DOI: 10.25136/2409-8744.2017.6.24898

Abstract: Examination and preservation of the Tuvan national culture at the present time is one of the relevant directions in the cultural policy of the Tyva Republic and Russian Federation. Analysis of the scientific discourse has determined that the Tuvan culture, particularly the tradition of folk costume, remains insufficiently studied. The article makes an attempt to view the Tuvan ethnographic collections of clothes in the museums of Saint Petersburg, as well as provides the data on the history of formation of such collections and peculiarities of their examination based on the chronological method. The traditional costume complex of Tuvans is considered as a complex cultural phenomenon that contains the dichotomies on the grounds of the material and spiritual. The author substantiates that the authentic objects of historical-cultural heritage in form of the elements of Tuvan costume are retained in the museum collections of Russia, which reflects the modern sociocultural situation with noticeable ruination of the traditional manufacturing technologies of the costume components – clothes, headgear, shoes, and decorative elements, as well as loss of the knowledge on the décor semantics. The article suggests the periodization of formation of the Tuvan ethnographic collections of the late XIX – early XX centuries in the Russian museums that exhibit the elements of costume complex.

DOI: 10.25136/2409-8744.2017.6.19231

Abstract: This article examines the specificity of synergy between the classical opera and the mugham genre. As a result of such synthesis, the Azerbaijani composers have created a hybrid mix – mugham-opera. All examples of this unique genre are substantiates by the specificity of creative thinking and artistic-aesthetic perception of the composers. The described below analysis of the selected mugham-operas will be helpful in determining the level of genre hybridity in these compilations, in other words, the level of synergy between the mugham and classical opera principles of development, potential application of such specific and inherent to the national folk music methods as mode, metro-rhythm, improvisation, ornamentation, timbre, and others. Methodology of the research is based on the comprehensive approach that combines the methods of history of music, ethnography, theory of musical genres and forms. The scientific novelty consists in the fact that the genres of the contemporary professional creative work of Azerbaijani composers are divided into the generally accepted classical (symphony, opera, ballet, cantata, oratory, concert, suite, sonata, etc.), and innovatory hybrid genres – mugham-opera, created as a result of active genre integration with the traditional musical art of Azerbaijan.

DOI: 10.25136/2409-8744.2017.6.21629

Abstract: The concept of "sacred thinking" is examined in the context of terminological problems of contemporary science and the phenomenon of sociocultural practice of modern Abkhazians. The subject of this research is the sacred thinking in the discourse of national and foreign science. The authors suggest a hypothesis of the existence of distinct "sacred gene" as an ontological feature and sign of formation of the value-normative social markers of any human community. The conducted analysis allows determining the two components of "sacred thinking of the Abkhazians: religious and sociocultural, oriented towards preservation of ethnos and its adjustment to any historical metamorphoses. The article applies the method of comparative analysis of the notions of “sacred” and “sacred thinking” used in the contemporary scientific practice, as well as the method of generalization of empirical data that actualize the sacred thinking. The scientific novelty lies in assertion of the purposefulness of using the concept of “sacred thinking” in the modern scientific discourse due to its reference to the scientific subject. Therefore, the notion of “sacred thinking” manifests as a functional term that explains and specifies the examined phenomenon (action). At the same time, the present material can be perceived as a call for active collaboration of the experts of various “disciplinary fields” in search for the so-termed “sacred gene” participating in formation and development of any culture.

DOI: 10.25136/2409-8744.2017.6.20331

Abstract: This article raises a question about the social issues of British society, which were reflected in art of “The Beatles” band. Emergence of “The Beatles” have impetus to the development of protest movement of the British youth. The lyrics demonstrated not only the moods of the separate social groups, but also covered the general problems of the entire British society, which made the art of “The Beatles” one of the most relevant at the time. Moreover, attention to the lyrics of the band was caught by the fact that the examined problematic often grasped all social strata of the country. The author conducts an informative analysis of the lyrics dedicated to the aforementioned problematic. A conclusion is made that songs of “The Beatles” can be considered an incentive to the development of social protest movement in Great Britain. Analysis of the lyrics allowed suggesting that the art of “The Beatles” band not only actualized the attention of British population towards the social processes within and outside the United Kingdom, but also have become a driving force for the domestic social protest movement, which having received an impulse during the times of “The Beatles”, remains present today.

DOI: 10.25136/2409-8744.2017.6.22041

Abstract: The subject of this research is the Russian piano miniature of the XIX – early XX centuries viewed in its amateur segment. The originality of pieces consists in the distinctive interpretation within the national musical environment of Biedermeier traditions that found their reflection in the themes and genres of piano oeuvres of small forms. Attention is also paid to the musical dilettantism as a specific phenomenon of Russian culture prevalent throughout the indicated timeframe. The works of dilettante composers, diverse in its essence, on one hand, refer to the constant elements of culture. However, it can serve as a forerunner of new trends, including in the genre field, that vividly demonstrates the earlier manifestation of the “European ragtime” within the amateur environment. The theme of piano pieces, popular Amateur practice[WU1] , demonstrates the ability[WU2]  of miniature to become a distinct “chronicle of the era”, capturing multiple significant events of modernity within its panorama. The following conclusions were made: the traditions of piano music-making in many ways are associated with the Biedermeier art; the dilettante composers who create an entire cluster of pieces of different genres and themes, play a noticeable role in the Russian piano culture at the turn of centuries; piano miniature in its amateur segment not only serves as a source of lyrical expressions, but also represents a distinct “chronicle of time” reflecting the most crucial events of modern times; miniature  as the most communicative genre of music art plays an important role in formation of the national cultural traditions.

DOI: 10.25136/2409-8744.2017.6.21822

Abstract: The article deals with the question of how accurate is one or another filmed event, as well as its correspondence with the realities of time. Having analyzed a number of archival chronicle film footage, the author can be assured that multiple scenes were filmed using the staging elements, and some of them staged. This becomes noticeable in working with the early national newsreel of the World War I period. Although, separate scenes are authentic. The author attempts to identify which criterion and knowledge form the accuracy of the footage. The source of such knowledge usually imply the ordinary experience of the audience, previously seen films, books, and other types of mass media. In addition, in shooting the chronicle material, the camera operators try to follow the certain moral and ethical norms of the historical period. Staging elements in the early newsreel are traced not only on the example of the World War I period, but also the so-called imperial documentaries and film magazines of the era. It is noted that in separate cases, the camera operators during the film editing, used not only the linear methods, but also acquired the skills of essential film editing, which was inherent to the later period. It is concluded that the historical newsreel not always demonstrates the objective truth of an event; the filmed images often carry the organizational and prearranged character, beginning from staging separate scenes, ending with following to the established ritual of one or another ceremony.