Abstract: The research subject is over-citation - the situation when composers use too much citation in one composition. In such cases there can be dozens of citations, and the composition itself (or some its part/completed fragment) is not very long. The share of the author’s material in this case is often minimal or even equal to zero. It’s obvious that this phenomenon raises some serious questions, including: 1) particular forms of organizing the borrowed content within the composition and its interpreting; 2) prerequisites leading to over-citation. To solve these problems one should use the following methods of analysis: intertextual, compositional, style, structure, semantic, hermeneutic and esthetic analysis. It is obvious that using over-citation aggravates the problem of building a composition as a whole. Therefore, in the compositions with over-citation, composers have to search for the approaches which help to organize it by means of 1) selecting the very material of primary sources of citations and their logic of sequence; 2) varying the share of citations. The reasons determining the use of over-citation form two groups: the specific idea of the piece (e.g., its story); the common prerequisites consisting in the chosen genre, the manner of the author’s thinking and finally - the particular type of the composer’s technique. Particularly, over-citation can be one of the manifestations of absurdism. In this case, the fragments of primary sources and their order are selected randomly and can be replaced with some others, and their characteristics (genre background, intonational specificity) are irrelevant (J. Cage’s “Europeras”, M. Kagel’s “Ludwig van”).
 

Abstract: The article illustrates the factors that determine the use of travesti with due regard to historical and cultural standards of the era, as well as the factors determined by specific artistic tasks of the author. The second case includes situations of representation of certain age characteristics of the hero/heroine, parody-grotesque and infernal images. The author marks a connection of the last two situations with carnival aesthetics. It is the first time in musicology that this problem is addressed. As examples, the article uses  operas by S. Landi, D. Vinci, F. Cavalli, G. Handel, W. Mozart, L. Rossi, J.Rameau. The methodology of the work is based on complex consideration of the phenomenon under study. In conclusion the author notes that it represents an integral quality of musical theatre of the era under study that exists according to its laws, paradoxical and motivated by its own artistic logic at the same time. The article is intended for a wide range of readers - from professionals studying the opera art of the past and the present days to readers interested in general issues of theatre and opera.

Abstract: The article illustrates the factors that determine the use of travesti with due regard to historical and cultural standards of the era, as well as the factors determined by specific artistic tasks of the author. The second case includes situations of representation of certain age characteristics of the hero/heroine, parody-grotesque and infernal images. The author marks a connection of the last two situations with carnival aesthetics. It is the first time in musicology that this problem is addressed. As examples, the article uses  operas by S. Landi, D. Vinci, F. Cavalli, G. Handel, W. Mozart, L. Rossi, J.Rameau. The methodology of the work is based on complex consideration of the phenomenon under study. In conclusion the author notes that it represents an integral quality of musical theatre of the era under study that exists according to its laws, paradoxical and motivated by its own artistic logic at the same time. The article is intended for a wide range of readers - from professionals studying the opera art of the past and the present days to readers interested in general issues of theatre and opera.

Abstract: The subject of the research is stereotypic decisions in a musical script, in particular, the way these decisions appear in a script, for example, melodic and texture formulas, external distinctive features, high degree of typification and low variability, repeatability in a set of works, steady position in the collective memory. The purpose of the research is to analyze general mechanisms that form the basis of stereotypes formation and perceptions. Research tasks include to develop fundamental principles of such decisions and to identify a general typology of situations connected with their concrete manifestations as well as correlations between them and the historical context of their functioning. The research is based on traditional methods of theoretical and historical musicology and also phenomenological, morphological and historical approaches. The researcher establishes that all situations related to manifestation of stereotypes in musical art can be divided into the following groups: structural (at the levels of grammar and vocabulary) and semantic. The general mechanism of perceiving stereotypic/not-stereotypic decisions is based on the principle of the model inertia following/violation in work formed in the collective memory. The author also shows historical variability of interpreting stereotypes at different periods and their relation to fundamental principles that make the cornerstone of a musical script. 

Abstract: In his article Denisov demonstrates that the fundamental feature of absurdity is the total desintegration of expected attitudes or relations. Absurdity causes inversion of cause-and-effect relationships and destroys the logical order of such relationships in the general meaning of the word. It also shifts the scale of relevance of events and what events should be expected. The idea to overcome inertion of perceiving such a text is brought to the extreme point, in a word, such a text is being created at the point of structural and semantic break-down as a result of noncoincidence of intra- and inter-text relations. Particular means of absurdity poetics in music can be classifed into three groups: means which actual application opposes to the function they are supposed to perform (for example, hypercollage, or virtual quotation); discordance between different components of the text structure through aleatory composition of the external form and choatic distruction of composition borders; and use of non-artistic material in an artistic context, or vice versa. In consluion, the author of the article analyzes the reasons that determine the role of the absurdity way of thinking in the culture of the last decades. 

Abstract: In his article Denisov demonstrates that the fundamental feature of absurdity is the total desintegration of expected attitudes or relations. Absurdity causes inversion of cause-and-effect relationships and destroys the logical order of such relationships in the general meaning of the word. It also shifts the scale of relevance of events and what events should be expected. The idea to overcome inertion of perceiving such a text is brought to the extreme point, in a word, such a text is being created at the point of structural and semantic break-down as a result of noncoincidence of intra- and inter-text relations. Particular means of absurdity poetics in music can be classifed into three groups: means which actual application opposes to the function they are supposed to perform (for example, hypercollage, or virtual quotation); discordance between different components of the text structure through aleatory composition of the external form and choatic distruction of composition borders; and use of non-artistic material in an artistic context, or vice versa. In consluion, the author of the article analyzes the reasons that determine the role of the absurdity way of thinking in the culture of the last decades. 

Abstract: The work purpose – analysis of the organizing principles underlying the musical parody. The main question – to consider the general mechanisms of the parody, the concrete musical means leading to its formation, and also its general functions in musical art.The basic principle of the parody consists in the structural-semantic inversion of the initial text forming its image overturned in the semantic relation. Parody reconsideration of the original usually occurs at the expense of parallel action of the intra text and intertext relations: a certain mutual coordination of the parody text elements, and also "comparison" of this text with the parodied original.Thus the concrete embodiment of inversion can be connected, first, with a certain immanent organization of the musical text structure, secondly – with its extra musical semantic sphere (in musical and theatrical works, vocal music). On concrete examples the main receptions of the parody in music – deformation and agglutination - are considered. At last, functions of the musical parody in a historical and cultural context are separately shown. In particular, the principle of parody inversion is opposed to the idealization and mythologization phenomena accompanying each other in development of culture. Work can be interesting to culturologists, critics, and also everything who is interested in problems of a musical art theory and history.