Abstract: The focus of this study is intertextuality within a scientific context, specifically examining a broad range of scientific works that explore intertextuality in the broader context of fiction as a whole. The relevance of this issue is determined by its ability to help estimate the scientific status of this category. The author delves into the study of intertextuality in the humanities, exploring the fundamental principles of this category as formulated in the works of A. Veselovsky, Yu.Tynyanov, Yu. Kristeva, M. Bakhtin, H. Bloom, and others. The author uses general scientific research methods within a comparative and logical analysis, including observation, generalization, and comparison. The research is comprehensive, interdisciplinary, and based on the analytical method. The author comes to the conclusion that intertextuality as an artistic category is thoroughly studied in scientific works. Despite the variety of interpretations of this category, in the scientific field, it appears as a particular mechanism that represents a scientific text as a system operating according to specific laws and acting as a theoretical and practical basis for the modern methodology of musicology as a science, revealing the content of a composer’s canvas and its connection with the cultural texts of previous epochs.  

Keywords: infinity, intertext, author, text, postmodernism, game, parody, humanities, intertextuality, space

Abstract: The subject of this research is the symphonic creativity of the outstanding late twentieth-century Russian composer Boris Ivanovich Tishchenko (1939–2010). The author studies his works from the 1960s, which were inspired by classical and modern Russian poetry, while focusing on issues such as the interrelation between music and poetry in Tishchenko’s orchestral compositions and the significant influence of literary concepts in the development of his symphonic style. Special attention is given to four of the composer’s outstanding works: The Twelve, a ballet based on Alexander Blok’s poem (1963), Symphony No.2 Marina to Marina Tsvetaeva’s lyrics (1964), Requiem to the poem by Anna Akhmatova, and a piece of dramatic music, The Death of Pushkin (1967). The author arrives at the conclusion that most of Tishchenko’s symphonic creativity was based on his love of literature, words, and the artistic image begotten by literature and poetry. The author’s unique contribution to the research of this topic is a detailed study of Tishchenko's significant symphonic works based on poetry in the 1960s. The scientific novelty of this research is that Tishchenko's literature-centric works are, for the first time, being considered in the context of the development of his symphonic creativity. The article uncovers a strong correlation between the author’s style, the composer’s language, and the non-music influences on his creative process.  

Keywords: dramaturgy, renewal, symphony, poetry, Anna Akhmatova, Marina Tzvetaeva, Boris Tishchenko, word and music, Alexander Pushkin, vocal art

Abstract: This article focuses on transforming a musical language and the correlation between the esthetic guideline, invention, compositional technique, and language. The author describes Pierre Boulez’s two strategies in life and work, which allowed him to gain significant cultural authority, and sets out the people who influenced Boulez’s esthetics. In a broad esthetic and philosophical context, the author shows the turn from the technique to the language in Boulez's esthetical and theoretical texts, describes the three concepts of the language, the period of synthesis following the period of rejection, and Boulez’s concerns about the problems of music perception. In the context of Boulez’s thesis about the unity of an invention, a technique, and a language, the author considers Boulez’s supporter Heinz Holliger's piece for viola, Trema(1981). The author uses a comprehensive approach as a combination of elements of comparative analysis, musical phenomenology (focusing the mind on music structures), and hermeneutics (the process of understanding and interpreting). The research material is of methodical importance for modern educational courses in the theory and history of music. The author arrives at the conclusion that Boulez, as well as Kant, directs the concept of art towards Aristotle's category of “poiesis” as “craft and creation” and focuses on overcoming the esthetics of rejection (preceding the classic-romantic tradition) in Boulez’s turn to the period of “synthesis,” which includes not only the turn from a technique to a language but also electroacoustic “sound manufacturing.” The following aspects of Hollinger’s Trema are considered for the first time: the idea, the principles of new solo music, and the new technique. The author arrives at the conclusion that Trema belongs to the “multilayered music epoch” and that radical rethinking of a musical language sharpens communication.  

Keywords: music as a language, texts by Pierre Boulez, turn to universality, three concepts of language, Hans Holliger, piece for viola, specific techniques of the game, idea of the piece, new solo music, different time levels

Abstract: This article develops a comprehensive approach to classifying instrumental ensembles featuring the domra. It aims to discern the underlying principles that can be used to create various models of such ensembles. The author recommends analyzing the various aspects of the phenomenon being studied from different perspectives: as music groups and from the viewpoint of music compositions composed for these groups. This article examines and compares different models of concert groups based on the number of members and instrumental components, as well as the unique genre and style characteristics of instrumental ensembles featuring the domra and their collaborations with composers. This classification method helps comprehensively cover the work of a large number of musicians, both members of ensembles and composers. Constructing various systems for classifying instrumental ensembles can aid in the examination of the existence of such groups in contemporary music culture. The author concludes that, at present, Russia's spectrum of music performance contains a vast range of ensembles made up of various instruments and different numbers of members. The diversity of these groups’ genres and styles is reflected in their repertoires, from folk to classical music and modern composing schools to jazz, rock, pop, and performance. 

Keywords: timbre, style, genre, model, classification, domra, instrumental ensemble, sound extraction, Russian folk instruments, repertoire

Abstract: In this article, the author examines the outstanding writer, musician, scholar, collector, and researcher of music folklore and the Old Russian art of singing, Prince Vladimir Fyodorovich Odoyevsky, and his perspective on the topic of public music education. The author considers Odoyevsky’s opinion on educating women and the lowest tiers of Russian society and the possible methods of public music education. This research is based on Odoyevsky’s letters and diaries and three articles about primary music education methods and the peculiarities of giving solfeggio classes to the broader public. The author focuses on the role of the “numerical technique” in developing Russian folklore music notating. The scientific novelty of the research lies in understanding Odoyevsky’s contribution to the popularization of the music notation system created by Émile-Joseph-Maurice Chevé. The author of this research is the first to establish Odoyevsky’s priority in developing and supporting government and social initiatives in the field of public music education. The author demonstrates the Russian enlightener's universal character toward the approaches to solving educational problems and explains the reception of some of the scholar’s scientific ideas in the Russian folklore milieu. The author uses the examples of typologically homogeneous terms of the theory of music applied by Odoyevsky that continue to be used by folk musicians.  

Keywords: ethno-notations, music notation, self-teaching, Vladimir Odoyevsky, Emile Cheve, folk music, music education, public education, music theory, teaching music