Abstract: The article raises a question of whether we need to know the personality of the brilliant artist, in order to judge his works, as well as what to do when we find out from articles or the Internet the  aspects of this persona that contradict the crystalline image, which we have unwittingly created. The author gives the voice to the participants of a forum dedicated to Sviridov, as well as to Sviridov himself, and based on the constructed polylogue offers his commentary and thoughts, and proposes solution to the raised issues. He describes Sviridov as a genius composer and a regular human being, demonstrating that within the culture and art the question of their interconnection is resolved differently. As the result of the conducted analysis, the author successfully reconstructs the personality of Sviridov and the situation that has currently formed within the communication of popular art; to demonstrate that it is necessary to distinguish the different personalities of great artists, forms of understanding of their own relations between these personalities, and finally, our own approach and interest.

Keywords: music, composer, composition, artist, art, genius, personality, polylogue, dilemma, a life

Abstract: This article focuses on the concept of the American scholar Aaron Ridley, which in his opinion offers a convincing substantiation of the thesis that music is capable of expressing emotions with precision greater than that of words. The article analyzes the explication of the mechanism of musical expression of emotions that comprises the foundation of Ridley’s “weak” version of arousalism, in which the emotional response of the audience represents the constituting element of the emotional expression of the musical work. The examination of Ridley’s concept is preceded by a brief historical image of philosophical concepts, which contain implications for solution of the problem of precision of musical expression. The main method f research is the analysis and explication of the key notions and argumentative strategy lying at the foundation of Ridley’s concept. The issue of precision of musical expression is being examined using materials that are introduced for the first time into the Russian philosophy of art. The author draws a conclusion on the vulnerability of the approach proposed by Aaron Ridley within the framework of his concept of “weak” arousalism, according to which the precision of musical expression of emotion is achieved by particularization of the typical emotion expressed in music through the compassionate response from the recipient.

Keywords: exactness of musical expression, Aaron Ridley, weak arousalism, intentionality, melisma, sympathetic response, emotional expressivity, particularisation of emotion, affective community, perception of expressivity

Abstract: The subject of this research is the issue of musical time within music of the XX century. Within the creative practice of this period, this issue is especially pressing. Organization of the sound events in the time continuum, comparable by level of density, comprises the reflection of the author’s inner world. Various philosophical space-time concepts are compared by the author with the examples of their understanding in the modern composing practice. The author mentions various concepts of musical time: “spherical time” of Bernd Alois Zimmermann, the concept of single unity of sound organization through the guidance by time parameter of Karlheinz Stockhausen (theory of “single unified time field”). Italian composer Salvatore Sciarrino did not theorize his time position. But in his oeuvres, this problem is constantly at the forefront, and gets various commentaries. The scientific novelty is defined by the reference to the work of Sciarrino, which has not been thoroughly studied within Russian musicology. Despite this fact, we can assert that he is a living classic of the new music. For the first time the author refers to the descriptions of the individual compositional method with the time-space aspects. The author's creative search in the process of the research enters into a resonance with the modern concepts Gilles Deleuze.  

Keywords: New Music, Sciarrino, Musical time, Bergson, Deleuze, Musical Composition, Philosophy of Music, Contemporary composer creativity, Musical concept of time, Chronos and Aeon

Abstract: The object of this research is the issues of overcoming the psychological stress in professional music career. Bolin’s music is exquisite and embodies strength and refined beauty. Being a sound innovator, he attained recognition among jazz and rock musicians at a very early age. It was Tommy Bolin that was able to fully refresh the creative atmosphere of DEEP PURPLE, who by that time sort of regressed due to stubborn self-imitation, even though he could not prevent the break-up of the band. His death a void in a definitely unique sector of rock music, which represented the musical cocktail mixing jazz, hard rock, and vintage blues. The article substantiates the position that the notable musician, possibly one of the most fruitful and underappreciated guitarists of all time – Tommy Bolin, became a hostage of the brand, created to embody the initially different ideas of another fantastic musician Ritchie Blackmore. The author presents a version, according to which this and some other circumstances became the main psychological determinants of the crisis of development of professional music career, which serves as the subject of the philosophical-culturological research. The novelty consists in the scientific substantiation of the causes of the crises in the professional musical career of Tommy Bolin, which in the end led to a real tragedy – death of the great guitarist.  Over the last year and a half of Bolin’s life, four mistakes were made – branding (first); communicative (second); psychological (third);and tactical (fourth), the totality of which played the fatal role.

Keywords: Tommy Bolin, DEEP PURPLE, Rock Musician, Guitarist, Live Performance, Album, Record Company, Brand, Music Industry, Version of Events

Abstract: This article examines one of the most unique and widely known musical genres of the second half of XX century – instrumental theatre, which saw its bright implementation in the work on the renowned German avant-gardist Karlheinz Stockhausen. The author analyzes Stockhausen’s instrumental theatre – from using simple relocation of musicians and specific placement of instruments on the stage, to creating full-blown instrumental-theatrical spectacles. A special attention is given to the issue of interpretation and scenic re-creation of the instrumental-theatrical compositions. An attempt is made at a comprehensive study of Stockhausen’s instrumental theatre: the analysis of his oeuvres is aimed at determining the general regularities of the manifestation of this genre in composer’s work. The scientific novelty consists in the fact that until today they instrumental theatre of Stockhausen has not become the object of e dedicated close attention of art scholars. As the conducted analysis of his works demonstrates, his methods of creation of the instrumental-theatrical composition have significantly affected the evolution of the instrumental theatre as a genre, and broadened its genre aspects.  

Keywords: art, musicology, synthesis of the arts, instrumental theater, Stockhausen, performance, syncretism, synesthesia, postmodernism, musical genre