Abstract: The subject of this research is Béla Bartók pantomime ballet “The Miraculous Mandarin”, reviewed as an example of manifestation of the expressionist aesthetics in the composer’s creative work. During the prolonged period of time within the Russian musicology, the composing work of Bartók was being explored through the prism of examination and transformation of the Hungarian folklore; the belonging of his music to the expressionist direction was even out of question. Some scholars very carefully considered “The Miraculous Mandarin” ballet expressionistic. The author makes an attempt to examine this oeuvre from the perspective of its belonging to the expressionistic aesthetics, as well as determine its features in the composer’s musical language. During the course of this research, the author detected certain peculiarities of reconceptualization by composer the used literary storyline, properties of the musical description of the characters, as well as certain specificity of the musical-expressive means, which allows considering the ballet a real example of the expressionistic art. The article illustrates the examples of musical solutions and identifies multiple parameters of dramaturgy: various interpretations of compositional structure of the ballet; characteristic manifestations of the symmetry principles; specific system of dramaturgical culmination, constructively connected with the “golden ratio” proportions.

Keywords: aesthetics, «Golden ratio», atonality, music dramaturgy, Hungarian music, ballet, Béla Bartók, «The Miraculous Mandarin», Menyhért Lengyel, expressionism

Abstract: The Polish art of the early XX century sands out overcoming the genre limitations and enriching the techniques thanks to the synthesis of the expressive literary means, painting, and music. Due to reframing the themes of antiquity in the context of modernity and symbolism, their new interpretations have appeared; the other part of this process consisted in the interest towards the ancient layers of the national folklore. The written in 1910-1920’s by Karol Szymanowski compositions, demonstrated the intensive search for the new technical means, as well as characteristic qualities of musical symbolism and modernity, in the end expressing the composer’s idea on the national Polish style. Reconceptualizing the ancient and medieval mythology, Polish artists gravitated towards understanding the eternal problems of the universe, and simultaneously referred to the national themes. Karol Szymanowski ballet “Harnasie” and cantata Stabat Mater expressed not only the artistic trends of its time, but also convincingly realized the national self-consciousness, manifested in the form of customs and legends.

Keywords: modernity, symbolism, Harnasie, Masks, Metopes, Stanisław Wyspiański, Karol Szymanowski, Podhale music, Goral style, Stabat Mater

Abstract: This article is devoted to one of the most common phenomena in contemporary art – the actual performance of the work of art. The article deals with the issues of its origin. In this respect, it covers different forms of art of the past, such as syncretic ritual, medieval street theater, commedia dell'arte, and some synthesized works of the Renaissance and the Baroque period, and their modifications in the XXth – early XXIst century. Some common features in the well-known performance pieces of the past and the present are compared. The works by Tan Dun, L. Lipkis, K. Stockhausen, I. Xenakis, J. Cage and others are given as an example. Performance is considered as a single phenomenon of modern culture that reveals the main constant of postmodernism - a synthesis of the arts. In this connection, a method of holistic analysis is used in addition to the analytical method of presentation. The conclusions demonstrate the main genre features of performance, which appeared in the past eras (works by da Vinci, L. Bernini, etc.), and represent performance as a genre in the twentieth century.

Keywords: music, ritual, theatricality, genre, art history, performance art, performance, synthesizing, postmodernism, Synthesis of arts

Abstract: This article is devoted to one of the most common phenomena in contemporary art – the actual performance of the work of art. The article deals with the issues of its origin. In this respect, it covers different forms of art of the past, such as syncretic ritual, medieval street theater, commedia dell'arte, and some synthesized works of the Renaissance and the Baroque period, and their modifications in the XXth – early XXIst century. Some common features in the well-known performance pieces of the past and the present are compared. The works by Tan Dun, L. Lipkis, K. Stockhausen, I. Xenakis, J. Cage and others are given as an example. Performance is considered as a single phenomenon of modern culture that reveals the main constant of postmodernism - a synthesis of the arts. In this connection, a method of holistic analysis is used in addition to the analytical method of presentation. The conclusions demonstrate the main genre features of performance, which appeared in the past eras (works by da Vinci, L. Bernini, etc.), and represent performance as a genre in the twentieth century.

Keywords: Synthesis of arts, Postmodernism, Synaesthesia, Performance, Actionism, History of art, Genre, Theatricality, Ritual, Music

Abstract: The subject of this research is the work of Ján Cikker (1911-1989), which remains virtually unknown in Russia, despite the fact that this composer is rightly acknowledged alongside Eugen Suchoňto be the founder of the modern composition school; it is no coincidence that out of his class graduated almost all notable composers of Slovakia. His work is marked by a special interest to opera, which remains a fairly rare phenomenon for the music of the XX century. Moreover, as his task he set the creation of such musical language that would combine modern forms with the national material. The author carefully examines the stages of life and formation of the creative principles of one of the renowned composers of the XX century. The main conclusions of the research consist in the fact that the creative style of Ján Cikker is distinguished by the clarity of idea, bright imagery, and inclination towards lyricism. The main theme of his work is the theme of human personality, developed in many works of various genres. The composer embodied the national theme and realized the national folklore on the highest level of composing mastery, but a special place for the Slovak culture is held by his operas

Keywords: Ján Cikker , Ján Cikker , Slovak music, XX century, Opera, Mussorgsky, Symphonic poems, Piano art, Václav Talich, Juro Jánošík

Abstract: The subject of this research is the work of Ján Cikker (1911-1989), which remains virtually unknown in Russia, despite the fact that this composer is rightly acknowledged alongside Eugen Suchoňto be the founder of the modern composition school; it is no coincidence that out of his class graduated almost all notable composers of Slovakia. His work is marked by a special interest to opera, which remains a fairly rare phenomenon for the music of the XX century. Moreover, as his task he set the creation of such musical language that would combine modern forms with the national material. The author carefully examines the stages of life and formation of the creative principles of one of the renowned composers of the XX century. The main conclusions of the research consist in the fact that the creative style of Ján Cikker is distinguished by the clarity of idea, bright imagery, and inclination towards lyricism. The main theme of his work is the theme of human personality, developed in many works of various genres. The composer embodied the national theme and realized the national folklore on the highest level of composing mastery, but a special place for the Slovak culture is held by his operas.

Keywords: Václav Talich, piano art, symphonic poems, Mussorgsky, opera, XX century, Slovak music, Ilja Zeljenka, Ján Cikker, Juro Jánošík

Abstract: In this article, the rock band as a trademark is being analyzed from the systemic point of view for the first time in the Russian scientific literature. The author carefully examines the category “right to the band name” as an intrinsic part of the metasystem of musical communications. A special attention is given to the examination of the rock band within the dynamics of the internal and external communications with presentation in form of a special hyperstructure with horizontal and vertical connections within the sociocultural space. The chronological boundaries cover the period from 1965 to 2015 (50 years). As a result of the conducted research, the author concludes that the dynamics of the intellectual law model “trademark a band name” carries not only musical legal characteristics, but also the peculiarities of the historical time and regional-national specificity. All theoretical claims and conclusions are based on and illustrated by the examples from the history of musical industry and the practice of rock music. One of the corner stones of innovations is the statement of the final thesis on the fact that there are various versions and schools on the use of the “right to the band name” that have formed in the musical industry, which can be presented in the form of a “mosaic system” that does not always act according to legal precepts equally understood by all subjects of these legal relations (including the so-called “random coincidental band names”).

Keywords: Rock band, Pseudoname, Right to name, Musical industry, Recording industry, Communications, Album, Music project, Intellectual property right, Lawsuit

Abstract: In this article, the rock band as a trademark is being analyzed from the systemic point of view for the first time in the Russian scientific literature. The author carefully examines the category “right to the band name” as an intrinsic part of the metasystem of musical communications. A special attention is given to the examination of the rock band within the dynamics of the internal and external communications with presentation in form of a special hyperstructure with horizontal and vertical connections within the sociocultural space. The chronological boundaries cover the period from 1965 to 2015 (50 years). As a result of the conducted research, the author concludes that the dynamics of the intellectual law model “trademark a band name” carries not only musical legal characteristics, but also the peculiarities of the historical time and regional-national specificity. All theoretical claims and conclusions are based on and illustrated by the examples from the history of musical industry and the practice of rock music. One of the corner stones of innovations is the statement of the final thesis on the fact that there are various versions and schools on the use of the “right to the band name” that have formed in the musical industry, which can be presented in the form of a “mosaic system” that does not always act according to legal precepts equally understood by all subjects of these legal relations (including the so-called “random coincidental band names”).

Keywords: musical project, album, communications, recording industry, music industry, right to the name, stage name, rock band, intellectual right, litigation