Abstract: The article raises the question of identification of the "hidden plot" in the choral cycle "Five choirs to the words of Russian poets" by G. Sviridov. Author examines the question of how thematically, plotfully and ideologically all five parts of the choral cycle are interconnected, the connection between which at first glance seems random. When considering and analyzing in detail the texts (excerpt from the poem "Dead Souls" by N. Gogol, poems by S. Yesenin "In the evening blue ..." and "Herd", A. Prokofiev "Oh, there were shelves", S. Orlov "Song") the regularities of their semantic transformation, which was made by G. Sviridov in accordance with the plan to give a verbal and musical "portrait" of different historical stages in the life of Russia (pre-revolutionary, revolutionary, which led to the destruction of the value foundations of Russian civilization and the civil war, as well as the period that came after the Great Patriotic War), are revealed. It is shown that the "hidden" text of N. Gogol "Taras Bulba" acquires special significance in the verbal sphere of the cycle, namely, the scene of the murder of the son of Andriy by Taras, who betrayed the faith and Homeland; this episode is compared by the composer with the plot collision of the civil war reflected in the text of A. Prokofiev (that is why G. Sviridov gives his name to the poem "The son met the father"). But all the tragic events of Russian history are experienced and overcome by the song in which the Eternal Motherland lives. Thanks to the existence of the hidden plot of the cycle, a wide epic canvas unfolds before us, within which Sviridov's musical historiosophy finds its expression.

Keywords: musical historiosophy, Sergey Orlov, lost Russia, Alexander Prokofiev, Sergey Yesenin, hidden text, plot and thematic line, the hidden plot, choral cycle, Eternal Homeland

Abstract: The subject of the article is the multifaceted activity of an opera theater conductor in the unity of his directorial and pedagogical activity, necessary for professional development and creative realization of the team. The article identifies and describes various aspects of the complex impact on the opera theater staff through performing, communicative and emotional-volitional components on the example of the work of the outstanding Russian conductor, the founder of the New Opera Theater named after E.V. Kolobov, Evgeny Vladimirovich Kolobov (1946-2003). Methods of systematic and historical approaches, comparative and stylistic analysis, work with literary and musical sources were used in the work. The scientific novelty of the research consists in establishing the dialectical unity of different aspects of E. V. Kolobov's activity, which allows us to consider it as a symbiosis of conductor - director - teacher", in focusing attention on his pedagogical hypostasis, which had a huge impact on specific musicians and the theater team as a whole. The analysis of E.V. Kolobov's activity during his work at the Novaya Opera Theater allows us to get into the essence of his interpretations of the author's concepts and see the changing role of the orchestra in opera scores, as well as the interpretative and aesthetic principles that underlie opera conducting. It is proved that the tasks of an opera theater conductor include not only determining the repertoire policy, goals and objectives of joint creativity, organizing the rehearsal process, managing collective activities, but also creating conditions that contribute to the development of the creative capacities of musicians and singers.

Keywords: duality, end-to-end action, conflict, architectonic principle, interpretative and aesthetic principles, conductor of the opera house, Evgeny Kolobov, contamination, pedagogical aspects, postmodernism

Abstract: The research is devoted to the study of the musical interpretation of the heroes of the "Petersburg Stories" and the poem "Dead Souls" by N. Gogol in the ballet "Sketches" by A. Schnittke. The musical characteristics of Gogol's characters in the ballet are considered from the standpoint of ladoharmonic, rhythmic, timbre, texture features. The stylistic context of each number of the ballet cycle is analyzed in the aspect of the technique of polystylistics. Playing with stylistic models in the field of genre, form, and musical language contributed to the expansion of space-time relations and the enrichment of the figurative sphere of ballet. Due to the multi-component nature of the latter, the compositional and dramatic aspects of the ballet cycle are highlighted, based on the principles of extended expositionality, bright contrast, and distinctive characteristics. The study of the musical characteristics of the characters is carried out for the first time and is carried out from the standpoint of the individual characteristics of the Schnittke style. The author's handwriting of the composer is guessed not only in the use of polystylistic means, but also in the methods of displaying Good and Evil, "base" and "sublime". The unattractiveness of the personal qualities of Gogol's characters was clothed in an attractive mask of smash hits. The cartoon waltz, hyperbolized tango, gallop, mazurka became the symbol of the smash hit. The use of a genre stereotype to denounce evil is also observed in the Second Violin Sonata, Concerto grosso No. 1, the cantata "The Story of Dr. Johann Faust", the ballet "Peer Gynt", etc. Conclusions are drawn about the uniqueness of the musical material of each Gogol hero in the context of Schnittke's individual author's approach.

Keywords: smash hits, denunciation of evil, author's interpretation, musical characteristics, ladoharmonic system, genre stereotype, polystylistics, ballet, Gogol, Schnittke

Abstract: The object of study is musical theatricalization, which is considered from the perspective of value communication. The novelty of the research lies in the theoretical development and introduction into scientific circulation of the generalizing concept of musical theatricalization, which allows combining genre dominants of various aesthetic activities in its field. The concept of musical theatricalization is appropriate and helps to cover all the available variety of musical and theatrical material without being constrained by historical and specifically professional frameworks. Musical theatricalization is based on musical and theatrical creativity as a conscious synthetic (in art) or unconscious syncretic (in folklore) form of expression of a multidimensional human potential. Musical theatricalization includes various forms of musical and theatrical performances and musical and theatrical genres formed during their evolution. Musical theatricalization acts as a genre class in which there are stable and mobile genre features. The musical and theatrical beginnings become axial, which can manifest themselves in different forms, changing the ratio of musical and theatrical means of expression. There is a movement of the theatrical component: from the minimal manifestation of theatricality in a musical work (the inclusion of kinesthetic means of expression) to the stage production of an opera performance and even a mystery. The study of musical theatricalization is carried out from the position of functional relativity, which allows us to determine the degree of importance of the phenomenon of art for individual subjects who are in a communicative situation. The same work can have different degrees of value depending on the historical and communicative context and, accordingly, on the functions that a particular work acquires. The aesthetic and anthropological value of a piece of music is determined by the functional mood of the addressee at a certain moment. The discrepancy between the functional mood of the participants of the communicative act for various reasons leads to a loss of the quality of communication and, as a consequence, to discrepancies in the evaluation of the artwork, the emergence of functional asymmetry.

Keywords: musical theatricalization, genre, genre class, instrumental theater, opera, the system of functional relativity, value communication, choral theater, musical perception, spiritual values

Abstract: The subject of the study is the influence of the French lyrical romance on the chamber-vocal lyrics of P. Tchaikovsky and its significance in the formation of domestic music performance in the middle of the XIX century. In the lyrical romances of P. Tchaikovsky and in the cycle Op.65, their common features and national differences are studied. The significance of P. Tchaikovsky's chamber vocal music on the opera and chamber music is revealed. The article uses methods of complex and comparative analysis, which creates prerequisites for a fairly objective conclusion about the harmonious implementation of French music features in Tchaikovsky's compositional work and music performing. For the first time, the analysis of the prerequisites for P. Tchaikovsky's creation of lyrical romances inspired by France of the era of lyrical opera and the appearance of an opera-chamber singer as a result of the influence of French lyrical romance on the chamber-vocal creativity of P. Tchaikovsky is considered. The scientific novelty of this research lies in a comprehensive approach to studying the problem of the influence of French lyrical romance on the peculiarities and originality of P. Tchaikovsky's chamber lyrics and the domestic chamber vocal culture of the second half of the XIX century. Author concluded that lyrical romances and of Op. 65 reveals influence of French poets on P. Tchaikovsky. The practical significance of this research lies in the fact that professional chamber performers in their concert activities and teachers of music educational institutions in practical work with students are obliged to approach the choice of expressive means with knowledge of style and genesis.

Keywords: genesis, Tchaikovsky, expressive means, poems by french poets, the era of French romance, opera and chamber singers, french vocal music, education of singers, Tchaikovsky 's lyrical romances, french lyrical romances

Abstract: The article considers the possibility of improving the mechanism of work of the author-musicologist with the texts of historical musicology. The purpose of the article is to consider the mechanisms of detecting internal relationships between the elements of a musicological text. The subject of the study is verbal texts of musicology. The object of this article is analytical tools of modern digital technologies for working with texts. The author examines in detail such aspects as the selection and formation of a set of keywords, the definition of the structure of the search for information necessary for research. Particular attention is paid to the internal processes of the musicology laboratory, within which it is not always possible to form a set of key verbal meanings of a prepared study using traditional methods. The author for the first time proposed a methodology for using computer tools for deep text analysis programs in the daily activities of a musicologist-researcher. The scope of the methodology is not limited to the field of music science, it can find solutions in other fields of knowledge. In the course of the research, the practical side of the product implementation is highlighted, the stages of post-processing of a text array are presented in a concise form. At the same time, the problematic "slice" stated in the study turns out to be saturated with other information content, which allows us to further find hidden patterns of development of certain processes, discover new relationships and determine new vectors of scientific research.

Keywords: computer simulation, verbal analysis, music science, analysis of publications, musicology technologies, informative description, computer assistance, in-depth text analysis, horizons of research, information and communication technologies