Abstract: The article is devoted to the analysis of the theme of labor in the Soviet mass song of the 1930s. The purpose of the study is to reveal the poetics of mass song labor in the context of the Russian musical culture of the 30s of the twentieth century. The author points out that the mass song is one of the most interesting phenomena of Soviet culture. It is rightly noted that being a product of the socialist era, the mass song was designed to solve the tasks of mobilizing a significant number of people for labor feat, without which it was unthinkable to successfully build a new life in the young Soviet state in the first decades of its formation after the October Revolution of 1917. It is stated that the song of those past years reflected the typical features of song art aimed at developing an optimistic spirit, strong will and self-confidence among Soviet citizens. The article examines the characteristic features of the mass song of the 1930s, analyzes the goals of its dissemination, the main images popularized in the texts of this type of songs, as well as their influence on the consciousness of the Soviet people. The theoretical significance of the research is determined by his contribution to the development of the problems of pop music art as an integral part of Russian culture.

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.