Abstract: This article focuses on the Sixth "Liturgical" Symphony of Andrei Yakovlevich Eshpai, one of the brightest representatives of the national and world musical culture of our time. The composition is considered from the perspective of sacrality, which fully determines its artistic and constructive patterns and dramatic perspective. The scientific novelty of the work is due to the subject of research itself, which was first used in relation to this work. To study the phenomenon of sacrality, it was necessary to use an interdisciplinary approach, including system-structural, comparative, semiotic, and hermeneutic analysis methods. Close attention was paid to considering the properties of musical texture as the main indicator of the spatiotemporal organization of musical material. The connotative and denotative properties of the musical syntax turned out to be analytically significant. No less important was the role of intertextual interactions that determine the text's language mechanisms and reveal its content’s plan. It was established that the phenomenon of sacrality, responding to the aesthetic attitudes of the master, is implemented comprehensively—as a conjugation of philosophical, mythological, and spiritual-religious discourses, each of which has its own system of signs. The functioning of sign systems at the syntagmatic and paradigmatic levels of the text lead to linguistic differences in the instrumental and choral sections of the symphony, revealing phenomena of semantic multiplicity, polychronicity, ensuring the end-to-end formation and development of the liturgical idea. As a result of such interactions, the genre space of the symphony is formed, which is a synthetic, universal, communicative concept.

Keywords: musical text, denotation, connotation, musical texture, contemporary domestic music, Andrei Yakovlevich Eshpai, symphony, sacrality, symphonic dramaturgy, znamenny chant

Abstract: The article is devoted to the history of performance on a rare instrument of the Waves of Martenot. Its history of creation, repertoire and performance capabilities have not yet become the subject of a separate study, while at the Paris Conservatory there is still a class of Waves of Martenot, and the repertoire is periodically replenished. In connection with these facts, the coverage of the features of a musical instrument seems to be a very relevant topic. For the analysis, the main material was the works specially written for the Waves of Martenot, which can be used to determine the specifics of a particular version of the instrument that determined its technical capabilities, as well as various interviews of performers on the Waves of Martenot. The conclusion of the study is the discovery of new opportunities for enriching the timbre due to the established repertoire and the circle of performers on the instrument, as well as a special stylistic pluralism and sound imaging capabilities that determined the specifics of the instrument and at the same time its concert and cinematic fate, where it is widely used both in academic, film music, and in rock bands. The object of the study is the electromusical instrument Martino Waves, which became widespread in performing practice and composer's work of the 20th century. The subject of the research is the existing performing repertoire of Waves Martenot and performing practice. The novelty of the study lies in the fact that this is the first study in Russian about this music instrument. The applied methodology is based on a comparative analysis of various versions of the Martenot Waves instrument, the material for which are works created by composers in different years when its creator, Maurice Martenot, modified the instrument's design.

Keywords: Natalie Forget, Christine Ott, Jeanne Loriot, performing technique, electrical musical instruments of the, André Jolivet, Tomas Bloch, Moris Martenot, Ondes Martenot, Dimitris Levidis

Abstract: The research object of this article is Finnish musical culture. The subject of the study is the life and work of composer, teacher, conductor, and educator Erkki Melartin (1875–1937). The purpose of the article is to recreate the personal and creative portrait of Melartin as one of Finland’s most outstanding musicians during the first half of the twentieth century. The author examines in detail the composer's biography in close connection with all types of his activities and describes the main directions of the composer's creativity. The author pays special attention to Melartin's administrative activities as the head of the Helsinki Music Institute (now the Sibelius Academy), his conducting, and his pedagogical work. The main conclusions of the study are that Erkki Melartin made a tremendous contribution to the development of culture and musical professional education in Finland; his impressive compositional heritage (with many influences of other composers and Karelia folklore) has bright and distinctive features; Melartin is the author of the first national opera (Aino) and the first large-scale national ballet (Blue Pearl). Among his students: Aarre Merikanto, Yrjö Kilpinen, Vyane Raitio, Ilmari Hannikainen, Uuno Klami, Sukho Ranta, and Helvi Leiviskä —those who later formed the elite of the Finnish School of Composition in the twentieth century. The article, a first in Russian musicology, publishes detailed information about the composer's life, work, and social activities. The main conclusions of the study: Erkki Melartin made a tremendous contribution to the development of culture and musical professional education in Finland; his impressive compositional heritage (with many influences of other composers and folklore of Karelia) has bright and distinctive features; E. Melartin is the author of the first national opera ("Aino") and the first large-scale national ballet ("Blue Pearl"). Among his students: Aarre Merikanto, Jurje Kilpinen, Vyane Raitio, Ilmari Hannikainen, Uuno Klami, Sulho Ranta and Helvi Leiviska – those who later formed the elite of the Finnish school of composition of the twentieth century. The article for the first time in Russian musicology publishes detailed information about the life, work and social activities of the composer.

Keywords: Vyborg friends of music, ballet Blue Pearl, opera Aino, Finnish music education, Finnish music, Sibelius Academy, Finnish musical culture, Helsingfors Institute of Music, Erkki Melartin, Martin Vegelius

Abstract: The subject of the study is the historiography of the study of Ossetian song folklore. The object of the study is mytho-religious songs. The purpose of the article is to systematize information sources reflecting the history of the development of research interest in the song folklore of Ossetians, paying special attention to mytho-religious songs. With the help of source research methods, handwritten collections, music collections, notes of individual samples in music publications, descriptions of audio recordings, research works were identified. This article discusses issues related to the activities of various collectors of Ossetian musical folklore. The author traces the stages of the formation of scientific thought, and the development of collecting activities. The most significant works are highlighted, including samples of mytho-religious songs of Ossetians. The main conclusions of the study relate to observations on the activities deployed in the 1920s - 1930s and related to various collectors. The analyzed data indicate an undoubted interest in the Ossetian song tradition. Thanks to folklore and ethnographic expeditions of the 1920s, an impressive set of materials of Ossetian song folklore was collected, but it is worth noting the careless attitude of collectors to the poetic text. Quite often it is presented in a distorted version, in the volume of one stanza, and sometimes it is completely absent. The breakthrough in collecting detail was the appearance of the phonograph. Phonographic recordings made in the 1930s. they still make up the main body of materials on the folk musical culture of Ossetians. A special contribution of the author to the study of the topic is the systematization of information sources on mytho-religious songs, which determines the scientific novelty of this research work.

Keywords: historiography, collectors of Ossetian folklore, folk beliefs, song folklore, ritual songs, Ossetian ethnomusicology, ossetian folk songs, musical folklore, mytho-religious songs of Ossetians, ossetian songs

Abstract: The subject of the study is the creativity of the leaders of the Moscow jazz school of the 1950s and 1960s: the variety orchestra at the Moscow State Orchestra under the direction of E. Rosner, the jazz orchestra of the Central Chamber of Artists Yu. The Saul Variety Orchestra conducted by O. Lundstrom. The article summarizes the results of the study of the domestic jazz art of the 1950s and 1960s, substantiates the trend in the development of instrumental jazz, and characterizes the repertoire policy of Moscow jazz ensembles. The hypothesis of the influence on the development of the national jazz art of the 1950s and 1960s of those innovations that were formed in American and European jazz of the 1940s and 1950s is substantiated. The characteristics of the performing styles of the leading metropolitan soloists and collectives are given, their role in the development of the Moscow jazz school is determined. The scientific novelty lies in the analysis of the performing styles of the leading Moscow jazz soloists and ensembles of the 1970s and 1980s, which allowed us to substantiate the hypothesis of the influence on the domestic jazz art of trends formed in American and European jazz of the 1940s and 1950s. They are based on the principle of dominance of small groups of participants, the desire to improve technical and expressive capabilities all instruments of the ensemble, based on the use of the artistic potential of the solo parts. The peculiarity of the Moscow jazz ensembles, which along with Leningrad and Baltic ensembles were the flagships of the national jazz art of the 1970s and 1980s, was the strengthening of experimental orientation in the field of expanding the timbre palette of ensemble sound through the use of electronic instruments and sonoristics techniques. The tendency of advancing the timbre-coloristic aspect of musical sound to the forefront of creative searches brings the sphere of jazz and academic art of the second half of the XX century closer.

Keywords: Alexey Kozlov, jazz composer, jazz orchestra, modern jazz, Moscow jazz school, Soviet jazz, Oleg Lundstrem, Yuri Saulsky, Eddie Rosner, Aleksander Tsfasman