Abstract: The genius of A.N. Vertinsky, who illuminated the Russian stage at the beginning of the last century, continues to arouse wide interest among representatives of the expert community up to the present moment. The specifics of the creativity of such a diverse personality remains still not fully understood, and the interpretations of scientists often suffer from inconsistency. Meanwhile, a number of features of his work need further consideration and analysis, in particular, the philosophical principles of his poetry. The methodological basis of the study was an integrated approach containing descriptive, comparative and content analysis. The synchronistic method and the method of generalization were also productively used when writing the work. The empirical basis was the artistic works of A.N. Vertinsky. The article talks about the unsurpassed performing skills, the pronounced intonation-plastic score of the performer of his own songs, which became the key to his success on the stage. The author characterized the main philosophical principles of A.N. Vertinsky's poetry, traced the syncretism of his poetry, music and performing skills on extensive creative material. In addition, the role of connections between heterogeneous philosophical principles that determine the features of the art world constructed by the maestro is revealed. The enduring value of the intellectual heritage of the pop idol of the first half of the twentieth century for the national culture is noted.

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. 

Abstract: The object of this research is the Soviet song of the 1920’s – 1930’s as a genre stylistic phenomenon. The subject of this research is examination of the issues of history of development, content structure, and peculiarities of the song repertoire during these years. The shift in sociopolitical formation in Russia caused by the revolutionary events of October 1917 that drastically changed the national cultural identity, including the song art. The article makes an attempt to trace the performing traditions of that period (folk song, urban folklore, mass song). Using the method of analysis, the author underlines the presence of crisis in a number of the traditional song genres and development of the new forms of song repertoire on the background. The article points at certain peculiarities common during this timeframe to the Russian vocal art. Accent is made on the development of lyrical intonation in a song, which encouraged the popularization of musical compositions. The author highlights the role of jazz music culture as an accelerator in development of the new features in stage music art.