorales from the Third part ofJ. S. Bachs “Clavier Exercises” is considered the phenomenon of poly-structural properties as a feature of the musical form developed in the conditions of complementary relations of elements of various composition structures and representing a special type of artistic integrity. There is a diversity of compositional solutions reflecting the depth and scale of the Bach chorale concepts, where the form appears
“as a kind of pro jection of an artistic idea into the intonational “flesh” (Bobrovsky) of the work. The principle of the poly-structural nature of the musical composition is revealed as a profound aspect of the Bachs form shaping, reflecting the com poser s thinking and worldviews. V. N. Kholopova (Moscow). Rhetorical disposition as a fundamental principle of the form in the first movement of Beethoven’s Third Sym phony. The Third Beethoven’s Symphony belongs to the greatest musical compositions. However, no one work of music theory contains a reliable def inition of its first movement form. The reason is that music theorists consid ered it as a sonata form, whereas Beethoven was based on the logic of An cient Greek oratorical disposition, which included introduction, narration, definition of the theme, subdivision of the theme, deprecation, refiitation of the deprecation, affirmation of the theme, digression and the conclusion. The composer used several levels of oratorical speech activity. The article demonstrates in a detailed manner the influence of Ancient Greek oratorical speech on the structure of the Third Symphony first movement and draws the conclusion of the necessity of a rhetorical approach to Beethovens form.
Summary 355 N. U. Zhossan (Ufa). On genres in the opera “The Tale of the Tsar Saltan” by N. A. Rimsky-Korsakov. The article is focused on the paradigm of folklore and author s relationships in the N. A. Rimsky-Korsakov s opera “The Tale of Tsar Saltan” that is a three-level system by itself: the first level is an original interpretation of the folk genre — tales — by a poet; the sec ond and the third ones are the interpretation of a literary source by a libret tist and by a composer respectively. The article considers the action “genres within a genre” reveals the genre and genre-based modifications in musical language of Opera. N. S. Ganenko (St. Petersburg). On the history of creating S. I. Taneyev’s vocal ensembles from the “Zacholystie” magazine. The article is devoted to the history of S. I. Taneyev s vocal ensembles that are created especially for the unprofessional manuscript magazine “Zacholystie” (18761889). Detailed study of the composers autographs, preserved in Moscow, Klin, St. Petersburg archives, has allowed to detect two unpublished min iatures: the quartet “Syadu zavtra ya к okoshechku (I will sit down by the window tomorrow)” and an unfinished duet “Dosky lyubili (They loved a board)”. The article gives the main information about the magazine, poetscoauthors, S. Taneyev and K. Prutkov s humorous poems set by the com poser. By the example of vocal ensembles are shown the peculiarities of Taneyev s manuscript design for “Zacholystie” magazine. The article studies the author’s specific remarks taking place in many his works for the maga zine. The role of
the Taneyev s friends (the Maslov family, V. E. Makovsky and others) who influenced on creating a number of works is determined in the article. It is revealed the commitment to choose mens vocal ensemble compositions for the magazine. V. B. Valkova (Moscow). Around Shostakovich’s Tenth Symphony: his tory of the work reception. The Tenth Symphony by Shostakovich E-minor op. 93 provides a good opportunity of using “Bobrovsky’s method” which supposes a deep connection between music and contemporary life. The Sym phony was written and performed in 1953. The Soviet public response on its premiere is reflected in the materials of the journal “Sovietskaya Musika” in 1954. The report on the discussion, published in the June issue, tells about its complicated ideological and psychological context. The opponents to the Symphony accused its author of “one-sided reflection of life” and “unfound ed prevalence of the expressionism over the realism”. Nevertheless, by the ear ly 1970s the Tenth Symphony became one of the most often performed and popular works of the Soviet music. The more recent debates are connected with its semantic interpretations. The most important topics for discussion in the Symphony are the role of the monogram D — Es — C — H, the secret dedication in the third movement, and the tragic subtexts of the finale part.
356 Summary Чон Вай Лин (Гонконг). Орфография в поздних произведениях Скрябина. Исследовательское пространство настоящей статьи — ла довая организация поздних («пост-тональных») сочинений А. Скря бина. В центре внимания находится активно используемый компо зитором тон-полутоновый звукоряд —
уменьшенный лад или гамма Римского-Корсакова, в англоязычной терминологии — «октатони ка». Автор развивает мысль, высказанную еще самим Скрябиным: сим метричные ячейки лада образуют матрицу, из которой выводится как мелодический, так и гармонический материал произведения, опреде ляющий также и
композиционный синтаксис («управление компози ционными блоками»). При этом отмечается, что скрябинская нотация («орфография»), считавшаяся «непоследовательной» и произволь ной, оказывается продуманной и связанной с централизацией звуковы сотного пространства. В качестве «центрального элемента» (в
статье вместо привычного в российском музыкознании термина Ю. Н. Холопова использован тер мин «Technik des Klangzentrums»), организующего лад симметричной структуры, видится Прометеев аккорд, повторяемый в поздних сочине ниях Скрябина в различных транспозициях. Несимметричная, в отличие от лада,
структура аккорда детерминирована тональной логикой, кото рая повлияла в том числе и на музыкальную «орфографию» . Именно сохраняющиеся квазитональные иерархические отношения высотной организации могут, по мнению автора, лечь в основу концеп туального понимания поздних сочинений Скрябина. Cheong
Wai-Ling (Hong Kong). Orthography in Scriabin’s late works. The research space of the present article is the
tonality organization of the later (“post-tonal”) works by A. Scriabin. The great attention is focused on the actively used by the composer a tone and half tone scale — reduced mode or Rimsky-Korsakov’s scale, in English terminology it means «octatonic». The author develops the idea expressed by Scriabin himself: sym metric mode cells form a matrix from which is originated both melody and harmonic material of the work which also defines a composition syntax (“composition blocks control”). While noting, Scriabins notation (“orthog raphy”), which was found as “inconsistent” and arbitrary, turns into consid ered and connected with the centralization of pitch space. As the “central element” (the article uses the term «Technik des Klang zentrums» instead of the Yu. N. Kholopov s term used in Russian musicol ogy), which organizes a symmetric structure mode, it is seen a Promethean chord repeated in the later works by A. Scriabin in various transpositions. Asymmetrical’, unlike the mode, the chord structure is determined by a ton al logic, which influenced on the “orthography” of music.
Summary 357 These are the conserved quasi-tonal hierarchical relations of high-pitch organization which can, in the author’s opinion, underlie the conceptual un derstanding of Scriabin’s later writings. R. T. Khusainov (Ufa). On manifestation of some principles of con structivist esthetics in the thematism of Paul Hindemith’s chamberinstrumental compositions. The author researches some chamber-instru mental Paul Hindemiths compositions written during 1920-1930. The main signs that define constructivism esthetics in musical art are emphasized. There is a short review of various genres compositions by Hindemith where the most indicative signs of constructivism in compositions of the compos er such as the method of montage, linearity and the rhythmic ostinato are shown. They are illustrated by such examples as “Shimmy” from the Suite “1922”, Piano Sonata No. 1, Sonata for viola and piano in E (op. 25 No. 4), Gigue from the final part of Kammermusik No. 2 (op. 36 No. 1 ). E. V. Ishchenko (Kiev). Thematic invasion of A. Mosolov and N. Roslavets as performance of constructivist esthetics of the 1920s. The ar ticle is devoted to the problems of thematic invasion in piano sonatas by A. Mosolov and N. Roslavets. During the analysis main types of polyphon ic writing as one of the performances of constructivist esthetics of the be ginning of the XX century are taken into consideration. There are specific characters of composers’ artistic method in the context of serial technique (A. Mosolov) and individual technique of synthetic chords (N. Roslavets) which are educed in the
article. O. V. Sinelnikova (Kemerovo). Theme as a factor of Rodion Shche drin’s musical thinking (on the example of the composer’s instrumental works). The article is devoted to the peculiarities of R. K. Shchedrin’s mu sical thinking, studied in the light of V. P. Bobrovsky’s theory. The starting point was the work of an outstanding erudite musicologist, dedicated to the analysis of musical theme of the composers who hved in the period of Clas sicism and Romanticism. Bobrovsky’s terminology is also given in this ar ticle. The author of the article reveals the constant musical-language models and the basic types of themes, which represent Rodion Shchedrins individu al style. The instrumental works of the concert genre such as Piano Concerto № 4 and № 6, Violin Concerto, Viola Concerto and Cello Concerto, Double Concerto for violin, trumpet and string orchestra are given as the examples. In these works, semantics of the examined thematic invariants is projected on the composition and dramaturgy levels. E. N. Zavyalov (Ufa). On some peculiarities of orchestral concerts dramaturgy by R. K. Shchedrin. The article considers dramaturgy pecu liarities of the orchestral concerts by R. K. Shchedrin in the synthesis of
358 Summary baroque concerti grossi and romantic symphonic poem with the Russian composers school traditions. The dramaturgy of the orchestral concerts by R. K. Shchedrin is analyzed by taking into consideration the theory of V. P. Bobrovsky. Ts. G. Movsisyan (Yerevan). The implementation of music develop ment triadic principle by the example of £dgar Hovhannisyan’s “Con cert-Baroque” Theoretical ideas of B. V. Asafiev’s fundamental work “Musical Form as a Process” are reflected in the musicological works of representatives of the different national schools of the second half of the XX century. Novalis V. Deroyan (1929-1995) was one of the first musi cologists in Armenia, who developed the functional foundations of musical form, revealing the manifestation of its theoretical positions on the example of Armenian musical art. This article discusses some functional theory propositions of V. P. Bo brovsky musical form by analyzing Edgar Hovhannisyan’s (1930-1998) “Concert-Baroque”. The analysis of the concert revealed some peculiarities of the theory of the musical forms functions variability, such as sonata dra maturgy in suite form features. It served to realize artistic concept of the au thor. Sh. A. Sagitova (Ufa). On the tone-painting in the symphonies of Murad Akhmetov։ “Vargan-Sinfonia”. The article focuses on tone-pain ing as a factor of thinking inherent in ancient cultures. This principle, typical partly of M. Akhmetov’s works, is considered on the example of «VarganSinfonia», its implementation in the work of M. Akhmetov on the example of the «Vargan-
sinfonia». The role of Bashkir traditional instruments in this process is underlined Principles of sonor writing used by the composer and partly Bashkir national instruments and uzlyau attracted for it are analyzed. V. N. Yunusova (Moscow). Musical form performer’s point of view: about methods of musical oriental studies. The article examines the prob lems of the study of musical form in the classical Middle Eastern music the oral tradition from the point of view of musicologists and the keepers of the tradition, revealed a new type of scientists-practitioners (musicians) who have received dual education: oral and traditional European (in Conserva tory). Shows the originality of their approach to the study of music; iden tified the point of contact between theoretical positions of V. P. Bobrovsky about musical form and specificity of formation in the classical music of oral tradition. T. V. Kharlamova (Astana). Stages of formation and evolution of the Kazakh academic music: chamber-instrumental genres. The paper pro poses a periodization of the Kazakh academic music history from the po sition of stadialtheory. Characteristic tendencies of each stage aredefined
Summary 359 throughoutthe history of chamber-instrumental genres as the most claimed and demonstrative sphere of composer s creativity. Principles of the tradi tional and academic music interactionhave been taking into consideration as well. One of the main problems is connectedwith the ways of Kazakh com posers’ stylistic searches. N. K. Evdokimova, L. K. Shabalina (Ekaterinburg). Integrative re search trends in the scientific works of the Ural State Conservatoire: milestones. At the modern stage of development of the musical science is one of the leading trends is the integration of scientific knowledge. In this regard, the interest of the scientific tradition established in the domes tic musicology since the first third of the twentieth century (especially in the Hymn) and intensely developed in the second half of the century in research of the Russian music schools. Source database of the present work was archi val material from the Ural state Conservatoire behalf M. P. Mussorgsky. The survey gives you the opportunity to complete the overall picture of develop ment of integrative trends in the domestic musicology. Переводчик текстов на английский язык — доцент И. И. Матвеева
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| author_facet | Zenkin, Konstantin Vladimirovič 1958- Skurko, Evgenija R. 1947- Šuranov, V. A. Naučnye idei V.P. Bobrovskogo v kontekste sovremennogo muzykoznanija (Veranstaltung) Ufa |
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| indexdate | 2024-07-10T08:29:07Z |
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| language | Russian |
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| physical | 359 Seiten Illustrationen, Porträts, Notenbeispiele |
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| series | Žiznʹ muzyki Naučnye trudy Moskovskoj gosudarstvennoj konservatorii imeni P.I. Čajkovskogo |
| series2 | Žiznʹ muzyki Naučnye trudy Moskovskoj gosudarstvennoj konservatorii imeni P.I. Čajkovskogo |
| spelling | Naučnye idei V.P. Bobrovskogo v kontekste sovremennogo muzykoznanija (Veranstaltung) 2016 Ufa Verfasser (DE-588)1186091894 aut 880-04 K 110-letiju so dnja roždenija Viktora Petroviča Bobrovskogo materialy Meždunarodnoj naučno-praktičeskoj konferencii 22-24 nojabrja 2016 g. Moskovskaja gosudarstvennaja konservatorija imeni P.I. Čajkovskogo; Ufimskij gosudarstvennyj institut iskusstv imeni Z.G. Ismagilova ; redaktory-sostaviteli: K.V. Zenkin, E.R. Skurko, V.A. Šuranov 880-05 Moskva Naučno-izdatelʹskij centr "Moskovskaja konservatorija" 2018 359 Seiten Illustrationen, Porträts, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier 880-06 Žiznʹ muzyki vypusk 2 880-07 Naučnye trudy Moskovskoj gosudarstvennoj konservatorii imeni P.I. Čajkovskogo sbornik 84 Text russisch Kyrillische Schrift (DE-588)1071861417 Konferenzschrift 2016 Ufa gnd-content 880-01 Zenkin, Konstantin Vladimirovič 1958- (DE-588)1053725175 edt 880-02 Skurko, Evgenija R. 1947- (DE-588)143686968 edt 880-03 Šuranov, V. A. edt Žiznʹ muzyki vypusk 2 (DE-604)BV045429372 2 Naučnye trudy Moskovskoj gosudarstvennoj konservatorii imeni P.I. Čajkovskogo sbornik 84 (DE-604)BV010812257 84 Digitalisierung BSB München 25 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031258595&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 25 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031258595&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract 700-01/(N Зенкин, Константин Владимирович edt 700-02/(N Скурко, Евгения Р. edt 700-03/(N Шуранов, В. А. edt 245-04/(N К 110-летию со дня рождения Виктора Петровича Бобровского материалы Международной научно-практической конференции 22-24 ноября 2016 г. Московская государственная консерватория имени П.И. Чайковского; Уфимский государственный институт искусств имени З.Г. Исмагилова ; редакторы-составители: К.В. Зенкин, Е.Р. Скурко, В.А. Шуранов 264-05/(N Москва Научно-издательский центр "Московская консерватория" 2018 490-06/(N Жизнь музыки 2 490-07/(N Научные труды Московской государственной консерватории имени П.И. Чайковского 84 |
| spellingShingle | K 110-letiju so dnja roždenija Viktora Petroviča Bobrovskogo materialy Meždunarodnoj naučno-praktičeskoj konferencii 22-24 nojabrja 2016 g. Žiznʹ muzyki Naučnye trudy Moskovskoj gosudarstvennoj konservatorii imeni P.I. Čajkovskogo |
| subject_GND | (DE-588)1071861417 |
| title | K 110-letiju so dnja roždenija Viktora Petroviča Bobrovskogo materialy Meždunarodnoj naučno-praktičeskoj konferencii 22-24 nojabrja 2016 g. |
| title_auth | K 110-letiju so dnja roždenija Viktora Petroviča Bobrovskogo materialy Meždunarodnoj naučno-praktičeskoj konferencii 22-24 nojabrja 2016 g. |
| title_exact_search | K 110-letiju so dnja roždenija Viktora Petroviča Bobrovskogo materialy Meždunarodnoj naučno-praktičeskoj konferencii 22-24 nojabrja 2016 g. |
| title_full | K 110-letiju so dnja roždenija Viktora Petroviča Bobrovskogo materialy Meždunarodnoj naučno-praktičeskoj konferencii 22-24 nojabrja 2016 g. Moskovskaja gosudarstvennaja konservatorija imeni P.I. Čajkovskogo; Ufimskij gosudarstvennyj institut iskusstv imeni Z.G. Ismagilova ; redaktory-sostaviteli: K.V. Zenkin, E.R. Skurko, V.A. Šuranov |
| title_fullStr | K 110-letiju so dnja roždenija Viktora Petroviča Bobrovskogo materialy Meždunarodnoj naučno-praktičeskoj konferencii 22-24 nojabrja 2016 g. Moskovskaja gosudarstvennaja konservatorija imeni P.I. Čajkovskogo; Ufimskij gosudarstvennyj institut iskusstv imeni Z.G. Ismagilova ; redaktory-sostaviteli: K.V. Zenkin, E.R. Skurko, V.A. Šuranov |
| title_full_unstemmed | K 110-letiju so dnja roždenija Viktora Petroviča Bobrovskogo materialy Meždunarodnoj naučno-praktičeskoj konferencii 22-24 nojabrja 2016 g. Moskovskaja gosudarstvennaja konservatorija imeni P.I. Čajkovskogo; Ufimskij gosudarstvennyj institut iskusstv imeni Z.G. Ismagilova ; redaktory-sostaviteli: K.V. Zenkin, E.R. Skurko, V.A. Šuranov |
| title_short | K 110-letiju so dnja roždenija Viktora Petroviča Bobrovskogo |
| title_sort | k 110 letiju so dnja rozdenija viktora petrovica bobrovskogo materialy mezdunarodnoj naucno prakticeskoj konferencii 22 24 nojabrja 2016 g |
| title_sub | materialy Meždunarodnoj naučno-praktičeskoj konferencii 22-24 nojabrja 2016 g. |
| topic_facet | Konferenzschrift 2016 Ufa |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031258595&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031258595&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV045429372 (DE-604)BV010812257 |
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