Nabokov, Nicolas [Nikolay]
Nadezhdin, Boris Borisovich
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- Bu səhifədəki naviqasiya:
- WORKS
- Naenia.
- BIBLIOGRAPHY
Nadezhdin, Boris Borisovich(b Smolensk, 4 May 1905; d Tashkent, 7 March 1961). Russian composer. He graduated from the Moscow Conservatory in 1937 having studied composition with Litinsky. In the period 1935–6 he then taught at the Tatar national studio attached to the conservatory, and from 1937 until the end of his life he lived and worked in Tashkent. He became a composition professor of the Tashkent Conservatory, his pupils including Babayev, Giyenko, Kïdïrov and Sabitov. A Tashkent music school bears Nadezhdin's name. As a teacher and composer he made an important contribution to the musical culture of Uzbekistan. Nadezhdin's work reflected a trend typical of the period stretching from the 1930s to the 1950s – that of interaction between Russian composers and the musicians of the various republics of the former USSR. For example, the musical dramas Kasos (‘Vengeance’), Aerlar (‘Centuries’) and Farkhad i Shirin (‘Farkhad and Shirin’), were written jointly with Uzbek folk musicians. These works were written for the Mukimi Theatre of Musical Drama which was founded in 1939. Uzbek musical drama acquired a special popularity during World War II and is a distinctive genre in which the music, based on and often directly quoting folklore, was subordinated to the text, and singing alternated with spoken dialogue. As a rule, the subjects were a lively reflection of the events of everyday life. Nadezhdin's works for an orchestra of Uzbek folk instruments are notable for their original colour, while his individuality showed itself most clearly of all in his works for children. His music in this genre is marked by simplicity, elegance and impeccable taste, as well as a strong reliance on Uzbek melodies; these pieces have entered the teaching repertory of music schools and have become popular with young artists.
ALLA VLADIMIROVNA GRIGOR'YEVA Naenia.See Nenia. Nafīr [nefir, nfīr].Straight end-blown trumpet consisting of a metal tube in several parts fitted together, ending in a shallow bell. This type of trumpet has been used in European, Asian and African cultures from antiquity to the present day as a signalling instrument; a particularly well-preserved specimen was found in Tutankhamun’s tomb and is now in the Egyptian Museum in Cairo. The Arabic term nafīr is confined to countries of the Islamic tradition in Asia and Africa. It can be translated as ‘trumpet’, ‘pipe’, ‘flute’, ‘sound’ or ‘noise’, and also as ‘men in flight’ or ‘an assembly of men for warlike or political action’, suggesting a military connection. Documentary records show that the straight trumpet is generally played with pairs of kettledrums (naqqāra); less often it is found in conjuction with the zurna (shawm) and the davul (double-headed cylindrical drum). The nafīr is primarily used as a military instrument to send signals, and in Morocco it is also used to signal the time during Ramadan, the month of fasting; it was formerly played in court festivities. In modern Turkish the term nefir means ‘trumpet, horn, battle signal’. The Turkish word for ‘trumpeter’ is nafīrchī, while nafīr-nāma means ‘general order for troops to assemble’, again suggesting a military connection. Early Turkish military bands used only the nafīr or straight trumpet; the looped trumpet of later Turkish military bands is boru, which translates as ‘trumpet, signal horn, signal’ and should not be confused with nafīr. The looped trumpet is a European development adopted by Eastern cultures; from the 14th century new forms of trumpets with curved tubes started to appear in Europe, and European instruments then began to supersede the straight trumpet in Islamic societies.
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