Abstract: The research subject of this interview is the creative work of a modern Astrakhan composer Yu.P. Gontsov, and the object is the history of Astrakhan music culture. The interview genre gives an opportunity to study musical creativity in great detail, from the inside, through the composer’s view of the influence of the music and non-music milieu. The author of the research gives special attention to Gontsov’s individual stylistic features (melodics, intervalics, rhythmics, harmonic plan, etc.), defining the style of his notating, and attempts to classify his vocal pieces. The author uses the method of interviewing (in-depth interview), the ideographic method (to prepare the materials), and systematization (to analyze the composer’s works). As the article is an interview, it doesn’t contain an explicit problematics which is to consider the composer’s creative work as an integral process of social interconnections. The questions used in the interview are essential as they help trace back the composer’s evolution - from direct influences to independent work. The author’s special contribution is the attempt to systematize the style language of the composer, and to classify his vocal pieces. The scientific novelty consists in a new method of studying such music material. 
 

Abstract: The research subject of this interview is the creative work of a modern Astrakhan composer Yu.P. Gontsov, and the object is the history of Astrakhan music culture. The interview genre gives an opportunity to study musical creativity in great detail, from the inside, through the composer’s view of the influence of the music and non-music milieu. The author of the research gives special attention to Gontsov’s individual stylistic features (melodics, intervalics, rhythmics, harmonic plan, etc.), defining the style of his notating, and attempts to classify his vocal pieces. The author uses the method of interviewing (in-depth interview), the ideographic method (to prepare the materials), and systematization (to analyze the composer’s works). As the article is an interview, it doesn’t contain an explicit problematics which is to consider the composer’s creative work as an integral process of social interconnections. The questions used in the interview are essential as they help trace back the composer’s evolution - from direct influences to independent work. The author’s special contribution is the attempt to systematize the style language of the composer, and to classify his vocal pieces. The scientific novelty consists in a new method of studying such music material. 
 

Abstract: The research subject is the work of a modern composer from Astrakhan Yu.P. Popov; the research object is the music culture of the 20th century. The author studies the scope of the composer’s works containing his metaphysical ideas commonly found in the Russian philosophical doctrine - unitotality, communal spirit, and the idea of Sophia. Analysing the composer’s works, the author manages to describe his views on the world order. The author uses the following methods: analytical (when analysing the form, music style and language), philosophical-hermeneutical (when analysing the content of the pieces of music). The author detects the key constants of the metaphysical strivings of the composer. Special attention is given to the composer’s reference to the program character which includes not only the title of a piece of music and its parts, but also text epigraphs and the method of instrumental intoning of a text. The most significant author’s contribution is the use of the philosophical-hermeneutical method for the analysis of the content of the pieces of music. The scientific novelty consists in the fact that this music material hasn’t been studied before.

Abstract: The research subject is the work of a modern composer from Astrakhan Yu.P. Popov; the research object is the music culture of the 20th century. The author studies the scope of the composer’s works containing his metaphysical ideas commonly found in the Russian philosophical doctrine - unitotality, communal spirit, and the idea of Sophia. Analysing the composer’s works, the author manages to describe his views on the world order. The author uses the following methods: analytical (when analysing the form, music style and language), philosophical-hermeneutical (when analysing the content of the pieces of music). The author detects the key constants of the metaphysical strivings of the composer. Special attention is given to the composer’s reference to the program character which includes not only the title of a piece of music and its parts, but also text epigraphs and the method of instrumental intoning of a text. The most significant author’s contribution is the use of the philosophical-hermeneutical method for the analysis of the content of the pieces of music. The scientific novelty consists in the fact that this music material hasn’t been studied before.

Abstract: The research subject is the music culture of Astrakhan region, the research object is music culture as a system. The article studies the role of a festival as a specific form of activity of regional music organizations, which are the elements of a formerly powerful system - The Composers’ Union of the RSFSR. Special attention is given to the example of Astrakhan Composers’ Union’s role in organizing the modern music festival, which, in the author’s opinion, had boosted the potential of regional music culture. The author uses the system approach to study the phenomenon of music culture as a system, historic-genetic, ideographic and problem-chronological methods to work with historic materials, and cluster-analysis to process the data and compose charts. The author formulates the conclusion about the recognition of an important role of the Composers’ Union of the RSFSR in the evolution of regional cultures, which received a stimulus for the development of a holistic music system. A festival as a form of interaction within a music culture played a special role in this process. The author’s special contribution is the study of the history of Astrakhan festival of modern music, which demonstrates that regional music culture after the 90s is still developing despite the weakness of the central organization. The present article is the first scientific work to raise the problem of a contribution of a festival movement as a specific form of activity of regional organizations.

Abstract: The object of the research is musical public organizations, the subject is the Astrakhan regional organization “Union of Composers of Russia”. The author of the article examines such aspects as the influence of the RSFSR Union of Composers on the development of regional musical culture through stimulating the creation of regional musical organizations, the influence of regional musical organizations on the development of regional musical cultures. Special attention is paid to the history of the creation of the Astrakhan Union of Composers as a new center of regional musical culture, an analysis of the organization’s activities is carried out, its potential is being investigated. The methodological basis of the research involves the principle of objectivity, based on the priority of facts, documentary evidence and involvement of a wide range of sources, historical-genetic and problem-chronological methods. The main conclusions of the study are: SK RSFSR had a huge role in the development of Russia's musical culture through the involvement of regions in the organization’s activities, contributed to the creation of regional / national composer associations, which became new local music centers. The author's special contribution of the author tothe topic is her analysis of the history of the Astrakhan Union of Composers.

Abstract: The object of the research is musical public organizations, the subject is the Astrakhan regional organization “Union of Composers of Russia”. The author of the article examines such aspects as the influence of the RSFSR Union of Composers on the development of regional musical culture through stimulating the creation of regional musical organizations, the influence of regional musical organizations on the development of regional musical cultures. Special attention is paid to the history of the creation of the Astrakhan Union of Composers as a new center of regional musical culture, an analysis of the organization’s activities is carried out, its potential is being investigated. The methodological basis of the research involves the principle of objectivity, based on the priority of facts, documentary evidence and involvement of a wide range of sources, historical-genetic and problem-chronological methods. The main conclusions of the study are: SK RSFSR had a huge role in the development of Russia's musical culture through the involvement of regions in the organization’s activities, contributed to the creation of regional / national composer associations, which became new local music centers. The author's special contribution of the author tothe topic is her analysis of the history of the Astrakhan Union of Composers.

Abstract: The object of this article is musical culture. The subject is musical culture as a system. The author closely considers such aspects of the matter as the concept of musical culture, the study of musical culture within the framework of the system approach including domestic practice. Particular attention is paid to the analysis of musical culture elements which the author suggest to collect in a single categorical list — three main elements called "categorical triad block" consisting of three common elements — "Creation/Re-Creation", "Conservation", "Translation". The capacity of the model elements allows the author to encompass all the components of the music system. The system approach is applied as the main method of study of musical culture. This approach correlates with the concept of musical culture as a special form of systemic activity reflecting the cultural state of society, where the coherence of all elements of the system indicates a certain state of culture as a whole. The scientific novelty of the study lies in an attempt to determine the general  model of musical culture which includes all the elements of the system - the categorical triad block. All the elements of musical culture can be combined into the "categorical triad block" which includes three main elements: "Creation/Re-Creation", "Conservation", "Translation". The absence of one or the availability of all three elements of the block indicates that musical culture as a system can evolve "completing" itself by inclusion either of new aspects of already existing elements, or of a new blockthat provides the necessary level of music consumption by society. The scheme of the categorical triad block applied to study of the history of musical culture of any level provides insights into the rate of its development at one time or another. 

Abstract: The object of this article is musical culture. The subject is musical culture as a system. The author closely considers such aspects of the matter as the concept of musical culture, the study of musical culture within the framework of the system approach including domestic practice. Particular attention is paid to the analysis of musical culture elements which the author suggest to collect in a single categorical list — three main elements called "categorical triad block" consisting of three common elements — "Creation/Re-Creation", "Conservation", "Translation". The capacity of the model elements allows the author to encompass all the components of the music system. The system approach is applied as the main method of study of musical culture. This approach correlates with the concept of musical culture as a special form of systemic activity reflecting the cultural state of society, where the coherence of all elements of the system indicates a certain state of culture as a whole. The scientific novelty of the study lies in an attempt to determine the general  model of musical culture which includes all the elements of the system - the categorical triad block. All the elements of musical culture can be combined into the "categorical triad block" which includes three main elements: "Creation/Re-Creation", "Conservation", "Translation". The absence of one or the availability of all three elements of the block indicates that musical culture as a system can evolve "completing" itself by inclusion either of new aspects of already existing elements, or of a new blockthat provides the necessary level of music consumption by society. The scheme of the categorical triad block applied to study of the history of musical culture of any level provides insights into the rate of its development at one time or another. 

Abstract: The article is devoted to the phenomenon of female love from the point of view of female images typical for the Russian literature of the 19th century. As a result of her analysis. Soboleva concludes that all these images have one common feature which is their tragic fate as a result of fatal love that enslaves women and brings them to death. The basis for such understanding of female nature is the stereotypes about women that still exist in many cultures. As an example, the author of the article analyzes the image of Katerina from The Thunderstorm by N. Ostrovsky, Anna Karenina in L. Tolstoy's novel, and Katerina from N. Leskov's Lady Macbeth of the Mtsensk District. The author pays special attention to the image of Katerina from the former novella as it combines not only stereotyped 'female features' but also their fatality, incompleteness and disharmony. The author underlines that the 20th century changed the attitude of the society towards women and their abilities and life goals. At the same time, the philosophy of female love was also reviewed which was expressed in the most famous interpretations of literary images in other arts such as cinematograph and music. The author analyzes how the image of the Lady Macbeth was interpreted in D. Shostakovich' opera 'Katerina Izmaylova'. By analysing changes in the plot and narration, free interpretation of male images in N. Leskov's novella, new messages that were created in the opera, Shostakovich' attitude to the heroine, the author evaluates the composer's contribution to the philosophy of female love and reveals the new depth of the composer's idea of the female beginning as a predetermined service to love that became the main meaning of the woman's life. 

Abstract: The article is devoted to the phenomenon of female love from the point of view of female images typical for the Russian literature of the 19th century. As a result of her analysis. Soboleva concludes that all these images have one common feature which is their tragic fate as a result of fatal love that enslaves women and brings them to death. The basis for such understanding of female nature is the stereotypes about women that still exist in many cultures. As an example, the author of the article analyzes the image of Katerina from The Thunderstorm by N. Ostrovsky, Anna Karenina in L. Tolstoy's novel, and Katerina from N. Leskov's Lady Macbeth of the Mtsensk District. The author pays special attention to the image of Katerina from the former novella as it combines not only stereotyped 'female features' but also their fatality, incompleteness and disharmony. The author underlines that the 20th century changed the attitude of the society towards women and their abilities and life goals. At the same time, the philosophy of female love was also reviewed which was expressed in the most famous interpretations of literary images in other arts such as cinematograph and music. The author analyzes how the image of the Lady Macbeth was interpreted in D. Shostakovich' opera 'Katerina Izmaylova'. By analysing changes in the plot and narration, free interpretation of male images in N. Leskov's novella, new messages that were created in the opera, Shostakovich' attitude to the heroine, the author evaluates the composer's contribution to the philosophy of female love and reveals the new depth of the composer's idea of the female beginning as a predetermined service to love that became the main meaning of the woman's life.