Abstract: The study of the history of any musical genre implies its detailed characterization in certain historical epochs associated with changes in artistic and social orientations. Such a separate epoch is the XIX century – the age of Romanticism, the time of modification of a number of well-known musical genres. The genre of the piano duet is undergoing a similar transformation at the specified time. The subject of research in this article is the specifics of the existence of a piano duet in the context of a significant rethinking of the semantic and stylistic thesaurus of musical art in general, which occurred in the XIX century. It is emphasized that the genre not only changes the specifics of its performance (there is a gradual transition to the concert stage), but also undergoes internal stylistic transformations. For the first time in musicology, attention is paid to the reasons for the spread of the genre in the XIX century, a classification of duet compositions (concert and chamber types) is created, the features of the content, form, texture, tempo, performing techniques characterizing a piano duet at a specified time are considered, and the reasons for the modification of its genre features are also named. The works of S. Geller, E. Grieg, L.M. Gottschalk, K. Reinecke and a number of other composers are presented as examples. As a conclusion, the reasons for the disparity of duet compositions of the XIX century in artistic terms are noted.

Abstract: The study of the history of any musical genre implies its detailed characterization in certain historical epochs associated with changes in artistic and social orientations. Such a separate epoch is the XIX century – the age of Romanticism, the time of modification of a number of well-known musical genres. The genre of the piano duet is undergoing a similar transformation at the specified time. The subject of research in this article is the specifics of the existence of a piano duet in the context of a significant rethinking of the semantic and stylistic thesaurus of musical art in general, which occurred in the XIX century. It is emphasized that the genre not only changes the specifics of its performance (there is a gradual transition to the concert stage), but also undergoes internal stylistic transformations. For the first time in musicology, attention is paid to the reasons for the spread of the genre in the XIX century, a classification of duet compositions (concert and chamber types) is created, the features of the content, form, texture, tempo, performing techniques characterizing a piano duet at a specified time are considered, and the reasons for the modification of its genre features are also named. The works of S. Geller, E. Grieg, L.M. Gottschalk, K. Reinecke and a number of other composers are presented as examples. As a conclusion, the reasons for the disparity of duet compositions of the XIX century in artistic terms are noted.

Abstract: The research subject of this article is Dmitri Shostakovich's “Thirteenth Symphony”—one of the most monumental symphonic canvases of the twentieth century, reflecting in its essence the chronicle of historical vicissitudes that took place in the Soviet Union. After a number of compromised compositions in the late 1940s and 1950s, forcibly written ("Songs about Forests," the Eleventh Symphony, numerous miniatures), the Thirteenth Symphony made a splash in musical and near-musical circles, as many perceived it from a polemic angle with the Stalinist regime. The reader's attention is focused on the fact that in it, the composer resorts to a veiled polemic with the current government, and the figurative world of the symphony is a direct reaction of Shostakovich not only to the events to which the opus is dedicated ("Babi Yar," the words of E. Yevtushenko) but also on the reality surrounding him. The semantic contexts of the work are examined through the prism of biographical data about the composer, as a result of which a wide documentary and historical apparatus are involved—the memoirs of Shostakovich's colleagues and contemporaries, his own statements addressed both to the symphony in question and to the broad historical and cultural context of the era. It is in the broad contextual approach that the scientific novelty of the article is seen. In addition, it presents analytical material that allows a deeper understanding of the essence of the work as a whole and the reasons why the symphony was banned at the time.

Abstract: The research subject of this article is Dmitri Shostakovich's “Thirteenth Symphony” – one of the most monumental symphonic canvases of the twentieth century, reflecting in its essence the chronicle of historical vicissitudes that took place in the Soviet Union. After a number of compromised compositions in the late 1940s and 1950s, forcibly written ("Songs about Forests," the Eleventh Symphony, numerous miniatures), the Thirteenth Symphony made a splash in musical and near-musical circles, as many perceived it from a polemic angle with the Stalinist regime. The reader's attention is focused on the fact that in it, the composer resorts to a veiled polemic with the current government, and the figurative world of the symphony is a direct reaction of Shostakovich not only to the events to which the opus is dedicated ("Babi Yar," the words of E. Yevtushenko) but also on the reality surrounding him. The semantic contexts of the work are examined through the prism of biographical data about the composer, as a result of which a wide documentary and historical apparatus are involved – the memoirs of Shostakovich's colleagues and contemporaries, his own statements addressed both to the symphony in question and to the broad historical and cultural context of the era. It is in the broad contextual approach that the scientific novelty of the article is seen. In addition, it presents analytical material that allows a deeper understanding of the essence of the work as a whole and the reasons why the symphony was banned at the time.

Abstract: In the twentieth century, playing two pianos has become one of the leading forms of joint ensemble performance – many duet compositions have appeared all over the world, and the creation of works for such a composition is a separate branch of compositional creativity. The authors, representatives of different artistic trends, preaching various techniques and manners of writing, paid close attention to the piano duet. A special branch of the development of the genre at this time is represented by compositions in which quaternary is used as a unique, original method of creating compositions, suggesting special searches in the field of musical acoustics and aesthetics. They – the opuses of I. Vyshnegradsky, C. Ives, M. Cooper, S. Reich, V. Ekimovsky – for the first time in musicology became the main object of contextual analysis. The importance of such music for the heyday of the piano duet in the twentieth century can hardly be overestimated: it was she who brought into the genre a completely unknown acoustic imbalance of instruments, a dialogue of two personalized parts. The piano duet of the twentieth century is determined not only by its own artistic values expressed by specific duet works, but also by the significant contribution of the genre in question to the overall development of musical art – both composing and performing practice.

Abstract: In Shostakovich’s creative work, metaphoric completeness becomes the most important constant of any concept, in which the orientation to the depth of the audience’s penetration into the controversial music whole prevails. Naturally, different metaphoric states are enclosed in definite, prevailing metaphoric layers: epos, lyrics, and drama with typical for them various emotional shades and the ways of narrative development. The research object in the article is the suite for two pianos created by the composer in 1922, which reflects the composer’s state of mind after his father’s death. It explains the images and themes in the composition, which  are connected with epos and the epic form of a novel. For the first time, the study of art considers a suite as a musical novel: the author parallels between a novel as a genre of literature and a novel as a possible form of narration and development of a piece of music. It represents the scientific novelty of the article. The author proves that due to its special form of narration, the suite has the features new to the field of piano duet: polysynthetism of the form of the whole, variety of drama “fractures”, diversity of artistic and musical metaphors, and, consequently, the virtuosity of performance. In its turn, it has predetermined the allocation of thematic structures, considerably new for the genre. 
 

Abstract: The key research object is a piano duet of the 20th century, and the research object is the main features of the genre which had transformed by the beginning of the 20th century and in its course. The author proves that, compared with home music-playing, within which it emerged, and party music-playing, within which it had been during the 19th century, the piano duet of the 20th century is an all-sufficient phenomenon with its own genre features and having its place on the concert stage. Besides, the author enumerates the main achievements of the piano duet in the 20th century:


Ultimate transition from an “everyday” genre to a “supra-popular” one


The evolution from a necessary substitution of one piano with two for the purpose of achieving certain goals in the 18th century, to complete equality of the instruments in the 20th century;


The change of the semantic and stylistic thesaurus of the piano duet in contents, forms and language of duet compositions embodiment;


Clear division of guidelines, functions and duties of the composer, the performers and the audience;


The change in social tendencies and the social orientation of the genre: the centripetal function (performer -- performer) typical for the 18th century duet, transformed into the centrifugal one (performer + performer - listener). 

Abstract: The key research object is a piano duet of the 20th century, and the research object is the main features of the genre which had transformed by the beginning of the 20th century and in its course. The author proves that, compared with home music-playing, within which it emerged, and party music-playing, within which it had been during the 19th century, the piano duet of the 20th century is an all-sufficient phenomenon with its own genre features and having its place on the concert stage. Besides, the author enumerates the main achievements of the piano duet in the 20th century:


Ultimate transition from an “everyday” genre to a “supra-popular” one


The evolution from a necessary substitution of one piano with two for the purpose of achieving certain goals in the 18th century, to complete equality of the instruments in the 20th century;


The change of the semantic and stylistic thesaurus of the piano duet in contents, forms and language of duet compositions embodiment;


Clear division of guidelines, functions and duties of the composer, the performers and the audience;


The change in social tendencies and the social orientation of the genre: the centripetal function (performer -- performer) typical for the 18th century duet, transformed into the centrifugal one (performer + performer - listener). 

Abstract: The research object is a piano cycle by a Moscow composer Ivan Sokolov About Cage. The author uses the comprehensive approach to reveal the key composition and performance patterns such as the combination of a music and a verbal principles, emphasizing the manifestation of instrumental theatre, the improvisation style, and the synthesis of music idioms typical for both composers  - the one who is the object of the analyzed piano cycle, and its author and performer. The research methodology is based on the analytical method which helps to understand the specificity of Ivan Sokolov’s work in the context of vanguard ideas of American composer-innovator John Cage. The author attempts to compare the composition innovations of both authors so vividly embodying the traits of one of the most popular genres of the late 20th century - instrumental theatre - in their compositions. The article is directed to professional musicians and modern music enthusiasts.

Abstract: The research object is a piano cycle by a Moscow composer Ivan Sokolov About Cage. The author uses the comprehensive approach to reveal the key composition and performance patterns such as the combination of a music and a verbal principles, emphasizing the manifestation of instrumental theatre, the improvisation style, and the synthesis of music idioms typical for both composers  - the one who is the object of the analyzed piano cycle, and its author and performer. The research methodology is based on the analytical method which helps to understand the specificity of Ivan Sokolov’s work in the context of vanguard ideas of American composer-innovator John Cage. The author attempts to compare the composition innovations of both authors so vividly embodying the traits of one of the most popular genres of the late 20th century - instrumental theatre - in their compositions. The article is directed to professional musicians and modern music enthusiasts.

Abstract: The life of Dmitri Shostakovich was disputable and full of, on the one hand, various patriotic explosions, on the other hand, different tragic concepts, full of bitterness of witnessing of global developments. The latter ones become more perceptible in the last years of the composer’s creative work. The article focuses on these developments which characterise the composer as a philosopher, doomed but reconciling reality with dignity. The research subject is determined by the fact that these compositions have been studied poorly in the context of historic events and particular developments in Shostakovich’s life. The author uses a comprehensive approach to study the latest works of the composer. The historical method helps to understand the specificity of writing the author’s works, the peculiarities of their especially tragic figurativeness, their definite structural and conceptual plans. The scientific novelty also consists in the use of literary observations of the composer himself and his personal friends and opponents, which helps to express the context of existence of artistic works in the world of Shostakovich more clearly. 
 

Abstract: The life of Dmitri Shostakovich was disputable and full of, on the one hand, various patriotic explosions, on the other hand, different tragic concepts, full of bitterness of witnessing of global developments. The latter ones become more perceptible in the last years of the composer’s creative work. The article focuses on these developments which characterise the composer as a philosopher, doomed but reconciling reality with dignity. The research subject is determined by the fact that these compositions have been studied poorly in the context of historic events and particular developments in Shostakovich’s life. The author uses a comprehensive approach to study the latest works of the composer. The historical method helps to understand the specificity of writing the author’s works, the peculiarities of their especially tragic figurativeness, their definite structural and conceptual plans. The scientific novelty also consists in the use of literary observations of the composer himself and his personal friends and opponents, which helps to express the context of existence of artistic works in the world of Shostakovich more clearly. 
 

Abstract: “Sequenzas” is a unique cycle that is a landmark not only for the work of Luciano Berio, since it combines the brightest elements of innovatory understanding of the author’s music performance, but also for the global musical art, since, together with his “Sinfonia” (1968), it has become the symbol of the Postmodernist esthetics. The research subject is the most popular among composers the thirst three Sequenzas, which are among the most significant ones in the composer’s body of work. The openness of the form and content, the use of arts synthesis within one instrumental piece, penetration of a word into the instrumental form (verbal reference to the genre of instrumental composition), poly-stylistics, decorating one piece of music with the variety of a language palette, the diversity of not only the performer’s interpretations of each composition, but also of a listener’s comprehension, the use of new principles of notation connected with aleatory music - all these signs of Postmodernism are represented in “Sequenzas” fully enough, and are demonstrated in this article in the analysis of particular compositions of the cycle, and the most representative of them are the first three ones. This article analyzes these works of the composer.
 

Abstract: “Sequenzas” is a unique cycle that is a landmark not only for the work of Luciano Berio, since it combines the brightest elements of innovatory understanding of the author’s music performance, but also for the global musical art, since, together with his “Sinfonia” (1968), it has become the symbol of the Postmodernist esthetics. The research subject is the most popular among composers the thirst three Sequenzas, which are among the most significant ones in the composer’s body of work. The openness of the form and content, the use of arts synthesis within one instrumental piece, penetration of a word into the instrumental form (verbal reference to the genre of instrumental composition), poly-stylistics, decorating one piece of music with the variety of a language palette, the diversity of not only the performer’s interpretations of each composition, but also of a listener’s comprehension, the use of new principles of notation connected with aleatory music - all these signs of Postmodernism are represented in “Sequenzas” fully enough, and are demonstrated in this article in the analysis of particular compositions of the cycle, and the most representative of them are the first three ones. This article analyzes these works of the composer.
 

Abstract: The article unfolds the phenomenon of a musical form in terms of its definition in social communication. In spite of the fact that particular studies within musicology discuss this issue (A.Sokhor, V. Zukerman, V. Kholopova, E. Nazaikinsky, M. Aranovsky), a precise definition of musical form does not exist. Its social and communicative significance is interpreted especially unclearly. The author uses the analytical research method based on the principle of selection of significant definitions of a musical form. The scientific novelty of the study consists in the approach to a musical form as a subject of social communication. Through the prism of the analytical approach, the author detects the degree of dependence of a form on focusing on a particular listener, on their perception in terms of concert platform or another performance principle.  

Abstract: The article unfolds the phenomenon of a musical form in terms of its definition in social communication. In spite of the fact that particular studies within musicology discuss this issue (A.Sokhor, V. Zukerman, V. Kholopova, E. Nazaikinsky, M. Aranovsky), a precise definition of musical form does not exist. Its social and communicative significance is interpreted especially unclearly. The author uses the analytical research method based on the principle of selection of significant definitions of a musical form. The scientific novelty of the study consists in the approach to a musical form as a subject of social communication. Through the prism of the analytical approach, the author detects the degree of dependence of a form on focusing on a particular listener, on their perception in terms of concert platform or another performance principle.  

Abstract: Instrumental theatre is one of the main genres of musical art of the second half of the twentieth century. It allows to accumulate features of different types of art in one piece of art – music, theatre, literature, painting, and so on. Due to the synthesis of arts, it is very  popular with the public. This article discusses one of the striking examples of the genre — The Second Concerto for Trombone with Orchestra ("don Quixote") by the modern Swedish avant-garde composer Jan Sandström. The author tries to make a complex analysis of the work, the main aspect of which is the interaction of arts, their synthesis and indivisibility. This synthesis is manifested in the change of the status of performers who play musical instruments — now they perform the function of actors, which is illustrated by their movements on the stage, costumes, props, demonstration of voice abilities. Jan Sandström created a unique example of instrumental theatre based on the plot and text of the legendary work by Cervantes.

Abstract: Dear readers and authors of "PHILHARMONICICA International Music Journal"! The year of 2018 is the period of the Journal policy reform. According to the new requirements, the Journal accepts articles in specialty 17.00.02. – «Musical Art». The Editorial Board consists of the leading experts in the field of musicology (both domestic and foreign) who have made a meaningful contribution to the development of the science. We incourage academic musicologists – Doctors and Candidates of Sciences, Professors, Associate Professors, Professors of Secondary and Higher Musical Education Institutions, graduate students, undergraduates to publish articles in "PHILHARMONICA. International Music Journal" in 2018! Each Journal issue will be an event in the field of musicology and will consist of at least 7-8 scientific articles. We remind you that all articles are to undergo mandatory review and Anti-Plagiarism check. You can submit an article to the journal via your personal account after registration on the website of NOTA BENE Publishing House in the Author's section. The articles’ submission requirements are listed on the official website of the journal at the following link: http://e-notabene.ru/phil / The Journal is registered in the ISSN international Centre. It has the following ISSN: 2453-613X. The Journal is included into the largest credible international database ERIH PLUS, it assigns the international universal identification number DOI to all published articles, it is included into the Russian Science Citation INDEX (RSCI), is registered in The Scientific Electronic Library (NEB). 

Abstract: Dear readers and authors of "PHILHARMONICICA International Music Journal"! The year of 2018 is the period of the Journal policy reform. According to the new requirements, the Journal accepts articles in specialty 17.00.02. – «Musical Art». The Editorial Board consists of the leading experts in the field of musicology (both domestic and foreign) who have made a meaningful contribution to the development of the science. We incourage academic musicologists – Doctors and Candidates of Sciences, Professors, Associate Professors, Professors of Secondary and Higher Musical Education Institutions, graduate students, undergraduates to publish articles in "PHILHARMONICA. International Music Journal" in 2018! Each Journal issue will be an event in the field of musicology and will consist of at least 7-8 scientific articles. We remind you that all articles are to undergo mandatory review and Anti-Plagiarism check. You can submit an article to the journal via your personal account after registration on the website of NOTA BENE Publishing House in the Author's section. The articles’ submission requirements are listed on the official website of the journal at the following link: http://e-notabene.ru/phil / The Journal is registered in the ISSN international Centre. It has the following ISSN: 2453-613X. The Journal is included into the largest credible international database ERIH PLUS, it assigns the international universal identification number DOI to all published articles, it is included into the Russian Science Citation INDEX (RSCI), is registered in The Scientific Electronic Library (NEB). 

Abstract: The main subject of research in this article is futurism as one of the most iconic stylistic trends of the first half of the twentieth century that played an important role in the development of the art of that century as a whole. The author of the article has identified the main standards formulated in the manifestos of Italian and Russian futurists, in particular, F. Marinetti and K. Malevich. They are compared. The main emphasis is made on the futuristic interpretation of standards by the famous artist Kazimir Malevich. His articles and illustrative and decorative material for staging the opera "Victory over the Sun" by M. Matyushin are chosen as the object of the research. The research of futuristic searches of Malevich is carried out in terms of general ideas of this direction, for which the terminological and analytical material (apparatus) of various kinds of art is involved. The novelty of the research is caused by the broad coverage of phenomena connected with the general notion of futurism including texts of representatives of futurism, musical scores, and research literature that regards futurism as a stylistic trend. The results of the research prove an important role of Malevich in the aesthetic interpretation of futurism and his specific role in the formation of the original Russian futurism that was so popular in the second half of the twentieth century of actionism as a phenomenon of culture. 

Abstract: The subject of the article is surrealism as one of the brightest art movement of the twentieth century. In his research Petrov considers the development and basic aesthetic patterns of surrealism especially the connection between actualized images and substantive aspects of Freud's theory, the theory of sleep and theory of the lack of reality itself. As an example, the researcher analyzes Dali's paintings, A. Breton's, L. Aragon's and K. Firing's poems, movies by L. Bunuel, theatrical performances by E. Satie and J. Cocteau. The researcher attempts to cover the substantive world of surrealism as an integral phenomenon as well as to discover philosophical grounds of surrealism based on historical and social functions of those times. The integral approach to the phenomenon of surrealism as an important stylistic trend of the 20th century in general (without 'limiting' it to 1920  1930s providing that surrealism has been extended up to our days) proves an important role and unique nature of surrealism in a wide range of stylistic trends and movements. 

Abstract: The article focuses on the figure of Dmitry Shostakovich, the greatest composer of the twentieth century. The author explores contradictions of his creative heritage of the 1930s, when the composer was forced to make the so-called musicology compromises. These compromises were connected, first of all, with the desire to write the music and work in the genres that corresponded to emotionality of the composer. On the other hand, Shostakovich had to write "superficial" music to please the current political regime which followed every creative step of the composer. From a historical perspective the article considers the most controversial works of the 1930s, which were created in theatrical genres - the opera "Lady Macbeth of the Mtsensk District" and the ballet "the Limpid Stream". The historical approach required the use of sources of that time - fragments of articles from newspapers and magazines in which Shostakovich's name is mentioned from one or another perspective. This approach gives novelty to the topic under consideration. It is stated that music by Shostakovich will always be relevant regardless of the era in which mankind exists, and it will be a true testimony of the history of the twentieth century for the future generations.

Abstract: The article focuses on the figure of Dmitry Shostakovich, the greatest composer of the twentieth century. The author explores contradictions of his creative heritage of the 1930s, when the composer was forced to make the so-called musicology compromises. These compromises were connected, first of all, with the desire to write the music and work in the genres that corresponded to emotionality of the composer. On the other hand, Shostakovich had to write "superficial" music to please the current political regime which followed every creative step of the composer. From a historical perspective the article considers the most controversial works of the 1930s, which were created in theatrical genres - the opera "Lady Macbeth of the Mtsensk District" and the ballet "the Limpid Stream". The historical approach required the use of sources of that time - fragments of articles from newspapers and magazines in which Shostakovich's name is mentioned from one or another perspective. This approach gives novelty to the topic under consideration. It is stated that music by Shostakovich will always be relevant regardless of the era in which mankind exists, and it will be a true testimony of the history of the twentieth century for the future generations.

Abstract: The object of the research is the instrumenal one-man or one-woman performance, the genre that is attributable to post-modernism aesthetic and comprises the general system of performance genres. The author of the article examines aspects of the synthesis of arts that forms a ritual space of instrumental one-man performance, the balance of music and word, music and event, music and theatre with their decorations and stage requisites. This balance implies transformation of a single instrumental composition into a true theatre action that is based on the principles of theatre but not music. Nevertheless, this theatre effect does not reduce the importance of instrumental compositions such as in compositions by R. Erickson, F. Rzewski, L. Berio, K. Stockhausen and I. Sokolov. The researcher applies the integral approach to studying the matter and bases his research on the integral analysis of particular music-and-theatre works. The majority of compositions are analysed for the first time in the academic literature. The scientific novelty of the research is also caused by the fact that the author defines particular composers' styles and concepts. The main question of the research is why a composer uses theatre effects in his or her instrumental music. As his answer to this question, Petrov offers his theory that theatre effects with the theatralisation of the stage space used by composers (from the word to stage props) are typical for post-modernism composers whose creative work was closely connected with the idea of performance and who wanted to reveal the programming content that is usually hidden in music. 

Abstract: The object of the research is the instrumenal one-man or one-woman performance, the genre that is attributable to post-modernism aesthetic and comprises the general system of performance genres. The author of the article examines aspects of the synthesis of arts that forms a ritual space of instrumental one-man performance, the balance of music and word, music and event, music and theatre with their decorations and stage requisites. This balance implies transformation of a single instrumental composition into a true theatre action that is based on the principles of theatre but not music. Nevertheless, this theatre effect does not reduce the importance of instrumental compositions such as in compositions by R. Erickson, F. Rzewski, L. Berio, K. Stockhausen and I. Sokolov. The researcher applies the integral approach to studying the matter and bases his research on the integral analysis of particular music-and-theatre works. The majority of compositions are analysed for the first time in the academic literature. The scientific novelty of the research is also caused by the fact that the author defines particular composers' styles and concepts. The main question of the research is why a composer uses theatre effects in his or her instrumental music. As his answer to this question, Petrov offers his theory that theatre effects with the theatralisation of the stage space used by composers (from the word to stage props) are typical for post-modernism composers whose creative work was closely connected with the idea of performance and who wanted to reveal the programming content that is usually hidden in music. 

Abstract: The article is devoted to one of the most interesting modern genres, instrumental composition with the word that is a type of instrumental theatre. This genre has never before been studied by music researchers, therefore the topic of the article is actual and has a scientific novelty. Based on Russian composers' music (S. Gubaydulina, V. Tarnopolsky, V. Martynov, and N. Korndorf), the author of the article analyses how the word (literary text) is included into the music score of a composition. The author also analyses particularities of the scenic realisation of opuses that combined music instrument playing and text reading. The author of the article uses the integral research approach to the genre that combines instrumental composition and words as a synthesis of music and word in general. The author defines the degree of interaction between literary text and music and offers his own classification of texts. He concludes that the genre of instrumental composition with the word will soon become of the main genres in music because it implies a clear declamation of a message or idea even through a purely instrumental opus. 

Abstract: The article is devoted to one of the most interesting modern genres, instrumental composition with the word that is a type of instrumental theatre. This genre has never before been studied by music researchers, therefore the topic of the article is actual and has a scientific novelty. Based on Russian composers' music (S. Gubaydulina, V. Tarnopolsky, V. Martynov, and N. Korndorf), the author of the article analyses how the word (literary text) is included into the music score of a composition. The author also analyses particularities of the scenic realisation of opuses that combined music instrument playing and text reading. The author of the article uses the integral research approach to the genre that combines instrumental composition and words as a synthesis of music and word in general. The author defines the degree of interaction between literary text and music and offers his own classification of texts. He concludes that the genre of instrumental composition with the word will soon become of the main genres in music because it implies a clear declamation of a message or idea even through a purely instrumental opus. 

Abstract: The subject of the research is numerous ready-mades of a famous French Dadaist Marcel Duchamp. In his research Petrov onsiders the origin of a new art form (readymade) in line with innovative trends of the early XXth century when all the known substantial bases of culture were carelessly denied. There were many reasons for that: dramatic changes in the public consciousness, permissibility of literally all sins, "transition" to the full freedom of thought and freedom of expression, and, of course, overall instability of the historical situation which included an abundance of revolutions, wars, changes of territories and political experimentations. The author of the article presents a comprehensive approach to the phenomenon studied (ready-mades of Duchamp) where their genesis, perception and prolonged action become especially important topics. The novelty of the research is caused by the fact that there are no researches of the aesthetic fetures and anti-aesthetic provocations of Duchamp's ready-mades in culture and cultural studies. The author of the article raises a naturally-determined question about the aesthetic significance of such experiments (as examples the author analyzes such famous ready-mades as "Fountain," "Bicycle Wheel", and "Bottle Rack") and describes their role in the development of the twentieth century art in general and postmodernism in particular.

Abstract: The article is devoted to one of the leaders of music vanguard of the post-modernist epoch – John Cage. The author considers the ways of aleatoric design of his scores and the principles of indeterminism typical for many opuses of the composer. The author analyzes the most important Cage’s works in terms of the principle of aleatorics: «Music for Changes», «Seven Haiku», «Music for Carillon № 1», «Music for Carillon № 2», «Music for Carillon № 3», «Music for Piano», «Solo for Piano», Concerto for Piano and Orchestra, «Fontana Mix», «Aria», «Variations I» и «Variations II», «Etudes Australes». The key methodological approach to the material under study is the contextual approach implying the study of the composer’s legacy in the context of dominating techniques and styles of the second half of the 20th century. The scientific novelty of the study consists in the analysis of the principles if aleatoric organization of music structure of Cage’s works. On the basis of this analysis, the author believes it is possible to speak about the contextual nature of the composer’s opuses; to conclude that his compositions are symbolic in the distribution of aleatoric notation and in the consolidation of indeterminism as an important component of designing musical scores in the second half of the 20th century. 

Abstract: The article is devoted to one of the leaders of music vanguard of the post-modernist epoch – John Cage. The author considers the ways of aleatoric design of his scores and the principles of indeterminism typical for many opuses of the composer. The author analyzes the most important Cage’s works in terms of the principle of aleatorics: «Music for Changes», «Seven Haiku», «Music for Carillon № 1», «Music for Carillon № 2», «Music for Carillon № 3», «Music for Piano», «Solo for Piano», Concerto for Piano and Orchestra, «Fontana Mix», «Aria», «Variations I» и «Variations II», «Etudes Australes». The key methodological approach to the material under study is the contextual approach implying the study of the composer’s legacy in the context of dominating techniques and styles of the second half of the 20th century. The scientific novelty of the study consists in the analysis of the principles if aleatoric organization of music structure of Cage’s works. On the basis of this analysis, the author believes it is possible to speak about the contextual nature of the composer’s opuses; to conclude that his compositions are symbolic in the distribution of aleatoric notation and in the consolidation of indeterminism as an important component of designing musical scores in the second half of the 20th century. 

Abstract: This article is devoted to one of the most common phenomena in contemporary
art – the actual performance of the work of art. The article deals with the issues of its
origin. In this respect, it covers different forms of art of the past, such as syncretic
ritual, medieval street theater, commedia dell'arte, and some synthesized works of the
Renaissance and the Baroque period, and their modifications in the XXth – early
XXIst century. Some common features in the well-known performance pieces of the
past and the present are compared. The works by Tan Dun, L. Lipkis, K.
Stockhausen, I. Xenakis, J. Cage and others are given as an example. Performance is
considered as a single phenomenon of modern culture that reveals the main constant
of postmodernism - a synthesis of the arts. In this connection, a method of holistic
analysis is used in addition to the analytical method of presentation. The conclusions
demonstrate the main genre features of performance, which appeared in the past eras
(works by da Vinci, L. Bernini, etc.), and represent performance as a genre in the
twentieth century.

Abstract: This article is devoted to one of the most common phenomena in contemporary
art – the actual performance of the work of art. The article deals with the issues of its
origin. In this respect, it covers different forms of art of the past, such as syncretic
ritual, medieval street theater, commedia dell'arte, and some synthesized works of the
Renaissance and the Baroque period, and their modifications in the XXth – early
XXIst century. Some common features in the well-known performance pieces of the
past and the present are compared. The works by Tan Dun, L. Lipkis, K.
Stockhausen, I. Xenakis, J. Cage and others are given as an example. Performance is
considered as a single phenomenon of modern culture that reveals the main constant
of postmodernism - a synthesis of the arts. In this connection, a method of holistic
analysis is used in addition to the analytical method of presentation. The conclusions
demonstrate the main genre features of performance, which appeared in the past eras
(works by da Vinci, L. Bernini, etc.), and represent performance as a genre in the
twentieth century.

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.

Abstract: As it is well-known, in 1913 an Italian composer, artist and poet Luigi Russolo, being influenced by the futurists of those times, wrote his manifesto "The Art of Noises". Among the performers and all "advanced" cultural figures of those times the manifesto introduced the view that the musical sound could be created by anything, first of all, all kinds of machines and devices, and the sound could also be a growling, scream,  whisper, roar, rumble, etc. Noise and aesthetics of noise had a special influence on the creative heritage of one of the most radical innovators in music of the XXth century, American composer John Cage who denied tonation in general and used only the noise in his musical compositions. On his way to the integration of noise into music, Cage followed the following four principles: 1) creation of a so-called prepared piano, 2) invention of new instruments or involvement of instruments that had never been used in music before, as well as a non-traditional use of human voice; 3) implementation of electronic means of sound transmission (computers or concrete music), 4) complete replacement of music with noises. The methodology of the research is based on the integrated approach to such macro-terms as "noise in music" and "musical silence" introduced and first used by John Cage. The author has also used the analytical method for the analysis of specific works created by the composer. In conclusion, the author notes that being the brightest innovator in music, John Cage created a completely new world inside himself and his own philosophy. Later Cage introduced that world to the audience. Someone accepted his innovations, ideas and concepts and someone rejected them, but in any case, John Cage made an important breakthrough in understanding the phenomenon of music and answering the universal question 'What is music?'. What if music is just the Noise indeed? 

Abstract: This article examines one of the most unique and widely known musical genres of the second half of XX century – instrumental theatre, which saw its bright implementation in the work on the renowned German avant-gardist Karlheinz Stockhausen. The author analyzes Stockhausen’s instrumental theatre – from using simple relocation of musicians and specific placement of instruments on the stage, to creating full-blown instrumental-theatrical spectacles. A special attention is given to the issue of interpretation and scenic re-creation of the instrumental-theatrical compositions. An attempt is made at a comprehensive study of Stockhausen’s instrumental theatre: the analysis of his oeuvres is aimed at determining the general regularities of the manifestation of this genre in composer’s work. The scientific novelty consists in the fact that until today they instrumental theatre of Stockhausen has not become the object of e dedicated close attention of art scholars. As the conducted analysis of his works demonstrates, his methods of creation of the instrumental-theatrical composition have significantly affected the evolution of the instrumental theatre as a genre, and broadened its genre aspects.
 

Abstract: This article examines one of the most unique and widely known musical genres of the second half of XX century – instrumental theatre, which saw its bright implementation in the work on the renowned German avant-gardist Karlheinz Stockhausen. The author analyzes Stockhausen’s instrumental theatre – from using simple relocation of musicians and specific placement of instruments on the stage, to creating full-blown instrumental-theatrical spectacles. A special attention is given to the issue of interpretation and scenic re-creation of the instrumental-theatrical compositions. An attempt is made at a comprehensive study of Stockhausen’s instrumental theatre: the analysis of his oeuvres is aimed at determining the general regularities of the manifestation of this genre in composer’s work. The scientific novelty consists in the fact that until today they instrumental theatre of Stockhausen has not become the object of e dedicated close attention of art scholars. As the conducted analysis of his works demonstrates, his methods of creation of the instrumental-theatrical composition have significantly affected the evolution of the instrumental theatre as a genre, and broadened its genre aspects.
 

Abstract: Performance represents one of the major genres of art of the XX century. Its manifestation can be seen in literature, artwork, music, and theater. This article examines the historical roots of performance as a genre, which sprung in the syncretic ritual of ancient world, street theater, as well as art of Renaissance and Baroque eras. The author reviews the prolonged process of the ritual, commedia dell'arte, theatrical plays of da Vinci and D. Bernini in performances of the XX century. As an example, the author uses works of K. Stockhausen, I. Xenakis, J. Cage, L. Lipkis, and M. Dessi. Performance is being examined as a phenomenon of synthesis of arts, using the method of holistic analysis. Towards the end of the work, the author formulates a unified system for classifying performance that as it exists at the present time. An accent is made that all performances, in one way or another, in their implementation are based on intentional or unintentional epatage (element of shock), becoming the prerogative of a great number of works of art in the XX century.

Abstract: Performance represents one of the major genres of art of the XX century. Its manifestation can be seen in literature, artwork, music, and theater. This article examines the historical roots of performance as a genre, which sprung in the syncretic ritual of ancient world, street theater, as well as art of Renaissance and Baroque eras. The author reviews the prolonged process of the ritual, commedia dell'arte, theatrical plays of da Vinci and D. Bernini in performances of the XX century. As an example, the author uses works of K. Stockhausen, I. Xenakis, J. Cage, L. Lipkis, and M. Dessi. Performance is being examined as a phenomenon of synthesis of arts, using the method of holistic analysis. Towards the end of the work, the author formulates a unified system for classifying performance that as it exists at the present time. An accent is made that all performances, in one way or another, in their implementation are based on intentional or unintentional epatage (element of shock), becoming the prerogative of a great number of works of art in the XX century.

Abstract: Performance represents one of the major genres of art of the XX century. Its manifestation can be seen in literature, artwork, music, and theater. This article examines the historical roots of performance as a genre, which sprung in the syncretic ritual of ancient world, street theater, as well as art of Renaissance and Baroque eras. The author reviews the prolonged process of the ritual, commedia dell'arte, theatrical plays of da Vinci and D. Bernini in performances of the XX century. As an example, the author uses works of K. Stockhausen, I. Xenakis, J. Cage, L. Lipkis, and M. Dessi. Performance is being examined as a phenomenon of synthesis of arts, using the method of holistic analysis. Towards the end of the work, the author formulates a unified system for classifying performance that as it exists at the present time. An accent is made that all performances, in one way or another, in their implementation are based on intentional or unintentional epatage (element of shock), becoming the prerogative of a great number of works of art in the XX century.

Abstract: Performance represents one of the major genres of art of the XX century. Its manifestation can be seen in literature, artwork, music, and theater. This article examines the historical roots of performance as a genre, which sprung in the syncretic ritual of ancient world, street theater, as well as art of Renaissance and Baroque eras. The author reviews the prolonged process of the ritual, commedia dell'arte, theatrical plays of da Vinci and D. Bernini in performances of the XX century. As an example, the author uses works of K. Stockhausen, I. Xenakis, J. Cage, L. Lipkis, and M. Dessi. Performance is being examined as a phenomenon of synthesis of arts, using the method of holistic analysis. Towards the end of the work, the author formulates a unified system for classifying performance that as it exists at the present time. An accent is made that all performances, in one way or another, in their implementation are based on intentional or unintentional epatage (element of shock), becoming the prerogative of a great number of works of art in the XX century.