Abstract: This article examines the sonata for solo harp No. 2 "Epic sound patterns" by Valery Kikta in order to identify the genre features that form the basis of the artistic task. The Russian harp school has passed its own path of formation and has a recognized authority. Despite this fact, compositions for solo harp in the works of modern Russian authors are quite rare. Valery Kikta became one of the composers seeking to revive interest in the national harp art and advocating the preservation of tradition. His main achievement in this field is not only in the creation of new music, firmly included in the performing and concert repertoire, but also participation in the organization of the Russian Harp Society. The three iconic characteristics of the composition analyzed by the author of the article – genre, timbre and fret – made it possible to define a work of musical art as a text that can be deciphered. In the process of work, special attention is paid to the detailed characteristics of traditional and innovative ways of working with the material. Special emphasis is placed on the search for links with the Russian school of composition and its characteristic reliance on national culture. The semiosis of the sonata and its constituent expressive features of the musical language are determined. The symbolism of the epic in combination with the software component announced by the author made it possible to discover the "message" contained in it.

Keywords: tradition, mode, sonata form, folklore, semiosis, semiotics, epic, harp, sonata, Kikta

Abstract: The subject of the study is the changes that occurred in the architecture of Scottish country houses of the XVIII century under the influence of new worldview attitudes of the era of the Scottish Enlightenment. The object of the study is the Mavisbank estate in the county of Mildotian, owned by one of the leading figures of the Scottish Enlightenment, Sir Clark Penicuik. Mavisbank is considered as a significant monument of the era of the Scottish Enlightenment, because it shows how the changes taking place in society were expressed in the search for those architectural forms that would reflect the spirit of the new time – the time of reason and its accompanying rationality. When working on the article, the author used the methods of formal stylistic and comparative analysis, which made it possible to determine the architectural style of Mevisbank. The novelty of the research conducted by the author lies in the fact that at present time there are practically no fundamental works in Russian art criticism devoted to the study of the evolution of Scottish architecture of the era of the Scottish Enlightenment. The main conclusion of this study is that in the XVIII century, thanks to the activities of local educators, for the first time in Scottish architecture, there are primary architectural solutions that are ahead of similar trends in English architecture. Thus, the appearance of innovative architectural solutions on Scottish soil suggests that the Scottish architecture of the XVIII century ceases to be regarded as a purely provincial phenomenon based on English and continental models.

Keywords: The Estate poem, baroque, English Palladianism, villa, country house, scottish architecture, economic recovery, Union, The Scottish Enlightenment, compactness

Abstract: The subject of research in this article is the iconography and cult of St. Martin of Tours in the Catalan altar painting tradition. The object of the study is a unique monument of the first half of the 12th century – the frontal of Sant Marti de Puigbo, once considered one of the most ancient works of Catalan Romanesque panel painting. The author made an attempt to dispel the historiographical myth about the antiquity of piece of art and embed it into the historical, cultural and political context. It was the method of iconographic analysis that made it possible to link the creation of the frontal of Sant' Marti de Puigbo with the special cult of Saint Martin of Tours in the Catalan Comarques, as well as with his patronage of the counts of Barcelona. In the course of the study, the author concluded that the creation of the Frontal Sant' Marti de Puigbo is connected with the reign of Count Ramon Berenguer III of Barcelona, whose patron saint was Saint Martin. This conclusion made it possible to more accurately date the frontal from the church of Sant'marti de Puigbo. The connection between the veneration of the cult of St. Martin and the activities of Ramon Berenguer is evidenced by archival documents, as well as some monuments dedicated to St. Martin located in the territories controlled by the Count of Barcelona. The analysis made it possible to link the iconography of St. Martin on the frontal from Puigbo with the iconography of Ramon Berenguer III on the tombstone of the count from the monastery of Santa Maria de Ripoll, which also allowed the author to conclude that the frontal and the sculptural tombstone could have been made in the same workshop. The novelty of the research lies in the fact that no attempt has yet been made to completely reconstruct the context of commission of this example of the Catalan altarpiece painting and determine the exact time and place of its creation.

Keywords: altarpiece, medieval art, Ramon Berenger III, panel painting, romanesque painting, Catalonia, altar painting, Saint Martin of Tours, iconography, frontal

Abstract: The subject of the study is the viability of the tradition of hunters and fishermen in modern society in the conditions of the Extreme North. This article substantiates the features of the viability of the Essene Yakuts in the context of the historical development of mechanisms of self-regulation, adaptation and cultural reproduction. The object of the study is the Essene Yakuts living in the village of Essey of the Evenki National District of the Krasnoyarsk Territory. The Essene Yakuts are a unique local group of Yakuts, as they have preserved the Yakut language and self-consciousness in a modern and non-ethnic environment. In the conditions of the Extreme North, the Yakuts of Essey successfully switched to reindeer husbandry, fishing and hunting, hence the difference in the culture of life support from the Yakuts of the Republic of Sakha (Yakutia). The main conclusions of the study are the identification of mechanisms for countering instability, as a result of which a new stability arises. The Essene Yakuts were able to preserve elements of the traditional culture of the Yakuts, while transforming it under new living conditions. And if in the pre-XXI century the Essenes felt their remoteness, then with the development of the information society, mass media, messengers, they joined the "Yakut world", which contributed to the transformation of the unique culture of the Essenes. A special contribution of the authors to the study of the topic is that personal field materials collected in 2014 in Essey and Tura settlements of the Krasnoyarsk Territory were used. The novelty of the research is the revealed mechanisms for the preservation of traditional culture, as well as previously unpublished field materials.

Keywords: ecology, Essene, yakuts, Essene Yakuts, culture, archaic community, adaptation, hunting, fishing, ethnic group

Abstract: The purpose of this article is to identify cultural, musical and pedagogical aspects of the life and work of one of the leading representatives of the Moscow piano school in performance and pedagogy S. Feinberg. The formation of S. Feinberg's compositional and performing style was influenced by many composers of the Silver Age, the leading of whom were A. Scriabin and N. Medtner. The subject of the study is the circle of interests of S. Feinberg. S. Fenberg was one of the best performers of J.S. Bach, L. Beethoven, R. Schumann, P. Tchaikovsky, S. Rachmaninov, N. Medtner, A. Scriabin. S. Feinberg's interpretations of A. Scriabin's works were considered the closest to the author's. S. Feinberg's performance was distinguished by its rigor, precise adherence to the author's text, intellectual interpretation. S. Feinberg summarized his views in musicological works: "Beethoven's 32 Sonatas", "Pianism as Art", "The Fate of Musical Form" and others. The object of the study is the consideration of the individual composer style of S. Feiberg. From the first opuses of S. Feinberg's work, he was interested in the genre of piano sonata. Through the synthesis of research methods, some features of sonatas No. 1, No. 2, No. 6 and No. 12 are presented. The author examines in detail compositional techniques, in particular the attraction to poetry and monothematism inherent in romantic composers, the widespread use of polyphony. A significant event for the musicians was the release of the CD "Feinberg plays Feinberg", released by the Moscow Conservatory in 2021, which included recordings of his twelve sonatas. The main conclusion of the conducted research is that S. Feiberg's style is absolutely individual, which is revealed in the nature of thematism, the ways of its development, and the methods of piano presentation. In addition, a fine connoisseur of the piano, S. Feinberg creates new types of virtuoso technique. The novelty of the research lies in the fact that for the first time the study of S. Feinberg's style is based on the memoirs and theoretical studies of S. Feinberg.

Keywords: sonata, piano creativity, the thinker, composer, interpretation, performance, the era of the Silver Age, Moscow Conservatory, Samuel Feinberg, piano technique

Abstract: The object of research in this article is the terminological apparatus that is being formed in the foreign and russian historiographical tradition, describing concepts related to the principle of typological parallelism of Covenants in Christian iconography. This principle is based on the doctrine of "Reconciliation of Testaments" (considering Old Testament events as prototypes of New Testament history) and underlies the organization of plots already in a number of monuments of early Christian art. In the era of the High Middle Ages, this principle became one of the fundamental in the iconography of monuments of painting, sculpture and decorative and applied art. The subject of the study was the process of adding up the generally accepted terminology in studies devoted to the iconographic technique in question. The article also raises the problem of correlation between terms used in foreign and domestic historiography. Based on the analysis of the addition of the terminological apparatus in research on Christian iconography, the article concludes that there is no unified system of terms in modern science, especially in the domestic one, to describe the extremely important and widespread phenomenon of Christian iconography – the reflection in the pictorial cycles of the principle of "Reconciliation of Covenants". Tracing the etymology of the concepts used, the author of the article clearly demonstrates the existing contradictions in the terms "type", "antithype" and "antithype", and also analyzes the difficulties that arise when translating these concepts into Russian. Based on this research, it becomes possible to offer the most correct and unambiguously interpreted terms. The relevance of the study is explained by the absence in the Russian research literature of a system of terms for the iconographic principle under consideration, as well as individual Old Testament subjects-prototypes and their New Testament analogies.

Keywords: Engelbert Kirschbaum, Louis Réau, André Grabar, Émile Mâle, Old Testament types, Concordatio Testamenti, medieval art, biblical typology, typological parallelism, Christian iconography

Abstract: In order to determine the specifics and nature of the formation of the subculture of the theater spectator in Yakutsk, the history of relations between the theater and the spectator is considered. Variants of a strategy for the formation of a subculture of theatergoers in the youth environment of a provincial city (students of colleges and universities as the "backbone" of the audience) are proposed. The specifics of the subject of the study led to the use of interdisciplinary, sociocultural and cultural approaches, which made it possible to integrate the methods of cultural studies, sociology, art history, folklore and pedagogy. The culturological approach made it possible to determine the nature of changes in the cultural space. The synchronic method provided an opportunity to analyze in a slice mode and identify three stages in the formation of the subculture of the theatrical spectator. The dynamics of the formation of the subculture of theatergoers in Yakutsk in 1960-2020s is considered in detail. This is the time when the theater was formed as an organic institution of modern Yakut culture, but not something artificially introduced into the national culture. An indirect criterion base is determined, indicating the growth of the theater audience's competence: a change in the repertoire, problems, directing styles, participation in theater competitions and festivals, touring policy, pricing. Convergence of different types of cultural "consumption" is proposed: hybrid forms of work in cooperation with museums, philharmonic society, libraries; organization of creative meetings, excursions to rehearsals, pre-premiere screenings, charity events, etc. The regional specificity of the communication "theater - spectator" influences the formation of both moral and aesthetic views of the spectator; influences the national consciousness of the people, contributes to the strengthening of spiritual guidelines.

Keywords: national identity, communication links, identity, cultural consumption, dynamics, subculture of the theater audience, social institute, competence, convergence, spiritual maturity of the nation

Abstract: The article is devoted to the problems of identification of idiomatic expressions in the field of phraseology. Based on the concept of phraseology, she studies linguistic units characterized by fixed and reproducible combinations of words in speech. Idiomatic stable expressions in the phraseological sphere are phraseological units of the language system with the following distinctive features: internal fixation, semantic unit and external fixation. Most of the idioms that are presented in the work consist of commonly used words of the Spanish language, although some of them include diacritical words or a certain structural anomaly. It is also important to take into account the special influence of these phraseological units on the overall structure of the conversation, primarily on argumentation, as well as on their pragmatic binding function. In this paper, special attention is paid to the pragmatic component. When a speaker uses one of these phraseological units, he makes an assessment, and the consequence of this assessment is an expressive shade of phraseological units. Within a group of idioms, it is usually recognized that verbal idioms constitute a subgroup whose components differ in that they are formed by a verb and a number of fixed additions, as well as in that their behavior in speech is similar to that of simple verbs. Taking into account the formal and semantic characteristics of verbal idioms with a collocation base, it can be noted that noun + verb or article + noun + verb collocations are a productive source of verbal idioms, since in the process of metaphorization they become verbal idioms that acquire idiomatic meaning. The given comparative classification of verb stable expressions allows us to conclude that verb idioms are actually complex collocations endowed with idiomaticity, used to emphasize colloquial speech.

Keywords: Idioms, Context, idiomatic, pragmatic function, external fixation, internal fixation, phraseological units, Collocations, Meaning, Culture

Abstract: The subject of this study is the analysis of the 50th anniversary of the Soviet craft of the Palekh lacquer miniature of 1974. The background and the course of the festive celebrations are revealed in detail, the characteristics of those areas of activity that were used by the Soviet state, the intelligentsia and society to popularize and recognize the Palekh craft are given. The purpose of the article is to try to prove the important role of the official celebration of the 50th anniversary of the Palekh lacquer miniature for the development of this craft, as well as to approve the fundamental thesis about the importance of studying this phenomenon - celebrating the anniversaries of the Palekh lacquer miniature craft of the Soviet period – for studying its history. Using narrative, retrospective and historical-systemic research methods, the author focuses on the importance of state and society support for the life of the Palekh fishery of the Soviet period, which is an extremely urgent problem in our time, when the fishery, according to many Palekh artists, is experiencing decline due to insufficient attention from the state. Thus, the scientific novelty of the study consists in an attempt to comprehensively describe a specific historical phenomenon that can serve as a model for future state policy towards Palekh as a unique heritage of Russian culture. The opinion expressed about the need to repeat the Soviet experience is the main conclusion of the proposed article.

Keywords: folk art, soviet art criticism, Ivanovo, Ivan Ivanovich Golikov, russian lacquer crafts, russian lacquer miniature, Palekh, exhibition activities, exhibition, arts and crafts

Abstract: The article attempts to substantiate the need for increased attention of stakeholders to the relevance of updating the professional training of vocal teachers. The author of the publication step-by-step reveals the ideal structure of a vocal teacher's competence based on the views of various experts systematized by him, and also suggests making separate principal accents on the comprehensive study of trends in modern musical culture by students, since conscious and purposeful familiarization with them is, in his opinion, an integral element in the system of modern professional competence. The personal and professional characteristics that every future vocal teacher should possess are disclosed in sufficient detail; the special importance of each of these components of success in the competitive struggle in the pedagogical labor market is emphasized. In addition, the key features of the dissemination of musical information in modern society, the impact of network technologies on the specialized training of teachers and recipients are highlighted. The specifics of the perception and use of musical information by different generations of Russian people are noted. As a conclusion, the author suggests a further, more in-depth study of the issues he raised, since, in his opinion, it is insufficiently developed at the scientific level. As a conclusion, the author suggests further study of the issues he raised.

Keywords: creative self-development, professional, culture, art, trends in musical culture, musical culture, pedagogical activity, teacher, vocals, vocal teacher