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RES MUSICA Nr 7 / 2015 RES MUSICA nr 7 / 2015 Eesti Muusikateaduse Seltsi ja Eesti Muusika- ja Teatriakadeemia muusikateaduse osakonna aastaraamat TOIMETUS / EDITORIAL BOARD Toomas Siitan, peatoimetaja / editor in chief Kerri Kotta (muusikateooria / music theory) Kristel Pappel (muusikateater, muusikaajalugu / music theatre, music history) Žanna Pärtlas (etnomusikoloogia / ethnomusicology) Jaan Ross (muusikapsühholoogia / music psychology) Anu Schaper, toimetaja / editor TOIMETUSKOLLEEGIUM / ADVISORY PANEL Mimi S. Daitz (New York City University, USA) Jeff ers Engelhardt (Amherst College, USA) Mart Humal (Eesti Muusika- ja Teatriakadeemia / Estonian Academy of Music and Theatre, Estonia) Timo Leisiö (University of Tampere, Soome/Finland) Margus Pärtlas (Eesti Muusika- ja Teatriakadeemia / Estonian Academy of Music and Theatre, Estonia) Johan Sundberg (Royal Institute of Technology, Rootsi/Sweden) Avo Sõmer (University of Connecticut, USA) Andreas Waczkat (Georg-August-Universität Göttingen, Saksamaa/Germany) Res Musicale avaldamiseks esitatud artiklid retsenseeritakse anonüümselt kahe vastava valdkonna asjatundja poolt. All articles submitted are reviewed anonymously by two experts in the fi eld. Keeletoimetajad / Language editors Paul Beaudoin, Triin Kaalep Küljendus ja numbri kujundus / Layout and design of the current issue Maite Kotta Tatari 13 10116 Tallinn, Eesti Tel.: +372 6675717 e-mail: [email protected] www.muusikateadus.ee/resmusica © EMTS, EMTA, autorid Trükitud AS Pakett trükikojas ISSN 1736-8553 Res Musica artiklid on indekseeritud ja refereeritud RILMi andmebaasis (RILM abstracts of music literature). The articles of Res Musica are indexed by the abstracting/indexing services of the RILM database (RILM ab- stracts of music literature). Sisukord Saateks koostajalt .......................................................................................................................................................................5 Editor’s Preface .............................................................................................................................................................................7 Steven Vande Moortele Turning Inward – Turning Outward – Turning Around: Strong Subordinate Themes in Romantic Overtures .................................................................................................9 Sisse-, välja- ja ümberpöörduvad „tugevad” kõrvalteemad romantilistes avamängudes (resümee) ........31 Charity Lofthouse Mahlerian Quotations, Thematic Dramaturgy, and Sonata Form in the First Movement of Shostakovich’s Fourth Symphony ................................................................................32 Mahleri tsitaadid, temaatiline dramaturgia ja sonaadivorm Šostakovitši neljanda sümfoonia I osas (resümee) ........................................................................................................51 Aare Tool One-Movement Form in the Chamber Music of Heino Eller, Eduard Tubin, and Eduard Oja ................53 Üheosaline vorm Heino Elleri, Eduard Tubina ja Eduard Oja kammermuusikas (resümee) ...........................67 Michael Oravitz Meter as a Formal Delineator in Two Debussy Préludes ........................................................................................ 69 Meetrum vormilise piiritlejana Debussy kahes prelüüdis (resümee) .................................................................... 82 Ildar Khannanov Function and Deformation in Sergei Rachmaninoff ’s Etudes-Tableaux op. 39, Nos. 5 and 6 ............... 84 Vormifunktsioonid ja vormiline deformatsioon Sergei Rahmaninovi etüüd-piltides op. 39, nr. 5 ja 6 (resümee) ...................................................................................................................................................104 Cecilia Oinas The Role of Secondary Parameters in Musical Shaping: Examining Formal Boundaries in Mendelssohn’s C minor Piano Trio from the Performer’s Point of View .................................................. 105 Sekundaarsete parameetrite roll muusika kujundamisel: Mendelssohni klaveritrio c-moll vormiliste liigenduskohtade esitajaperspektiivist teostatud vaatlus (resümee) ................................115 David Lodewyckx Marpurg’s Galant Cadence in Mozart: Theoretical Perspectives, Formal Implications and Voice Leading.......................................................................................................................116 Mozart ja Marpurgi galantsed kadentsid: teoreetilised perspektiivid, vormiline mõju ja häältejuhtimine (resümee).............................................................................................................. 127 Stephen Slottow Sequences in Mozart’s Piano Sonata, K. 280/I ......................................................................................................... 128 Harmoonilised sekventsid Mozarti klaverisonaadi F-duur KV 280 I osas (resümee) ..................................... 143 3 ARVUSTUSED Andreas Kalkun: Igal linnul oma laul: Eesti Apostlik-Õigeusu Kiriku laulud muutumistes ........................144 Jeff ers Engelhardt. Singing the Right Way. Orthodox Christians and Secular Enchantment in Estonia. Oxford: Oxford University Press, 2015, 268 lk. Toomas Siitan ......................................................................................................................................................................... 147 Mart Jaanson. Nikaia-Konstantinoopoli usutunnistuse ladinakeelse normteksti grammatiline, teoloogiline ja muusikaline liigendamine. Dissertationes theologiae universitatis Tartuensis 30, Tartu: Tartu Ülikooli Kirjastus, 2014, 371 lk. Ave Mattheus: Luubi all muusikakriitika ....................................................................................................................... 150 Maris Kirme (koost., toim.). Peatükke eesti muusikakriitikast enne 1944. aastat. Acta Universitatis Tallinnensis Artes, Tallinn: Tallinna Ülikooli Kirjastus, 2014, 389 lk. IN MEMORIAM Urve Lippus 1950–2015 ........................................................................................................................................................ 154 Urve Lippus 1950–2015, English version (translated by Kaire Maimets-Volt) ................................................... 155 KROONIKA ................................................................................................................................................................................ 156 AUTORID / AUTHORS ........................................................................................................................................................... 158 ARTIKLITE ESITAMINE .......................................................................................................................................................... 161 ARTICLE SUBMISSION ..........................................................................................................................................................164 4 Saateks koostajalt Res Musica seitsmes number põhineb 2014. telos’eni, nii pea- kui ka kõrvalteema meloodilise aasta 8.–11. jaanuarini Eesti Muusika- ja Teatri- hegemoonia üksteist varjutava kokkulangemi- akadeemias ning Pärnu Keskraamatukogus pee- seni mahlerlikus repriisis. tud seitsmenda rahvusvahelise muusikateooria Aare Tool keskendub uurimuses „Üheosaline konverentsi valitud ettekannetel. Konverentsi vorm Heino Elleri, Eduard Tubina ja Eduard Oja teemaks oli muusikaline vorm, mis mitmeplaa- kammermuusikas” nn. mitmemõõtmelisele vor- nilise nähtusena on teose muusikalise struktuuri mile, mille alaosade ja neist moodustuva tervik- üks raskemini tõlgendatavaid aspekte. Kuna vorm struktuuri tõlgendamisel ei ole võimalik lähtuda moodustub muusikas paljude, kuid erinevat laa- vaid ühest vormietalonist. Sageli avaldub selline di elementide koosmõju tulemusena, tekib alati vorm just üheosalistes instrumentaalteostes ning küsimus vormilise struktuuri peamistest mõju- tavapäraselt põimuvad selles vormi kaks erinevat tajatest. Kas mingi vaadeldava üksuse vormiline tasandit – sonaadivorm ja sonaaditsükkel. Tool tähendus tuleneb mainitud üksuse asukohast näitab, kuidas Lääne- ja Kesk-Euroopas tollal juba teose ajalises tervikstruktuuris, nagu väidab oma olulisust kaotama hakkav vormiline stratee- funktsionaalne vormiteooria, või hoopis mainitud gia mängis olulist rolli eesti muusikalise moder- üksuse suhtest etalonstruktuuriga, nagu väidab nismi kujunemises. näiteks dialoogilise vormi teooria? Järgnevas kolmes artiklis on fookuses vormi Tänapäeval on aina suuremat mõjujõudu kujundavad aspektid. Michael Oravitzi artiklis omandamas just viimasena mainitud vaade, mil- „Meetrum vormilise piiritlejana Debussy kahes lest annab tunnistust teose vormilise struktuuri prelüüdis” demonstreeritakse meetrilise profi ili käsitlemine deformatsioonina. Teisisõnu, vormi ehk individualiseeritud meetrilisel struktuuril põ- väljenduslik sisu ehk selle võime kuulajat kõne- hineva vormilõigu mõiste kaudu meetrumi mõju tada peitub peamiselt selle potentsiaalis etaloni tervikvormi moodustumisele. Ildar Khannanovi genereeritud muusikaliste ootustega mängida uurimuses „Vormifunktsioonid ja vormiline defor- ja nendega dialoogi astuda. Ka käesolevat kogu- matsioon Sergei Rahmaninovi etüüd-piltides op. mikku alustavad vormilisi erisusi ehk deformat- 39, nr. 5 ja 6” keskendutakse vormilist deformat- sioone käsitlevad artiklid. Kogumiku esimene siooni mõjutavatele aspektidele vene helilooja uurimus, Steven Vande Moortele „Sisse-,
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