Abstract: The article is devoted to one of the most important Russian chamber vocal cycles of the second half of the twentieth century – “Russian Notebook” by V. Gavrilin. Its appearance in 1965 made a strong impression on both the musical community and listeners. Everything about her was unusual, fresh, sincere. The stylistic unity of the “Russian Notebook” is due to its reliance on folk sources – literary texts and musical material. Gavrilin interpreted folk music in a deeply personal way, refracted it through the prism of a powerful spiritual and moral concept, outlined new directions for its research and comprehension, and proposed multi-valued interpretations and unexpected syntheses. “Russian Notebook” became the most important component of the significant artistic movement “new folk wave” that appeared in Russian music at the turn of the 1960s. Its brightest representatives were the “sixties” composers R. Shchedrin, E. Denisov, B. Tishchenko, S. Slonimsky.
The main conclusion of the study is the idea that V. Gavrilin’s “Russian Notebook” is a genuine encyclopedia of folk genres. The composer penetrates deeply into the folk song tradition, organically refracts folklore, passes it through his amazing artistic world, thereby making the folklore language accessible to the general public. The author of the article focuses on the performing aspects of V. Gavrilin’s cycle, on the variety of interpretive possibilities coming from the diversity of folk (primarily peasant) song. The vocalist and accompanist-pianist need to seriously study the folk traditions before taking on the “Russian Notebook”. The intense dramaturgy of the cycle and the theatricalization of vocal music should also be the focus of the performers’ attention. V. Gavrilin’s composition opens up new interpretive paths and possibilities, new vocal techniques, and creates a multi-tasking performing world.

Abstract: The subject of the study is the chamber and vocal work of Soviet composers of the 1960s–1970s, the works of the undisputed leaders of the young post-war generation of musicians from the “sixties”. The author of the article studies the neo-folklore searches and experiments of R. Shchedrin, B. Tishchenko, S. Slonimsky, V. Gavrilin, E. Denisov, which became the most important component of the significant artistic movement “new folklore wave”. During these years, there was a peculiar accumulation of outstanding sample compositions, striking in their originality and brightness, new recording techniques, and the authors’ extremely conscientious attitude towards original materials collected in conservatory folklore expeditions. At the turn of the 1960s, the chamber-vocal cycle took leading roles in the work of many Soviet composers and Russian music in general. Vocal compositions, with their inherent versatility, capable of flexible modifications, turned out to be a fertile area for the creative efforts of musicians of different generations. The article uses the following scientific research methods: comparative analytical, structural and functional, as well as cultural method. The author of the article uses literary-textual and musical-textual methods for research, and also relies on the fundamental provisions of general historical methodology, in particular, sociocultural, historical-chronological, and biographical. The main conclusion of the study is the idea that the chamber-vocal works of the “new folklore wave” have a “female face”, since most of them were written for performance by female voices. Folk melody and rhythm, a lively intonation environment, the direct emotionality of folklore became not only a kind of “counterweight” to sophisticated avant-garde techniques in the music of the second half of the twentieth century, but the most important component of the composer’s language and even thinking, and sometimes the main support of creative expression. The author for the first time deeply and fully explores the “female” vocal cycle of the 1960s–1970s, those works that are associated with the unique and powerful artistic movement “new folk wave,” a phenomenon that was at the forefront of the radical renewal of Russian music in the second half of the twentieth century.

Abstract: The subject of the study is the "female" chamber vocal cycle in Russian music of the 1960s and 1970s, which, according to the author, became a special sign of the time of changes and renewal that came to the musical culture of the Soviet Union together with the Khrushchev "thaw". The article is devoted to the typology of the "female" vocal cycle, the appearance of a large number of works based on poems by A. Akhmatova and M. Tsvetaeva, music for children and youth, numerous vocal compositions in the spirit of the "new folklore wave", works dedicated to outstanding interpreters of vocal music by modern Soviet composers - Z. Dolukhanova, L. Davydova, G. Vishnevskaya, E. Obraztsova, E. Gorokhovskaya, N. Yureneva and others. The main conclusion of the study is the idea that there are several stable types of "female" chamber vocal cycles associated primarily with the modern poetic tradition, folk music, with the concert performance practice established in the country, with various vocal capabilities of singers, the width of their vocal range, flexibility, timbre characteristics etc. Russian chamber and vocal music is being studied for the first time in such a perspective and this direction must be recognized as fruitful. It is quite obvious that it was the "female" vocal cycle that became the most important sign of the time of the radical renewal of the national musical art in the 1960s and 1970s.

Abstract: The subject of the study is a new "sounding image" of the piano in the chamber-vocal cycles of Russian composers of the 1960s and 1970s. The chosen perspective is "female" vocal cycles, i.e., those that should be performed exclusively by female voices. The author examines the piano parts in the vocal cycles of B. Tishchenko, D. Shostakovich, A. Knaifel, A. Schnittke, E. Denisov, G. Banshchikov, V. Gavrilin and other Russian masters, reveals the new, original, fresh that they brought to the music of piano accompaniment in the wake of the Khrushchev "thaw". First of all, in the field of texture, rhythm, avant-garde performance techniques, timbral-register organization of musical fabric. The main conclusion of the study is the idea that the fruitful synthesis of the achievements of the European avant-garde and domestic experience led to the emergence of a new "sounding image" of the piano in Soviet music of the 1960s, which was fully in demand in the vocal cycle. Each of the composers followed his own unique path in art, individually refracted tradition, but the overall panorama of musical art, chamber vocal creativity turned out to be rich and saturated with outstanding achievements. The novelty of the study lies in the fact that the piano accompaniment of the Russian vocal cycle was first subjected to a separate and fairly broad analysis.