Culture and Art - rubric Music and music culture

Abstract: The subject of the research is a multi-faceted Christian concept in a 'music' poem 'Jeanne d'Arc Au Bûcher' of Paul Claudel (written in 1934, published in 1948). This poem is a libretto of a similarly-named dramatic oratorio of Arthur Honegger (1935). The object of the research is the message of a literary text. The author of the article analyzes Claudel's interpretation of Holy Bible texts, aspects of a message 'to live in face of God' and sacrifice for Christ. In her research Azarova focuses on the analysis of allegoric images and character images. The author of the article pays attention to intellectualism typical for the poem. To analyze Claudel's 'music' poem 'Jeanne d'Arc Au Bûcher' as the fundamental element of the synthesis of drama and music, the author of the article uses humanitarian research methods (art history, philosophy of music, music theatre). Using the method of hermeneutic reconstruction, the author of the article has studied the message of the poem and has described the main messages of the Christian concept. As a result of the research, the author makes a conclusion about the conceptual message of Paul Claudel's poem 'Jeanne d'Arc Au Bûcher'. The aforesaid poem is a Christian concept that was inspired by the Holy Bible as an example of spiritual text. The author's special contribution to the topic is the analysis of the literary-musical form of 'Donkey prose' and new literary parady. The author also analyzes how Claudel traces back elements of the Medieval theatre.

Keywords: a literary parody, a sacrifice, Ida Rubinstein, allegory, a Christian concept, Arthur Honegger, a dramatic oratorio, Jeanne d'Arc au bûcher, a poem, Paul Claudel

DOI: 10.7256/2454-0625.2018.12.28290

Abstract: The subject of the research is the biography of a famous scientist and founder of Russian musical medieval studies, head of the Department of the History of Church Singing opened at Moscow Conservatory in 1866, acting member of a number of academic communities including Moscow Archeological Society, archpriest Dimitry Razumovsky whose 200th anniversary was celebrated in 2018. In her article Shekhovtsova analyzes different activities of Dimitry Razumovsky, his pastoral care and teaching, education, participation in publishing church singing and religious literature, mentoring and guidance of students and followers, and profound research. She also touches upon communication of Dimitry with important leaders of those times such as Count S. Sheremetev, Prince V. Odoevsky, V. Stasov, M. Balakirev, P. Tchaikovsky, S. Smolensky, Yu. Arnold, I. Voznesensky, N. Potulov, A. Lvov and others. The methodology of the research is based on the fundamental principles of the history of music, first of all, source studies, and the experience of the author in such fields as archivistics, liturgic music studies, general and special textual analysis. The novelty of the research is caused by the fact that the researcher involves a number of little-known or understudied sources which has allowed to define new facts and to clarify the scientist's biography as wll as to give a better insight into his activities and professional communication as well as to review his personal contribution to the development of the music studies. For the first time in the academic literature the author raises a question about what is going to happen to the archives and collections of Dimitry Razumovsky's writings.

Keywords: Moscow Archaeological Society, Moscow Conservatory, musicology, history of science, collection of singing manuscripts, church singing, music archives, musical medieval studies, musical paleography, Dimitry Razumovsky

DOI: 10.7256/2454-0625.2021.2.34981

Abstract: The subject of this research is the monumental vocal-symphonic piece of the prominent Russian composer of the second half of the XX century Boris Tishchenko. His Symphony No.6 s based on the poems by A. Naiman, A. Akhmatova, O. Mandelstam, M. Tsvetaeva and V. Levinzon, completed in 1989, and tribute to Yevgeny Alexandrovich Mravinsky, who passed away a year before. Poetic lines that form the backbone of the symphony contain multiple images resembling death, which imparts a profound meaning, a moment of personal experience in dedication to the prominent conductor. Special attention is given to the symphonic dramaturgy of the Symphony No.6, the problem of interrelation between music and poetry, realization of the complex literary texts in the ultimately modern symphonism of Boris Tishchenko. The conclusion is made that Tishchenko is absolutely seamless in this vocal-symphonic opus and reveres his coauthors. The translates everything into the music, without missing a tiny thing that can reveal its meaning and beauty. At the same time, the circle of poetic images, semantics of the verse were transformed in accordance with his worldview. The novelty is defined by the fact that this article is first in Russian musicology, to comprehensively analyze the Symphony No.6 by Boris Tishchenko, reveal its semantics, and performance difficulties. The author attributes this symphonic composition of Boris Tishchenko to most remarkable in the history of Russian music.

Keywords: symphony orchestra, contralto, soprano, poetry, vocal symphony, Eugeny Mravinsky, Boris Tishchenko, word and music, Anatoly Nayman, Leningrad

DOI: 10.7256/2454-0625.2023.7.43467

Abstract: In the modern professional piano art of China, the genre of piano etude is an important part of musical culture and occupies a special place in the history of Chinese music. The first samples of etudes for piano by Chinese composers date back to the 20s of the last century and were created as pieces for the development of the pianist's technical skills. During the development of the genre, the artistic value of the sketches has increased: from a play of a technical nature, the sketches have become independent, dramaturgically constructed compositions. The composers rely on the intonation features of national music, use the melodies of traditional Chinese songs, and resort to modern writing techniques. However, innovation is usually limited to this. The young Chinese composer Luo Maisho created a series of etudes in which, on the one hand, he inherits traditional methods of composition, on the other, he violates the established foundations. For the first time, the metrorhythm region becomes a donor for structural transformations. The author of the article introduces the work of the young composer, offers an excursion into the history of the development of the piano etude genre in China, provides an analysis of the metrorhythmic organization of Lo Maisho's etudes. Thus, the purpose of the study is to analyze new trends in the development of the piano etude genre in China, the subject is the metrorhythmic organization of the musical fabric. In piano studies, Lo Maisho reaches a new level in the progression of the genre. He identifies new trends in Chinese piano music, introducing elements of folk songs, imitation of the sounds of traditional musical instruments, reflecting the imagery and various cultural characteristics of the peoples of various regions of China, introduces new techniques of metrorhythmic organization. The composer does not limit himself to the use of pentatonics, but resolutely strives for innovations in the genre of etude. It is noteworthy that the author departs from the established tradition, which is based on the use of Western European techniques combined with the intonation culture of Chinese melodies, he offers new forms of compositional solutions.

Keywords: etude in China, contemporary music, young composers, professional art of china, piano etude, Lo Maisho, Piano School of China, metrorhythm, metrortempo, cycle of etudes

DOI: 10.7256/2454-0625.2023.8.43659

Abstract: The article examines the activities of the Primorsky Musical Institute (1923-1924), which contributed to the development of academic music in the Far East in the post-revolutionary period, associated with the liquidation of the "buffer state" of the Far Eastern Republic (FER, 1920-1922) and its accession to the Russian Soviet Federative Socialist Republic (RSFSR). Through the prism of historical documents and archival materials, the factology of which did not fall into the analytics available today, corrective information is introduced into music science, which, on the one hand, forms an up-to-date view of the activities of the Primorsky Musical Institute, in terms of preserving traditions, paying attention to successive ties with the Imperial Russian Musical Society (RMO / IRMO), which played a special role in organizing the musical life of the country, and the Far East during the period of Imperial Russia. On the other hand, he names the reasons why the closure of the Institute led to the impossibility of the historical continuation of the forward line of development laid down by the IRMS in the Sovietized post-FER period. Contextual study allows the fact of the emergence of the Primorsky Musical Institute in Vladivostok to be comprehended as a consequence of the inertially preserved organizational work of the Vladivostok branch of the IRMO (1909-1917), which opened a music school at the Department, and then established a music school at the RMO (1917-1922).

Keywords: historical memory, musical life, musical environment, Far Eastern Republic, continuity of musical development, IRMS, VO IRMS, Vladivostok branch of the IRMS, Primorsky Musical Institute, history of Russian music

DOI: 10.7256/2454-0625.2017.12.24872

Abstract: The subject of the research is the unfolding of 'internal action' that makes the concept of intoning message viewed as a synthetical coordinated phenomenon. This is a stage action, musical composition, multidimensional space of musical dramaturgy analyzed in terms of the artistic thinking of the second half of the 20th century in line with the Catholicism tendency in the French musical theatre. The purpose of the research is to perform a hermeneutical reconstruction of the process of developing the aforesaid concept by using the method of a detailed de visu analysis of a note text. In her research Azarova has applied conceptual critical research methods to analyzing the ideas of Georges Bernanos and composition ideas of Francis Poulenc. The author of the article has also used the methods of historical and theoretical analysis of musical compositions, in particular, the theory of musical intonation. For the first time in the Russian academic literature the author analyzes connections between Poulenc's opera music and Catholic tradition, defines genre codes of intonational-thematic opera elements and describes the function of declamatory voice intonations comprising the dynamic basis of the composer's creative process. The author also discovers parameters of Poulenc's compositions that have common elements with the composition principles used by Claudio Monteverdi, Giuseppe Verdi, Modest Mussogorsky and Claude Debussy, i.e. musicians the opera is devoted to. The author of the article also touches upon the problem of structuring the musical time in the opera, defines vectors for the development of the musical message that influence the formation of the dramaturgical concept of the intoning message, essential elements of the intonational fable and bearers of the musical message. Azarova analyzes new ways of interaction between regular and irregular rhythmic elements, variable pervasive intonational thematic units participating in the logical organisation of the whole. The author also gives a new interpretation of the basic intonational dramaturgical spheres: liturgic, metaphysical anxiety and death fear, social transformations, gifts of the Holy Spirit.

Keywords: Christianity, sense, logic, intonation, dramaturgy, composition, Francis Poulenc, opera, Dialogues of the Carmelites, semantic counterpoint

DOI: 10.7256/2454-0625.2019.9.30840

Abstract: The aim of the research is to find a universal musical fear formula, in particular, formulas of sound portraits of Dracula, the key figure of the horror movie. For this regard, Babich analyzes expressive musical means that are often used by composers when creating a terrifying tone as well as technological musical solutions used in horror movies. The object of the research is the movies created in the XXth and XXIst centuries based on Bram Stocker's gothic novel 'Dracula'. Using the methods of acoustical expertise of the soundtrack, textological analysis of musical scores complex analysis of media content and comparative studies methods, the researcher analyzes musical solutions used in Dracula movies from the point of view of evolution of the horror movie genre. As a result of the research it becomes obvious that in movies in which a monster or another form of evil personification is a key figure, a composer usually creates a sound portrait of a villain. In most cases, this portrait takes form of a bright melodic formula which becomes the main theme tune. On the opposite, horror movies without a monster do not have a bright melodic tune and are based mostly on suspens-effects and action music. The scientific novelty of the research is caused by the fact that the question about the method of creation of a villain's sound portrait in a monster-centered horror movies has never been raised before in music studies. Thus, the main result of the research is a universal musical 'Dracula formula' as an example of genre identity that is presented for the first time in the academic literature. This formula is used to create a sound image of personified evil in the world cinematography.

Keywords: devilish quint, melodramatic model, monster, Dracula, suspence, sound portrait, musical fear formula, horror movie, dissonance, suggestion

DOI: 10.7256/2454-0625.2017.8.23758

Abstract: This article is devoted to the teaching of intonation in conjunction with the development of the musical ear of the performer. The complex special abilities of the musician there are the most important value such as an ear for music, rhythm sense, motor-motor ability, musical, or intellectual operations. The author of the article discusses the specifics of intonational performance in establishing the dialectical relations of processes of perception and musical actions. The work is based on the intonation doctrine offered by B. V. Asafiev – justification of the essence of music as "art intonated sense." One of the central principles of developmental education is the intellectualization of knowledge. To understand music analytically and to comprehend means to grasp the expressive nature and the logic of relationships in the complex of expressive means. Tasks are defined methodologically by the desire to relate the methods of development of musical hearing and performance techniques, to identify ways of implementation in the learning process of these methods and techniques, the solution of which can ensure the formation of personal qualities of the performer. The author analyzes the concept of "intonation," "intoning", and "musical ear", and argues that the relationship between the processes of perception, thinking and action music defines the culture of musician's intoning. The findings of the research may serve as practical recommendations regarding teaching music which should be oriented, on the one hand, at developing performing and technical skills of playing the instrument, on the other – contribute to the artistic, aesthetic, creative development, culture, and intonation of the performer.

Keywords: phrasing, sound production, culture, intonation, hearing the melodic, harmonic hearing, musical hearing, articulation, musical education, musical ear

DOI: 10.7256/2454-0625.2021.9.36470

Abstract: This article analyzes the music to the ballet “Yaroslavna” by the prominent Russian composer of the late XX century B. Tishchenko (1939–2010). The written and staged in 1974 ballet has become one of the most remarkable musical achievements of that time. Emphasis is palced on the fact that Tishchenko composed “Yaroslavna” using all available modern orchestral means of expression on the basis of the Old Russian text “The Tale of Igor's Campaign”. Tishchenko did not seek stylization of his work, but brought the word of the nameless chronicler closer to modern era. He introduces choir to the ballet music to augment its power. The author features Tishchenko's outstanding work with orchestral texture and various instrumental timbres and colors. The novelty of this research lies in studying the music to the ballet “Yaroslavna” in the context of general vector of the revival of Russian symphonic style in the 1960s–1970s. The author notes the leading role of Boris Tishchenko in this remarkable process. The conclusion is made that the composition turned out to be multigenre, consisting of multiple parts; and that Tishchenko has broadened musical lexicon of the Russian music culture to the maximum. The music to the ballet was saturated with truly symphonic content, opened new artistic paths, and enriched modern orchestral palette.

Keywords: word and music, dramaturgy, renewal, mixed choir, symphony orchestra, Yaroslavna, ballet, Boris Tishchenko, musical theatricality, musical Avant-garde

DOI: 10.7256/2454-0625.2023.8.38773

Abstract: The subject of the study is the structure of children's musical narrative on the example of a miniature by a Russian composer, pianist, representative of musical modernism, musical reformer and writer Vladimir Ivanovich Rebikov (1866-1920) "Preparing a lesson" from the cycle "Pictures for Children" Op. 37. Narrative means the presence of a musical narrative structure, assuming the narrator's voice, plot, main character hero, chronotope. The analysis of these components will enable a comprehensive understanding of the concept of the composition. The aim of the work is to analyze the structure of the children's musical narrative through the prism of the perception and interpretation of musical text characteristic of the child's skills and abilities. The methods used in the work are : source studies, musical and stylistic analysis. The scientific novelty of the work consists in determining the features of the children's narrative in the musical art, lexical preferences defined by the children's picture of the world, which can include the character, title, remarks, design and musical "children's mistakes" expressed using syncopation, dynamics, fermated pauses, fermata, pedals, harmony, register and pitch; construction models of their description by referring to topos (figures); characteristics of the originality of the children's narrative in relation to piano performance. The results of the study reveal the specifics of the syntactic features of the children's narratives of Vladimir Rebikov's miniature and the representation of the viability of this phenomenon in the musical art.

Keywords: fermata, plot, fermated pause, topos, narrator, thumbnail, character, musical content, children's musical narrative, Rebikov

DOI: 10.7256/2454-0625.2019.8.30315

Abstract: When it comes to modern performing art in Russia, researchers mostly recall modern mucisians. As for musicians who stand at the origins of modern artistic performance, they are mostly thought of as the 'older generation' whose work is not so important today. Their activity is viewed mostly as a compilation of achievements of the past. As a result, analysis of Russian musicians who founded the 'new' performing school is a topical issue for research. In this article Tokarev covers performing, teaching and social activity of Vadim Novikov, the leader and participant of the process of creation and development of modern trumpet playing of Moscow Conservatory. Tokarev also touches upon Vadim Novikov's innovations. The article is based on the principle of historicism as well as the methods of comparative and descriptive analysis. In addition, the researcher has also used historical chronological and problematic/chronological methods in order to successively analyze phenomena and each stage of historical development. At the present time, the personality of Vadim Novikov as the founder of solo trumpet performance at Moscow Conservatory has not been studied as fully as it should be. Available researches do not fully cover all sides of the musician's creativity. Surely, these researches contain valuable material but they either ignore special issues or are limited to particular chronological framework and this is why cannot be considered as a full research of Vadim Novikov's creative life. Tokarev describes the main contribution of Vadim Novikov into trumpet performance art and teaching performing art.

Keywords: Moscow conservatory, Varieties of trumpets, related instruments, Brass instruments, Modern performing school, Russian musical heritage, Vadim Novikov, Creative portrait, Musical pedagogy, Solo performing art

DOI: 10.7256/2454-0625.2018.4.25912

Abstract: The article is devoted to one of the brightest representatives of Russian mujsical art, military bands, and peculiarities of preparation of their repertoire. The aim of the research is to provide a general insight into the repertoire of Russian military bands, how it is prepared, selected and performed taking into account specific features of socio-political expositions of the Russian Soviet Federative Socialist Republic since 1918 till 1922 and pre-war period of the USSR since 1922 till 1941. In his research Malyutin analyzes the role of military music as an instrument of the political and ideological influence of the government. The methodology of the research is based on the study and analysis of historical facts and creative work of military music bands that are being introduced in the academic literature. The author of the article focuses on compositions of famous composers and musical activists as well as attitude of political agents to musical arts. The author also offers his own classification of periods in the development of the military music repertoire. Malyutin carries out a comparative analysis of activities of Russian military bands during the pre-revolutionary and post-revolutionary periods, objectives and methods of their performance, staff and organisation chart of military bands and the influence of art on people.

Keywords: music compilation, military bands, creative team, orchestral performance, military music, state cultural policy, musical and educational activity, service repertoire, concert repertoire, march

DOI: 10.7256/2454-0625.2023.5.40775

Abstract: The subject of the study is the forms of manifestation of timbre expressiveness in the program orchestral compositions of N. A. Rimsky-Korsakov. The object of the study is the peculiarities of the composer's symphonic creativity on the example of program compositions. The practical significance of the study lies in the fact that the results of the study can be in demand by professional musicians of various specialties and serve as a source of educational and methodological materials for general and special courses of higher and middle-level music education. The following methods were used in the study: a historical and stylistic method aimed at considering the evolutionary processes that took place in the orchestral work of N. A. Rimsky-Korsakov; a method of comparative analysis and analogy, thanks to which it was possible to identify common and distinctive features in the use of timbre expressiveness in the works of the composer of different periods of his work. The relevance of the article is connected with the little-studied issues of timbre dramaturgy and the peculiarities of instrumentation dictated by them in the symphonic scores of N. A. Rimsky-Korsakov's program compositions. In modern Russian musicology, there is an actualization of research attention to the field of studying the specifics of timbre expressiveness. Therefore, the appeal to the work of N. A. Rimsky-Korsakov, as a composer-discoverer of many techniques of timbre development, seems relevant. The novelty of the research lies in the holistic coverage of issues devoted to the specifics of timbre expressiveness in the composer's program orchestral works. The peculiarities of the use of such techniques of timbre dramaturgy as timbre personification, mixing of timbres are considered from the standpoint of the manifestation of the composer's unique timbre hearing and in the context of the general stylistic trends of Russian music of the late XIX century. Conclusions: N. A. Rimsky-Korsakov's orchestral program compositions reveal a number of innovative solutions dictated by the program design. The revealed means of timbre expressiveness: the abundance of orchestral solo instruments of the woodwind group, techniques of timbre personification and timbre mixes, testify to the manifestation of the composer's unique gift — timbre hearing.

Keywords: personification of timbres, timbre variation, timbre hearing, solo, programming, instrumentation, orchestral compositions, orchestration, timbre drama, Nikolai Andreevich Rimsky-Korsakov

DOI: 10.7256/2454-0625.2019.12.31847

Abstract: The subject of this research is the aesthetic stance of M. F. Gnessin viewed in comparison of the aesthetic perspectives of his contemporaries. The object of this research is the scientific-critical texts of M. F. Gnessin, L. L. Sabaneev, V. G. Karatygin, V. I. Ivanov, H. A. Laroche, A. Schoenberg, B. V. Asafyev and others, which reflect the key aspects of their aesthetic position. Emphasis is made on the questions of the essence of musical art, peculiarities of music creation process, and problem of synthesis of arts. The main method became the analysis of manuscript and printed texts of M. F. Gnessin, as well as the comparative analysis of aesthetic concepts of M. F. Gnessin, L. L. Sabaneev, V. G. Karatygin, V. I. Ivanov, A. Schoenberg, and others. The conclusion is drawn that M. F. Gnessin in one of the most progressive thinkers of his time, who studied the relevant problems of musical aesthetics: the nature of music, interrelation of arts, role of “emotions” and “reason” in the process of composing, The author detect parallels in the views of Gnessin and the ideas of A. N. Skryabin, V. E. Meyerhold. W. W. Kandinsky, A. Schoenberg (in the field of synthesis of arts), L. L. Sabaneed. A. Schoenberg (in the area of musical-vocal communications); as well as certain differences, such as introduction of the original definitions of “primary” and “limit” elements of art, “consubstantiality” of the sound, color, timbre, etc. The novelty consists in the attempt of comprehensive comparative analysis of aesthetic views of Gnessin with the analogous concepts of the contemporary to him artists and thinkers.

Keywords: psychology of music, phenomenology of creativity, synthesis of arts, essence of music, musical aesthetics, Gnesin, Schönberg, Sabaneev, Kandinsky, musical reading

DOI: 10.7256/2454-0625.2018.8.27058

Abstract: The subject of this research is the Five Songs to Peter Altenberg's Picture Postcard. The Songs were written using the technique of free hemitonics (twelve-tone row), thus demanded new means of harmonic centralization. The object of the research is the pitch rows and motive-quotes that act as the central elements of the musical language. In her research the author traces back the succession of Berg's composition and its relation to Mahler's thoughts about the artist and the world around him. Skosyreva pays attention to performance difficulties and carries out a detailed analysis of pitch rows used in the series as well as motive-quotes that compose the meaningful tissue of the songs. The sequence of important motives is reflected in special 'semantic rows'. The novelty of the research is caused by the fact that the author carries out a detailed analysis of the core element that was used by Alban Berg to compose his Altenberg Lieder. As a result of the research, the author concludes that the fourth opus of Berg is filled with multidimensional meanings, references and allusions. For a performer it is important to know these meanings and to feel their presence. This allows to better understand a composition. Quartal and tertian motives, small second intonations and allusions to Bach's, Debussy's and Mahler's music compose the unique tissue of meanings and music.

Keywords: motive-quote, twelve-tone row, semantic row, atonality, central element, orchestral songs, intonation, Peter Altenberg, Alban Berg, vocal performance

DOI: 10.7256/2454-0625.2017.11.24798

Abstract: The object of the research is the creativity of modern composers of the Tatarstan Republic. The subject of the research is the analysis of compositions created by some Tatar composers (Anatoly Luppov, Rashid Kalimullin, Leonid Lyubovsky) that have traditional musical features of the indigenous ethnoses of the Volga Region (Slavic, Finno-Ugric and Turkic peoples). The authors of the article analyze examples of using polyphonisation techniques and texture complication, modality, aleatory music, sonorics and coloristic potential of classical and traditional instruments that allow composers to demonstrate their individual style of perceiving and creating musical folklore of different genres (piano, symphonic, scenic, consort, vocal, vocal symphonic and choral music). The research methods and methodology include: method of cultural semiotiocs, musical syntaxis, sematncis of musical speech, pragmatic and axiological analysis; cultural historical method; theoretical analysis of the academic literature based on axiological and polycultural approaches. The novelty of the research is caused by the fact that for the first time in the academic literature the authors analyze pieces of symphonic, scenic, consort, vocal and choral music composed by Tatar composers based on artistic images, genres, intonations and styles of the Volga Region musical folklore. The research brings forth the problems of the organic unity of Western and Eastern traditions, national vocabulary of the composer's musical style and objective value thereof, traditionalism and innovation, and interaction of ethnotraditions.

Keywords: importance, method, compositional technique, intonation, style, professional art, musical folklore, of ethnic traditions, interethnic interaction, interconfessional interaction

DOI: 10.7256/2454-0625.2018.1.24613

Abstract: The subject of the research is the emotional hearing and its role in the development and acquisition of professional knowledge and skills of a vocalist as well as methods for developing emotional hearing that can be used in the training process. Well-developed emotional hearing enables an adequate perception and interpretation of subtle nuances of feelings expressed in musical compositions, allows a vocalist to improve his or her mastership and affects emotional-expressive and timbre-coloristic abilities of a singer, his or her acting talent and ability not only to convey an artistic image by the means of 'musical speech' fully and persuasively but also teach their students how to do it. The research method used by the author was the analysis of results and conclusions of relevant researches and analysis of teaching practice when particular means and technologies of emotional hearing development were used. The main conclusions of the research are the following provisions: only those vocalists who are able to sense subtle emotional nuances of music can express these nuances at a high artistic level and achieve the peak of mastership; well-developed emotional hearing encourages the development of a special universal world sense, world perception and world view that present an intuitive understanding of the reality, value-based concept and evaluation of the surrounding world, understanding a national cultural tradition and spiritual unity with the national and world culture.

Keywords: development, hearing, emotion, voice, performance, creativity, vocal, music, mastership, competence

DOI: 10.7256/2454-0625.2022.10.36665

Abstract: The article chronologically presents historical information about the modernization of Belarusian cymbals in the context of the fate of innovators. The problem of transition to an industrial society is raised on the example of the production of cymbals and gender changes in the field of cymbal art. The influence of the socio-political environment on cultural processes in society is investigated. The origins of the quality problem of the Belarusian musical instrument cymbal are analyzed. The problem of professional education of masters of musical instruments, in particular, masters of manufacturers of the Belarusian folk instrument cymbals, is raised. The article examines the experience of other countries in training masters and conducting professional skill contests among musical instrument manufacturers. Previously unknown archival documents revealing tragic secrets, white spots of the biographies of Zhinovich and Sushkevich have been studied. The dogma about the merits of Joseph Zhinovich, well-established in the circle of specialists, is being questioned. It is concluded that the first stage of the modernization of cymbals is revolutionary, much more significant than the subsequent refinement. Historical justice is being restored in relation to the authors of the first stage of modernization – Zakhar and Sushkevich. For the first time, the focus of the study shifts from the cymbalists of teachers, performers, repertoire, teaching methods to the quality of instruments and the education of masters. It is proposed to adopt the experience of neighboring countries in holding competitions for masters who make cymbals in order to improve the quality of the instrument.

Keywords: Iosif Zhinovich, Konstantin Sushkevich, Dmitrii Zakhar, Vladimir Kraiko, hummered dulcimer (cimbalom), dulcimer player (cimbalom player), modernization, Belarusian culture, musical instruments master, musical instruments production

DOI: 10.7256/2454-0625.2019.2.28893

Abstract: The object of the present study is the musical culture of Kazakhstan. The subject of the study is the art of composers of Kazakhstan of the post-Soviet period as an artistic phenomenon and as a specific form of manifestation of modern composer's thinking.The author focuses on the analysis of the historical and cultural situation in Kazakhstan in the 1990s, as well as on the specific features of the art of Kazakh composers of the post-Soviet period as a reflection of philosophical and aesthetic and musical-style intentions. Special attention is paid to the implementation of folklore in academic music, issues of genre synthesis, based on the interpenetration of Kazakh traditional and academic genres of West European music. In line with the identified problems, the author refers to a comprehensive methodology, including cultural, comparative, style, holistic and functional methods of analysis. The main conclusion of the study is the identification of the main style trends, the leading place among which is occupied by ethnographic and neo-folklore ones, dictating the evolution of the genre system and content. The author's contribution to the study lies in consideration of the composer's work of the post-Soviet period as an artistic phenomenon of the national culture of Kazakhstan in the aggregate of its historical, cultural and creative processes. Besides, a number of works created in the considered period and not previously covered in the musicological literature are introduced and analyzed in the research field.

Keywords: post-Soviet period, national culture, composers creativity, genre, folklore, style tendencies, synthesis, academic music, modern culture, kazakh music

DOI: 10.7256/2454-0625.2017.12.25007

Abstract: The subject of the research is the conception of the synthesis of music and painting offered by Mikhail Gnessin. The object of the research is understudied and unknown researches of Mikhail Gnessin that reflect the main provisions of his conception. The author pays special attention to Mikhail Gnessin's unpublished text 'Rimsky-Korsakov and Painting' (1940's) in which Gnessin fully presents his views on the interaction between music and painting and describes techniques of 'sound recording' in orchestra compositions based on Rimsky-Korsakov's studybook 'The Basics of Orchestration'. The main research methods are the analysis of Gnessin's hand-written and published texts as well as comparison of the main provisions of his concept with analogous theories of art synthesis offered by other authors. The main conclusions of the article are the following. Gnessin offers his own conception of the synthesis of music and painting through interaction of their 'ultimate' features (music can be picturesque and spatial and painting can have temporal and constructive parameters), this concept reflecting the most progressive trends in art of the XXth century. 'Rimsky-Korsakov and Painting' is one of the first researches to be devoted to the interaction between music and painting based on the creative work of Rimsky-Korsakov (at the level of the smallest elements 'color - sound', techniques of musical 'sound recording', and musical dramaturgy). The novelty of the research is caused by the fact that the author of the article introduces understudied and unpublished texts by Gnessin including a fundamental research 'Rimsky-Korsakov and Painting' which has never been a subject of particular research before.

Keywords: Russian music, orchestration, Silver Age, synthesis of arts, colorful, music, painting, Rimsky-Korsakov, Gnessin, visual arts

DOI: 10.7256/2454-0625.2017.8.23768

Abstract: The subject of this research is the specificity of the conscious work of a performing musician in the perspective of the problems of co-creative artistic activities. The author examines aspects such topics as the nature of co-creative artistic activities, specifics of the performer in the mode of the updated intention-directed consciousness (Husserl), mechanisms of perception, mental activities, the main operations of the creative imagination (T. Ribot), "not clamped" consciousness, performing hearing (V. A. Guterman), stage-being, system of education of a musician. Special attention is paid to the systemic process of "thinking the music" (B. V. Asafiev), representing, individual artist, metacognitive activity as the experience that allows to 'prehear' (L. M. Zeitlin) the necessary parameters of the future sound and create the optimal performance of the movement as well as to simulate the formation of the structure of music deployment. The methodology of the research is based on the systems, phenomenological, informational and synergetic approaches to the study of the works of researchers in various scientific fields related to human activity as well as the experience of performers and reflect on their pedagogical and performing experience of the author herself. Information and synergetic approaches allow to consider the emergent reactions of the performing body of the performer as a manifestation of self-organization of the system of co-creative artistic activities in response to excessive exposure to increasing information flood into his mind in an unstable variety of the atmosphere. In such circumstances, only the ability to concentrate on performing the task allows you to actively resist the negative consequences of performing emotion. The novelty of research is connected with the perspective of the research aimed at mapping the problems of the skills of the musician to work in a special mode of auditory-conscious "directed" to focus attention on the sequential solution of artistic problems with the question of self-organization of the performing body of the performer in stress conditions variety performances and, ultimately, with priorities in the education system of the contractor. The study's main findings relate to the field of active plan imagination of the musician, the activation of which by necessity is accompanied by the strengthening of psychic energy. Duration of intense conscious work is supported by "switching" intentions of different creative tasks. Given these findings, practical recommendations for optimizing the system of education of the contractor.

Keywords: concentration of attention, experience, instability, emergence, musician-performer, performance hearing, consciousness, creative musical performance, mode of switching consciousness, stage performance

DOI: 10.7256/2454-0625.2019.2.28896

Abstract: The article deals with the historical and artistic significance of the musical "Hair" by G. McDermott in the context of the development of the genre. The musical texture of the musical, synthesis of styles: jazz, blues, country and soul, Indian music, syncopated rhythms of funk, folk-rock melodies are analyzed. But special attention is paid to the introduction of a "fatal" component in the style of the musical of the 1960s, which led to the innovative nature of this work, which is first analyzed in the context of genre-style synthesis. The key differences between theatrical performances and the film-musical by M. Forman are determined. In the conducted research, the following methods were used: cultural-historical, comparative-analytical and method of musical-style analysis. The musical "Hair" was previously studied mainly from historical, cultural and theatrical positions. The article "Hair" in London" by V. Ryapolova is devoted to the analysis of the London staging [10]; there are references in the works of E. Andrushchenko "The Musical and Rock Opera in Russian musicology of the 1980s: back to the roots of the research tradition" [1], V. Sulina "Russian musical in the context of the development of the genre" [15], the monographs by L. Danko [4], E. Campus [5], Kudinova [7], Hanish M., Krasnov G. V. [14], foreign publications [17, 18, 19, 20, 21]. In the context of genre-style synthesis and analysis of musical language, this musical is considered for the first time. The article concludes that G. McDermott's musical "Hair" became a starting point in the development of a new kind of genre – rock musical, influenced the formation of rock opera, as well as the development of modern musical and theatrical art in general.

Keywords: Galt McDermot, style, genre, Stas Namin Theater, Hair, rock opera, rock musical, Milos Forman, musical, Rado James

DOI: 10.7256/2454-0625.2018.10.27592

Abstract: The article is devoted to the graphical and musical realisation of the Resurrection concept in Sergey Rachmaninov's small performance lyrics and other compositions. Being one of the basic Orthodox concepts of a great spiritual and cultural importance, the Resurrection concept was practiced by the composer by the means of various genres which once again proved the historical and genetic affinity of the two branches of Russian musical culture (church and secular) and complementarity of their ideals and values. Thus, the methodological principle selected by the author is aimed at discovering the composer's artistic devices that convey the spiritual message of the secular composition. As a result of the analysis, the author discovers that Rachmaninov used different approaches to the realisation of the Resurrection concept in his religious compositions that expressed the cathedral praise of the divine event, and secular compositions that described the expressive romantic and tragic concept of the Russian Temple's death. At the saime time, the analysis of the concept in his small performance lyrics (based on the example of the romances 'Christ is Risen!' and 'The Raising of Lazarus') demonstrates that the theme is quite similar in compositions of both kinds, not only at the level of emotions and meanings but also at the level of music and text.

Keywords: Khomyakov, musical, concept, Resurrection, tradition, secular, religious, romance, Rachmaninov, Merezhkovsky

DOI: 10.7256/2454-0625.2022.3.37528

Abstract: The article attempts to analyze the genre stylistics of Andrei Eshpai's symphonic painting "Suvorov's Crossing the Alps" - a composition combining traditions and innovations. The composer's interest in historical and patriotic themes and the personality of the commander A.V. Suvorov is emphasized. The compositional and dramatic features of the work, revealed through the specifics of language modeling, are chosen as the subject of the study. Awareness of picturesqueness as the main genre-forming factor made it possible to concretize the type of symphonic painting, to identify signs of theatricality in the text. Special attention is paid to programming as the key to understanding the plot of the essay. The author analyzes the language models of the text in the most detail from the perspective of the interdependence of the content and genre-stylistic components. The scientific novelty of the research lies in the musical material under study, which has not been studied before. The research process allowed us to draw conclusions about the uniqueness and individual author's interpretation of the work. It was found that the methods of concretization of the content of language models confirm the presence of a theatrical code not only in the compositional logic, but also in the text of the work itself. The antinomic nature of language models was discovered. Antinomianism in combination with transformational poetics, the high-wave principle of development allowed us to conclude that the combination of signs of symphonism and picturesqueness in the compositional and dramatic solution of the composition determines the universality and synthetism of the composer's thinking.

Keywords: stylistics of the genre, symphonic painting, theatricality, symphonism, language model, musical texture, symphonic creativity of Eshpay, Andrey Eshpai, programming in music, modern Russian music

DOI: 10.7256/2454-0625.2017.7.22166

Abstract: This article is devoted to the analysis of one of the most complicated and contradictory lyrical songs composed by Sergey Rakhmaninov, The Pied Piper (Op. 38). The song was composed in 1916 and contained verses of a symbolist poet Valery Bryusov. The plot is the old, rather sad medieval legend. The complexity of the poetic and musical texts of the song that creates various and often contradictory interpretations of the image of the pied piper makes us be quite attentive towards the interwinement of the msicla and literary tissues of the lyrical song. The purpose of the present article is to try to undertand the author's message, nature and meaning of the song. The author of the article emphasizes the need in a comprehensive approach to interpreting the song which would allow to compare the poetic and note texts, and verbal and musical images. The author also carries out the semiotic semantic analysis of the lyrical song. The novelty of the research is caused by the fact that the author conducts a thorough analysis of musical and expressive means used by Sergey Rakhmaninov, defines and interprets musical symbols that can be found in the song, analyzes the interval content of the topic and finds intonational parallels with compositions by others. In conclusion the author gives her own interpretation of the general content and imagery of this lyrical song.

Keywords: musical symbols, symbolism, imagery, poetic text, note text, lyrical song, The Pied Piper, performer's analysis, Rahmaninov, comprehensive approach

DOI: 10.7256/2454-0625.2023.10.68813

Abstract: The author discusses a small initial experience of using synchronic description in musicology texts. In the beginning, the origin of the synchrony–diachrony dichotomy introduced into linguistics by Ferdinand de Saussure is revealed. These terms and concepts from linguistics turned out to be so generative in methodological terms that they were adapted into other scientific disciplines. Starting with Saussure, the specificity of the relations of the two approaches is most deeply expressed as the relation of the system of the subject – synchrony and its evolution – diachrony. Next, the article discusses collective intelligence (Lotman) as a result of the activity and cooperation of experts of the same specialty. The productivity and relevance of using a synchronic approach for an adequate comparison of musical works, especially in the history and theory of performing arts, is emphasized. The main objective of the article was to test the use of a synchronic approach for the formation of textual information about the formation of the classical style in musical Europe of the XVIII century. The main pathos and function of the synchronic approach is "comparison". When the beginnings of events are aligned, it becomes possible to compare them (events) with each other, and the results of the comparison are attributed to the synchronization time. The synchronic approach demonstrates the continuity and monomericity of historical time. In synchrony, we see that juxtaposition and comparison overcome the natural separateness of historical events. The conclusions of the article summarize the main properties of the synchronic and diachronic approaches: synchrony reflects the system structure of the object and phenomenon, and diachrony, their evolution. For more productive event matching, synchronization of several parameters and types is necessary. This type of historical research can be described as a multifactorial synchronic analysis of historical events. Further prospects for the development of synchronic and diachronic approaches lie in their synthesis, when multiple slices of synchrony are sorted by chronology, and diachrony consists of synchronic slices of time.

Keywords: synchrony, diachrony, juxtaposition, comparison, concurrency, history, text, history of music, event, historical method

DOI: 10.7256/2454-0625.2018.5.25869

Abstract: The aim of this research is to trace back director functions in a professional activity of a piano concertmaster. The subject of the research is the work of a piano concertmaster with an ensemble composition using the stage production techniques. The author of the article analyzes a director method of working with a text, stage movements, expressivity, acting areas, etc. Kalitsky pays special attention to the organisation function of a director and piano concertmaster that is necessary for creation of a single artistic style. The author also touches upon the duality of acting and directing in an activity of a piano concertmaster. The author uses the comparative analytical methodology to analyze the activity of a director and concertmaster. He demonstrates that the ensemble model used to organize the sound and stage space is one of the most important functions in a professional activity of a piano concertmaster which can be achieved only through understanding and perception of directing techniques used to produce a stage action. The author of the article emphasizes the need in a directing approach to stage production and work of a piano concertmaster not only with ensemble partners but also for individual studying a musical text in factor, dynamic and agogical terms. Kalitsky underlines the importance of the solo performance training of a pianist for success as a director of a musical ensemble. Application of the research results in a professional activity of a concertmaster will give a better understanding of not only artistic targets faced by him or her but also organisation functions of a pianist in a musical ensemble. The author concludes that there is a need in ajdustment of current programs of piano concertmaster training in order to teach them director principles of being a pianist in a musical ensemble as well as independently seeking his or her artistic ensemble solutions.

Keywords: role-playing features, organization of creative space, performance, dynamics, agogics, texture, stage production, ensemble, Director, Concertmaster

DOI: 10.7256/2454-0625.2024.1.69614

Abstract: The work of Erik Satie, his value assessment, as well as the peculiarities of the author's non-normative artistic thinking have repeatedly become the subject of musicological discussions, but still a number of his artistic discoveries in different genre areas remain out of the researchers' field of vision. The proposed article analyzes the French composer's ballet work, which became a space of experimentation in the process of searching for a new image of a musical-choreographic performance. The material of the study includes not only the odious "Parade", which became a manifesto of the "new art", but also four other works by Erik Satie in the genre of ballet, without the study of which it is impossible to draw a complete picture of this sphere ("Uspud", "The Adventures of Mercury", "Eccentric Beauty", "The Spectacle is Canceled"). Their consideration from the point of view of the evolution of the author's approach to the creation of music for a ballet performance, as well as in the aspect of revealing content-semantic, compositional-dramaturgical and stylistic innovations, is the subject of research in this article. In the process of studying the problem, a comprehensive approach is applied, combining comparative and cultural-historical methods with theoretical and analytical tools of musicology. In the course of the analysis, the author comes to the conclusion that all components of the artistic whole of a ballet performance undergo transformation. At the narrative and semantic level, there is a gradual rejection of the traditional libretto, procedurally revealing the fabula of what is happening on stage, in favor of a small script plan, often without development and cause-and-effect relationships between episodes. The compositional and dramaturgical solution of the ballets is based on the suite, which is the root of the genre, but interpreted in a modified form, with the active involvement of combinatorics and montage. The musical and stylistic appearance of the performances is also often determined by an "anti-academic" concept characteristic not only of this genre, but also of Erik Satie's work in general. The sound space of the composer's ballets is highly heterogeneous and represents a mix of academic musical traditions with the culture of everyday life, both musical (music hall, cabaret, jazz) and extra-musical (the use of everyday objects reproducing the noise of the urban environment in the score of Parade).

Keywords: composition, plot, genre upgrade, artistic experimentation, early 20th century, France, ballet, Erik Satie, dramaturgy, musical style

DOI: 10.7256/2454-0625.2017.7.23549

Abstract: In her article Alieva analyzes "Six sonatas for solo violin" composed by Eugene Ysaye. The author gives a comparison of the performance of these sonatas by the author and other performers in the context of the evolution of violin performance in the 20th century. The purpose of this work is to describe specific influence of the performing style of Eugene Ysaye on his work as a composer, and also to study how the "Six Sonatas for Solo Violin" influenced the development of professional violin performance in the 20th century. According to the results of the study, it should be noted that each sonata is an unusual work, which each violinist-performer presents in his or her own way. In this work, scientific methods of stylistic, comparative-historical, musical-theoretical and intertextual analysis were used, as well as interpretative and performing aspects of the study, which are relevant for "Six Sonatas for Violin Solo." For the analytical study of the musical material of this work, the historical and aesthetic views of Ezhene Ysaye himself were considered. In the course of writing the article Alieva has also used researches on violin performance and researches of teachers, performers, and Russian scientists such as L. Ginzburg, JI. Raaben, I. Yampolsky, V. Grigoriev, A. Alekseev, V. Yakubovskaya and others. The need to solve the problems posed at the beginning of the research was caused by the fact that there are no works in which the practical performance would be fully studied and which could satisfy the interest of those who are interested in the work of Eugene Ysaye. The scientific novelty of the work is caused by the fact that Eugene Ysaye's creative universalism is shown as that of an artist, composer and teacher. This has become the basic principle for studying and understanding the influence of Eugene Ysaye on the violin performance of the 20th century. In the work it was proved that the performing art of Eugene Ysaye directly influences his composer's creativity. The author also shows how "Six sonatas for violin solo" were performed in different performing styles of the 20th century.

Keywords: specifics of the musical language, sevitus, musician, composer, violin performance, violin solo, six sonatas, means of performance expression, touches, chords

DOI: 10.7256/2454-0625.2020.8.33532

Abstract: The object of this research is the piano compositions of Alban Berg – the String Quartet, Op. 3, and the vocal cycle Altenberglieder, Op. 4. The subject of this research is the artistic transformation of Berg from amateur composer of romantic music to the author of the complex atonal composition. The article reviews the aspects of Berg's apprenticeship that impacted his professional becoming. The peculiarities of the pedagogical method the composer's mentor and friend. Arnold Schoenberg are described. The author systematizes Berg's musical impressions acquired in his earlier period, which revealed the world of “new tones”. Special attention is given to the personal qualities of Alban Berg, his desire to cognize the new musical world. Analysis is conducted on the piano pieces composed at the time of his study with Schoenberg is. Opuses 3 and 4 are examined for the similar authorial techniques and their gradual complication. The conclusion is made that the phenomenon of rapid changes in the composer's artistic path is substantiated by a combination of factors. Berg was able to overcome the initially romantic melodious nature in his composing due to the opportunity to be in Vienna, which was the center of musical life at that time and the pedagogical talent of A. Schoenberg. The key character traits of the composer were commitment, capacity to work, and strive for creative truth. His natural enthusiasm and sensitivity were balanced by mathematical meticulousness and propensity for systematization. This served as the foundation for the remarkable changes that can be traces from his apprentice sketches to the first independent composition – the vocal cycle Altenberglieder, Op. 4. The scientific novelty of this research consists in posing the question of how Berg was able to develop such complex modern language in a very short period of time that elevated him to the forefront of leading composers.

Keywords: intonation, central element, thematic complex, pedagogical method, developing variation technique, composing techniques, Arnold Schoenberg, Alban Berg, instrumental compositions, vocal cycle

DOI: 10.7256/2454-0625.2023.11.69066

Abstract: The paper discusses an alternative: comprehension of the inner form of a musical work or the constitution of a new melos by means of musical movement. We are talking about a special genre of art, free dance, called "musical movement", and in its two important contexts - staging performances and teaching. The concept of internal form and the appeal to it by the teacher and the director of performances Aida Aylamazyan is analyzed. The author offers a different understanding of the inner form than Aylamazyan. The musical movement formally consists of two different beginnings of the perception of serious music and organized movement in a broad sense (poses, tensions, emotions, coordination of movements with other dancers); the first beginning was formed in recording and listening to music, the second is mastered in the classroom. Entry into a musical movement occurs if these two beginnings merge into one. The movements of the dancers should not contradict the music, not destroy its perception. In addition, they should set a new organization of music, namely one that meets the idea of the organizer of the dance. As a result, a new objectivity is formed - a musical intonation organized by the musical movement. The article offers a new look at the concept of the inner form of a musical work, as well as an understanding of the musical movement itself. The formulated alternative is allowed if we distinguish between two different types of work: teaching musical movement and staging new performances. As part of the training, an adequate understanding of music is important. An important role here is played by the interpretation of a piece of music, which is created on the basis of semiotic schemes. Equally important is the training of dancers of the musical movement, during which they form a new hearing and understanding of music. As a teacher, Aylamazyan relies on the concept of inner form, as a director, she must discover a new content of a musical work that can be revealed in a concert with the help of musical movement.

Keywords: director, teacher, intonation, composition, melos, interpretation, dance, musical movement, shape, content

DOI: 10.7256/2454-0625.2017.10.24425

Abstract: The subject of the research is the musical style features of Old Believers' spiritual verses that are understudied as a result of their complex genesis and variety of genres. The purpose of this research is to define reasons, conditions and factors that unite compositions of different musical styles into a single genre. In her research Murashova analyzes written and verbal verses and defines how kryuki notations can be used in composing hums of repentant verses, folklore memorials and songs composed in a 'romance' style. By analyzing melodic features of verses from the repertoire of Old Believers of Rudny Altai Murashova has discovered regional features thereof at the levels of rhythmic and pitch composition of verses. At the same time, the author of the article has defined typological principles of musical styles of spiritual verses as a complex genre system. The research is based on the complex approach that combines methods of medieval studies, folklore studies and other branches of music and culture studies. Written verses are studied from the point of view of using kryuki notations to fix texts that have been created in different time periods and have a different influence of neumanna hums on their style. Verbal verses are analyzed taking into account the mutual interaction between verbal and written channels of artistic communication. Connecting liturgical service and folk song, spiritual verses combine all components of Old Believers' musical culture into a single system. A determing feature of this system is polystylistic nature. Using intonation patterns developed by other genres, spritiual verses accumulates typical types of national intonation: ritual lamentation, tale, locomotor and cantilena. Stylistic flexibility allows spiritual verses to adapt to the socio-cultural situation and environment in different historical periods, at the same time spiritual verses have always remained a conductor of Christian values and a means of cultural identification of Old Believers.

Keywords: polystylistics, sound organization, rhythm, neumanna notation, Rudny Altai, musical style, believers, spiritual verse, oral traditions, cultural adaptation

Abstract: This article is an attempt to understand some challenges of the music biography film. To which extent this genre can be viewed as a documentary? What are the criteria for selecting music for such a film? How the time format influences the corresponding coordinate of the film? The phenomenon concerned is viewed in a genre space of a music film.

Keywords: history of art, film art, musical biography film, genre hybrids, music scores, orchestrating, keynote ideas, banknotes, in-screen music, off-screen music.

DOI: 10.7256/2454-0625.2023.12.69311

Abstract: The object of the research is the works of Soviet composers for the non-register bayan (non-register accordion). The subject of the research is the sonorous technique. The aim of the study is to examine the specific application of sonorism in the works of Soviet composers for the non-register bayan. The author identifies the types of sonorous soundings and the ways they are formed; considering their textural, dramatic, and depictive significance. The materials of the article can be used for the professional activities of bayanists and composers, and can be included in the courses. The methodological basis of the research includes a comprehensive approach, which incorporates scientific methods of induction and deduction, typology, comparative, structural, systemic, and historical approaches. The scientific novelty of the research lies in the fact that the sonorism in compositions for the non-register bayan is specifically explored for the first time. As a result of analyzing works of Soviet composers for the non-register bayan (original compositions, arrangements of folk melodies, adaptations), the author of the article concludes that sonorous technique is not frequently used in them, and the sonorous soundings employed (lines, spots, and stripes) are generally consist of a small number of sounds and brief. Nevertheless, by selecting the representative examples from the works of the renowned Soviet composers to illustrate, the author of the article demonstrates that sonorous soundings are employed in crucial dramatic moments, serve various depictive functions, and provide a background for the melodically leading voices. Identified applications of sonorous technique in works of Soviet composers for the non-register bayan represent a preparatory evolutionary stage leading to the "flourishing" of sonorism in music for the cassotto-сonverter instrument in the second half of the 20th century and the first half of the 21st century.

Keywords: musical depictiveness, evolution of bayan sonorika, cluster, sonor functions, Soviet composers, sonorism, sonorant texture, music for bayan, cassotto-converter bayan, non-register bayan

DOI: 10.7256/2454-0625.2023.7.43647

Abstract: The subject of the research is the piece for piano solo "Fantasy of Southern China: Lady and the Flower Seller" (1931) by the Russian émigré composer Harry Yakovlevich Ore (Xia Like, 1885-1972), forgotten in his homeland. A graduate of the St. Petersburg Conservatory, he lived most of his life in China, where he distinguished himself as a pianist, teacher and composer. Ore left a notable mark on the history of Chinese music, including as the author of the first piano arrangement of typical qupai melodies of the traditional Cantonese opera yueju. The purpose of the study is to consider Fantasia through the prism of the refraction of the Russian traditions of the St. Petersburg school (primarily The Russian Five) and the Chinese operatic traditions yueju. The article uses comparative typological and analytical research methods to substantiate the uniqueness of the selected piece as the first sample in the history of Chinese academic music that combines the melodies of Cantonese opera with the traditions of “New Russian school”. Piano piece “Fantasy of Southern China” by G. Ya. Ore is considered in Russian-language musicology for the first time. The main conclusions of the study are as follows. In the presented composition, the composer arranged four well-known tunes of the Cantonese yueju opera - "Ba Da Ban", "Toilet Table", "Product Sale" and " Narcissus flowers". The composer organically combined the national opera melodies of the Guangdong province in pentatonic modes with the writing techniques characteristic of the representatives of the St. Petersburg "New Russian School" (especially N. A. Rimsky-Korsakov, M. P. Mussorgsky) and its followers (A. K. Lyadov): variability, trichords, parallel-variable modes, plagal harmonies, smooth voice leading, melodization of voices, "singing" piano texture.

Keywords: Chinese piano music, Russian emigration, Russian Five, Cantonese opera yueju, transcription, arrangement, Fantasies of Southern China, Xia Like, Garry Yakovlevich Ore, piano fantasy genre

Abstract: This article is an attempt to analyze principles lying in the basis of musical travesty as an artistic device. The author of the article considers general mechanisms of travesty and concrete musical means causing its formation as well as functions of travesty in musical art. The main principle of travesty is the structural and semantic inversion of the initial text. Travesty interpretations of the original is usually performed on the account of parallel actions between intra-and inter textual relations – certain mutual coordination of travesty elements as well as ‘comparison’ of this text with the original. Concrete implementation of inversion can be connected with a certain organization of intonation structures in musical text and its meaning beyond music. Based on concrete examples, the author views the main methods of travesty in music – deformation and agglutination. The author also shows the role and functions of musical travesty in terms of history and culture. In particular, the principle of travesty inversion are compared to the phenomena of idealization and mythologize which accompanies one another in the process of cultural development.

Keywords: history of art, travesty, text, music, culture, semantics, structure, inversion, deformation, agglutination.

DOI: 10.7256/2454-0625.2020.1.30508

Abstract: The goal of this article consists in determination of the relevant problems in preparation of students majoring academic solo singing in the Institute of Art of Jinggangshan University in groups of the educators representing vocal schools of Russia. The article examines the key aspects of the problems of Chinese vocal education in the context of European representation on the fundamentals of vocal skills. The study is dedicated to comparison of academic programs in the two leading universities of Russia and China, as well as detailed analysis of the curricula. The curriculum of Herzen State Pedagogical University of Russia focuses on the development of general cultural and professional vocal cycle, while Jinggangshan University focuses on upbringing an ideologically faithful citizen of the People’s Republic of China. The conclusion is made that despite the major impact of PRC’s leader Mao Zedong upon the music and vocal education, as well as vocal-methodological conference held in Beijing in 1957, the development of the vocal-pedagogical process has stagnated. The educators and students of music education in PRC should pursue the following objectives: openness to the new as a condition for cultural development; balance between the national spiritual values and professional competences; fulfillment of the role of cultural dialogue as a way of existence of art in the modern Communist China; preservation and continuous improvement of the system of music and arts education.

Keywords: ideology, Mao Zedong, covered sound, acoustic resonance, mask, foreign voice, European vocal schools, communist education, People's Republic of China, professional vocal education

Abstract: Polish music of the 1960th is well-known for the development of expiremental movements among which the most brightest achivement was sonorism. Special role in the development of the stylistics of this movement was played by Kazimierz Serocki whose piano compositions are being analyzed by the author of this article. The tendency of development of sonorism appeared to be stable and full of perspective while Serocki’s world of the sound with his own art issues and throbbing dramaturgy of emotions are stil topical. It is the sonorism basis which allows to enrich the modern musical language with other means of expression. Serocki’s new and colourful world o the sound has become a special event in moderm music. It showed the way to the development of a whole movement because eventually sonorism is not that innovative but emotional and rich sign of imagination and master skills.

Keywords: history of art, culture, art, Polish music, Serocki’s music, sonorism, aleotory, the world of sound, modern musical language, composer’s way of thinking.

DOI: 10.7256/2454-0625.2019.10.30733

Abstract: The subject of this research is the directing activity of the Italian playwright, actor and theatre director Dario Fo within the framework of opera genre. The author examines four of his spectacles staged in 1998-2000 based on the operas by Gioachino Rossini – “The Barber of Seville”, “The Italian Girl in Algiers”, “The Newspaper”, and “The Italian Girl in Algiers”. The productions are analyzes from the perspective of interplay of musical rhythm and rhythm of onstage action. The key goal consists in determination of the type of possible interplays and their implementation in Dario Fo’s opera spectacles. The research is based on the combination of structural-semiotic and hermeneutic methodology. The author determines the structural oppositions created by rhythm of the spectacle and reveals their semantics. The conclusion is made on the function of audience in the process of synthesizing the various elements of opera spectacle – musical, visual and verbal – into the symbols; as well as the role of central music in the course of such process. For semanticization of musical layer of the opera spectacle along with determination of interrelation between all its layers, active position of the audience is essential.

Keywords: L’Italiana in Algeri, Il Barbiere di Siviglia, Semiotics of Theatre, Regieoper, Gioachino Rossini, Dario Fo, Opera, La Gazzetta, Il viaggio a Reims, Theatrical Hermeneutic

DOI: 10.7256/2454-0625.2017.7.23582

Abstract: The article describes the main variants of representation of classical music in modern media space. The author analyzes features of transformations of classical musical art in the digital media space. The author also considers the way cultural subjects use classical music as a furnishing audio substratum of modern cultural reality. Also, the author underlines the importance of substantial, esthetic and contextual incompatibility of classical musical art with mosaic structure of modern media space. In the research the author provides particular examples to support the fragmentation of composition, reduction of the semantic basis and leveling of art value of classical music in the Internet space. In his article the author uses structural-functional and comparative methods that help to illuminate the main characteristics of representation of classical music and its transformations in the digital media space. The novelty of the research is that classical music is analyzed as a furnishing audio substratum of modern virtual and material reality. The modern media space allows to use classical music everywhere as the serving phenomenon of cultural reality which decreases in value as a type of art and becomes responsive to transformations and indistinguishable from the other audio content musical substratum.

Keywords: transformations, classical artifact, furniture music, clip culture, work of art, Internet, modern media space, classical music, representation, media culture

Abstract: The article is devoted to the genesis and formation of one of the magistral genres in modern music – instrumental theatre reß ecting the artists’ aspiration for art synthesis during the second half of XX century. The author of the article underlines the most important sources of instrumental theatre including: early man rituals, national theatre, jazz, musical actionism (happening, performance), innovations in the sphere of theatre arts in the middle of XX century. Special attention is paid at the most signiÞ cant opuses that provoked the formation of the instrumental theatre such as Haydn’s ‘Farewell’ Symphony, Charles Ives’ symphonies, Henry Cowell’s and Eric Satie’s piano experiments.

Keywords: art history, music, history, art, avant-garde, post-modernism, synthesis, theatre, ritual, genre.

Abstract: The article is devoted to the phenomena of space music which became a bright event in music during the second half of the 20th century. Space music means individualized, original disposition of music instruments on a stage involving acoustic experiments. The author analyzes music by Luciano Berio, George Brecht, Karlheinz Stockhausen, Iannis Xenakis, Brown, Toru Takemitsu, Rodion Shchedrin, John Corigliano, Tan Dun and specifi c features of their stage performance.

Keywords: art history, music, disposition, instruments, acoustics, space, experimentation, avant-garde, Karlheinz Stockhausen, Iannis Xenakis.

Abstract: Development of new technologies resulted in formation of a new artistic phenomenon in the art of the 20th century which was named ‘screen music theatre’. Considered peculiarities of culmination in different genres (screen opera, animated opera, musical comedy, concert and etc.) show a widely used practice of its occurrence at the point o the golden mean. However, besides parallel culmination there are also some examples of clear difference between audio and visual culminations. Possibilities of audio visual counter point, special effects method, variety of cutting rhythms in many ways transform stage musical plays on a screen. In a major piece of art culmination cannot be limited to a ‘point’, a bright but sole shot. It must be a zone where meanings, dynamics and expressive means are interwoven and interact.

Keywords: history of art, screen music theatre, point of the golden mean, audo-visual counter point, parallel culmination, difference between culminations, synthetic art, visual plan, audio track, animated video clip.

DOI: 10.7256/2454-0625.2013.1.62090

Abstract: Based on the example of the vocal symphony that was formed in XIX century as a genre and became one of the key elements of symphony modifi - cation, the author discusses the synthesis between the two forms of expression – musical and verbal ones. The relation between music and word also refl ects the historical evolution of the vocal symphony. The author also analyzes a number of original artworks.

Keywords: art history, music, symphony, word, genre, synthesis of arts, image, avant-garde, text, semantics.

Abstract: Instrumental composition with words is one of new genres of music which formed its genre features only in the second half of the 20th century. This article considers functions of a text from the point of view of a music form (introduction, integrative addition, integrative dominance, generalization, autocracy), their relations with music and inß uence on the content of a music piece. As an example the author describes V. Ekimovsky’s, R. Erickson’s, F. Rzhevsky’s, S. Zagnia’s, S. Gubaidulina, K. Huber’s, D. Ligeti’s, D. Macintosh’, E. Williams’ and D. Howard’s works.

Keywords: art studies, art history, music, synthesis, form, content, text, function, post-modernism, 20th century, art.

DOI: 10.7256/2454-0625.2017.10.24594

Abstract: The article provides facts about life and creative path of our contemporary, famous Brazilian composer and percussionist Ney Rosauro. In his research Lazovsky gives a description of his life and creative path and focuses on methodological discoveries made by the musician, in particular, his 'Teaching Series' that was created especially for music teachers and students. The Teaching Series consists of several books and contains a number of exercises and recommendations that help to overcome technical difficulties when playing music. The method of four drum seizure offered by Rosauro is especially interesting. The research is based on the analysis of Rosauro's research and methodological innovations. In particular, the author analyzes the correct position of hands of a performing musician. The author makes a conclusion that this method can be efficiently used by a modern performer. The method offered by Rosauro keeps drums independent from one another and at the same time responsive to each movement of a figner. It is a natural and easy-to-learn method that allows to perform tremolo and all kinds of arpeggio with one hand. The research is addressed to a wide range of musicians who want to improve their performing skills when playing percussion instruments as well as develop their own style of performance and extend their musical knowledge.

Keywords: grip, mallet, marimba, composer, percussionist, Ney Rosauro, method, music, drums, education

DOI: 10.7256/2454-0625.2017.9.23942

Abstract: The essay is dedicated to the famous bayan player, teacher and composer, Honored Artist of the RSFSR Ivan Yakovlevich Panitsky, whose 110th anniversary is celebrated in 2017. The author acquaints readers with musical events dedicated to the outstanding performer, initiated by the Department of Folk Instruments of the Saratov State Conservatory named after L.V. Sobinov. It was Panitsky, a blind natural genius, musician from the Volga village of Balakovo, who was to open the way for the Russian bayan to the academic stage, to substantially enrich the concert repertoire of professional bayan players. His adaptation and variations on the themes of Russian folk songs, settings of works of musical classics for bayan, as well as original compositions form the artistic layer of the national culture. Panitsky's fate is described in the context of his spiritual connection with his birthplace, which determined the main direction of the musician's creativity - the sphere of instrumental lyrics. Attention is drawn to Ivan Panitsky’s outstanding role in the birth of professional bayan training in Saratov. In this essay, the historical method, on the basis of which the biography of the musician is studied, as well as the method of musicological analysis of the work are used. As an example of Panitsky's bayan lyric, the play of Waltz "Reminiscence" is analyzed. The author describes the characteristic ways of working with musical material, revealing the main lyrical idea of the work: improvisation, polyphonic texture, variation, variety of timbre paints of bayan. The novelty of the research is caused by the fact that the author summarizes data concerning the role of the lyrical theme in the works of Ivan Panitsky.

Keywords: national instrumental art, waltz, Saratov State Conservatory, Saratov, traditions, Panitski bayannya lyrics, Volga, anniversary, bayan virtuoso, Panitski

DOI: 10.7256/2454-0625.2017.12.24474

Abstract: The subject of the research is a famous aria of the Queen of the Night in the second action of Mozart's play 'The Magic Flute'. Both the image of the Queen of the Night and the way the image is represented through music are polysemic and symbolic both in the miracle-play 'The Magic Flute' in particular and Mozart's creativity in general. Mozart touched upon such themes as suffering and death using a set of expressive means (rhetorical figures, symbolic tonations, and certain melody-harmonic formulas) in a number of his compositions. The same set of means is used in the aria of the Queen of the Night which is the aria of revenge as a genre. Moreover, that 'serious' aria also has comic features that brings new shades of meaning into the image of the heroine and the way the image of represented through music. The research method is an integrative approach to analysing the opera character from the point of view of its meaning, symbolics, and musical representation. The main conclusion of the research is that the image of the Queen of the Night combines both a serious symbol of the darkness and evil, and fairy-tale image of an evil fairy, and social type as a negative tendency in people's souls. The novelty of the research is caused by the fact that Trifanova makes a hypothesis that Mozart represents the themes of death and fate in the image of the Queen of the Night. The composer represents these themes not only in a serious but also comic way, thus expressing not the fear of death but fearless perception of death.

Keywords: mystery, death, Queen of the Night, aria, symbol, Magic Flute, opera, music, Mozart, fairy tale

DOI: 10.7256/2454-0625.2017.12.24878

Abstract: The article is devoted to the analysis of the education system offered by a famous Bulgarian composer, pianist and folklorist Pancho Vladigerov. The authors of the article prove the idea that Pancho Vladigerov's education system develops European and Russian music pedagogy traditions and, at the same time, has original features conditioned by personality traits of the composer and his individual performing style and priorities in education. The authors of the article define particularities of the musician's approach to interpreting note texts and describe Pancho Vladigerov's contribution to the development of the piano art of the XXth century. The research methodology is based on the systems approach that allows to define the connection between expressive and technical goals set by Vladigerov for his students in the process of teaching professional skills as wellas to determine the nature of the relationship between tradition and innovation in his education system. For the first time in the academic music literature the authors provide information and data from foreign resources on Pancho Vladigerov's teaching activity as translated by D. Bobrina from Bulgarian. The novelty of the research is caused by the fact that the authors define the main teaching principles used by Vladigerov in the process of teaching piano playing and composition and describe the musician's contribution to the process of developing Bulgarian pianistic and composition schools.

Keywords: performing technology, musical composition, performance interpretation, Bulgarian pianistic school, piano art, Bulgarian music, music pedagogy, Pancho Vladigerov, performing style, virtuosity

DOI: 10.7256/2454-0625.2017.9.24063

Abstract: There are two reasons for the author of the article to have chosen to study the history of research of musical stylistics in Old Believers' religious verses. The one reason is that Old Believers' memorials were distinguished from the general Russia's repertoire quite late. The other reason is that there is a priority attention towards contents and poetic features of spiritual songwriting. The purpose of the present article is to systematise information sources that describe the history of establishment and development of researchers' interest in musical stylistics of Old Believers' spiritual verses while paying attention to the note publications and theoretical findings of different research genres. By using historiographic methods, the author has defined 70 publications including note compilations, or note records of individual samples in regional periodicals, descriptions of book compilations, musical poetical interpretations of local repertoires, and researches. Comparative analysis of publications has allowed to define key problems of researches devoted to Old Believers' spiritual songwriting, and to describe to what degree these regional traditions have been studied. The data that have been analysed prove that melodic features of spiritual verses are of great interest to reseachers in the spheres of musical archeography and medieval studies, ethnomusical studies, history of music, and regional studies of music that reveal musical-stylistic features of Old Believers' spiritual verses. The information sources systematised by the author can be used as references in various researches.

Keywords: regional traditions, notes, researchers, theoretical work, publication, compilations, spiritual verses, Old Believers, musical-stylistic features, historiography of the study

DOI: 10.7256/2454-0625.2017.4.19417

Abstract: The subject of the present research article is a problem of interpreting the philosophical content of classical music. The object of the research involves philosophical aspects of Aldred Schnittke's compositions. In his analysis of the composer's works Faritov relies on the theoretical study of Kant, Hegel, Wahl, Shestov, Bakhtin, Jaspers and Deleuze. Compositions of Alfred Schnittke explicated such fundamental philosophical categories as transgression, transcendence and the transcendent. In his study Faritov has used the methodological principles and guidelines of such areas as the structural analysis of music and musical semiotics. The main result of the research is the conclusion about the predominance of the phenomenon of transgression in musical works by Alfred Schnittke. The contribution of the author to the topic is the classification of music transgression methods in the works of the composer. The research has also allowed to identify and describe ways of representing transcendence and the transcendent in music.

Keywords: Bakhtin, Hegel, unhappy consciousness, transgression, transcendence, transcendent, Alfred Schnittke, philosophy, music, Dostoevsky

DOI: 10.7256/2454-0625.2021.5.33166

Abstract: This article is dedicated to determination of the system of musical-expressive means used by Alfred Schnittke to symbolically reflect the ethical opposition of good and evil in the “Psalms of Repentance”. The relevance of this research is substantiated from the perspective of heightened attention of the composers of the XX century to the musical symbolism that replaced programmability. The study is based on the method proposed by E. M. Akishina for determining the symbols of good and evil in different layers of timbre and texture arrangement of instrumental compositions of A. Schnittke. Application of this method to “Psalms of Repentance” for a cappella choir allows tracing the manifestation of these symbols on the timbre, phonism, melodic arrangement, musical language, and composition. The novelty of this article consists in the fact that unlike instrumental music of A. Schnittke, his compositions for a cappella choir are viewed from such analytical perspective for the first time. The following conclusions were made: the choral and instrumental compositions of A. Schnittke contain a ramified system of musical-expressive means, which clearly distinguishes the symbols of good and evil; these symbols outline the logic of dramatic development of each part of the “Psalms of Repentance”; their interaction within the framework of general concept of the cycle contains the ultimate ideological message – human choice, which determines his path along the line of sin as eternal Evil or through repentance – on the way towards God as the highest Good.

Keywords: timbre and texture organization, expressive means, dramaturgy, musical symbolism, Poems of penance, Alfred Schnitke, choral music, good and evil, ethical opposition, a cappella

DOI: 10.7256/2454-0625.2022.4.37912

Abstract: The article examines the words and the meaning, as well as the dramaturgy of sound in the first edition of the mystery "The Tidings brought by Mary" by Paul Claudel. Understanding the synthesis of verbal and vocal intonation leads the author of the article to discover new ways of solving the problem of stage music in mystery drama by Claudel. The discrete nature of the design of the sound space of the mystery in the first edition represents the concept of separately performed fragments, in which the episodes integrated into the action in liturgical Latin are united by a common spiritual meaning. At the same time, the design of the sound space in the 2nd scene of Act III (the dramatic climax, the sacred space of the mystery) is characterized by novelty. Based on the interaction of theatrical-dramatic and musical structural elements, the composition of the scene is subordinated to the principle of end-to-end, continuous vocal-dramatic development of the action. Conclusions are drawn: during the 1910s, Claudel's idea of music in mystery drama was transformed - instead of musical fragments of an "applied" nature, a new compositional idea of stage music arose. The lyrical intonation of the author's voice is found in the sound space of the work. The mirror of Claudel's mystery reflects the principles of sound design of dramatic productions of traditional Japanese theater (Bunraku, Kabuki, Noh), as well as images of poetry of China and Japan. In the sound of the "The Tidings brought to Mary", the semantic and dramatic functions are performed by the verses of the songs "Oriole sings" and "Margarita, clear May!" performed by children's voices. Claudel's mystery drama formed a new understanding of the universal meaning of the mystery in the twentieth century.

Keywords: sound space, dramaturgy of sound, faith, mystery, The Tidings brought to Mary, Claudel, mystery drama, Noh Theater, Lugné-Poe, syncretism

DOI: 10.7256/2454-0625.2017.2.21651

Abstract: The article is devoted to the research of a nettlesome problem which is still on the fringes of the interest of Russian and foreign scientists. The problem is related to the idea of the genesis and development strategy of Romanticism aesthetics in the sphere of violin performance. The topic under research is assonant not only to the current research trends but also creative searches of composers and performances who address to romantic tendencies in art. Virtuoso violinsts is one of a typical type of an artist of Romanticism whose creative work was fully actualized through that musical instrument. In this regard, the author of the present article sets a task to define particularities of their style of performance and composing which were predermined by their instrumentalism. The object of the research is the creative work of leading European virtuoso violinists of the 19th century such as Niccolò Paganini, Henri Vieuxtemps, Henryk Wieniawski, Pablo de Sarasate and Heinrich Wilhelm Ernst. The author's analysis of specialized literature has shown that such literature does not provide full but often contradictory information about the leading European violin musicians and composers of the 19th century as well as the main development trends. As a result of her theoretical research, the author defines innovatory particularities of virtuoso violinists' performance and composing. Those particularities were actively spread in the art of violin playing and musical art in general. The author also discovers some unknown facts from the history of violin playing that allow to see the role of violin plyaing in the global musical process in a different light as well as to create a better and more evidential picture of the European violin art of the 19th century.

Keywords: Heinrich Wilhelm Ernst , Pablo de Sarasate, Henryk Wieniawski, Henri Vieuxtemps, Niccolò Paganini, virtuoso violinist, aesthetics of romanticism, composer creative work, violin performance, virtuosic art

DOI: 10.7256/2454-0625.2024.3.70096

Abstract: The object of study in this article is the piano work of Italian composers of the late 19th – first half of the 20th centuries. The subject is programming in instrumental music, represented by the genre of the piano cycle. Based on the definition of programming and the classification of types, developed in the works of domestic musicologists M. Aranovsky, L. Kazantseva, Yu. Khokhlova, the author reveals the features of its implementation in the cycles of famous Italian composers F. Busoni, J. Malipiero, A. Casella, M. Castelnuovo-Tedesco, created during the historical period under study. Particular attention is paid to considering the issue of continuing the tradition of embodying programming in cycles, established by romantic composers, as well as identifying national features characteristic of Italian art as a whole. The article uses an integrated approach, including systemic-historical and comparative methods of analysis. The author also turned to the method of musical theoretical analysis. The novelty of the research lies in the development of one of the important and relevant areas of musicology associated with the synthesis of arts, within the framework of solving a specific problem: the implementation of various types of programming. The author’s special contribution to the development of this topic is the introduction into scientific circulation of new works of Italian masters that have not previously been studied, the consideration, using their example, of various types of programming in close connection with the tradition that has developed in European art, and the identification of ways to update it. The most important feature is the integrity of the cycles, which is formed at the emotional, figurative, stylistic, compositional, and tonal levels. A conclusion is drawn about the originality of the piano cycles of Italian composers, which is manifested in close connection with national art.

Keywords: Alfredo Casella, Gian Francesco Malipiero, Ferucco Busoni, national features, programming, Italian composers, romantic traditions, piano cycle, Italian piano music, Mario Castelnuovo-Tedesco

DOI: 10.7256/2454-0625.2017.2.21950

Abstract: The subject of the research is the role of Russian performers on the musical stage in developing and popularization of the song in the 1920s - 1930s. The rationale fo the research is caused by the need to rehabilitate Russian cultural identity that has somehow lost its entirety over the last decades of drastic social and economic as well as cultural shifts in the society. In his research Burmatov tries to trace back performance traditions of those times (folk song, urban folklore, mass song) and define the role of famous performers in developing the art of singing. The author underlines that the musical and poetical signs of the song are very easy to understand which made the song be so popular with the population masses. The author also describes particularities of the genre of the musical stage song and patterns of its functioning in terms of the Russian musical culture of the 1920s - 1930s. Based on the diachronic method of the cultural history analysis, the author pays attention to studying the experience of the choral performance (musical groups headed by M. Pyatnistky, P. Yarkov, M. Myakushin, K. Massalitinov, A. Sveshnikov, A. Alexandrov and others). Using the diachronic research method and based on the example of famous musical stage performers (such as O. Kovaleva, L. Ruslanova, I. Yauzen, A. Dolivo, A. Zagorskaya, V. Panina, A. Vyaltseva, T. Tsereteli, L, Utesov, K. Shulzhenko, M. Bernes, N. Obukhova, M. Maksakov, S. Lemeshov and others) the author studies the images of the song and defines features of their style and genre. The author describes how these performers presented their messages, what individual features they had that had a trace on the development of Russian musical vocal art. Using broad material, the author illustrates the growth of their professionalism during the first decades of the Soviet culture and art development (broad repertory, performance skills, creative individuality, etc.) which contributed to the development and popularization of Russian singing. The author states that the high level of performance that had been achieved by Soviet artists of those times encourged further development of the Soviet (and Russian) and foreign musical stage art.

Keywords: culture and art, soviet culture, choral performance, vocal art, musical stage, mass song, soviet song, art history, urban folklore, folk song

DOI: 10.7256/2454-0625.2017.3.17973

Abstract: The article investigates the features of Leskov’s texts based on the example of the novel by Nikolai Leskov «The Tale of Cross-Eyes Lefty» that belongs to a series of his novels about the righteous. The research is focused on the poetic and musical sides of Leskov's prose. The author raises a question about the balance between poetry and prose in the text of the Tale. Even Leskov's contemporaries already noticed a unique melody of the writer's writing style. Poets, writers and literary researchers of the 20th century have often underlined a musical rhythm of Leskov's prose. Still, there are no researches that would examine the aforesaid factors and phenomena. In her research Siverskaya combines the problem-logical and comparative methodological approaches as well as observation and analogies methods. The researcher describes literary devices used by Leskov that are comparable to music development methods: variability, polyphony, different speeches and intonations of characters and etc. The researcher also focuses on musical episodes of The Tale as they are. In conclusion, the researcher provides a brief review of musical performances of The Tale including symphonic music, musical comedies, musicals and opera.

Keywords: music of the language, variability, tale, flea, wood print, polyphony, chastushka , poetry, lefty, Leskov

DOI: 10.7256/2454-0625.2016.2.18038

Abstract: The present article is devoted to harpsichord concerts of Francaix, Carter and Górecki which were held in Europe and America in the 50s - 80s of the XXth century and were a great example of the main trends of the harpsichord repertoire of the second half of the XXth century. The second half of the XXth century was marked by the expansion of genres and styles for harpsichord which had come back to music at the turn of the XIXth - XXth centuries as part of neoclassicism and be an important part of the music life by the middle of the last century. The genre of harpsichord concert which used to be the leading trend in harpsichord repertoire of the 20s - 30s, faded into insignificance and was replaced by ensembles and recital plays allowing the composers to reveal new potential of harpsichord. However, the genre of concert is still attractive for composers which reflects the general tendency of the contemporary harpsichord style of the second half of the century from neoclassicism of the 20s - 30s, in particular, the two trends, towards avant-garde and the union of academic and popular intonations. The author of the article describes how the aforesaid harpsichord concerts were created as well as their structure, peculiarities of a harpsichord party and its interaction with orchestra instruments. As the main conclusion of the article, the author underlines the popularity of the concert genre among composers of Europe and America when creating plays for harpsichord in the XXth century including the second half of the XXth century. This allows to state with full confidence that the concert genre is one of the most representative genres of contemporary harpsichord repertoire.

Keywords: contemporary harpsichord, harpsichord music pieces, neoclassicism, harpsichord, contemporary harpsichord repertoire, harpsichord concert, concert for harpsichord, concert genre, contemporary music, avant-guard

DOI: 10.7256/2454-0625.2016.2.67613

DOI: 10.7256/2454-0625.2016.2.17552

Abstract: The present article is devoted to the creative work of one of the most famous Belgium musicians Henri Vieuxtemps whose unique gift for music came in full force in his compositions and performing art. Despite the important role of Henri Vieuxtemps' activities in the development of violin music, his achievements in the sphere of concert genre are still not recognized the way they should be. In this regard, the author of the present article decides to make Henri Vieuxtemps' violin concerts as the object of the research. The subject of the resaerch is the peculiarities of the musical language of his violin which was based on the synthesis of virtuosity and symphony in the concert genre. The present article is aimed at defining inventive features of Henri Vieuxtemps in the genre of violin concert, which are being viewed from the point of view of style, form making and principles of 'symphonization' of musical dramatic composition. The research is based on the complex theoretical approach combining historical and stylistic, comparative musicological and genre methods of analysis. For the first time in the academic literature the author of the present article gives evaluation of Henri Vieuxtemps' innovations in the sphere of violin concert in terms of principles of symphonic development. It is proved that the principles of musical development used by the composer demonstrate his attribution to the lyrical dramatic (monological) type of symphonism, which become apparent at the level of his dramatic composition and expressive means. The author of the article concludes that the main peculiarity of Henri Vieuxtemps' musical thinking is his creation of lyrical epic images of the romantic nature. As a result of the research, the author describes Henri Vieuxtemps' unique interpretation of thegenre of violin concert through synthesizing virtuosity and romanticism with dynamics of symphonic development.

Keywords: violin concert, Vieuxtemps, principles of symphonization, symphonic development, monological type of symphonism, romanticism, virtuosity, stylistic synthesizing, music style, concert cycle

DOI: 10.7256/2454-0625.2016.2.67614

Keywords: violin concert, Vieuxtemps, principles of symphonization, symphonic development, monological type of symphonism, romanticism, virtuosity, stylistic synthesizing, music style, concert cycle

DOI: 10.7256/2454-0625.2015.3.14597

Abstract: Part 1. The object of research.The object of the present research is the famous Parisian music theatre “Opera Comique” which has marked its 300 years anniversary this year. The author traces the history of the theatre, the main stages of its development and its role in the history of music and theatre art in France. Attention is paid to the repertoire policy of the theatre during its three centuries, as well as to the famous productions, important in opera history, the first nights of “Carmen” by Bizet, “Manon” by Massenet, “Pelleas and Melizande” by Debussy and others. Information is given about the works of Russian composers - Musorgsky, Borodin, Rimsky-Korsakov which were staged in the theatre, about Russian opera artists who performed on this stage.Part 2. Methods and methodology of research.While preparing the material work has been done on finding information, electronic archives of the theatre “Opera Comique” have been studied, as well as the first-hand sources, such as memoires of a number of musicians. The main methods of research were textual and semantic analysis of the sources and historic and cultural analysis of the context of the theatre’s activity. Part 3. The Novelty of Results.The innovativeness of the present research lies in the fact that in our country it is the first systematic rendering of the history of Parisian music theatre “Opera Comique” since its foundation till our days, fiving the full idea of all periods and important events in its history. This research is an innovative project of presenting empirical facts as an evidence of historic dynamics of culture and evolution of a cultural form in a combination of synchronic and diachronic analysis.

Keywords: culture of France, history, genre, comic Opera, Opera-Comique, music theatre, opera, music, Art, Paris

DOI: 10.7256/2454-0625.2015.3.66376

Keywords: culture of France, history, genre, comic Opera, Opera-Comique, music theatre, opera, music, Art, Paris

DOI: 10.7256/2454-0625.2013.3.62835

Abstract: the article attempts to determine the degree of authenticity of the battlefield music in movies dedicated to the Fatherland War of 1812. The author analyzes the feature films by Russian and foreign cinematographers and concludes that the true Napoleon-era battlefield music is almost never used by both Russian and foreign cinematographers. The exception is the 1965 motion picture “War and Peace” by S. Bondarchuk, which uses authentic recordings of the French Republic Guard orchestra conducted by A.A. Skrya bin, an immigrant nephew of the famous Russian composer. The explanation for this is not only ignorance of modern composers and sound engineers, but also the lack of the sources of music itself (sheets, or descriptions in academic sources or memoires). The article is addressed towards moviemakers to assist them in achieving more authentic correspondence of historic facts and cinematography based on them.

Keywords: history of art, music culture, army, Napoleonika, Borodino, march, signal, Bagration, Napoleon I, 1812.

DOI: 10.7256/2454-0625.2014.3.12371

DOI: 10.7256/2454-0625.2014.3.65256

Abstract: Acoustic experiments during performance of musical compositions are one of the innovatory features of modern musical art. Such experiments are typical for creative work of may composers of the second half of the 20th century including John Cage, Karlheinz Stockhausen, Iannis Xenakis , George Crumb, John Adams, Rodion Shchedrin, Alfred Schnittke, Nikolai Korndorf, Vladimir Martynov, Sofia Gubaidulina and others. A significant number of similar compositions were also created by a brilliant representative of postmodernism and a German innovative composer Mauricio Kagel (1931-2008). Kagel’s legacy consists of a great number of compositions which creation involved acoustic experiments. There are a number of parameters that ensure the significance of such experiments and show their important role in the evolution of music writing in general. These parameters include using items that are not usually used in musical art as musical instruments, singular arrangement of instruments and items on stage and in the audience hall and displacement of acoustic items when a composition is performed in a form of a play. By using a comprehensive analysis, the author of the present article analyzes a number of Kagel’s works that are based on acoustic experiments. The results of the analysis allow to draw a number of conclusions about the practical importance of Kagel’s experiments. In the majority of Kagel’s compositions acoustic experiments are not a sign of the epatage that was so fashionable in the 20th century but an expression of the composer’s attitude to inventions and his desire for innovations of the old ‘classical’ forms of music writing. Kagel managed not to get lost in the abundance of experimental tendencies and not to cross the line between a musical composition (when the sound bears certain information) and epatage or conglomerate of different techniques and styles of music writing combined in one piece of music as many composers of the post-modernistic generation did. This is what made Kagel an original leader of postmodernism in music.

Keywords: Acoustics, Kagel, post-modernism, experiment, musical art, instrumental theatre, happening, synthesis of arts, musical space, musical sound.

DOI: 10.7256/2454-0625.2016.3.19114

Abstract: The importance of the present research is caused by the growing popularity of the romantic music genre and orientation at romantic styles and trends demonstrated by contemporary composers and players. In this regard, it is very important to appeal to the creative life and work of the most brilliant representatives of the romantic movement in music, Polish violinist and composer Henryk Wieniawski. Remarkable and spectaculous and at the same time philosophical compositions of Wieniawsky opened the door to new discoveries, heights and directions for the development of the violin art, thus helping to develop the genre of violin concert. The subject of the research is the two compositions of Henryk Wieniawski in the genre of violin concert as the brightest example of his creative style. The author of the article makes an attempt to draw attention of modern music teachers and players to the composer's intention and profound conceptual solutions, in particular, in his Second concert. The research is based on the integrated theoretical and practical approach and the method of comparative analysis of these two Henryk Wieniawski's violin concerts in terms of the research subject. The scientific novelty of the research is caused by the fact that the author describes parameters for the comparative analysis of the two violin concerts composed by Henryk Wieniawski from the point of view of their concent and style. As a result of the research, the author makes conclusions about the development of the Polish composer's style and way of thinking, peculiarities of his expressive means and symphonization principles. The results of the research can be important for further researches of the creative life and work of the Polish composer and violonist Henryk Wieniawski as well as encourage further studies of European romantic art.

Keywords: virtuosic romantic genre, romantic lyrical genre, narrative methods, monointonationalism, monothematism, composition logic, instrumental ornamentality, conceptual way of thinking, violin concert, Henryk Wieniawski

DOI: 10.7256/2454-0625.2016.3.67830

DOI: 10.7256/2454-0625.2016.3.19225

Abstract: The article continues the elaboration of new methods of tonal melody analysis initiated by the author in previous works. These methods are based on the original interpretation of Heinrich Schenker's theory. The subject of the research is F. Schubert’s song "Das Wandern" (from the cycle "Die Schöne Müllerin") and Lied ohne Worte No 20 by F. Mendelssohn. Melody is considered in four aspects: 1) in the context of harmonic four-part texture; 2) in the context of linear progressions (the Urlinie and middleground pitch-lines according to Schenker); 3) within the melodic ambitus (identifying the primary, secondary and intermediate stable tones); 4) as the intoned conjugation of tones or chords. The researcher describes initial and/or final arrays of keynotes ('solid particles'). Melodic principles are divided into basic, auxiliary and intermediate ones. The final stage of analysis is the producing both detailed and concise schemes of melody. The methods offered by the researcher adequately demonstrate the movement of melody in the context of the linear-harmonic continuity of the mode. The article also includes a brief history of studying melody in the USSR.

Keywords: Heinrich Schenker, dynamic triangle, stable tone, intonation, ambitus, linear-harmonic analysis, melody, history of the music theory, Franz Schubert, Felix Mendelssohn

DOI: 10.7256/2454-0625.2016.3.67831

Keywords: Heinrich Schenker, dynamic triangle, stable tone, intonation, ambitus, linear-harmonic analysis, melody, history of the music theory, Franz Schubert, Felix Mendelssohn

DOI: 10.7256/2454-0625.2014.4.12650

DOI: 10.7256/2454-0625.2014.4.65428

Abstract: The author of the present article offers a new philosophical concept of music based on his own experience in methodology, cultural research and humanitarian studies. V. Rozin outlines the following problems to be solved: to explain the strong influence of music on human and different interpretations of music, irreducibility of music to the technique and sound and the dilemma bout whether music is a language or a system of symbols. The researcher introduces his hypothesis that music, on one hand, is a form of life that solve the personality problems and on the other hand, the artistic reality. V. Rozin also discusses the main features of artistic reality including the textual nature, the unity of experiencing and constructing events of the artistic reality and the role of the personality of an artist. In the last part of the article the researcher substantiates the initial hypothesis on the nature of music, compares music with other art forms and shows that classical music has been formed as a form of life allowing a new European personality to achieve the main tasks of existence. The researcher offers a definition of music culture as an important feature of music. In the course of the development of his music concept, the researcher has used humanitarian methodology, comparative analysis of different forms of art, case analysis, genetic arguments, the method of problematisation and construction of ideal objects. As a result, V. Rozin manages to create a new philosophical concept of music, to solve a number of problems related to music and, as he hopes, to partly solve the mystery of music. An important aspect of this mystery is that by listening to music, a human solves his existential problems in the form of music temporality and activity that includes reading and artistic understanding of a musical material form.

Keywords: Music, event, problem, personality, sound, set of sounds, word, life, understanding, reality.

DOI: 10.7256/2454-0625.2014.4.65429

Abstract: The subject under review is actionism as a phenomenon of post-modernistic culture and actionism in the heritage of an American composer John Cage. The author of the article describes the main forms of musical actionism including happening, instrumental theatre as a form of performance and multimedia. It is noted that actionism should be understood as a creative act that forms a new type of perception not typical for the previous ‘classical’ process of perceiving a piece of music. The new type of music perception was created in the middle of the 20th century and was caused by the desire of many composers to achieve the synthesis of arts. The article is based on the analytical method of analyzing the main forms of musical actionism. The researcher tries to draw our attention at peculiar properties of actionism in creative work of a particular composer. This is the first comprehensive research of Cage’s musical actionism in Russian art studies. The researcher proves that Cage’s synthesizing ideas combined with the principle of indeterminism is the central shapegenerating feature of Cage’s actions that mostly denies famous principles of musical art. According to the researcher, Cage’s actionism is an expression of his own inner world elated to Buddhism and the concept of the synthesis of arts rather than a challenge or an example of his deliberate epatage.

Keywords: Action, musical actionism, happening, performance, multimedia, instrumental theatre, synthesis of arts, John Cage, music forms, post-modernism.

DOI: 10.7256/2454-0625.2014.4.65430

Abstract: The article provides a review of music of the second half of the 20th century in the frame of the artistic culture and environment. The main peculiarity of that stage of development is the relation of music not only to various branches of art such as fine arts, literature, architecture, poetry, theatre, cinematograph but also to other branches of knowledge such as philosophy, esthetics, semiotics, linguistics, mathematics, physics, computer science and psychology. The author describes the two leading tendencies in music of the second half of the 20th century. One tendency relates to determinism, conditioned by the cause-and-effect relations and based on mathematics. The second tendency is based on indeterminism that views the chance and unpredictability as the esthetic ideal. This weakens the cause-and-effect relations, destroys the integrated composition and creates texts that are principally disconnected. The above mentioned tendencies are analyzed based on the example of a number of music pieces of the 20th century. The analysis is carried out taking into account these two tendencies. The two tendencies in music are associated with the two styles of composer’s thinking that are based on the two structural-semantic invariants. These are the informative thinking and synthesizing thinking. The first type is based on the combination of homogenous elements and has the following properties: - it is determined by the type of most-modern ‘scanning’ consciousness; - it was the result of the tendency towards determinism; - it is described with homogeneity that leads to programming of music; - it was born under the influence of exact sciences, in particular, mathematics; - it has the centralized nature due to the influence of centripetal tendencies. In the first case the prevalence of the rational beginning is caused by the properties of the artistic text oriented at exact sciences. The second type of thinking is based on the combination of heterogeneous properties and synthesizing texts involving interaction of various codes. It also has the following properties: - it is determined by the type of post-modernistic ‘articulatory’ consciousness; - it was the result of the tendency towards indeterminism; - it is described with heterogeneity and contrast music codes; - it has the decentralized nature due to the influence of centrifugal forces.

Keywords: Artistic culture, determinism, indeterminism, structural-semantic invariant, composer’s thinking, informative expression, synthesizing expression, musical semiotics, music of the 20th century, music.

DOI: 10.7256/2454-0625.2016.4.19032

Abstract: The object of the research is the opera writing by Rimsky-Korsakov through revealing fantasy female characters in the fairy opera tales "Sadko", "The Tale of Tsar Saltan", "Kashchei Immortal", "The Golden Cockerel", and "The Legend of the Invisible City of Kitezh". Man's understanding of the beautiful had always gone hand in hand with art which, in its turn, is one of the finest manifestations of the society's culture as well as an inexhaustible topic for research. In this paper Krapiva investigates the best traditions of Russian opera and imaginative realm of "Beautiful Lady" in the works of Nikolai Rimsky-Korsakov. The author describes common features of idealized images of beautiful ladies in creative works created by poets and philosophers and how these images are shown in the composer's fairy plots. The methodological basis of the research includes the materialistic theory of knowledge. In the course of the research the author has also used general research methods such as analysis, synthesis, historical-artistic, comparative and systems-structural analysis. The author concludes that analysis of the image of "Beautiful Lady" embodied in the fabulous female characters in Rimsky-Korsakov's opera allows performers (singers and actresses) to come to a better understanding of the vocal part and is necessary for the realization of bright beautiful female characters in opera.

Keywords: World Art, music, art, vocal understanding, female characters, fairytale opera, Russian opera, Rimsky-Korsakov, the image of Beautiful Lady, imaginative sphere

DOI: 10.7256/2454-0625.2016.4.68090

Keywords: World Art, music, art, vocal understanding, female characters, fairytale opera, Russian opera, Rimsky-Korsakov, the image of Beautiful Lady, imaginative sphere

DOI: 10.7256/2454-0625.2015.5.16422

Abstract: The paper is devoted to the typical features of music modality from the point of view of their harmonic imlementation. The purpose of the article is to demonstrate the features of modal harmony as a special type of musical thinking. The subject of the research is the peculiarities of the composition of folk and medieval modal moods. Based on the examples of the Catholic Church moduses, Russian folk songs and Indian traditional moods "tkhat" the author considers the logic of sound sequences and functional relationships within the modal moods. The author also analyzes the principles of the composition of the sequences of moods in the sound continuum, harmonic roles of their tones and ontological aspects of the modal mood. The research is based on the method of harmonic analysis and comparative analysis of the principles of modality and tonality of moods. For the purpose of interpreting modal moods as a type of thinking and aesthetic world view, the author has also appealed to the philosophical idea of the unity of substance and form postulated in modal ontologies. The novelty of the author's research is caused by the fact that the author applies the logical-ontological approach to the interpretation of harmonic phenomena and summarizes peculiarities of European, Russian and Indian moods as historical forms of modal thinking in music. In the course of the research the author has defined such features of harmonic modality as the impossibility of the unification of moods, reproduction of moods in a form of any number of sequences that potentially have different pitches of sound, folding of each sequence of modal functions and, on the contrary, performance of one and the same function at different levels. These qualities speak of particular plasticity of modal musical thinking within which such phenonena as the mood, melody (tune) and musical form tend to be indistinguishable.

Keywords: modality, modal harmony, modal mood, tonality, modal thinking, raga, tkhat, modal variability, modus, modal integrity

DOI: 10.7256/2454-0625.2015.5.66915

Keywords: modality, modal harmony, modal mood, tonality, modal thinking, raga, tkhat, modal variability, modus, modal integrity

DOI: 10.7256/2454-0625.2016.4.20439

Abstract: Czech hymnal as a literary-musical genre got its wide popularity thanks to the great wide spreading of the collections sacred songs used in the Christian society and performed by a church choir and the community of believers as in the Czech Republic as in abroad. Hymnal as a genre got its final artistically appearance, it developed and spread through the common people in the Czech lands during the Baroque epoch (XVII-XVIII centuries) due to the large-scale process of recatholization (Catholic Counter-Reformation). At the same time the hymnographic work of non-Catholic people from the Czech lands have had to develop outside the country. John Amos Comenius published in Amsterdam in 1659, which is the lively example of the Czech emigrant’s hymnography became an artistic symbol of striking confirmation of the religious opposition in the Czech lands. Amsterdamer hymnal, which is a skillful combination of music and text, consists of a preface, paraphrases of psalms, the songs so called «mains», «officials» and «eventualies». The research methodology is a historical and analytical approach, due to it the article exermine the synthesis of verbal - phonic and verbal-musical components of this Hymnal. The scientific originality of this paper consist in that Comenius is firstly in domestic komeniology represented not only as an outstanding Czech philosopher and educator, as well as a poet and composer, a key figure of the Unity of Brethren. It should be noted that in the XVII century Amsterdamer hymnal occupied an important place in the history of spiritual singing of the Unity of Brethren due to interpretation of the Hussite hymnographic heritage through the prism of Baroque aesthetics by genius of Comenius. Comenius’es Hymnal is remained outstanding miscellany of spiritual songs to this day. Nowdays the songs from this Hymnal is well known in evangelical environments both in Czech Republic and abroad.

Keywords: czech language, psalms, paraphrases of psalms, the Unity of Brethren, melodies of songs, John Amos Comenius, Hymnal, hymnography, the members of utraquism, baroque aesthetics

DOI: 10.7256/2454-0625.2016.5.68112

Abstract: The subject of the research is the activity of a leading composer, theorist, polemist, teacher and conductor of New Music Pierre Boulez whose activity led to the foundation of Institute for Research and Coordination in Acoustics/Music (IRCAM, the Centre Pompidou in Paris). Petruseva analyzes the environment and stages of Boulez' creative activity, three types of musical establishments (training, performing and research establishments), IRCAM structure; Boulez' article 'Technology and the Composer' that became the manifesto of IRCAM; Boulez' interpretation of the total serialism, denial of preceding (nearest) tradition and transition to the period of 'synthesis'. The researcher uses an integrated research method that combines comparative studies, structural musical methods and elements of social methods. The novelty of the research is caused by the fact that the author tries to outline the borders of anthroposociological research based on the example of Pierre Boulez' sociocultural activity. As a conclusion, the author describes the single line of Boulez' activity that starts with immediate problems of aesthetics, musical material, language and New Music concept and comes to musical establishments through the problems of perception and music performance.

Keywords: post-serialistic modernism, types of musical establishments, teaching, performing New Music, research-related, structure and manifesto, New Music, IRCAM (Institut de Recherche et de Coordination Ac

DOI: 10.7256/2454-0625.2013.5.9724

DOI: 10.7256/2454-0625.2013.5.63373

Abstract: The article is devoted to the discovery of the temporary modus of analytical thinking that means description of logical relations in the sphere of time relations. Time means one’s internal perception and subjective experience of time. Serial music was chosen as the empirical material that is equally based on time relations and analytical thinking. The research methods included phenomenological analysis of perception of time as well as the structural and harmonious and rhythmic analysis of the musical text. The article also describes time aspects of preconditions of analytical operations: division, distinction and concreteness (tematization); the role of perception of time in formation of categories of quality and quantity is also shown. The differentiating potential of time relations is well shown during the analysis of the etude No. 2 of the cycle «Four Rhythmic Etudes for a Piano» composed by Olivier Messiaen (1908–1992). The musical text is analyzed from the point of view of axiological and differentiating role of time. The etude is submitted as art integrity where time is a source and condition of distinctions, differentiations, creation of logical system, recognition and definiteness of tones, tematization of sounds of series.

Keywords: cultural research, analytical thinking, internal perception of time, distinction, differentiation, thematisation, quality and quantity, length and intensity, serialism, Oliver Messiaen.

DOI: 10.7256/2454-0625.2014.5.13102

DOI: 10.7256/2454-0625.2014.5.65553

Keywords: Music, event, problem, personality, sound, set of sounds, word, life, understanding, reality.

DOI: 10.7256/2454-0625.2013.6.10427

DOI: 10.7256/2454-0625.2013.6.64028

Abstract: Based on the example of the concept offered by a British scientist Malcolm Budd, the author of the article views the strategy used by scientists to prove the relation between music ad emotion based on the principle of cross-categorical similarity between the sound of music and one’s emotional experience. Using the idea of ‘make-believe’ introduced by Kendall Walton as an additional explicit mean as well as the three disjunctive ‘imaginative projects’ explaining the possible ways of perceiving emotional expressive music, Budd’s concept tends to fully explain the phenomenon of music expression and emotional impact made by music. The main purpose of the research was to describe the explicit potentials of Budd’s concept and the main research method used by the researcher was the method of conceptual analysis. The researcher concludes that the analogy principle cannot be used at the core of the basic concept of musical expression because it has certain limits and cannot cover all possible forms of musical expression of emotion. It also has certain limits when used as the methodological principle lying in the basis of the synthetic approach integrating different explicit means.

Keywords: internal similarity, synthetic theory, cross-categorical similarity, Budd, movement, make-believe, Pratt, perception of emotions, sympathetic response, make-believe truth.

DOI: 10.7256/2454-0625.2013.6.10678

DOI: 10.7256/2454-0625.2015.6.16822

Abstract: In his article Sineokiy presents the results of his research devoted to the social process of rock music recording as a youth subcultural phenomenon in the second half of the XX century. The subject of the research is the socio-communicative conditions of formation and development of the tape recording community as part of the history of Soviet youth subcultures in the 1970-80's. The purpose of the research is to conduct a retrospective study of the tape recording culture, i.e. the culture of home music rewriting in the USSR. In general, the Soviet youth subculture was a complex combination of different social groups, both interrelated and autonomous ones, where the passion for rock music occupied a central position. The author of the article examines the content and dynamics of the sociocommunicative component in the development of informal entities of the Soviet youth who were interested in collecting records and music tape recordings. Thereupon the author pays particular attention to the analysis of the social infrastructure of The Tape Recording Community in terms of recreational functions of record collecting. The images of 'Sound Writers' as part of the expansion of the socio-cultural scope of the term 'Magizdat' are characterized. The location of recording studios in the mass media and their organizational role during the consumption of the phonographic products are revealed. The interdisciplinary nature of the scientific description of the phenomenon of The Tape Recording Community led to the use of various human science methods in the present research. The phenomenon of tape recording subculture is characterized as part of the mass recording formed under socialism. The definition of the term Taping Subculture is substantiated. The similarity of the positions in this case has a syntactical nature. The phenomenon of Musical Recording Subculture as a complex cluster of spheres of social and cultural communication that formed stable interdependence rules and principles of the phonographic and record collecting cultures are presented. The hypothesis, according to which The Tape Recording Community was an important element of multichannel polysubcultural communication in the USSR both legally and illegally in the sphere of music is proved.

DOI: 10.7256/2454-0625.2013.6.64029

Abstract: The subject matter of the present research article is one of the most popular soldier’s marching song ‘Fly Up Like Eagles, Falcons!’. The purpose of the present article is to trace back the history of the song from the moment when it was first heard till the moment when it was first performed for the audience and first published. The results of the study are the discovery of the first facts of the song being performed in the 30th of XIXth century, particularly in 1834 during the Kalisz maneuvers but not during the Patriotic War of 1812. The results of research can be used to prepare for publication of selected patriotic and soldier’s songs. The scope of application of the results includes soldier’s songs, military history, preservation of cultural heritage, songcraft and Russian history. The research methods include the search and analysis of all references to this song in printing materials and audio and visual works. The author of the article studied different variants of the song as well as existing selected soldier’s songs published in Russian and foreign languages. Conclusions: the old soldier’s song ‘Fly Up Like Eagles, Falcons!’ is still dearly loved and popular among military officers. The song has a rich history that relates to the heroism of Russian people during wars. Different variants of the song also show the creativity of composers of soldier’s songs. The song is quite important for modern creative professionals.

Keywords: soldier’s song, union with Prussia, Kalisz maneuvers, Great Patriotic War, military history, cultural heritage, field camp, choir singing, Russian tsar, Prussian King.

DOI: 10.7256/2454-0625.2015.6.67063

Keywords: collectors, sound recording, studios, music, rock, record collecting, subculture

DOI: 10.7256/2454-0625.2015.6.15732

Abstract: The subject of the research is one of the most popular contemporary genres of music composing, the genre of instrumental theatre. The author of the article examines the variety of mass instrumental performance such as 1) compositions when an instrumentalist (leading performer, character) opposes to the orchestra or band (individual is personified, contrasts or conflicts with the other participants which namely typical for pieces written for a leading performer and orchestra); 2) pieces when a number of instrumentalists (leading performers, characters) have their personification and enter into relationship with the orchestra, band or one another, 3) pieces when personification is not an individual feature (of a instrumentalist or leading performer) but the feature of a group of instruments, parts of the orchestra, which allows to achieve the theatre stage effect of "mass confrontation". Mass instrumental performance is viewed as an integral phenomenon, therefore the author of the article has applied the method of the integral analysis of the phenomenon. The result of this research is the description of specific relations between dramaturgic layers in the process of mass instrumental performances (musical, behavioral, visual, verbal, etc.). It is noted that the presence of these layers, on the one hand, encourages a more basic understanding of music (dramaturgic comparison of layers reveals the essence of music through the behavior of instrumentalists on stage, their visual appearance and/or the use of the word), and on the other hand, withdraws music from the traditional performance of compositions which attracts the attention of a larger audience.

Keywords: music, instrumental theatre, postmodernism, musical actionism, genre, performance, dramaturgy, the synthesis of the arts, synesthesia, scene

DOI: 10.7256/2454-0625.2015.6.67064

Keywords: synthesis of the arts, music, instrumental theatre, postmodernism, musical actionism, genre, synesthesia, performance, dramaturgy, scene, stage

DOI: 10.7256/2454-0625.2015.6.16486

Abstract: The article presents a creative portrait of the famous in Russia and abroad scientist and art critic Alla Sokolova from Adygea. In 2015 Alla Sokolova is going to celebrate her anniversary. The author of the article provides a description of the polycultural environment in Kazakhstan and Sokolova's professional music education (received in Karaganda and Almaty) which encouraged a better understanding of Kazakh music and efficient methods of studying Kazakh folk art. The author also describes the first years of Alla Sokolova's professional activity and the beginning of scientific researches on the identity and values of the Adyghe folk music. The author of the present article proves the fact that it is possible to analyze and research ethnic culture for a scientist who is not a genetic bearer of tradition. It is emphasized that ethnographic researches started by Kazakhs in the nineteenth century were based on the traditions of Russian science and were written mostly in Russian. The main method used by the author to analyze the scientific activity of Alla Sokolova is the diachronic method combined with the method of structural analysis which has allowed to describe the main focus of her work including research, mentoring, enlightenment and social practice. The novelty of this research is caused by the fact that the author presents a brief review of the main works of Alla Sokolova that demonstrate how she developed the methodology of her system research of the Adyghe music culture. It is proved that her research and mentoring activities created the basis for a scientific school. Alla Sokolova's researches have become an example for many researchers of folk music of Caucasus and Russia in general. The author proves that Adyghe ethnomusicology presented by Alla Sokolova should be recognized at the international level. Foreign speeches and publications of Alla Sokolova present Adyghe music culture to the international academic community systematically. In her researches Alla Sokolova combines narrow music studies with a broader cultural research of long-term complex processes.

Keywords: ethnomusicology, A. N. Sokolova, anniversary, the Adyghe musical culture, instrumental music, system method, scientific school, followers, social projects, international recognition

DOI: 10.7256/2454-0625.2015.6.67065

Keywords: Alla Sokolova, anniversary, Adyghe music culture, instrumental music, system approach, scientific school, followers, ethnomusicology, social projects, international recognition

DOI: 10.7256/2454-0625.2016.6.20961

Abstract: The subject of the present research article is the interpretation of lyrical images in creative work of Igor Stravinsky. Special attention is paid to the fact that despite the anti-romantic orientation of his aesthetic credo as it was declared by the composer, the lyrical beginning was still there in his music. It was most brightly expressed in his musical-theatrical compositions because performance specifics and chosen plots imply intend this or that variant of visualization of lyrical images. The objects of the research are Stravinsky’s works that are rather contradicting in terms of their expressive contents. These are the comic opera ‘Mavra’ and fairy-tale ballet ‘Fairy’s Kiss’. The main research method is the analysis of libretto and musical text of two works by Igor Stravinsky where a lyrical image is brightly presented. Further comparison of the aforesaid works allows to define various aspects of interpreting lyrical images in the composer’s creative work. As a result of the research, the author concludes that in Igor Stravinsky’s works visualization of lyrical images have brightly expressed specific features including the fact that the composer is always an ‘observer’ ‘showing’ but not actually feeling this or that situation including situations related to the development of lyrical feelings. Lyrical images are either represented as a comical-ironical image like in the opera ‘Mavra’ or ritual-mythological image like in the ballet ‘Fairy’s Kiss’.

Keywords: neofolklorism, music of the twentieth century, analysis of the musical text, Fairy's Kiss, Mavra Opera, interpretation of lyrical images, Stravinsky, neoclassicism, anti-romanticism, musical dramaturgy

DOI: 10.7256/2454-0625.2016.6.68305

Keywords: Stravinsky, interpretation of lyrical images, The Opera Mavra, analysis of the musical text, music of the twentieth century, neofolklorism, neoclassicism, antiromantic, dramaturgy of music

DOI: 10.7256/2454-0625.2016.6.21299

Abstract: The subject of the research is the opera concept being analyzed in terms of the artistic thinking of the second half of the XXth century, ‘Catholicism’ tendency in French musical theatre and analysis of musical dramaturgy as well as emotional and psychological aspects of the musical content. Based on the analysis of documentary sources, the author of the article describes the history of opera creation, how it developed on stage, stages of the development of the Christian concept of human, and principles regulating the relationship between the literary text (drama) and music in the opera. The subject of the research also involves the main vector of submitting the artistic meaning represented in the opera as an existential choice made by the main heroine, Sister Blanche, no her way to the Holy Spirit. The author of the article conducts the musical-philosophical, musical-theological and musical-psychological hermeneutic reconstruction of the process of the development of the artistic concept in Francis Poulenc’s opera ‘Dialogues of the Carmelites’ and analyzes the semantic and composition organization of the literary text and musical text in the opera. For the first time in the Russian academic literature the author analyzes the aspects of the Catholic mysticism in the structure of the opera and the relationship between the superior phenomenon of the Grace of God and human freedom. The author also views the main principles of the relationship between drama and music in the opera and analyzes documentary sources related to the process of the transformation of the opera structure during 1953 – 1955. Azarova also touches upon the counterpoint of the spiritual and social dimensions in the musical dramaturgy. The author makes a conclusion about a specific musical content of the opera revealing universal human, humanistic, psychological, philosophical and theological meanings of the Grace of God as one of the main Christianity concept.

Keywords: counterpoint of temporary lines, musical content, dramaturgy, Grace of God, concept of human, Christianity, Georges Bernanos, Francis Poulenc, Dialogues of the Carmelites, opera

DOI: 10.7256/2454-0625.2016.6.68352

Keywords: opera, Dialogi karmelitok, Fransis Pulenk, Zhorzh Bernanos, khristianstvo, kontseptsiya cheloveka, dramaturgiya, kontrapunkt vremennykh linii

DOI: 10.7256/2454-0625.2016.6.21359

Abstract: The object of the research is the musical dramaturgy and the structure of images in a mono opera 'Émilie' by a famous modern Finnish composer Kaija Saariaho. Based on the anaylsis of libretto, musical composition and combination of expressive means enabling plot-forming and dramaturgical solutions in the opera, the author of the present article describes and analyzes original principles used by the composer in her creating the image of the main heroine. One of the most brilliant principles is the composer's revealing the image of Émilie through her 'invisible presence' in monologues of other 'characters' mentioned in the libretto and expressed in music. The main analytical methods used by the author in this research relate to musical hermeneutics. In addition, the author also bases the research on approaches that are traditionally used by Russian music studies to analyze opera librettos and music. The scientific novelty of the research is caused by the fact that the author studies this particular opera. The result of the research is the conclusion that versatile dramaturgy of the opera libretto and music along with the polyphony of images in the opera 'Émilie' provides new opportunities for developing the genre.

Keywords: Finnish composer, Lyonese opera, Amin Maalouf, music of the 21st century, modern opera, Saint-Lambert, Voltaire, mono opera, Émilie, Kaija Saariaho

DOI: 10.7256/2454-0625.2016.6.68507