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Критский Б. Д. А. В. Свешников — исполнитель и педагог. К 125-летию со дня рождения мастера // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2015. Вып. 2 (18). С. 146-156. DOI: 10.15382/sturV201518.146-156
This article is dedicated to the 125th anniversary of Sveshnikov’ birth. Based on the experience, received during his education in MSCC (Moscow State Chorus College), the author analyzes the vocal-choral work of А. V. Sveshnikov, which was formed under the direct influence of church-vocal traditions. Keeping loyalty with native traditions, teacher-conductor increased them in the association managed by him, raising the culture of choral sounding to the unattainable level. The uniqueness of the methods of teaching of Sveshnikovis that it is oriented to the cultural memory of the native school of choral singing, which is held on two pillars — folkand church singing. Sveshnikovbuilt the system of aesthetical views, which determined his artistic-performer, pedagogical and organizational activity. Its analysis allowed the author to consider vocal-choral sounding as the special text, which characterizes the aesthetical features of the musical-intonation, sensually assimilating material. It contains art-like information, fulfi lling important communicative function. In the vocal-choral text the author distinguishes constant and variable sound characteristic. Sveshnikov worked them through in the process of mastering the special methods of the activity: the constant characteristics were worked through on the vocal exercises, variable characteristics — directly during the learning and performance of musical compositions. As a result the culture of sounding, the vocal-choral instrumentation of the performing works found multi-layer artistic semantics.
A. V. Sveshnikov — vocal teacher, performer, church-vocal traditions, the culture of choral sounding, constants and the variables of vocal-choral text.

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Критский Б. Д., Драмбян А. Хормейстер и регент. Грани профессионального мастерства // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2017. Вып. 26. С. 152-161. DOI: 10.15382/sturV201726.152-161
This article analyses the choirmaster’s and precentor’s professional activity from the point of view of the style. The activity of the “choir conductor” and “precentor” are similar in meaning, whereas the stylistic content of this activity remains dissimilar. The comparison of secular and church-singing choral art allows us to defi ne the term “performing style”, explore the links of vocal and choral intonation with religious experience of believers as a characteristic feature of the church style of choral singing. The authors identify the pedagogical function of the precentor, draw attention to the spiritual and practical side of stylistic attribution, which is based on the interaction between various sensory modalities that form multi-level connections and relationships.
choirmaster, precentor, church-singing style, traditions, religious experience, the word in church-singing vs. secular vocal and choral intonation, sound space, pedagogical functions of precentor, sensory modalities

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Yampol’sky I. M., “Ispolnenie muzykal’noe”, in: Muzykal’naya entziklopediya, Moscow, 1974, 2, 583–591.
Kritskii Boris
Drambian Aelita