Abstract: The name of the St. Petersburg composer Yuri Alexandrovich Falik is known both in Russia and abroad. He has created a large number of compositions in different genres. Falik pays considerable attention to choral music. His choral legacy is represented by a wide range of genres. These are miniatures, a choral concert, a poem and a choral cycle, Orthodox hymns and a Catholic ordinary mass. The range of the composer's poetic preferences is also rich. Falik refers to the poems of A. S. Pushkin, M. Y. Lermontov, A.A. Tarkovsky, A.I. Solzhenitsin, N. A. Klyuev, A.A. Akhmatova, N.S. Gumilev and M.I. Tsvetaeva. The article discusses the peculiarities of the implementation of the content of M. Tsvetaeva's poems by musical means in the choral concert "Trinity Day" by Yu. Falik. Starting from the folklore motifs embedded in the poems, Falik creates stylizations referring to Russian drawling songs, ditties, and the dialect characteristic of the folk tradition. The composer uses variation of melodic motifs, rhythmic variation, combines natural-fret means and chromatics, uses such techniques as choral staccato, glissando, imitation of instrumental tunes, introduces ostinate layers of sound. It is established that the composer managed to find such structural, melodic, rhythmic techniques and musical means that not only illustrate the content of the poems, but also reveal its new facets.

Keywords: choral concert, Yuri Falik, Trinity Day, Marina Tsvetaeva, folklore tradition, music of the XX century, musicality of poetry, chorus, poetry and music, choral music

Abstract: The article is devoted to the application of new technologies of the digital era in modern opera. The phenomenon of cybernarrative is analyzed, which creates special forms of representation of a conditional plot in an opera theater, or representation of the main idea. As a special form of cybernarrative, an analysis of the instrumentation and fundamental ideas of the Brain Opera by American composer and inventor Tod Mahover is proposed. This experimental composition combines both conceptual ideas of comprehending the basics of human thinking and attempts to present brain impulses as musical material that makes up the stochastic variable composition of the opera. Special attention is paid to interactivity, in which the listener pre–communicates with various interfaces - electronic toys that allow him to develop his creative energy and see it as an element of composition in the Opera of the Brain.    The conclusion from the conducted research is that the idea of a cybernarrative has become fundamental for the project, which has received a cybernarrative representation. The treatise of the famous cognitive scientist Marvin Minsky "Community of the Mind" and the element of creative energy of the recipient – visitor of the sound installation serve as the basis of the narrative, while the plot of the libretto itself is conditional and it is hardly read through the journey through the so–called "wilds of the mind". Modern opera uses cybernarrative as a communication system, in the field of which all the latest technologies are included. At the same time, the content of the opera is blurred, which turns out to be variable. There are both positive and negative sides to this: the involvement of the public in the creative process, which Tod Mahover strongly encourages in his concept of the Brain Opera, helps to overcome passive perception, however, the composition ceases to be a complete form and turns into an open work – work in progress.

Keywords: cyberspace, biocontrol, biofeedback, hypercello, Brain Opera, modern theater, cybernarrative, new technologies, modern opera, Tod Mahover

Abstract: The object of the study is the piano work of the famous Chinese composer, teacher Du Minxin (born 1928). The genre composition of his piano work is diverse – it includes miniatures, suite cycles, concerts, fantasies, toccatas. A separate place is occupied by piano transcriptions created by the composer on the material of his own ballets – "Red Women's Squad", "Mermaid". The subject of the study is a piano suite based on the ballet "Rusalka", which is a repertoire composition in concert and pedagogical practice in China. The purpose of the work is to identify the stylistic and performing features of the work necessary for the successful interpretation of the work. In the process of preparing the material, theoretical and empirical research methods were involved, including analysis, generalization and systematization of scientific sources, stylistic and performance analysis of the suite "Mermaid" by Du Mingxin. As a result of a detailed examination of a number of plays, the features of the figurative structure, form formation, intonation, harmonic language, texture are revealed. Special attention is paid to the performing tasks that a pianist needs to solve when referring to this composition. In particular, the author deals with the issues of stroke technique, pedalization, tempo and dynamic dramaturgy, disclosure and use of the timbre-coloristic possibilities of the piano. Of particular importance in the performance of the composition is the orchestrality of the piano sound. The conclusion is made about the importance of preliminary analysis of the orchestral score when performing piano transcription of ballet music. In the Russian research literature, the suite on Du Minxin's ballet "The Mermaid" is considered in detail for the first time.

Keywords: features of piano performance, ballet, piano transcription, Mermaid, Du Mingxin, piano suite, music for piano, contemporary music, chinese music, chinese composer

Abstract: The work is devoted to the process of preparing a piece of music for concert performance. The object of the study is effective methods of working with musical text, including consideration of the psychological component in the professional activity of musicians. The individual characteristics of the performer's psyche, the ability to perceive, analyze and memorize information from the position of the type of representative system defining it are considered. The possibilities of auditory, visual, kinesthetic ways of comprehending the text are revealed. Special attention is paid to the musical memory necessary for a successful performance on stage. Various methods of working with musical text aimed at increasing its effectiveness and intensity are revealed. The importance of knowing the individual characteristics of the performer's perception is emphasized, the methods that ensure the strength of memorizing the text and the stability of performance on stage are revealed. The idea of the essential importance for the performer of the visual channel of perception of information, underestimated in music pedagogy, is carried out. The necessity of an integrated approach involving the connection of all representative systems in the process of learning and mastering the work is substantiated. The work is based on theoretical developments and arguments of foreign and domestic musicologists and outstanding performers: D. Kirnarskaya, L. McKinnon, G. Neuhaus, F. Busoni. Special attention is paid to the results of the research of the scientist-psychologist B. Zeigarnik, the validity of their application in the performing practice of musicians is substantiated.

Keywords: musical text, concert performance, psychological features of perception, types of representative systems, musical memory, memorizing musical text, effective methods, an integrated approach, the Zeigarnik effect, working methods

Abstract: The article characterizes the musical tradition of Russian singers-wanderers, recorded by collectors in the north-western, northern and central provinces of Russia. For the first time, a comparative study is being carried out of the variants of memorial and zazdravny chants performed by the crossing kaliks and beggars. The study summarizes various sources – auditory recordings of the XIX century, publications of the XX century, unpublished folklore materials. The author draws attention to the little-known recordings of memorial and health chants recorded in the Novgorod, Yaroslavl, Tver, Pskov regions. The objectives of the article are to conduct a comparative study of the tunes of the "poor brethren", to identify their typological properties and intonational origins. The author considers the health and memorial chants as a special phenomenon of Russian folk music culture. The core of this tradition was a chant, which served as a musical formula, to which the calics of the transition sang various texts. On the basis of the facts given in the article, it can be concluded that the main version of the tune of the kalik of the transients is characterized by a one-verse composition and a 10-time basis of small-scale construction. In Russian folklore, the existence of this musical-structural type is limited only to the health and memorial songs of Kalik, spiritual poems and the ballad "Prince Mikhailo", and is not found in other genre spheres. However, the close intonation, rhythmic, compositional relationship of the tune with a wide range of folklore genres indicates that it was formed on the basis of compositional and melodic techniques developed in the practice of peasant song culture. The intonational affinity of the chant with church hymns, especially with the forms of liturgical reading, is an indicator of the closeness of the singing culture of the Kalik of the transients and the church musical tradition as a whole, and also reveals those properties that can be attributed to the category of universals of the Old Russian musical language based on speech intonations.

Keywords: zazdravnye chants, Novgorod folklore, kaliki, Russian musical epic, Russian Pilgrim Singers, Folklore of the Russian North, Memorial chants, Spiritual Poems, Russian musical folklore, folk sons