Abstract: The subject of the research is the interaction between improvisation and the strict polyphonic form of the fugue in the context of jazz and academic music of the 20th – early 21st centuries. The object of the study is jazz fugues as a phenomenon that emerged at the intersection of academic and jazz traditions. The author examines in detail such aspects of the topic as the historical continuity of jazz fugues from the baroque practice of improvisation, the structural mechanisms of incorporating improvisation into the polyphonic texture, as well as the typology of forms arising from this synthesis. Special attention is given to parallels between the baroque model of the figured bass fugue and jazz improvisation over a harmonic grid. The work analyzes specific compositional techniques: walking bass, comping, transforming interludes into improvisational solos, as well as the influence of jazz stylistic idioms on thematic material and development. The methodological foundation of the research is a comprehensive approach that combines methods of historical-theoretical, structural-functional, and stylistic analysis. The work is based on studies on the theory of the fugue (N. Simakova, A. Milka, V. Frayonov), the history of baroque improvisation (M. Serebrennikov), and the theory of jazz (O. Kovalenko, I. Presnyakov). The scientific novelty lies in the systematic analysis of the impact of improvisational elements on the structure of jazz fugue. For the first time, a typology of its structural principles is substantiated: res facta, oriented towards the Bach model, and standard-fugue – a form suggesting an unlimited number of improvisations. In the standard-fugue, the exposition serves the function of the theme of a jazz standard. A significant contribution of the author is the identification of the mechanisms for incorporating improvisation into counterpoint (walking bass and comping) and interludes (transforming them into written or unwritten improvisations). The main conclusions of the research are as follows: the jazz fugue is not a compromise between rigor and freedom, but rather a logical development of the European tradition of "instant composition," adapted to the rhythmic and harmonic language of jazz. The baroque model of the figured bass fugue reveals a deep kinship with jazz practice, allowing us to view the jazz fugue as an actualization of the historical principle of improvisational polyphonic thinking.

Keywords: improvisation, fugue, jazz fugue, jazzing-fugue, jazz, Oleg Gorchakov, John Lewis, baroque improvisation, jazz polyphony, Bill Evans

Abstract: The subject of the study is piano accompaniment, considered as an equal and synergistic component of vocal performance. The article discusses in detail the conditions under which accompaniment ceases to be merely a support and becomes an active source of expressiveness. Key parameters that determine the quality of the ensemble are analyzed: the alignment of texture with the tessitura and registers of the voice, dynamic balance, tempo synchronization, as well as the use of transposition and tonal "bridges" for acoustic adaptation. Special attention is given to the systematization of typical problems that reduce artistic results: stylistic inconsistency with the vocal task, insufficient flexibility in transposition and modulation, unjustified concentration of energy in conflicting register zones, and an unbalanced dynamic profile. It has been established that these factors lead to masking of timbre, weakening of projection, and acoustic imbalance. The research methodology relies on a comprehensive analysis that combines artistic-stylistic and acoustic-performing approaches. Methods of comparative analysis of scores, analysis of performing techniques (flexible transposition, choice of texture), and principles of acoustic adaptation (tuning the tessitura and dynamic profile) in rehearsal and concert practice are used. The scientific novelty of the research lies in the proposed practical framework, which, unlike traditional approaches, links artistic interpretation with measurable acoustic parameters. This framework is based on verifiable procedures for optimizing accompaniment to achieve a synergistic effect. A significant contribution of the author is the justification of flexible strategies (score analysis and breathing "windows," the application of rehearsal signals, modulation considering the hall's acoustics) as an effective tool for solving specific performance problems, including timbre masking and dynamic imbalance. The main conclusions of the conducted research are propositions that this approach, unlike mechanical accompaniment, purposefully reveals the individuality of the singer, enhances the clarity of the text, and improves voice projection. It has been proven that such a detailed adjustment of the tessitura and dynamic profile provides a stable artistic whole in a real, acoustically variable concert space.

Keywords: piano accompaniment, vocal performance, texture, tessitura, transposition, tonal transitions, dynamic balance, ensemble synchronization, sight-reading, acoustic adaptation

Abstract: The article is dedicated to M. A. Kuzmin's "Alexandrian Songs" (1872–1936) – a distinctive poet, prose writer, playwright, composer, literary critic, and translator of the Silver Age. He was closely associated with the World of Art movement and Symbolists, participated in the creation of the declaration "On Beautiful Clarity," and after the revolution, he found himself at the head of the group of "emotionalists" – Petrograd literary figures who were captivated by expressionism. The examined cycle is rightly recognized as one of the bright examples of free verse, refracting the idea of "beautiful clarity" in the early poetry of the author. The songs testify to Kuzmin's aestheticism, reflecting his fascination with the culture of Ancient Egypt, which is less popular than Greek and Roman antiquity but significant for understanding the role of classical art. The main emotional impulse for the emergence of the cycle was Kuzmin's visit to Alexandria in 1895, combined with historical and aesthetic ideas about this eternal city drawn from various sources. The methodology of this article is based on a comprehensive approach that includes archival and bibliographic, historiographic, cultural, and analytical methods. The work has repeatedly become the subject of reflection by many literary scholars (N. K. Volkenau, V. M. Zhirmunsky, J. E. Malmstad, and V. F. Markov, A. V. Lavrov and R. D. Timenchik, N. A. Bogomolov, G. S. Vasyutochkin, O. A. Ovcharenko, M. L. Gasparov and T. V. Skulacheva, L. G. Panova, O. N. Neganova, and others). At the same time, there is not a single musicological study dedicated to this composition. This fact determines the scientific novelty and relevance of the work. The author concludes that the cycle fits into the context of the search for a poetic-musical synthesis characteristic of the early 20th century. The melodic foundation of the songs is built according to the principles of speech intonation. At the same time, the miniatures revive the original understanding of lyricism as singing.

Keywords: Alexandrian Songs, Mikhail Kuzmin, Silver Age, Alexandria, Ancient Egypt, lyrics, vocal cycle, free verse, Evenings of Contemporary Music, chamber vocal music

Abstract: The subject of the research is the processes of transformation of traditional practices in vocal art under the influence of digital technologies. This article examines in detail how these practices are changing. For example, in the field of creativity, it analyzes how audio processing shifts the focus from live performance to studio work ("studio production"), while the transformation of the role of AI questions the concept of "originality." In the area of stage embodiment, it shows that digital scenography becomes an integral part of the narrative, and interactive technologies and VR concerts rethink the experience of audience "presence." Special attention is given to the field of distribution and pedagogy, exploring how digital platforms change the environment in which art exists through algorithmic recommendations, and analyzing the potential of digital tools (VR) in education, particularly their ability to visualize and assist in mastering complex bodily skills. The methodological framework of the study is based on the approaches of cultural and media studies. The research employs methods of comparative analysis, synthesis, and predictive analysis to study transformations in the field of vocal art. The research shows that digital technologies are not merely tools of efficiency; they have a direct impact on aesthetic criteria and pedagogical approaches in vocal art. The scientific novelty of the work lies in the fact that it does not merely state these changes but raises key academic questions that have previously not received adequate attention in this context. The focus is on the challenges related to defining "authenticity" in the age of AI and "digital presence"; the pedagogical difficulties in transmitting "embodied knowledge" remotely; as well as the risks of "algorithmic hegemony" of the platforms. In this regard, the work emphasizes the need for a thoughtful integration of technologies, whereby artists and educators can maintain a balance between innovation and a "human-centered approach."

Keywords: Vocal art, Digital technologies, Creativity and performance, Digital dissemination, Vocal pedagogy, Artificial intelligence, Virtual reality, Interactivity, Authenticity, Algorithmic curation

Abstract: This article examines the adaptation of Saint Francis' didactic works On True and Perfect Joy and Salutation of the Virtues in Olivier Messiaen's opera Saint François d'Assise. Scènes franciscaines. The composer included paraphrases of these works in the solo part of the main character from scenes 1, 3, and 8 of the opera. Messiaen interpreted the meaning of St. Francis' poems Canticle of the Creatures and Simple Prayer in the part of St. Francis in scenes 2, 3, 5, and 8 of the opera. In the parts of the invisible and visible choir, which perform various dramatic functions in scenes 1, 3, 5, 7, and 8 of the opera, the composer expressed the meaning of selected verses from the Holy Scriptures (New Testament), as well as verses from Psalm 141. Comparing the content of the paraphrased texts of Saint Francis of Assisi and the verses of the Holy Scriptures, the author of the article reveals the embodiment of the concept of Franciscan spirituality in Messiaen's work i. e. Messiaen's theological understanding of the foundations of the universe, the symphonic interpretation of Christian truth by the composer, and the affirmation of the spiritual substance of music that brings man to God. The article traces the vocal and symphonic embodiment of the Christian paradigm of “death-immortality” in Messiaen's opera. The author analyzes paraphrases of New Testament verses and St. Francis’ writings to identify the common spiritual meaning of the texts that Olivier Messiaen interpreted in his opera. As a musicologist, the author examines de visu the full score and piano and vocal score of Scènes franciscaines in order to reveal the composer's unique interpretation of St. Francis’ writings and the Gospel texts. Messiaen uses paraphrasing to convey the meaning of Saint Francis' didactic and poetic writings and verses of the Holy Scriptures. He notes the common spiritual meaning in the selected texts. By interpreting the meaning of the laud Salutation of the Virtues in the part of the main character (Scene 8), Messiaen discovered the saint's desire to free man "from the prison of vice and sin". In the final scene, Messiaen conveys the meaning of an episode from the last chapter of the Gospel of Luke and shows the relationship of Minorites to St. Francis as a mirror image of the apostles' relationship to Christ. In the third scene of the opera, Messiaen interprets St. Francis' poem Simple Prayer and verses from the New Testament that show a miraculous healing of a leper through the prayer of Father Francis. The manifestation of love for the leper becomes a new spiritual experience for the main character of the opera i.e. the result of a revelation of God's love for man. St. Francis' understanding of the mystery of God's love for the created world and man is reflected in the poem Canticle of the Creatures.

Keywords: lauds, praise God, virtues, St. Francis of Assisi, Saint John, Epistle to the Corinthians, Messiaen, Thomas of Celano, mirror of perfection, The Little Flowers of Saint Francis

Abstract: This article is devoted to V.P. Zaderatsky's opera "The Valencian Widow," based on the comedy by Lope de Vega. This work is the first to receive detailed, specialized treatment in musicological literature. "The Valencian Widow," which he primarily worked on from 1934 to 1940, became the one of composer's favorite creation. Zaderatsky, knowing the work would not be performed in his lifetime, refused to write the score. Nevertheless, he meticulously refined the piano score and brought it to perfection. Miraculously preserved sheet music, provided by the composer's son, V.V. Zaderatsky, serve as the primary source material for this article. The study focuses on the opera's musical form and the specifics of the composer's approach. The feauters of libretto, written by V.P. Zaderatsky himself, is also considered. Particular attention is given to the opera's main thematic material, the musical characteristics of the characters, and the instrumental and choral fragments. The composer's use of intonational and rhythmic complexes and their relationship with Spanish folklore are highlighted. The work's origins and its current status are briefly discussed. The research methodology is based on a combination of historical, analytical and comparative approaches with the use of archival materials. "The Valencian Widow" is the only surviving complete opera by V.P. Zaderatsky, offering a glimpse into the composer's theatrical legacy. It demonstrates a particular attention to drama. Authoring not only the music but also the libretto, V.P. Zaderatsky places his own emphasis on themes, subjecting the literary source to modifications. The use of diverse leitmotifs and recurring intonations cements the opera's structure, lending it a unique cohesion. This work is permeated with Spanish melodies and rhythms, lending it a vibrant musical character. The characterizations of the characters represent a variety of composer's approaches, from unchanging roles to psychologically subtle ones that undergo changes throughout the work. Instrumental fragments, serving various functions, are also significant: the overture, introductions to scenes, postludes, and symphonic episodes. The use of choral coloring is quite laconic and determined by the plot. The democratic nature of the musical language, coupled with the high level of artistic craftsmanship, lends the three-act composition a lightness and grace.

Keywords: V.P. Zaderatsky, the work of V.P. Zaderatsky, The Valencian Widow, Russian music, the opera of V.P. Zaderatsky, Lope de Vega, images of Spain, Soviet opera, composer and folklore, leitmotif system

Abstract: The subject of this study is the problem of «folklore and composer» as one of the most relevant in modern Russian musical culture. The object of the study is the consideration of modern methods of composer's work with a folklore source. The purpose of this article is to study the implementation of the Russian folk tale «Bubble, Straw and Bast Shoe» in the a cappella choir «How to cross the river?» by Yu.A. Evgrafov. The author examines in detail such aspects of the topic as attribution of the literary-textual source; disclosure of the features of the composer's choral writing. A number of key positions are identified: the composition of the performers, form, choral texture. Particular attention is paid to the coverage of issues related to the method of quotation in neo-folklore works of Russian composers. The author states that at the present time, a wide palette of means of musical expression opens up virtually limitless possibilities in the synthesis of tradition and innovation, which brings constant updates to both the individual author's style and to the general development of neofollorism as the most striking trends in contemporary musical art. The methodology consists of a synthesis of historical and theoretical methods. On its basis, historical prerequisites for the emergence of a «new folklore wave» in Russian musical art in the second half of the 20th century are revealed. Special attention is paid to the role of I.F. Stravinsky. The research experience is aimed at establishing the relationship between Russian folklore and the development of modern Russian choral music. The main conclusion of the conducted research is the paradigm of a deep connection between folklore and professional academic music in modern Russian art. In particular, such a position became a determining factor for the work of the Moscow composer of the second half of the 20th – early 21st century Yuri Anatolyevich Evgrafov. The author's special contribution to the disclosure of the topic is the study of the a cappella choir «How to сross the river?», which has not previously been the subject of special research. The novelty of the study lies in the fact that for the first time materials are presented on the refraction of folklore tendencies in the choral creativity of a cappella Yu.A. Evgrafov. The emphasis is placed on the need to study the historical and theoretical aspects of the formation and development of neo-folklore stylistic tendencies in modern Russian choral music. In this regard, it is the achievements of the Moscow School of Composers, and in particular the a cappella choral work of Yu.A. Evgrafov, that are becoming a landmark phenomenon.

Keywords: Russian music, national art, choral art, choral music, musical thinking, folklore, composer, fairy tale, choir, Yuri Anatolyevich Evgrafov

Abstract: The subject of this study is the art of choral conducting as one of the most relevant aspects of contemporary musical culture in China. The object of the research is the examination of the creative and pedagogical methods employed by the faculty of the Moscow Conservatory with Chinese students who are choral conductors. The aim of this article is to explore the pathways of forming the profession of choral conductor in China and to determine the role of the Moscow Conservatory in this process. The author examines various aspects of the topic, such as the cultural interaction between the USSR and the PRC in the 20th and 21st centuries, tracing the history of the influence of Russia’s largest music institution on the establishment of a choral conducting school in China. A number of key figures among Soviet and Russian musicians who made significant contributions to this process are identified. The author notes that choral education in Russia is characterized by philosophical-aesthetic depth, semantic concentration, and technical sophistication. The methodology consists of a synthesis of historical-theoretical and choral studies methods. Based on this, the history of training Chinese students at the Moscow Conservatory is revealed. Special attention is given to the independent performing and pedagogical activities of prominent choral conductors in China. The research experience aims to establish connections between the Russian school of choral conducting and the development of contemporary Chinese choral art. The main conclusion of the conducted research is the paradigm of profound mutual influence and enrichment in the musical arts of Russia and China. In particular, this position has become a determining factor in the musical education of Chinese students at the Moscow Conservatory. A significant contribution of the author to the topic is the study of the current state of the educational process for students from China in the choral conducting department at the Moscow Conservatory, which has not previously been the object of special research. The novelty of the study lies in the fact that it presents materials on the education of currently prominent choral figures in China: Wu Lingfeng, Yan Liankun, Cao Tongyi, Wang Chao. Attention is drawn to the need to study the historical aspects of the establishment of the national school of choral conducting in China, linked to the traditional musical thinking of China and the shift towards the assimilation of the Russian conducting and choral tradition.

Keywords: Moscow Conservatory, choir, conducting, Chinese music, choral music, choral performance, Wu Linfeng, Yan Liankun, Cao Tongyi, Wang Chao

Abstract: The article continues the author's research on the phenomena of symphonic creativity of Andrei Yakovlevich Eshpai, an outstanding master of modern Russian musical art. The composer's selected opuses are considered in the aspect of intertextuality, which is one of the most in-demand in the humanities, including in musical science. Due to the variety of existing scientific interpretations and the availability of a wide range of research perspectives, this aspect of the study seems to us particularly relevant. The article attempts to comprehend intertextuality as a significant, but not the only form of dialogue functioning in the musical and textual space of Eshpay's compositions, and thus apply a differentiated approach to such an ambiguous phenomenon as intertextual dialog interactions. Within the framework of this work, it seems necessary to turn to Mari folklore as one of the fundamental axiological guidelines of the composer's work. The object of the study is quotations from Mari folk songs used in the Second Symphony "Praise the Light!", as well as in the Third and Eighth Symphonies dedicated to the memory of his father, Ya.A. Eshpai. When studying the mechanisms of integration of Mari folklore into the author's text and identifying strategies for the functioning of the corresponding textual elements, an integrated approach was used, including a system-structural method, as well as methods of comparative and semiological analysis. As a result of the research, the role of intertextual strategies in the implementation of artistic concepts of symphonic compositions is revealed. It is established that the cited material concentrates the deep content and has significant potential for its deployment, activating the processes of mutual influence and contrast. The transformative effect of the folklore component on the linguistic mechanisms of texts and on their compositional and dramatic solutions is significant. At the same time, intertextual dialogue is realized through intonation transformations as well as through timbre-textured and harmonic "voicing" of folk melodies. At the same time, the composer's careful attitude to quotations turns out to be a very remarkable stylistic marker. In conclusion, it is emphasized that the intertextual dialogics of the texts of symphonic scores is close to the phenomena of stylistic synthesis. Strategies of this type become one of the clearest indicators of the author's style. They define the poetics of the genre and create a unique aura of Andrei Eshpai's works.

Keywords: Intertextuality, dialogical strategies, Andrei Eshpai, symphony, symphonic dramaturgy, conceptuality, contemporary music, Mari folklore, citation, musical genre

Abstract: Chinese women's music, as a branch of China's traditional musical culture, has shaped its aesthetic characteristics in close relationship with gender culture, social ethics, and power structures. The evolution of the aesthetic characteristics of Chinese women's music is essentially a story of the interaction of gender discourse and musical semiotics. This cultural practice reflects both the social power structures of specific historical periods and the agency of women in artistic creation. The aesthetic characteristics of Chinese women's music show dual tension: on the one hand, formal norms are formed under the influence of Confucian ethical discipline, characterized by the principle of "Yin gentleness"; on the other hand, through technological innovations and the awakening of subjectivity, a stable expression develops in the intervals of the ritual system. From the individual narrative of the musical and poetic works of Yuefu of the Han era (112 BC) to the artistic self-awareness of the court musical institutions (jiaofang) of the Tang era (618-907), this process culminated in the 20th century with the modern transformation from a "ritual instrument" to an "artistic instrument." The article consists of four parts: the first part is devoted to the basic concepts of women's music. The second part is devoted to the aesthetics of women's music in the system of rituals and music. The third part is devoted to the aesthetic construction of women's music of the XX century. The fourth part is devoted to the duality of aesthetic characteristics of Chinese women's music. In conclusion, the author considers that the transformation of the aesthetic qualities of women's music represents not only a renewal of the artistic form, but also acoustic evidence of the transformation of gender power relations in Chinese society, offering a unique aesthetic dimension for understanding the modernization of traditional culture.

Keywords: women's music, Chinese culture, music, aesthetic characteristics, gender culture, aesthetic construction, musical anthropology, China, culture, female

Abstract: The subject of the study is polyphony, considered as a way of organizing polyphony in compositions for unaccompanied choir by the outstanding Russian composer S. Balasanyan. The purpose of this article is to study the stylistic features of polyphony in compositions for a cappella choir by S. Balasanyan. The object of the research is the few completed opuses of S. Balasanyan's choral heritage: "Symphony for Unaccompanied Mixed Choir" (1968), "Polyphonic Triptych on themes of Armenian folk songs" (1971), "Polyphonic Concerto for a cappella Choir" (1980). The author examines in detail such aspects of the topic as compositional features and polyphonic means in S. Balasanyan's choral compositions from the perspective of integration of national traditions and European forms of musical art. Special attention is paid to imitation polyphony in a cappella choral compositions. The article describes various positions and points of view of famous scientists on the compositions of S. Balasanyan and the understanding of polyphony in a cappella choral music. The methodology of the subject area of research in this article consists in the use of various methods: the descriptive method, the historical method, the method of analysis, the method of comparison, as well as the method of synthesis of techniques of historical-biographical and musical-stylistic analysis. The main conclusion of the conducted research is the paradigm of deep stylistic synthesis of national and professional folk in S. Balasanyan's compositional thinking. The dialogue of cultures has become a determining factor for polyphony as the dominant parameter in his choral compositions. The author's special contribution to the research of the topic is the study of S. Balasanyan's choral compositions, which were not previously the object of special research. It is especially valuable that the unpublished works of S. Balasanyan "Polyphonic Triptych on the themes of Armenian folk songs" and "Polyphonic Concert for a cappella Choir" have not yet come to the attention of researchers of musical science and represent a new source for the study of S. Balasanyan's choral heritage. The novelty of the research lies in the fact that polyphonic writing in S. Balasanyan's a cappella choral compositions is analyzed for the first time. Attention is focused on the need to study the genre and stylistic features of choral compositions for unaccompanied choir by S. Balasanyan, due to the integration of national and European forms of musical art.

Keywords: Balasanyan, choral creativity, The symphony, The triptych, concert, composition, method, folklore, polyphony, composition technique

Abstract: The traditions of the interaction of word and music in the Yakut folk song of Dyeretia Yrya in Olonkho culture of the central (Prilensky) region are investigated. The study of the tradition of the interaction of word and music in the Yakut folk song is important due to the fact that it helps to understand the mechanisms in the relationship of word and music in folklore, in addition, this issue has not yet been considered as a special one in science, especially since the verse structure and their patterns in ancient poetic texts differ from modern folklore and vocal works, and their melodies are suprasemantic in nature. The song traditions of Dyeretia yrya in Olonkho were formed before the 1st century BC and many of their significant elements have survived to our time. The material of the study is the musical transcriptions of the Dyeretia Yrya Olonkho recognized by Olonkhosuts (Olonkho culture researchers). The methodology is based on theoretical developments in ethnography, philology and folk music. In this work, the author relied primarily on the method of comparative analysis. For the first time, on the basis of comparative works, it is shown that the traditions of the interaction of word and music in the Yakut folk songs of Dyereti Yrya in Olonkho culture of the central (Prilensky) region can be revealed by comparing the rhythm of the verse structure and the quantitative rhythmics of the chant, which in the future will help to reveal the deeper integrative possibilities of these two semantic systems and temporary art forms. The traditions of the interaction of word and music in the Dyeretia of the central (Prilensky) region of Yakutia are canonical and have been preserved for centuries. In the songs of Dyeretia Yrya, the melodic line develops according to the principle of "rotation in a closed circle" and has a pendulum-like character of the melodic pattern, which confirms the antiquity and patriarchy of such songs from Yakut legends. In the verse structure of the dyereti of yrya in olonkho, the tendency to equilocation and the presence of seven-syllable and six-syllable periods characteristic of Turkic versification are revealed. In the quantitative rhythm of the chant, the dominance of chants is observed to a greater extent with long durations, each sound of which is equal to short durations, expressed by eighth, sixteenth durations and trioles. The super-long ones represent the introductory part and necessarily open the melody, thereby emphasizing the beginning of the song.

Keywords: musical ethnography, traditions, interaction, The word-music ratio, dyeretii yrya, olonkho, semantics, the verbal structure, quantitative rhythmics, Yakuts

Abstract: The subject of the article is the phenomenon of foolishness in the works of Galina Ustvolskaya. The author suggests that in the external manifestations of this phenomenon (protest, denunciation) there is an underlying tragic content. In the opinion of the author, the urge towards extremes, as a typical feature of Ustvolskaya's creativity, is the composer's desire to conceal emotion in her compositions. This emotional tension is the very reason for the intonational ambivalence of Ustvolskaya's musical language. In this connection, the author identifies similarities in the composer's work with the foolishness described in Natalia Rostova's monograph, The Man of Reverse Perspective. In this study, the figure of the foolish man is compared to an icon, a reverse perspective which implies a multiplicity of viewpoints. For Ustvolskaya, this multiplicity of meanings is transformed into a special method - genre diffusion. The scientific novelty of the presented study lies in the author's interpretation of the metaphor of foolishness in the works of Ustvolskaya in the context of philosophical justification of this phenomenon. The author's special contribution to the theme's research is the analysis of some specific features of Galina Ustvolskaya's musical style on the example of her piano works. The article provides the notational examples of Twelve Preludes for Piano as well as Third and Fourth Piano Sonatas as the most vivid illustrations of the author's stance. The presented works focus on the intonation and genre spheres as well as outline the further development of these spheres.

Keywords: Galina Ustvolskaya, piano sonata, foolishness, paradox, ambivalence, lament, icon, prayer, childishness, tragedy

Abstract: The article is devoted to the study of the etude genre, which in the work of domestic composers-pianists of the second half of the twentieth – early twenty-first centuries became an experiment and capture of a personal artistic picture of the world. The focus of the article is two opuses by contemporary pianist composers М. Kollontai and E. Chernov. As a result of the cycle of analysis of etudes op. 55 Kollontai, the author comes to the conclusion that this work continues the line of Liszt’s transcendentalism. Particular attention in this cycle is aimed at considering religious and spiritual themes expressed at the verbal level. The composer’s artistic comments on the etudes, the epigraph from the poems of the poet and Catholic priest Geselle, the afterword to the plays, explain and explore the conceptual field of the program composition, which embodied New Testament stories related to the way of the cross of Jesus Christ on earth. For the piano cycle – Nine etudes-pictures op. 11 by Chernov, nine etudes-pictures op. 39 Rachmaninoff. In the course of the analysis, it is noted that the cycle of etudes by Chernov is characterized by the following features: a concentric type of composition with an aspiration to the finale, the presence of a lyrical core, the development and interweaving of two psychological modes (lyrical and dramatic), which gives the cycle integrity and harmony, paired grouping of etudes according to the principle of contrast, the presence of leitmotifs, as well as leitgenres (nocturne and waltz) that permeate the piano cycle. The article emphasizes the idea that interest in such a genre of improvisational mix as «etude-fantasy» is found mainly in the legacy of virtuoso composers-pianists of the 19th-20th centuries, striving in their work to prolong romantic traditions.

Keywords: Etude, romantic traditions, composer-pianist, Mikhail Georgievich Kollontai, Aleksey Evgenievich Chernov, Russian composers, virtuosity, transcendence, programming, cycle

Abstract: The article draws attention to the system of musical ornaments given in the didactic standard of the Italian teacher of the mid-XIX century Giusto Dacci. Created in the conditions of the changed practice of performance, where the importance of reading the musical text as close as possible to the composer's intentions, Maestro Dacci's ornamentation system not only offered teachers their unification in the form of abbreviated letter signs, but also set standards for their decoding. In relation to the content of the music theory, section related to the study of ornamentation, the Dacci system has become the organizing construct that has acquired a stable form of didactic generalization. The types of ornamentation highlighted by Giusto Dacci: appoggiatura – accaccatura – mordent – gruppetto – trill, these are the elements of musical theory that retain universality to this day. They were introduced into the didactic standard at a special historical moment of the active creation of methodological concepts that provide theoretical and technological foundations for pedagogical work in professional musical educational institutions in Italy. Such work not only enriched the musical culture of the XIX century. In the formation of basic coloring skills, it remains an important educational guideline today. 1. In music theory, it captures the experience of accurately encoding ornaments. This experience, in fact, is the key to the visualization of an unchanging sound. For musicology, it is of interest from the point of view of studying the history of the formation of the cycle of musical-theoretical disciplines and its content. 2. In educational practice, it expands the existing format of knowledge, opens up the opportunity for teachers to include this educational material in their practical work. 3. In performance, it allows to understand the facets of possible performing freedom in deciphering jewelry in works taken from a particular time chronotope.

Keywords: decorations in music, music theory, Giusto Dacci, the doctrine of ornamentation, didactic standard, terminology, appoggiatura and accaccatura, mordent, gruppetto, trill

Abstract: In the modern performance of ancient music, one of the central tasks of singers is the desire to decorate the melody independently. Taking into account the lack of knowledge and skills of Baroque improvisation among domestic performers, the decorations used often represent, in fact, only a technical element that needs to be dealt with. In this case, the ornaments have no artistic value, they sound faded, not corresponding to the main purpose – to emphasize the affect and enhance its expressiveness. The proposed article is aimed at solving topical problems in the field of Baroque performance related to vocal ornamentation and the transmission of the affect of the composition. The author of the article provides historical data on the characteristics of melisms and their focus on the expression of certain affects, which determines the scientific novelty of the study. The research methodology is based on a historical approach. Methods of analysis and synthesis are also of particular importance, thanks to which, when studying disparate data, it was possible to recreate the history of ornamental art in connection with the opera traditions of the first half of the XVIII century. The author's position is that any kind of ornamentation in ancient arias should be used in the melodic line in order to emphasize and enhance the affect of the composition being performed. When performing compositions of the time in question, it is important for a singer to understand the importance of decorating a melody as one of the main means of expression and, accordingly, be guided by the choice of jewelry. The author draws conclusions about the relationship and mutual influence of ornamentation and affect in the Baroque music. The material of the article and the conclusions will be useful to singers performing ancient music for its stylistically correct interpretation.

Keywords: XVIII century, Italian opera tradition, vocal ornamentation, passages, melisms, ornamentation and affect, style, affects in music, decorations in singing, expressiveness in singing

Abstract: The name of Vittoria Archilei has entered the history of vocal art as the first opera prima donna in a new style of singing for the turn of the XVI-XVII centuries. During her lifetime, the singer enjoyed great popularity. Outstanding composers G. Caccini, J. Peri, S. D'India, E. de’ Cavalieri, etc. they admired her skill, noting the extraordinary tenderness of the sound of her voice, combined with its bright virtuosity. Archilei performance was significantly different from other singers, her contemporaries. It is not by chance that J. Peri calls the prima donna the Euterpe of his time. The article presents a creative portrait of Vittoria Archilei, the first brilliant interpreter of monodic music, an outstanding singer who created a new method of singing women. The methodological basis of the work is the principle of historicism. The cultural and historical research method was used. The biographical reconstruction was made on the basis of source studies with reviews of the singer's contemporaries, letters, music-critical articles. In Russian musicology, this article is the first special publication dedicated to the creative path of Vittoria Archilei. This material will be useful for musicians, singers performing old music, for its stylistically correct interpretation, as well as in training courses on the history of vocal performance at vocal departments of music colleges and faculties of universities.

Keywords: Vittoria Archilei, opera diva, virtuoso singing, vocal ornamentation, improvisation, vocal technique, baroque music, Giulio Caccini, Antonio Archilei, monodic music

Abstract: The subject of the study is the conditions for the development of professional skills of the concertmaster in the music interpretation. The article deals with the problem of interpreting a piece of music as a basic quality of a musician's personality in general, and in particular, in the structure of the concertmaster's professional activity. This article is devoted to the description of the process of working on a musical work of a musician in general, and, in particular, an accompanist. The author considers the pedagogical conditions for the formation of skills and abilities of interpretation of musical works as an important component in the training of a musician-performer, concertmaster; the importance of the concertmaster's communicative skills as one of the factors in the work on the interpretation of a musical work is determined. The role of psychological and professional qualities of a musician in the artistic embodiment of interpretation is revealed, which depend on his musical and auditory representations, intelligence, temperament, emotional sensitivity, musical experience, performing endurance, concentration of attention, ability to control his playing. The novelty of the research lies in the identification of an algorithm of work aimed at creating an interpretation of a musical work in the joint performance of a soloist – concertmaster. The main conclusion of this work is that the use of artistic and pedagogical interpretation in the work of an accompanist on a piece of music can contribute to the development of professionally significant qualities of an accompanist.

Keywords: interpretation, performance, communication skills, musical image, sign-graphic language, verbal language, orientation actions, performance style, sign systems, emotional culture

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.

Keywords: Vocal cycle, Domestic music, Vanguard, Renewal, Anna Akhmatova, Marina Tsvetaeva, Dmitry Shostakovich, Boris Tishchenko, Valery Gavrilin, Chamber singing tradition

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

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

Abstract: Dove Attia and Albert Cohen – French authors and stage directors, and musical producers – contribute to the development of the genre in the XXI century. The subject of this research is their creativity, which is poorly studied by the science of theater. The goal lies in describing the role of Dove Attia and Albert Cohen in the development of the French musical on the theoretical level.  Research methodology is comprised on the following approaches: interdisciplinary, which involves scientific theories and concepts from other fields of knowledge; historical-culturological, which reveals that factors contributing to the convergence of French culture with the traditions of other cultures; systematic, which examines professional performance in French musical as a result of the works of Dove Attia and Albert Cohen. The scientific novelty lies in introduction into the scientific discourse of previously missing materials on the works of Dove Attia and Albert Cohen, their activity in the context of evolution of the genre of French musical. The theoretical significance consists in characterization of the concepts of “French musical of the new century”, "interpretation of classics", “French chanson style” within the framework of art history and methodology of science. The acquired result reveal the role of establishment and proliferation of French musical, as well as popularize the works of Dove Attia and Albert Cohen, which determines the practical importance of this study. It is noted that in French musical, Dove Attia and Albert Cohen invigorate the aesthetic tastes and mentality of the French, using it as an opportunity to defend the national values in a savory and beautiful way.

Keywords: France, musical theater, musical, Dove Attia, Albert Cohen, religious musical, rock opera, children's musical, antagonists, grotesque

Abstract: The subject of this research is the symphonic works of the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko (1939–2010). The article analyzes the composer's first major ballet based on the poem “The Twelve” by A. Blok, which was requested in 1963 by the outstanding Soviet choreographer L. Yakobson for production design in the Kirovsky Theater in Leningrad. The author examines such aspects of the topic as Tishchenko's innovative role in the revival of Russian symphonic style in the second half the XX century, interrelation between music and poetry in the orchestral compositions of B. Tishchenko, as well as strong influence of the literary concepts upon the development of his symphonic style. Special attention is given to the topic of B. Tishchenko's succession of the great Russian symphonic tradition. The main conclusion lies in the thought that B. Tishchenko's ballet “The Twelve” is the first truly contemporary ballet performance in the Soviet musical theater. The author’s special contribution to this research consists in comprehensive examination of the works of the prominent Russian composer that have not receive due attention of the musicologists. The novelty lies in demonstration of the important role of Boris Tishchenko in the overall process of the revival of the Russian symphonic music of the 1960s on the example of the ballet of his early period. Developing his original artistic concepts, Tishchenko symphonized the ballet performance, paving the way for many Soviet composers in this direction.

Keywords: Boris Tishchenko, ballet, literature, poetry, symphony orchestra, renewal, dramaturgy, music of the XX century, Alexander Blok, musical Avant-garde

Abstract: This article explores the specificity of teaching piano class in the university in the conditions of distance learning. The author suggests to consider distance learning as an active method of carrying out cognitive activity, i.e. a method of educating future piano performers, as well as from the perspective of modern organizational innovation. The article gradually covers certain historical prerequisites for the existence of distance learning method in music education in the middle of the XX century, as well as the conditions for its successful implementation. The author describes the formats of distance learning, Internet platforms that allow online and offline interaction of the participants of educational process. Based on the opinions of reputable educators-performers, as well leaning on the own experience of teaching classes remotely, the author determines the practical significance and feasibility of using the distance form of learning as a method of teaching future musicians. The conclusion is made that the all-round modernization, implementation and development of distance learning technology in the sphere of traditional education does not take into account the specificity of music and art universities. Despite all the flaws and imperfections of distance innovation, the author finds positive aspects, which would allow the pedagogues to implement distance learning to a certain extent for achieving certain educational objectives.

Keywords: distance learning method, piano class, performing tasks, musical art, musical education, training of performers, dubbed musical aid, student, musical aid, creative skills

Abstract: The subject of this research is Marina Symphony No.2 by the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko. It was completed in 1964, and for a long time remained unreleased. Special attention is given to the symphonic dramaturgy of the piece, interrelation between the music and the poetic text, as well as modernization of the language of composing. Specific trait of Tishchenko's symphonic style — the aspiration and ability to expose the surrounding conflicts and contradictions – is amplified in the symphony. Tishchenko masterfully reconstructs any desirable emotional and psychological atmosphere, which manifests in the variety of techniques and technical solutions. Symphony No.2 by Boris Tishchenko is a remarkable phenomenon in the national music, as well as an important step towards formation of the composer's unique symphonic style. In “Marina”, Tishchenko addresses the pivotal question of not only his creative path, but perhaps of the entire musical art of the XX century: the level of adherence of the author's imagination to the musical form. His imagination is irrepressible; the language is highly modern; the form is classically clear and closely related to the good Russian and Soviet symphonic style. The novelty of this research consists in consideration of the remarkable symphonic piece of Boris Tishchenko from the present-day perspective and in the context of revival of the entire national symphonic style of the 1960s.

Keywords: Boris Tishchenko, Marina Tzvetaeva, choir symphony, symphony orchestra, mixed choir, renewal, Marina Mnishek, history of Russia, poetry, drama

Abstract: This article examines the life and artistic journey of the Polish composer Witold Lutosławski over the period from 1913 to 1945. Special attention is given to the fate of his father Józef who along with his brother were executed by a firing squad in September 1918, as well as to the fate of the omposer himself and his brother Henryk during the World War II. In the second part of the article, the subject of research becomes the peculiarities of musical language of W. Lutoslawski, as well as his views upon the sound structure and dramaturgical construct of the compositions. The presence of two substantive aspects in Lutoslawski’s music is proven: 1) gradual transformation of harmonious vertical due to progressive changes or addition of sounds (in combination with intonation transformations); 2) dramaturgy of sections and dramaturgy of layers. The author offers a new perspective on the works of Witold Lutosławski as the continuation G. Mahler in the area of the general concept of symphonic style, as well as in the area of intonation plot. At attempt is made to explain the peculiarity of perception of Lutosławski’s music by Russian audience in the context of comparison of the Russian and Polish mentality.

Keywords: Witold Lutosławski, biographical research, hystory of Poland, Chekist operations, pitch structure, musical dramaturgy, Witold Maliszewski, Gustav Mahler, Polish culture, mentality

Abstract:   One of the relevant tasks of the modern science of music is the examination of ethnic cultures. The object of this research is the piano music of the Buryat composer Yuri Irineevich Irdyneev. The subject is the peculiarities of realization of ethnic traditions in his piano compositions. The article analyzes opuses for the piano created during the composer's study at the conservatory, attributed to his early period. Based on the analysis of piano compositions, which became a so-called “creative laboratory” of Y. I. Irdyneev, the author traces the evolution of his style: since the first experiments of working with folk material in the piano cycle "Six Children Musical Compositions", through the reference to a romantic genre in the cycle "Three Improvisations", to a monumental conclusion of his creative pursuits – “The Piano Sonata” (1971). For understanding the uniqueness of composer's style, the carried out a comprehensive analysis of piano compositions, which includes examination of each piece from the perspective intonation, tonal and harmonious development, peculiarities of imagery sphere and dramaturgy. Emphasis is made on the specifics of performing interpretation of the ethnic piano compositions. The novelty lies in determination of systemic correlations of Y. I. Irdyneev's piano music with the national and European music traditions. It is concluded that the uniqueness of his piano heritage consists in the profound and multifaceted realization of ethnic traditions in the piano compositions. The author underlines the defining role of Buryat folklore, traditional festivities, songs, dances, imitation of the sound of folk instruments, philosophical and worldview constants in the formation of composer's style. The piano music of Y. I. Irdyneev is known for the original palette of artistic images, which evokes rich emotions and associations. The composer employs the traditional genres along with modern compositional techniques, bringing individuality by means of intonation-thematic material, Buryat ethnic origins and modality, as well as ways of working with thematic material. Yuri Irdyneev has enriched Buryat music with a number of new techniques of musical expression (sonorous consonances, clusters, dodecaphony), and significantly contributed to the piano educational and pedagogical repertoire for the music educational institutions of Buryatia.  

Keywords: pentatonic, yohor, genres, sonata, impromptu, figurations, кварто-квинтовые, vertical lines, cluster, dodecaphony

Abstract: The works of Sofia Gubaidulina comprise the best pages of the anthology of modern music. Despite the growing scientific interest towards oeuvres of S. Gubaidulina, not many studies are dedicated to her choral compositions. The goal of this analytical review became the determination of the range of musicological approaches to studying the composer’s choral music, which regardless of the existing discrepancies, contributed to the creation of holistic research image of this vector of Gubaidulina’s works. The results of research, conducted in accordance with genre principle, lead to demarcation of the questions raised by art historians into two blocks – theoretical and practical, as well as detection of evolution of the role of choir depending on the scale of composition. The author concludes on the prospects of studying the choral compositions of Sofia Gubaidulina due to the specificity of choral texture that requires meticulous theoretical attention and generates an entire complex of choirmastering and performative objectives.

Keywords: Sofia Gubaidulina, choral music, Sonnengesang, Aus dem Stundenbuch, Hommage à Marina Tsvetayeva, Night in Memphis, Jetzt immer Schnee, Alleluja, Johannes-Passion, choir

Abstract: This article is dedicated to the questions of interpretation of instrumental genre in art music (concerto grosso, suite, instrumental music concert, symphony) in the context of stylistic dialogue with rock music started at the turn of the 1960’s – 1970’s. The compositions “at the intersection” of rock and art music, attributed by the composers (primarily rock musicians) as “symphony”, “concert”, etc. are analyzed. The author explores the stylistic peculiarities, and determines that in most cases the methods of formation and development of musical content characteristic to the rock music, such as rhythmic and melodic ostinato, dynamic pick up, and timbre variation, come to the fore. Attention is given to the questions of the unity of cycle, intonation and structural lings in the particular musical compositions. Research methodology combines the musicological and historical-culturological approaches; leans on the works of M. Arnovsky, T. Didenko, V. Konen, V. Syrov, A. Ysuker and other scholars. The author introduces into the scientific discourse new material from the field of rock music (In Spe - Typewriter Concerto in D Major, Kostarev Group – Concerto Grosso #1); determines the specificities of genre interpretation of the famous pieces (Deep Purple – Concerto for Group and Orchestra). The conclusion is made that the compositional principles of rock music and the sound material withstand the “dialecticity” of the classical sonata allegro, although the functional load of the parts of sonata-symphonic cycle retains most of the time. However, the pre-classical types of multi-frequency composition and the related principles of concentration, contrast and playing acquire an important meaning.

Keywords: concerto, symphony, concerto grosso, sonata-symphonic cycle, rock music, genre, style, suite, music form, progressive rock

Abstract: This article covers the traditions of gusli performance since the VI century until present time. Leaning on the extant documents, the author analyzes the art of playing gusli during the different historical periods, as well as determines several inwardly homogenous traditions: epic, spiritual, buffoonish, and class of the XVII-XIX centuries.  The subject of this research is the early traditions of the art of playing gusli. The object of this research is the survived archival documents and literary sources reciting about the art of playing gusli since the VI century until the beginning of the XX century. Particular attention is given to correlation between the traditions and the modern performance art of playing gusli. The main conclusion in the statement that playing gusli being the most ancient Russian folk art was popular among all social classes and greatly impacted the Russian pre-classical and classical music, contributing to the development of its epic beginning. The interest to playing gusli revived in the late XX century, when it became a part of the professional academic art. The scientific novelty consists in the fact that the author is first to systematically examine the connection of the art of playing gusli since its conception and early existence with the modern practice.

Keywords: gusli, traditions, Russian epos, gusli playing, Russian ancient music, gusli players, buffoons, folklore, Christianity, distinctiveness

Abstract: The author examines the periods of professional training in the art of playing the trumpet and activity of the pedagogues-trumpeters who worked in the Moscow Conservatory from 1930’s to 2005 – students and successors of M. I. Tabakov, differences in their methods, innovations, continuity of pedagogical and performing traditions, as well as their principles. The article contains the previously known records on pedagogical activity of G. A. Orvid, S. N. Yeremin, L. N. Volodin, Y. A. Usov, A. Maksimenko, V. Y. Yudin, E. Y, Fomin, and Y. E. Vlasenko, along with the new information obtained via conversations and interviews with their colleagues and students. The selected complex methodology combines the historical-chronological method, logical analysis, retrospective method, chronological method, systemic analysis, comparative and descriptive analysis, method of classification; analytical, historiographical and historical approaches towards studying documental materials, as well as technological approach. The scientific novelty consists in the fact that this article is first to provide a full-scale review of the work of M. I. Tabakov’s successors in the Moscow Conservatory, analyze their creative activity and pedagogical principles as a part of a peculiar and unique phenomenon of the Russian music culture and education, as well as a part of the world’s musical heritage.

Keywords: Trumpet, Mikhail Innokentyevich Tabakov, Russian musical heritage, Moscow Conservatory, Georgiy Orvid, Valentin Yudin, Evgeniy Fomin, Sergey Yeremin, Yuriy Usov, Yuriy Vlasenko

Abstract: Progressive development of instrument design affected the establishment of harp as one of the instruments with potential for virtuosity. Therefore, the subject of this analysis is the evolution of harp in the context of instrument’s design, repertoire and performance art in the XVIII century. The goal of the research lies in the need to reveal on the theoretical level the specificity of the phenomenon of evolution of harp, as well as the peculiarities of playing harp during the period under review. The theoretical importance is substantiated by the characteristics of the concepts “evolution of harp”, “design of harp”, “peculiarities of harp’s didactics” in the context of the history of philosophical and art knowledge. The practical significance is acknowledged by the fact that the acquired results allow examining the role of evolution of harp in a broader sense, as well as tracing the correlation between the instrument’s design and performance practice of the XVIII century. The main research method became the method of analytical study of the sources to elucidate the logics and content of the concept of “evolution of harp”. The method of comparative analysis allowed determining the correlation between the problems of universal history of the European music culture and the concept of local cultures associated with the evolution of playing harp. The scientific novelty is that this article is first to systematize the existing knowledge on the questions of evolution of harp based on examination of the idea of the universal history of music and the concept of local cultures via studying the means of musical expression, design and repertoire of harp in the XVIII century. The author underlines that the evolution of harp in the context of instrument’s design, repertoire and performance art of the XVIII is a unique sociocultural phenomenon, manifesting itself through the system of spiritual values and the essence of spiritual life of multiple nations.

Keywords: Harp, musical instrument, structure, music, art, performers, repertoire, evolution, Europе, XVIII century

Abstract: The subject of this research is the modern performing school of playing the trumpet at the Moscow Conservatory. The article reviews the modern professional training in the art of playing the trumpet and the activity of pedagogues-trumpeters of the Moscow Conservatory since 1970 until now. The author traces the evolution of the modern performing school of playing the trumpet, highlights the basic artistic principles of the pedagogues-trumpeters of the Moscow Conservatory, similarities and differences in their methods and performing principles. The article provides the previously known information of their creative activity, as well as the new facts obtained through conversations and interview. The selected complex methodology combines the logical analysis, retrospective method, chronological method, systemic analysis, comparative and descriptive analysis, method of classification; analytical, and historiographical approaches towards studying documental materials. The scientific novelty consists in the detailed coverage of the work of V. Novikov, A. Ikov, A. Korniliev, V. Lavrik and L. Guryev in the Moscow Conservatory, description of similarities and differences in their methods, innovations, continuity of pedagogical and performing traditions and principles.

Keywords: Moscow conservatory, Russian musical heritage, Modern performing school, Trumpet, Vadim Novikov, Alexey Korniliev, Eveniy Guryev, Vladislav Lavrik, Andrey Ikov, Modern teachers

Abstract: The object of this research is the unpublished and mostly unknown texts of M. F. Gnesin on the Jewish music culture: the report “Richard Wagner and Judaism” (1913), article “Anti-Semitism and Music” (1915), as well as manuscripts dedicated to the history and theoretical bases of Jewish music (“Jewish Music” and others, 1920’s). The subject of this research is the problems of cultural identity, national self-consciousness, “musical” nationalism that reflect a complicated process of establishments of the professional Jewish music culture in Russia of the early XX century. The key research methods contain the analysis of the handwritten and printed texts of M. F. Gnesin, as well as comparison of their fundamental premises and conclusions with the perspective of the national and foreign contemporaries. The following conclusions were made: Gnesin is one of the first national scholars, who comprehensively studied the history and stylistic peculiarities of Jewish music; Gnesin’s texts touch upon most important and relevant for his time questions – not only musicological, culturological, but also philosophical, social, psychological (particularly the phenomenon of the so-called “Jewish self-hatred”), as well as reflect the evolution of views upon the Jewish music culture within the environment of the representatives of Jewish intelligentsia of the early XX century. The scientific novelty consists in introducing into the scientific discourse the unstudied and unpublished texts of M. F. Gnesin, which have not previously been the subject of a particular research.

Keywords: Gnesin, Wagner, Weininger, Jewish music, Jewish culture, Jewish art, antisemitism, nationalism, Jewish self-identity, Jewish self-loathing

Abstract: The object of this research is the representatives of the Russian musical art – military wind orchestras. The goal is the examination of the problem of establishment of the military-formation repertoire of Russian military orchestra during the war and postwar periods of USSR (1945-1985) in historical-cultural context. Relevance of the article consists in revelation of common peculiarities and principles of the repertoire selection, as well as its future transformations and development. The author gives evaluation to the role of Soviet composers in evolution of the national march music of the indicated timeframe. Analysis of the problem is conducted through the prism of historical events, quantitative-qualitative characteristics of the compositions of military-formation repertoire. Such analysis is necessary for the more complete understanding of the factors that formed the repertoire of the national military orchestras in the postwar time (1945-1985). Author’s special contribution lies in consideration of the characteristic examples of compositions for the military orchestras that relate to one or another time segment from the artistic and compositional-technical perspectives. In conclusion, the author underlines the broadening of composer work towards expansion and enrichment of the repertoire of military orchestras in postwar time.

Keywords: repertoire, military music, a massive song, national music, domestic marches, military band, marching creativity, the evolution of the genre, creative heritage, soviet composers

Abstract: The object to this research is the rhythmic ostinato, understood as a repetition of the musical language, which expose a particular thought and cogitating itself as a constantly recognized resemblance. The article meticulously examine the rhythmic ostinato in the context of evolution of musical thinking, within the framework of communicative function of music, multifacetedness of its manifestations at various staged of development of the musical rhythmic and major flows of the new-European music, from Baroque to mass musical genres of the XX century. The interaction of rhythmic ostinato with other elements is revealed. The scientific novelty lies in the fact that this article is the first to conduct a theoretical analysis of the trends of application of rhythmic ostinato. Their integrated consideration and newly introduced panoramic coverage allowed developing an original outlook upon the correlation and cooperation of the rhythmic elements in musical practice. The theoretical importance consists in the thesis that the comprehension of rhythmic ostinato in the context of new-European music and eliminates some contradictions accumulated in musicology.

Keywords: rythmic ostinato, similarity, diachrony, synchrony, quantitative, qualitative, swing, antiostinato, jazz, rythm

Abstract: The article is devoted to the education of professional musical ear for intonation and style based on the solfege classes. The subject of study is stylistic education hearing as the ability to perceive musical style on the basis of the manifestations of his signs, assessment of compliance with the stylistic elements and understand the content of a musical work in the style context. Music represents a hierarchical system comprising many components, acts at different levels of aggregation, characterized by the multidimensional nature of its existence and can be known through the study of its determinants-determinants of specific historical manifestations, persisted in his categorical system.Methodological basis are the works in the field of theoretical musicology B. V. Asafyev, V. N. Kholopova, V. E. Nazaikinskii, M. K. Mikhailov, in the study of musical-auditory perception and methods of teaching solfeggio – work L. A. Ostrovsky, L. Maslenkova, Z. I. Glideskina, Z. Lissa.The author gives a list of aspects of auditory perception necessary for the formation of stylistic relationship to the musical material, based on the study of historical, national and author's styles. The proposed methods are intonation and stylistic comprehension of music are supposed to provide the concept of different layers of musical culture, revealing the traditions and innovation of composers, compositions, forms, methods and the formation of a holistic perception of the whole musical tissue that contributes to the enrichment intonation and auditory experience of the musician.

Keywords: musical hearing , style in music, stylistic feautures, musical language, themes, texture, rhythm, ear training, dictation, aural analysis

Abstract:   This article gradually examines the process of searching the national identity in secular music of the XIX century by the Russian composers, beginning from the late XVIII century, when took place the first attempts of creating the classical music that includes the elements of folk songs, and endinf with the historical operas of the late XIX century. The author reviews the professional musical activity of the following composers: A. A. Alyabiev, A. L. Gurilev, A. E. Varlamov, M. I. Glinka, A. S. Dargomyzhsky, M. A. Balakirev, C. A. Cui, M. P. Mussorgsky, N. A. Rimsky–Korsakov, A. P. Borodin, P. I. Tchaikovsky, A. G. Rubinstein, and others. This process is examined using the method of music comparative studies, as well as the analysis of most influential aesthetic ideological processes, which took place in Russian cities of the XIX century. The conclusion is formulated that the inherent to Russian culture features were most intensively depicted in the opera genre oeuvres, if draw comparison with other secular music genres popular in the XIX century. The author defines the reasons that led the composers to pick opera as the most adequate musical form for expressing the peculiarities of Russian culture.  

Keywords: national identity, Russian opera, Russian musical culture, secular music, historical opera, urban culture, Russian song tradition, Russian folklore, Mikhail Ivanovich Glinka, The Mighty Handful

Abstract:  Modern media space explicitly and implicitly affects all forms of culture of the technologically developed regions of the world. Traditional and classical artifacts of culture are not only being represented, but also experience decoding in the modern media space. The subject of this research is the transformation of opera performance within the framework of modern media space. The author examines the main representational strategies of actualizing the visual component of modern opera productions. The work studies the influence of the phenomenon of clip culture upon the traditional musical artifact, in particular, the classical opera. The modern opera performance of classical composers is analyzed from the perspective of changes in interrelation of the role of audial and visual culture. The following conclusions are made: 1. Decoding of opera takes place in the context of visualization of the production and ways of its subsequent representation and broadcasting pnto the modern cultural reality; 2. The main role of audial content in the opera production is reduced; 3. The opera performance represents clips (fragments) of modern reality that have nothing in common with the classical art project; 4.  Rapid cuts and dynamic shooting of the opera performance contribute to its fragmented perception by the subject of culture. The scientific novelty consists in the thesis that leaning on the example of classical academic culture, namely opera, the author considers certain variants of the impact of clip culture of the modern media space upon the traditional artifacts.

Keywords: opera performance, classical artifact, modern media space, decoding, transformations, clip culture, visual culture, audial culture, classical music, media culture

Abstract: This article reveals one of the important and insufficiently studied problems of orchestration – the interpretation of saxophone family instruments as the orchestral instruments, as well as reflects part of the major scientific conclusions of the cognominal thesis research that is dedicated to the interpretation of saxophone as an orchestral instrument. Based on the results of the analysis of the military marches original scores of the late XIX – early XX centuries, written by the composers of Western Europe and America (France, Germany, Great Britain, Italy, Austria-Hungary, Spain, USA, and Mexico), as well as academic works on the questions of theory and practice of the orchestration, the article reveals the ways, peculiarities, and trends of application of the saxophone family instruments in the genre of martial music. The modern communicative means (Internet) helped to find multiple compositions in the genre of march, but at times such scores dare not the original primary sources. However, the volume of materials that became accessible allows forming the holistic perception, as well as making substantiated conclusions. Discovering the facts on the use of saxophones in marches seems purposeful if leaning on the national affiliation of a composer, or in other words, within the framework of a separate country.  

Keywords: Orchestral texture, Score, Wind ensemble, Orchestra, Compositions, Composer, Martial music, March, Interpretation of saxophone, Saxophone

Abstract: The object of this research is the system of professional music education during the period of 1920-1940. The subject is the history of establishment and development of the first in the Republic of Buryatia music school – College of Arts named after P. I. Tchaikovsky. The relevance of the study of the history of music education is substantiation by the need for understanding the aspects of development of the national culture and education. The results of the research can serve as the starting point for creation of the innovation institutions in the sphere of music education, which would preserve the best national traditions of the Republic. The area of application of the results is the history of culture of Buryatia, as well as history of P. I. Tchaikovsky College of Arts. The scientific novelty of this work consists in the fact that it provides a complete picture of the establishment and development of P. I. Tchaikovsky College of Art in the 1920-1940’s in the context of the specific historical circumstances of Soviet society. The authors demonstrate the impact of state policy upon formation and development of the professional music education in the Republic, as well as introduce the unique archive materials into the scientific discourse.

Keywords: Dorzhi Lunkhoboev, Pavel Berlinsky, Boris Salmont, College of Arts, Music school, Buryat-Mongolian School of Theatre and Music, Buryat-Mongolian College of Arts, Development of professional music education, Verkhneudinsk Music College, Music education of Buryatia

Abstract:   This article examines one of the important but insufficiently studied problems of orchestration, musicology, as well as music pedagogy – the use by the authors the opera-symphonic and ballet music of the saxophone family instruments in their creative work. Based on the results of the study of a number of the original score of compositors’ oeuvres of various countries and cultural-historical eras, the article reveals the ways, specificities, and trends of application of the representatives of saxophone family in score of compositions for the symphony orchestra as the music-theatrical (opera, ballet, musical illustrations to dramatic compositions), as well as other directions (autonomous compositions and musical illustrations to the films). Despite the demonstrated interest of the composers to the saxophone family, such instruments have not become the permanent participants pf the symphony orchestra.  

Keywords: Saxophone, interpretation of the saxophone, saxophone solo, family of saxophones, composer, works, orchestra, symphonic orchestra, element of the orchestral texture, score

Abstract: The relevance of this topic first and foremost is associated with the small number of research dedicated to the work of the College of Arts named after P. I. Tchaikovsky. The main attention is given to the revelation of the importance of persona of the Honored Art Worker of the Buryat-Mongolian Autonomous Soviet Socialist Republic Ekaterina Dmitrievna Mironskaya-Prozorova, who was the head of this educational facility over the period of 1944-1958. Through the coverage of various aspects of her work, the authors follow and give a generalized characteristic to the establishment and development of the theatrical and music education in Buryatia. The results of this research can serve as the starting point for the further examination of the processes of establishment of the theatrical and music education of Buryatia. The area of implementation of the results includes the history of culture of Buryatia, preservation of the cultural heritage, history of theatrical education of Buryatia, history of music education of Buryatia, as well as the history of P. I. Tchaikovsky College of Arts.   

Keywords: musical culture of Buryatia, music education of Buryatia, College of Arts, Buryat- Mongolian School of Theatre and Music, V. V. Lugski, E.D. Prozorova, V. T. Naydakova, F. S. Sakhirov, P. V. Shapova, L. M. Litvinova

Abstract: The article discusses the history of the spread of H. Schenker’s doctrine in Russia. While in the English-speaking world the theory of Schenker had a powerful impact on the harmonic analysis, in the USSR it almost wasn’t known. Only through the efforts of Boris Plotnikov and Yurii Kholopov Russian musicologists were able to get acquainted with this theory at the beginning of the XXI century. The article provides an overview of publications on Schenker in Russia; in particular, we consider some works of Plotnikov.The author raises the question of the special "analytic hearing," which is educated by schenkerian methodology, as well as its inherent inevitable subjective factors.Considering the possibility of applying the theory of Schenker outside tonality the author comes to the conclusion that it can’t be entirely applied to the analysis of atonal and twelve-tone music. However, the reductive method may be isolated from Schenker’s theory in order to find the middleground pitch lines. The final part of article discusses the prospects of Schenker’s theory in Russia.

Keywords: history of the music theory, Heinrich Schenker, Boris Plotnikov, Yurii Kholopov, linear-harmonic analysis, analytic hearing, reductive method, dodecaphonic music, analysis of melody, perspectives of Schenker’s theory

Abstract: The subject of this research is the determination and generalization of the peculiarities of the Buryat composer Gur-Darma Dashipylov (1937-1980) vocal style. The goal of this work is the study of the songwriting of one of the brightest and talented composers of Buryatia, as well as definition of his uniqueness, the role and place within the musical culture of Buryatia. This article is one of the first researches dedicated to the examination of the songwriting of the Buryat composer G-D. Dashipylov based on the example of the song “Buryad Oronoym Solo”. The materials from this research can be used in the study of musical culture and professional music of Buryatia, as well as in the music education facilities of the republic. The results of this research can serve as a starting point for the further study of the processes of establishment and development of the song genre within the creative work of the Buryat composers. The area of application of the results includes the history of culture of Buryatia, preservation of cultural heritage, songwriting, and creative work of Buryat composers. It is necessary to note the composer’s ability to achieve poetically generalized and expansive imagery and psychological depth within small, aphoristically compact form of a song, as well as embodiment in his work of the traditions of Buryat folk music. The composer’s songs reached the audience’s sympathy with their psychological sensitivity, ability to express various shades of the mood, and serve as an inspirational example for their listeners.

Keywords: Buryat musical culture, Buryat professional music, Gur-Darma Dashipylov, Zhigzhit Batuev, Bau Yampilov, songwriting, song genre, Buryat folk song, magtal, solo

Abstract: The article discusses the scientific biography of the Soviet musicologist and folklorist Lev Kulakovsky (1897-1989). Particular attention is paid to the original methodology of melody analysis developed by Kulakovsky in 1928-1930. This methodology was based on the Theory of modal rhythm by B. Yavorsky. Kulakovsky identified three formants of melody (modal structure, mode-metric structure, melody pattern), consistently demonstrating the methods of analysis of each of them. His work shows the results of the statistical analysis of 255 songs of different nations on the basis of calculating the mode-metrical index of each tune. Kulakovsky considered melodic patterns and modal tensions as two opposing forces. Nevertheless Kulakovsky’s theory was undeservedly forgotten in the USSR due to the ideological factors. In the following years scientist turned to the study of Russian folklore; also he developed the hypothesis of syncretic unity of word and singing at “The Tale of Igor's Campaign”.

Keywords: Musicology of 1920-s, analysis of melody, ethnomusicology, Lev Kulakovsky, Boleslav Yavorsky, theory of modal rhythm, melodic center, analysis of expressivity, ideology and musicology, The Tale of Igor's Campaign

Abstract:   This article draws attention to the conceptual side of the phenomenon of the musical management by determining within it as a special – the activity called the management of Academic music and aimed at the guaranteed preservation of the outstanding heritage of the Academic music within the cultural space of modernity. The authors link the history of formation of the first in Russia administrative system purposefully oriented at the promotion of Academic music in the post-reformation Russia to the work of the Imperial Russian musical society, the experience of which is very noticeable and originates the further reasoning in the chain of causes and events that reveals the in-depth problems of transformation and preservation of the system of values. Scientific novelty consists in realization of the objective analysis of the genesis of development of management in pre-revolutionary Russia. The Imperial Russian musical society gave birth to the historically first administrative system of the public-government construction in the area of Academic music that coordinates educational and concert life the country, and fits into the typology of the sociodynamic model.  

Keywords: Genesis music management, post-Reform Russia, academic music, Management of classical music, Russian Musical Society, IRMO management model, cultural policy, market, system, model

Abstract: The subject of this research is the processes characteristic to the piano artistic performance in Siberia in the late XX – early XXI centuries.  The author thoroughly examines the most important events and factors associated with establishment of piano arts in Siberia. The author underlines the principles of organization of concert-educational work in connection with the traditions of the Russian piano school. A special attention is given to the work of pedagogues of Novosibirsk and Krasnoyarsk departments; their biographies, as well as role and importance in the establishment of the professional artistic performance are briefly covered. The main conclusion consists in the determination of the two interconnected “schools” of the piano artistic performance in Siberia, concentrated in the major musical centers – Novosibirsk and Krasnoyarsk. The author also highlights the contribution of the Siberian performers into the development of best traditions of the Russian musical art, as well as their role in propagation of the academic music and creative work of the Siberian composers.

Keywords: piano performance, Novosibirsk, Krasnoyarsk, concerts, festivals, EAT. Singer, ZN Tamarkin, IN AND. Slonim, NL Tulunina, AE Shvartsburg

Abstract: The subject of study in this article are the "idea" and "morality" as a director effective tools of analysis of the play or the score of the opera. Special attention is paid to the development of clear definitions for each concept with a view to their precise delineation. It is stated that the "idea" and "morality" - fundamentally different from one another, expressed the idea of non-universal "mixing" of these two concepts. Shows the dangers of the concept of substitution of "morality," the concept of "idea" and their implications for the integrity and sense of play. It is emphasized that the engagement, The ideological, sotsiologichnost implemented on stage dramaturgical material just gives the usage of "morality", which is realized through strict delineation of conflicting characters into two adversarial parties. At that time, the use of such a tool, the "idea" significantly expands the possibilities of imaginative director by including in the conflict, without exception, all the actors, without distorting their character and motivations.Method and methodology of the study. The article provides a thorough theoretical analysis to give a strict definition, that is, to identify the characteristic hand, signs, features, characteristics and categories of actions the principle of "idea" and "morality." For this study on a thorough study of the classics of director effective analysis in a Drama and Opera House, the theory of drama and opera directing (a small part of which is shown in the bibliography), with detailed notes and quoting.Novelty and conclusions. The emergence over the last thirty years at the opera and dramatic theater productions, where the director conducted an artificial "updating" of the original classic dramatic material clearly indicates a crisis in the theory of directing. In particular, the absence of clear definitions of the key for the analysis of the play and the score, categories, directors either through ignorance or deliberately mixed the concept of "idea" and "morality" and thus distort the original dramatic vision, bringing deep philosophical works to ideological, partisan grandstanding.

Keywords: theater, directing, Directing theory, act, an effective analysis, plot, opera, Opera Directing, idea, morality

Abstract: The article described the social and communication essence of rock music. The author presents a recording of rock music as a special social and communication construct (twofold institution) in global cross-cultural space. The varied picture of rock music is interpreted in the framework of the communication recording system. The features of the regional-subgenres of rock music in the Social Communications. Analyzed the social and communicative origins of rock and roll, showing the diversity of the England-American Rock. Particular attention is paid to the identity of the African, Asian and Latin Rock. In the analysis of the origin and variety of the meaning of «Rock Music» is used historical-genetic method. To determine the characteristics of the genre of rock music and its constituent used musicological method. In the study of individual features of the music industry it used a structured approach that has allowed to reveal the multidimensionality and diversity of communicative performance recording rock music. In addition, the use of comparative-historical method and the phenomenological approach made it possible to identify and characterize the main stages of evolution of the recording of rock music as a communication and communication categories. Terminology method has provided an opportunity to clarify the conceptual apparatus. Method Internet-survey revealed trends in the genre among the priorities of the regular visitors to music sites. The author concluded that the rock is a reflection of social and communication the era of high-tech audio. The study offer insight into the recording of rock music as a complex cluster of socio-cultural sphere, where he formed a stable rules appear certain historical patterns, as well as specific principles apply. The novelty of the research is to establish a communication system elements of rock, since the origins of the universality of this musical roots in the music industry and in the phenomena of a wide public plan.

Keywords: album, the recording industry, rock music, social communication, record producer, record label, phonographic products, musical style, Musical direction, subgenres

Abstract: The article deals with the historical and cultural aspects of development in the plane philophonia collecting records and other musical audionositeley. The issue of research into the causes and conditions of formation and development in the socio-cultural philophonia communications under socialism is an actual scientific problem. Accordingly, the subject of the publication are the social and communicative aspects of collecting, the collecting of artifacts music recording activities in the recreational area of leisure culture. The purpose of the study is to examine the social infrastructure philophonia and its cultural and recreational functions. The methodological basis of the article is a systematic method, because the study is based on a synthesis of different perspectives in the social sciences and humanities to the phenomenon of philophonia. The author concludes that the introduction of the category "philophonia" will transform not only the theory of culture, communicative science: the typology of mass communication in the field of leisure is impossible without taking into account the experience of the creation of audio-visual collections. The particular attention is paid to the analysis of infrastructure like philophonia sociocommunicative phenomenon under socialism. This publication is characterized recreational function philophonia in leisure cultural space. The hypothesis according to which philophonia is a unique institution of social and cultural communication.

Keywords: Disc, Records, Vinyl, Collector, Collection, Sound Recording, Philophonia, Meloman, Leisure, Mass Culture

Abstract: The subject matter of the research is the popular soldier's song "Rise, Falcons, like Eagles". The purpose of work is: to track song history from the moment of its first emergence, the first public execution, the first publication. Result of work - updating of the facts of its first execution in the thirties the XIX century, in 1934, during Kalishsky maneuvers, instead of in the period of Patriotic war of 1812. Results of work can be used in preparation for the publication of song collections. Scope of results - the soldier's song, military history, preservation of a cultural heritage, song art, history of the Russian people in a context of studying of song art. Research method - search and studying of all mentions of a song in printing sources, audiovisual executions. Studying of existing song soldier's collections in Russian and foreign languages. The chronological order and support on historically established facts is observed. Conclusions: The ancient soldier's front song "Rise, Falcons, Eagles" is the most favourite and popular among the military personnel. The song has the rich history connected with heroism of the Russian people during wars. Various versions of the song with confidence allow to indicate the width of creative searches of soldier's authors.The song is actual and for modern creative specialists was a reason for television movie creation.

Keywords: soldier's song, alliance with Prussia, Kalishsky maneuvers,, Great Patriotic War, military history, cultural heritage, Camp, choral singing, Russian tzar, Prussian king

Abstract: Using methods of audiovisual anthropology, comparative art review and historicism, the authors conducted a compehensive study of the morphology of traditional Belarussian musical instrument - Duda (Belarussian bagpipe)  - in the northern part of Belarus. As a result of studying archive documentary films produced in the territory of Belarus during the summer of 1939, the authors managed to define different types of Duda and geographical range of expansion of this instrument in the territory of Belarus between the two wars. 

Keywords: representation of documentary films, Duda folk tunes, music culture, documentary film materials, Belorussian bagpipe, Duda, audiovisual anthropology, northern part of Belarus, camera news 'Soviet Art', ethnocultural identity

Abstract: The author of the article views the history of gramophone recording in the countries of Central and South-Eastern Europe at the second half of XX century. The 'Era of Democrates' lasted for 30 years from 1945 to 1995 and was a unique phenomenon in Russian music. Even though the period is officially over, the topic is still interesting and important due to the fact that it still lacks thorough researches. The author of the article presents a conceptual model of the institution of gramophone recording as a specific social and communication phenomenon and describes its place in the system of mass communication. Special attention is paid to legal and communicative features of the development of gramophone recording of pop- and rock-music in the 'Eastern block' countries during socialism. 

Keywords: East Germany, Czechoslovakia, Romania, Bulgaria, Yugoslavia, label, rock-music, gramophone recording, Hungary, Poland

Abstract: The article is devoted to the process of formation of classic music from the Middle Ages when it was seen as the 'sound cosmos' connecting human with God to the theory of music of our times. The appearance of so called Modern European Personality played an importat role in that process. The Modern European man seeked new ways to realize his desires and emotions. When studying the latter, the author analyzed the two interdependent spheres of human life, artificial (activity) and natural, in particular, emotional experience. The author offers his own theory of 'psychic realities' as well as the teaching about signs and schemes. At the end of the article the author concludes that classic music and certain qualities of Modern Human have being formed simultaneously. Noteworthy that formation of classic music was a necessary condition for formation of Modern European Personality and on the contrary, modern personal qualities created the grounds for formation of classic music. 

Keywords: music, personality, theory, inclination, scheme, sign, activity, emotional experience, realization, proof

Abstract: The article is devoted to Aprelevsk Factory of Gramophone Disks as the central element of the Soviet sound-recording industry. The author of the present article does not claim to provide a full analysis of all aspects of creating a gramophone record of rock music. At the same time, the author of the article views the most typical features of gramophone recording under the conditions of socialism. he analyzes the main stages of development of Aprelevsk Factory and some other factors of the Melodia Company. Special attention is paid at informative, legal and socio-communicative peculiarities of recording pop- and rock music in the USSR.  The author of the article would like to acknowledge all authors (including unknown Internet users) who participated in the research and whose expressions or writings lie at the root of this article. The article contains references to all expressoins or writings and the author of the article does not claim to be the author of these quotations or studies. At the same time, he has reviewed, extended and developed these ideas. The present article does not cover all music bands, disks, compact disks or record labels. However, the author hopes that his article will be able to fill in the gaps and reveal a few secrets of gramophone recording. All the singers, names of their albums and compositions are first given in their native language and only then translated into Russian. Based on the results of his research the author of the article offers a hypothesis bout music recording being a unique tool of social communication.

Keywords: Melodia Company, Aprelevsk factory, gramophone record, gramophone disk, vinil, studio, rock music, collectors, rarity, catalogue

Abstract: This article presents a study of one of the most outstanding and mysterious guitarists of the second half of the twentieth century -- Tommy Bolin. Particular attention is paid to the communicative requirements of becoming a guitarist in the music business. The analysis of his life story in rock still generates many versions of his early demise. The author considers the unexpected version of 'branding error' to be one of the circumstances that indirectly, on a psychological level, became the cause of the guitarist's growing drug addiction. In addition, the article presents a detailed overview of many recorded rarities featuring Tommy Bolin, including illegally manufactured domestic 'pirate' recordings. Given the current situation in high-tech developments, the music industry has seen better days, and its future requires a new platform that will allow the building of a healthy relationship between audiences and musicians. In this regard, the article touches upon the legal issues of reproducing phonographic releases in digital format.

Keywords: Tommy Bolin, Deep Purple, guitarist, label, recording, record, CD, concert, rock music

Abstract: The article gives a general description of the laws of existence and perception of classical music in a modern civilized environment and everyday life. The article deals wit particular functions of classical music indicated as a substitute for "empty" time, as a background in the process of working and different contexts of "live" communication. Classical music creates the illusion of harmony and aesthetic attraction of the surrounding world, everyday activities and social relationships. Furthermore classical music helps to eliminate the borders between distant historical epochs and brings the sense of the spiritual pithiness and consequence in monotonous operations. Also the article discusses the role of classical music in the structure of personal technical communication, namely virtual musical postcards and ringtones of mobile phones. By using classical melodies in this kind of communication, person can create one’s winning social and cultural image. However, the opposite trend is related to emotionally detached and full of irony treatment of the classics, when it’s involved in the process of interpersonal communication as a joke, surprise or shocking. 

Keywords: social behavior, entertainment, everyday life, sound sources, soundscape, background music, classic music, communication, mobile phone, ringtone

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.

Keywords: parody, music, inversion, agglutination, deformation, hyperbole, semantics, text, culture, art history

Abstract: Piano music composed by Kazimierz Serocki and Bogusław Schaeffer includes highly original composition in the aesthetics of polish sonoristics and aleatorics. This composers created his own avant-garde piano stylistics. The main features of the works by polish composers of 1960 – 1970 are the stylistic synthesis and the interest to avant-garde techniques.

Keywords: Polish music, XX century, piano music compositions, Kazimierz Serocki, music avant-garde, sonoristics, aleatorics, Bogusław Schaeffer