Abstract: The main attention of the author of the work focuses on the study of temporal structures in the solo episodes of Eugene Onegin. In this work, based on the research of theorists and musicologists, a detailed analysis of metric systems and rhythm formulas in the musical material of the protagonist is carried out. Special attention is paid to the study of the hidden meaning of leit rhythms as means of artistic expression, independent of the melodic-harmonic component of the musical fabric. The author examines in detail such aspects of the topic as accentuation and "broad three-lobe", polyrhythm and polymetry, elements of polyfurcation and fractal processes of shaping, shift of the clock line and higher-order bars. Special attention is paid to the influence of the metrorhythmic side on the figurative and artistic component of the process of creating and developing the plot of an opera performance. The main conclusion of the study is the need to study the regularities of metrorhythmic constructions in vocal parts. This will allow performers to more deeply and comprehensively penetrate deep into the semantic musical structures, get additional opportunities to control the performing apparatus while working on creating an artistic image. This approach is relevant and quite new in terms of the originality of the research perspective, since so far this topic has not been presented in a similar way in the scientific literature. The presence of musical examples, quotations from scientific literature, tables and diagrams turns the work into a visual and easy-to-study scientific material.

Keywords: rhythmic pattern, main character, polyrhythmy, polymetry, rhythm formula, metrorhythmic structure, metrorhythmic organization, Tchaikovsky, vocal parts, Onegin's rhythmic formula

Abstract: This article aims to highlight the significance of song folklore recordings when documenting the scientific heritage of the first scientists and researchers of Tuvan musical folklore—A. N. Aksenov and E. V. Gippius—during the period 1927 to 1965. The methodological basis consists of the principles of historical continuity, objectivity, a holistic approach to the analysis of the history of the development of traditional Tuvan vocal music and the prospects for its development. The study of folk music is inextricably linked with the development of professional art. Currently, the works of visiting Soviet composers, melodically associated with Tuvan folklore, are practically not performed in the repertoire of concert programs of creative collectives of the city of Kyzyl. One of the main obstacles to their further application is the absence of these works in the curricula in music educational institutions. The issues of the prospects for the use of preserved sources in the digital archive of the Academy "Xөөmei" are analyzed. The question is raised about the need to create a single institutional repository of works and materials on the work of Russian specialists, musicologists, and scientists who studied the musical culture of Tuvinians in the Soviet period. Modern Tuvan musical folklore was largely based on the results of Aksenov's research, whose activities served as the main reference point for the study of Tuvan folk music and contributed to the flourishing of Tuvan musical art in Tuva.

Keywords: researchers of Tuva, Tuvan folk music, performing traditions, Tuvan khomei, ethnomusicology, Katanov, Gippius, Aksenov, scientific biography, scientific archives

Abstract: The research subject of this article is Dmitri Shostakovich's “Thirteenth Symphony”—one of the most monumental symphonic canvases of the twentieth century, reflecting in its essence the chronicle of historical vicissitudes that took place in the Soviet Union. After a number of compromised compositions in the late 1940s and 1950s, forcibly written ("Songs about Forests," the Eleventh Symphony, numerous miniatures), the Thirteenth Symphony made a splash in musical and near-musical circles, as many perceived it from a polemic angle with the Stalinist regime. The reader's attention is focused on the fact that in it, the composer resorts to a veiled polemic with the current government, and the figurative world of the symphony is a direct reaction of Shostakovich not only to the events to which the opus is dedicated ("Babi Yar," the words of E. Yevtushenko) but also on the reality surrounding him. The semantic contexts of the work are examined through the prism of biographical data about the composer, as a result of which a wide documentary and historical apparatus are involved—the memoirs of Shostakovich's colleagues and contemporaries, his own statements addressed both to the symphony in question and to the broad historical and cultural context of the era. It is in the broad contextual approach that the scientific novelty of the article is seen. In addition, it presents analytical material that allows a deeper understanding of the essence of the work as a whole and the reasons why the symphony was banned at the time.

Keywords: music and history, 20th-century music, Shostakovich, The Thirteenth Symphony, the content of art, musical art, theory of music, philosophy of music, musicology, art history

Abstract: In the 1980s and early 2000s, Chinese composers wrote the largest number of piano concertos in the entire century-long history of this genre in the musical history of this state. Among them, the most recognized in different countries were the works of Huang Anlun and Du Mingxin. Along with the fame of the pianists who performed them and the importance of the composers themselves in the music of China, a considerable merit in this is seen in the enrichment of their concerts with symphonic principles that influenced the depth of dramatic tension in these works. The article examines the techniques of musical development in two concerts by Huang Anlun and the First and Third Concerts by Du Minxin in line with the ideas of symphonism laid down by B. Asafyev and developed in the works of Soviet and Russian musicologists. The role of Russian music in the appeal of Chinese composers to symphonic drama in piano concerts is also noted. The main means of symphonization in the concerts under consideration mostly coincide. They are characterized by the orchestrality of the piano part and the developed dialogicity of the soloist and orchestra, moreover, there is a high degree of their cohesion in the works of Huang Anlun. The figurative transformation of themes is of key importance. Meanwhile, there are differences. Du Mingxin tends to a more concise form of the concert. With regard to thematic work, he confines himself to creating arched connections and tends to bring contrasts closer together. Huang Anlun builds monumental musical canvases. He permeates his compositions with leittems and pays great attention to development. So, if Du Mingxin acts within the framework of a symphonized concert, then Huang Anlun has made an exit to the concert-symphony genre.

Keywords: symphonized concert, symphonic principles, symphonism, Huang Allun, piano concerto, contemporary music, influence of Russian music, chinese music, concert-symphony, Du Mingxin

Abstract: The object of the study is the Sonata for Viola and Piano Op. 147 by Dmitri Shostakovich—a work rightfully considered autobiographical and as a farewell. The subject of the study was the specificity of the timbral embodiment of the composition’s figurative and emotional sphere. In the proposed reading, the first part of the sonata is an image of the world to which the composer sends a farewell glance, the second is a sarcastic sketch of bright collective images of the vices of humanity, and the finale is a penetration beyond reality. The author of the article, in detail, referring to specific musical examples given in the text, examines the specific instrumental techniques used by the composer, which made it possible to embody the mystical concept of the sonata. The novelty of the research lies in the identification of three main figurative lines of the composition: eternity, the voice of the soul, and the world, which correspond to different timbral characteristics of the viola, which received their definitions through the use of specific expressive techniques. Eternity is the dispassionate sound of the viola, which is characterized by some programming, inexorability (an allusion to the "knock of fate”), monotonous figuration, and long double notes in the lower part of the range. The voice of the soul is detached, with the dark, gloomy coloring of the sound: melodica, devoid of "beautiful" intonations, sentimental singing, "Beethoven" trio in new refraction, acting as the personification of the otherworldly. The world is a tearing and sharp sound and sarcastic caricature of colors: glissando with access to the flageolet, short caustic foreshocks, exaggeratedly sharp staccato, ascending parallel quarts in sixteenth, illustrating a hysterical burst of laughter. The main figurative spaces coexist throughout the composition, presenting in the sonata genre a new specific characteristic of the viola for the first time, which interprets the world of unreal images in many ways. Shostakovich's sonata is defined as the starting point of the formation of the leading figurative direction of the viola repertoire of the last third of the twentieth century, which secured the viola the role of a guide to the world of the beyond—a kind of Virgil.

Keywords: figurative and emotional sphere, the world of unreal images, Fyodor Druzhinin, musical and philosophical concept, timbral characteristic of the viola, viola sonata, instrumental techniques, viola performance, Dmitri Shostakovich, viola repertoire