Abstract: This article studies the music novations in Aristotle’s philosophy. This research focuses on Aristotle’s philosophical and aesthetical views, with a particular emphasis on the musical novations in his philosophical works. It also aims to detect music novations in Aristotle’s philosophy. To achieve this purpose, the author performs the following tasks: studying Aristotle’s essays and defining his philosophic and aesthetic attitude to music resulting in music novations that appeared in his philosophy while also paying attention to Aristotle’s theoretical views on music. The main research methods are analytical and hermeneutical. The article analyzes the main ideas about music in Aristotle’s essays and characterizes musical innovations typical of his aesthetics. The author concludes that Aristotle’s philosophy and aesthetics contain the following novations: a music composition is the key jewel of a tragedy and is one of its components; music is divided into practical and theoretical (music art and music science); the “composer-performer” system appears in which a composer is the writer of the music, and a performer is the one who plays or teaches the music; the formation of a comprehensive concept of a piece of music; music is a melodic and harmonic reflection of life and an expression of spiritual and moral values and properties of humanity.  

Abstract: This article studies the music novations in Aristotle’s philosophy. This research focuses on Aristotle’s philosophical and aesthetical views, with a particular emphasis on the musical novations in his philosophical works. It also aims to detect music novations in Aristotle’s philosophy. To achieve this purpose, the author performs the following tasks: studying Aristotle’s essays and defining his philosophic and aesthetic attitude to music resulting in music novations that appeared in his philosophy while also paying attention to Aristotle’s theoretical views on music. The main research methods are analytical and hermeneutical. The article analyzes the main ideas about music in Aristotle’s essays and characterizes musical innovations typical of his aesthetics. The author concludes that Aristotle’s philosophy and aesthetics contain the following novations: a music composition is the key jewel of a tragedy and is one of its components; music is divided into practical and theoretical (music art and music science); the “composer-performer” system appears in which a composer is the writer of the music, and a performer is the one who plays or teaches the music; the formation of a comprehensive concept of a piece of music; music is a melodic and harmonic reflection of life and an expression of spiritual and moral values and properties of humanity.  

Abstract: This article studies the music novations in Aristotle’s philosophy. This research focuses on Aristotle’s philosophical and aesthetical views, with a particular emphasis on the musical novations in his philosophical works. It also aims to detect music novations in Aristotle’s philosophy. To achieve this purpose, the author performs the following tasks: studying Aristotle’s essays and defining his philosophic and aesthetic attitude to music resulting in music novations that appeared in his philosophy while also paying attention to Aristotle’s theoretical views on music. The main research methods are analytical and hermeneutical. The article analyzes the main ideas about music in Aristotle’s essays and characterizes musical innovations typical of his aesthetics. The author concludes that Aristotle’s philosophy and aesthetics contain the following novations: a music composition is the key jewel of a tragedy and is one of its components; music is divided into practical and theoretical (music art and music science); the “composer-performer” system appears in which a composer is the writer of the music, and a performer is the one who plays or teaches the music; the formation of a comprehensive concept of a piece of music; music is a melodic and harmonic reflection of life and an expression of spiritual and moral values and properties of humanity.  

Abstract: The research object is the creative work of a modern Russian composer, a member of the Union of composers of Russia, Vladimir Korolevsky. In 1986 he graduated from Saratov State Conservatoire on a class of the works of professor B.A. Sosnovtsev. From 2002 till 2012 the composer was working as an associate professor at the department of the theory of music and composition of Saratov Conservatoire where he taught composing and theory of music.
The research subject is the cyclus “Six children’s songs” for soprano and piano with the lyrics by Boris Zakhoder.
The purpose of the study is to detect interrelations between the musical text and the lyrics. To achieve this purpose, the author solves the tasks connected with the analysis of each part of the cyclus from the viewpoint of intonational, tonal and harmonical development. The author comes to the conclusion about the simplicity and naturality of the musical language strictly following the lyrics; that is a continuation of the best traditions of Russian vocal music and a significant part of accompaniment which is not a mere background but the reflection of the content of the lyrics and an individual tonal and harmonical plan of each part.