Abstract: This article identifies characteristic features of choral music in relation to poetry. The purpose of this article is to review the specifics of the synthetic vocal-poetic form, identifying the constants of the relationship of the word with the musical material, in the analysis of the semantic presence of the text in a musical context and their influence on the content of the musical opus.The subject of research is the specific construction and organization of choral music. The study is based on the method of comparative analysis of musical and poetic rhythm. The author analyzes general mechanisms of synthesis of music and poetry in the choral works. Based on the poem by Mikhail Lermontov "In the Northern Wilderness", the author analyzes peculiarities of the rhythmic techniques of the embodiment of the poetic text, the figurative significance of the formulas emerging in the context of expressive means in the choirs by S. I. Taneev, S. V. Rachmaninoff, and N. A. Rimsky-Korsakov. The research methodology involves structural and rhythmic analysis of the musical text in which the poetic text is analyzed from the point of view of differentiating the meaning and role of music. The author analyzes the concept of "means of expression" and "music form" and proves the thesis that the dialectical relationship of word and music at the compositional level defines a holistic artistic image of choral music. The findings of the research can be used as practical recommendations on the content of the work in part poetic and musical analysis of choral works.

Keywords: choral work, synthesis, musical form, rhythm, interaction, music, poetry, analysis, poem, versification

Abstract: The relevance of research is connected with non-inclusion of lexeme "sport" as culture component in the passport of scientific specialty 24.00.01 "The theory and cultural history" that has caused the appeal to researches of the domestic and foreign culturologists, philosophers, historians connected with identification of sociocultural component of sport. In article the role and the place of sport in cultural life of Russia at turn of the 19-20th centuries come to light. Object of research - specifics of the Russian sport as sociocultural phenomenon of the pre-revolutionary period. The methodology of the system and axiological approaches used in research, causes inclusion of the examples illustrating reflection of phenomenon of sport in literary works. The main conclusions of the conducted research are the following: The historical retrospective has allowed to reveal the conditions and factors which have exerted impact on genesis and development of amateur and professional sport: many classes, coexistence of traditions of elite and national culture, the outlined democratization of society, introduction of occupations physical culture and sport in programs of educational institutions, influence of the ideas of Olympism and the developing international sports movement. The interest of the nobility and intellectuals in the Western European culture, existence of appliances and free time have caused origin of the gentlemen's sport which has become form of active and respectable leisure and transformed at boundary of the 19-20th centuries of amateur. Development of the market relations has exerted impact on formation of the professional sport which had utilitarian functions and gained development in mass culture. Correlation of the kinds of sport (amateur, military and applied, professional) presented in cultural space of Russia at the turn of the 19th -20th centuries with theories of origin of sport allows to explain current trends sport development variety as the phenomena of mass culture.

Keywords: sport in art, competitions, leisure, intellectuals, nobility, professional sport, amateur sport, culture, staginess, sport festivalization

Abstract: This article is devoted to the teaching of intonation in conjunction with the development of the musical ear of the performer. The complex special abilities of the musician there are the most important value such as an ear for music, rhythm sense, motor-motor ability, musical, or intellectual operations. The author of the article discusses the specifics of intonational performance in establishing the dialectical relations of processes of perception and musical actions. The work is based on the intonation doctrine offered by B. V. Asafiev – justification of the essence of music as "art intonated sense." One of the central principles of developmental education is the intellectualization of knowledge. To understand music analytically and to comprehend means to grasp the expressive nature and the logic of relationships in the complex of expressive means. Tasks are defined methodologically by the desire to relate the methods of development of musical hearing and performance techniques, to identify ways of implementation in the learning process of these methods and techniques, the solution of which can ensure the formation of personal qualities of the performer. The author analyzes the concept of "intonation," "intoning", and "musical ear", and argues that the relationship between the processes of perception, thinking and action music defines the culture of musician's intoning. The findings of the research may serve as practical recommendations regarding teaching music which should be oriented, on the one hand, at developing performing and technical skills of playing the instrument, on the other – contribute to the artistic, aesthetic, creative development, culture, and intonation of the performer.

Keywords: phrasing, sound production, culture, intonation, hearing the melodic, harmonic hearing, musical hearing, articulation, musical education, musical ear

Abstract: Object of research is the aleatory form in 20th century music organized by means of numbers and numerical rows which are mainly specially composed by authors of works. Using numbers and rows as constructive determinants, composers solve a problem of forming of works with the mobile musical text and structure. Special attention is paid to concrete works and their internal organization, making a mobile form united. The main conclusion of the research is the fact that the aleatory principle influencing forming demanded application of additional musical and extra musical resources of form organisation, and the numerical method was one of the most effective. The novelty of a research consists in descovery the organizing numbers and rows hidden in the musical text and not mentioned earlier by neither composers, nor researchers, externally itself, sometimes, not showing in any way.

Keywords: row, organisation, number, chance, form, composition, aleatory, music, piece, composer

Abstract: The article considers the impact of the technosphere on the processes of transformation of cultural norms and patterns. The technosphere (as a man-made environment created for human history) has its own laws, the existence of which is recognized by modern science: it is necessary to investigate these laws and modify social practices with their consideration. Technology in modern society acts as a mechanism for the generation of new cultural meanings, as an instrument of socialization and personal development, as a factor of social change. The attention to the question is brought how to consider the technosphere: as operated object (one of society subsystems) or the subject of social changes submitting to own laws. The causes and essence of independence of the technosphere from the will of the people (who created it) are analyzed. Two sources are singled out: insufficient rationalization of the creative process and the dependence of man on the anonymous regularities of social reality.It is concluded that the idea of the autonomy of the technosphere contains hidden contradictions: it makes sense only to fix its distancing from the social context that gave rise to it, in models that eliminate the social conditioning of technical activity. Since technical practices are a kind of social practices (regulated by cultural norms), in the study of cultural processes it is not necessary to postulate the autonomy of the technosphere. Nevertheless, the significant impact of changing technologies on culture is unquestionable, especially since it began with the active use of social technologies.

Keywords: social technologies, cultural norms, technical activity, modernity, development of culture, technosphere, culture, autonomy of technology, technical progress, social subject

Abstract: The main subject of research in this article is futurism as one of the most iconic stylistic trends of the first half of the twentieth century that played an important role in the development of the art of that century as a whole. The author of the article has identified the main standards formulated in the manifestos of Italian and Russian futurists, in particular, F. Marinetti and K. Malevich. They are compared. The main emphasis is made on the futuristic interpretation of standards by the famous artist Kazimir Malevich. His articles and illustrative and decorative material for staging the opera "Victory over the Sun" by M. Matyushin are chosen as the object of the research. The research of futuristic searches of Malevich is carried out in terms of general ideas of this direction, for which the terminological and analytical material (apparatus) of various kinds of art is involved. The novelty of the research is caused by the broad coverage of phenomena connected with the general notion of futurism including texts of representatives of futurism, musical scores, and research literature that regards futurism as a stylistic trend. The results of the research prove an important role of Malevich in the aesthetic interpretation of futurism and his specific role in the formation of the original Russian futurism that was so popular in the second half of the twentieth century of actionism as a phenomenon of culture. 

Keywords: black square, musical performance, fine art, Victory over the sun, content of art, innovations, style in art, Kazimir Malevich, futurism, suprematism

Abstract: The place and the role of painting of the period of the USSR in the history of world art of the last century remain relevant and poorly understood. They are the subject of analysis in this article.The purpose of the study is to check the assumption that the catastrophic events of the beginning and the middle of the twentieth century in the history of world culture destroyed many value systems, blurred the difference between good and evil. Therefore, during this period, less attention was paid to the difference between the genres of painting and did not give a special status to the history of painting, including in the Soviet Union. Nevertheless, this kind of fine art was considered as a resource by which artists wanted to demonstrate the relevance of the theme of their work.The methodology of research predetermines the purpose of the work. Its basis was the method of analytical study of sources, which clarifies the place of Soviet painting in the history of world art of the period under study. Methodological basis in the article were thematically necessary works on the theory and history of art, the history of the fine arts of the USSR, the psychology of art. Partly became relevant for a number of electronic publications.The basis of the article is a comparative-historical method. With his help, the author determined that changes in world and Soviet painting are tracked from an earlier time. Thanks to this method, it is also clarified that the transformations in the artistically-shaped structure of painting by scientists are tracked from the end of the XIX - beginning of the century.The novelty of the article is to expand the view on the artistic culture of the XX, seeking a comprehensive review of world art and the place of Soviet painting in it. And also the novelty of the work consists in the fragmentary analysis of works of art by Soviet artists from the point of view of cultural values (cultural relativism) not only of domestic criticism, but also of Western European art history.The conclusions emphasize the fact that socialist realism is a style of realistic art that was developed in the Soviet Union and became the dominant style in this country, as well as in other socialist countries. Socialist realism is characterized by a glorified depiction of communist values, such as the emancipation of the proletariat, through realistic images.It is stated that the first exhibition organized by the Leningrad Union of Artists took place in the world art of the 20th century, which took place in 1935. Mikhail Avilov, Isaak Brodsky, Pyotr Buchkin, Nikolai Dormidontov, Rudolf Frentz, Kazimir Malevich, Kuzma Petrov-Vodkin and Alexander Samokhvalov became the founding fathers of the Leningrad school, and their works were one of the richest layers and the foundation of the largest museum collections of Soviet painting of the 1930s. 1950s.

Keywords: socialist realist artist, proletarian culture, creative personality, genre painting, world art, Soviet Union, Leningrad Union of Artists, socialist realism, soviet painting, twentieth century

Abstract: The subject of this research is the specificity of the conscious work of a performing musician in the perspective of the problems of co-creative artistic activities. The author examines aspects such topics as the nature of co-creative artistic activities, specifics of the performer in the mode of the updated intention-directed consciousness (Husserl), mechanisms of perception, mental activities, the main operations of the creative imagination (T. Ribot), "not clamped" consciousness, performing hearing (V. A. Guterman), stage-being, system of education of a musician. Special attention is paid to the systemic process of "thinking the music" (B. V. Asafiev), representing, individual artist, metacognitive activity as the experience that allows to 'prehear' (L. M. Zeitlin) the necessary parameters of the future sound and create the optimal performance of the movement as well as to simulate the formation of the structure of music deployment. The methodology of the research is based on the systems, phenomenological, informational and synergetic approaches to the study of the works of researchers in various scientific fields related to human activity as well as the experience of performers and reflect on their pedagogical and performing experience of the author herself. Information and synergetic approaches allow to consider the emergent reactions of the performing body of the performer as a manifestation of self-organization of the system of co-creative artistic activities in response to excessive exposure to increasing information flood into his mind in an unstable variety of the atmosphere. In such circumstances, only the ability to concentrate on performing the task allows you to actively resist the negative consequences of performing emotion. The novelty of research is connected with the perspective of the research aimed at mapping the problems of the skills of the musician to work in a special mode of auditory-conscious "directed" to focus attention on the sequential solution of artistic problems with the question of self-organization of the performing body of the performer in stress conditions variety performances and, ultimately, with priorities in the education system of the contractor. The study's main findings relate to the field of active plan imagination of the musician, the activation of which by necessity is accompanied by the strengthening of psychic energy. Duration of intense conscious work is supported by "switching" intentions of different creative tasks. Given these findings, practical recommendations for optimizing the system of education of the contractor.

Keywords: concentration of attention, experience, instability, emergence, musician-performer, performance hearing, consciousness, creative musical performance, mode of switching consciousness, stage performance