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Mūzikas Akadēmijas Raksti Mūzikas akadēmijas raksti Jāzepa Vītola Latvijas Mūzikas akadēmija, 2017 XIV Mūzikas akadēmijas raksti, XIV Rīga: Jāzepa Vītola Latvijas Mūzikas akadēmija, 2017, 183 lpp. ISSN 2243-5719 Sastādītāja un redaktore • Baiba Jaunslaviete Konsultants • Jānis Torgāns Angļu valodas tekstu tulkotājs un redaktors • Egils Kaljo Makets • Kristīna Bondare Dizains • Dita Pence Nošu datorsalikums • Lāsma Meldere-Šestakova un rakstu autori Redakcijas kolēģija • Editorial Board Boriss Avramecs (Jāzepa Vītola Latvijas Mūzikas akadēmija) Valdis Bernhofs (Jāzepa Vītola Latvijas Mūzikas akadēmija) Anda Beitāne (Jāzepa Vītola Latvijas Mūzikas akadēmija) Tamāra Bogdanova (Jāzepa Vītola Latvijas Mūzikas akadēmija) Mārtiņš Boiko (Jāzepa Vītola Latvijas Mūzikas akadēmija) Jons Brūveris (Jonas Bruveris; Lietuvas mūzikas un teātra akadēmija) Ēvalds Daugulis (Daugavpils Universitāte) Lolita Fūrmane (Jāzepa Vītola Latvijas Mūzikas akadēmija) Ingrīda Gutberga (Bostonas Universitāte) Baiba Jaunslaviete (Jāzepa Vītola Latvijas Mūzikas akadēmija) Jefims Jofe (Efim Yoffe; Maimonīda Valsts Klasiskā akadēmija, Maskava) Kevins K. Kārnss (Kevin C. Karnes; Emorija Universitāte, Atlanta) Arnolds Klotiņš (Latvijas Universitātes Literatūras, folkloras un mākslas institūts) Jānis Kudiņš (Jāzepa Vītola Latvijas Mūzikas akadēmija) Tatjana Kuriševa (Tatjana Kurysheva; P. Čaikovska Maskavas Valsts konservatorija) Jeļena Ļebedeva (Jāzepa Vītola Latvijas Mūzikas akadēmija) Georgs Pelēcis (Jāzepa Vītola Latvijas Mūzikas akadēmija) Ilze Šarkovska-Liepiņa (Latvijas Universitātes Literatūras, folkloras un mākslas institūts) Jānis Torgāns (Jāzepa Vītola Latvijas Mūzikas akadēmija) Audrone Žuraitīte (Audronė Žiūraitytė; Lietuvas mūzikas un teātra akadēmija) © Jeļena Garkavčenko, Līva Grīnberga, Reinis Jaunais, Sergejs Kruks, Iveta Ķestere, Gunta Marihina, Alberts Rokpelnis, Gvido Straube, Valda Vidzemniece, Diāna Zandberga © Jāzepa Vītola Latvijas Mūzikas akadēmija K. Barona iela 1, Rīga LV-1050, Latvija www.jvlma.lv SATURS Priekšvārds 5 LATVIJAS MŪZIKAS VĒSTURE 9 Gvido Straube Vidzemes hernhūtiešu brāļu draudzes ietekme uz Latvijas mūzikas kultūru 9 Alberts Rokpelnis Šlāgera diskurss 20. gadsimta 20.–30. gadu latviešu mūzikas mēnešrakstos 16 Reinis Jaunais Rokmūzikai veltītās publikācijas žurnālā Liesma (1958–1985): periodizācija un analīze laikmeta sociālpolitiskajā kontekstā 33 MŪZIKAS UN DEJAS ANALĪZE 61 Sergejs Kruks Dmitrija Šostakoviča Astotā stīgu kvarteta pragmatika 61 Līva Grīnberga Kristiana Špuka Smilšuvīrs postmodernā baleta kontekstā 79 Jeļena Garkavčenko Andra Dzenīša multimediālā kameropera Tavas klusēšanas grāmata (Les livres du silence, 2004): dzejas teksta, mūzikas formas un faktūras mijiedarbe 107 Diāna Zandberga Daces Aperānes klaviermūzikas stila zīmes 122 LATVIJAS DEJAS VĒSTURE 136 Valda Vidzemniece Mūzika un mūziķi modernās dejas kontekstā Latvijā: 20. gadsimta pirmās četras desmitgades 136 Gunta Marihina, Iveta Ķestere Mūzikas un ritmikas pedagoģe, pirmā latviešu dalkroziste Anna Ašmane-Sietiņsone (1885–1967) 157 Par autoriem 181 CONTENTS Preface 7 LATVIAN MUSIC HISTORY 9 Gvido Straube The Influence of the Livland Moravian Church on Latvian Music Culture 9 Alberts Rokpelnis The Schlager Discourse of the 1920s and 1930s Represented in Latvian Monthly Musical Magazines 16 Reinis Jaunais Periodization and Analysis of Articles Devoted to Rock Music in Magazine Liesma, Regarding Their Socio-Political Context (1958–1985) 33 MUSIC AND DANCE ANALYSIS 61 Sergei Kruk Pragmatics of String Quartet No. 8 by Dmitri Shostakovich 61 Līva Grīnberga Sandmann by Christian Spuck in Context of Postmodern Ballet 79 Jelena Garkavchenko Multimedial Chamber Opera Books of Silence (Les livres du silence, 2004) 4 by Andris Dzenītis: Interaction of the Poetic Text, Musical Structure and Texture 107 Diāna Zandberga Stylistic Characteristics of the Piano Music by Dace Aperans (Aperāne) 122 LATVIAN DANCE HISTORY 136 Valda Vidzemniece Music and Musicians in the Context of Modern Dance in Latvia in the 1900s–1930s 136 Gunta Marihina, Iveta Ķestere Anna Ašmane-Sietiņsone (1885–1967) – Music and Eurhythmics Teacher, the First Latvian ‘Dalcrozian’ 157 About the authors 181 Priekšvārds Mūzikas akadēmijas rakstu XIV laidiens ietver trīs tēmu lokus. Pirmo – Latvijas mūzikas vēsturi – pārstāv 18.–20. gadsimta norisēm veltīti pētījumi, un katrā no tiem uzmanības centrā ir kāda mūsu muzikoloģijā pagaidām vēl maz apzināta joma. Vēsturnieks Gvido Straube analizē mūzikas nozīmi 18.–19. gadsimta Vidzemes hernhūtiešu (brāļu draudžu) vidē. Viņa raksts ir pirmais pētījums, kurā plašāk atspoguļota hernhūtiešu ietekme uz latviešu koru kustību; tādējādi lasītājs gūst priekšstatu arī par pirmo latviešu skolotāju liktajiem kordziedāšanas tradīciju pamatiem vēl pirms Jāņa Cimzes laikmeta. Divi autori pievērsušies 20. gadsimta neakadēmiskajai mūzikai saiknē ar preses diskursu. Alberts Rokpelnis no šāda skatpunkta aplūko starpkaru periodā Latvijā visnotaļ populāro šlāgera žanru, atklājot gan dažādās šī jēdziena izpratnes, gan būtiskākās iezīmes vērtējumu spektrā. Reinis Jaunais pētī 1958.–1985. gada rokmūzikas norišu atspoguļojumu padomju okupācijas laika jauniešu žurnālā Liesma. Skatot to paralēlēs ar politiskajiem procesiem visā PSRS, autors parāda, kā pakāpeniski mainījusies attieksme pret žanru un cik ļoti to ietekmējis vēsturiskais konteksts. 5 Otra tematiskā sadaļa ir mūzikas un dejas analīze, kas šoreiz vērsta uz 20.–21. gadsimta norisēm. Sergejs Kruks rakstā par Dmitrija Šostakoviča Astoto stīgu kvartetu pievēršas retoriskam un mūžam aktuālam jautājumam – vai un kā analīzes gaitā iespējams fiksēt mūzikas atspoguļoto ārpusmuzikālo realitāti? Meklējot atbildi, autors piedāvā savu, semiotikas zinātnē un pragmatikā balstītu risinājumu. Uz šī metodoloģiskā pamata viņš iztirzā Šostakoviča Astotajā stīgu kvartetā sastopamos citātus, ko, ņemot vērā komponista biogrāfiju un skaņdarba rašanās periodu, var interpretēt kā savveida zīmes – ārpusmuzikālo iespaidu liecības. Līva Grīnberga, analizējot Kristiana Špuka baletu Smilšuvīrs, īpašu uzmanību veltī tā saiknei ar postmodernisma estētiku. Tādējādi viņa tiecas formulēt savu atbildi uz sarežģīto jautājumu par modernisma/ postmodernisma atšķirīgajām iezīmēm baleta žanrā. Špuka Smilšuvīra muzikālo un horeogrāfisko risinājumu raksta autore skata ciešā saiknē ar šī darba literāro pirmavotu – vācu romantiķa Ernsta Teodora Amadeja Hofmaņa tāda paša nosaukuma stāstu. Analītisku ieskatu latviešu mūzikā sniedz divi pētījumi. Jeļenas Garkavčenko uzmanības centrā ir mūsdienu komponista Andra Dzenīša kameropera Tavas klusēšanas grāmata. Viņas raksts padziļina priekšstatu gan par komponista estētiskajiem uzskatiem un savdabīgo mūzikas stilu, gan latviešu operas attīstības ceļiem 21. gadsimtā. Savukārt Diāna Zandberga pievēršas Latvijas un ārzemju latviešu vidē nozīmīgai personībai – Dacei Aperānei; viņas klaviermūzikas analīzē atspoguļojas arī raksta autores pianistiskā pieredze. Dejas vēstures iztirzājumu ievada Valdas Vidzemnieces pētījums par latviešu modernās dejas pirmsākumiem. Autore piedāvā ieskatu ne vien šī dejas veida estētikā, mākslinieku sniegumā un kritikas atsauksmēs, bet arī horeogrāfu sadarbībā ar komponistiem. Savukārt krājumu noslēdz Guntas Marihinas un Ivetas Ķesteres raksts par ievērojamu un vēl maz apzinātu personību Latvijas pedagoģijas vēsturē – Annu Ašmani-Sietiņsoni: pētīts viņas dzīves gājums, pedagoģiskā darba principi un spožākie sasniegumi, ko atspoguļo arī bijušo audzēkņu radošā darbība. Krājuma sastādītāja Baiba Jaunslaviete 6 Preface Mūzikas akadēmijas raksti XIV (Music Academy Articles XIV) features three primary themes. The first – Latvian music history – is represented by the research of events in the 18th – 20th centuries, and the centre of attention for all of them is a historical aspect that, up until now, has been studied very little. HistorianGvido Straube analyses the role of music in the environment of the Livland Moravian Church in the 18th and 19th centuries. His paper is the first such writing to broadly reflect the influence of the Moravian Church on the Latvian choir movement, and, in that way, the reader gains an understanding of the foundations of choir singing traditions established by the first Latvian peasant school teachers, even before the era of Jānis Cimze. Two authors have discussed popular music genres of the 20th century, particularly discourses in the press. From this point of view, Alberts Rokpelnis reviews schlager, a very popular genre during the interwar period in Latvia, revealing multiple interpretations of this concept, as well as the most significant features in the spectrum of opinions. Reinis Jaunais researches the reflection of the course of rock music from 1958 to 1985, during the time of Soviet occupation, in the youth magazine Liesma. He investigates the parallels with political processes in all of the USSR, and the author shows how the opinions on this 7 genre slowly change and how they have been significantly influenced by the historical context. The second thematic guideline is the analysis of music and dance, and in this case it is focused on events of the 20th and 21st centuries. Sergei Kruk writes about Dmitri Shostakovich’s String Quartet No. 8 and its turn to a rhetorical and eternally topical question: if and how it is possible, over the course of the analysis, to determine if an extra-musical reality is reflected in the music? While searching for the answer, the author offers his own resolution in semiotic science and based on pragmatics. On this methodological foundation, he reviews the quotations
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