Abstract: The article examines the issue of performing interpretations of famous tenor arias from operas by J. Puccini, who are not only firmly established in the repertoire of outstanding singers, but are also an obligatory part of the program of vocal competitions and the educational repertoire of music universities. We analyzed the representation of arias of their operas "Bohemia", "Tosca" and "Turandot") by masters of the Russian (S. Lemeshev, V. Atlantov, P. Melentyev, E. Raikov, M. Mikhailov, V. Galuzin) and Chinese vocal schools (Kang Wang, Yijie Shi, Wei Song, Shi Chu Jang, Deng Chao Hong). This article analyzes performers from different schools and eras, in which the weak and strong sides of interpretations were identified and the features of the part and its performance variants were highlighted by outstanding representatives of the Russian vocal school and young singers from China. The author aims to identify various techniques of the vocal technique of the tenor, using as an example arias from the operas of J. Puccini, as well as the task – to analyze arias performed by outstanding Russian and Chinese artists, paying special attention to interpretation and means of performance, in particular the bel canto technique, using a comparative analysis of interpretations. Masterpieces of world opera are of equal importance for both Russian and Chinese culture, and they are often addressed by directors. The immortal figure of opera mastery for Russia and China is J. Puccini and, in general, the Italian opera school with its unique bel canto style, embodied also in the works of masters Rossini, Verdi, Donizetti. Since Chinese are actively interested in Russian and Italian opera and often perform them, this aspect is seen as relevant in our time, to which many research papers are devoted. In this work, the author aims to identify various techniques of the tenor vocal technique, using as an example arias from the operas of J. Puccini, as well as the task of analyzing arias performed by outstanding Russian and Chinese artists, paying special attention to interpretation and means of performance, in particular the bel canto technique.

Keywords: execution, interpretation, Calaf, Cavaradossi, Rudolf, Puccini, Vocal art, tenor arias, vocal, Chinese vocal School

Abstract: The subject of the study is the chamber and vocal work of Soviet composers of the 1960s–1970s, the works of the undisputed leaders of the young post-war generation of musicians from the “sixties”. The author of the article studies the neo-folklore searches and experiments of R. Shchedrin, B. Tishchenko, S. Slonimsky, V. Gavrilin, E. Denisov, which became the most important component of the significant artistic movement “new folklore wave”. During these years, there was a peculiar accumulation of outstanding sample compositions, striking in their originality and brightness, new recording techniques, and the authors’ extremely conscientious attitude towards original materials collected in conservatory folklore expeditions. At the turn of the 1960s, the chamber-vocal cycle took leading roles in the work of many Soviet composers and Russian music in general. Vocal compositions, with their inherent versatility, capable of flexible modifications, turned out to be a fertile area for the creative efforts of musicians of different generations. The article uses the following scientific research methods: comparative analytical, structural and functional, as well as cultural method. The author of the article uses literary-textual and musical-textual methods for research, and also relies on the fundamental provisions of general historical methodology, in particular, sociocultural, historical-chronological, and biographical. The main conclusion of the study is the idea that the chamber-vocal works of the “new folklore wave” have a “female face”, since most of them were written for performance by female voices. Folk melody and rhythm, a lively intonation environment, the direct emotionality of folklore became not only a kind of “counterweight” to sophisticated avant-garde techniques in the music of the second half of the twentieth century, but the most important component of the composer’s language and even thinking, and sometimes the main support of creative expression. The author for the first time deeply and fully explores the “female” vocal cycle of the 1960s–1970s, those works that are associated with the unique and powerful artistic movement “new folk wave,” a phenomenon that was at the forefront of the radical renewal of Russian music in the second half of the twentieth century.

Keywords: Piano, Vanguard, Edison Denisov, Sergey Slonimsky, Valery Gavrilin, Boris Tishchenko, Rodion Shchedrin, New folk wave, Vocal cycle, Domestic music

Abstract: The article explores the problem of embodying the calligraphic gesture, as well as the main attributes of Chinese traditional writing - ink, brush and paper in the space of musical art. The object of the study is the chamber instrumental music by contemporary Asian composers Lee Chie Tsang (“Interfusion IV – Variegation in Colour” for solo viola), Lei Liang (“Brushstroke” for chamber orchestra) and Yi-hsien Chen (“Sparking” for 12 instruments). The purpose of the work is to identify and substantiate the principles of transferring the philosophical, aesthetic and visual-semantic properties of calligraphy into the musical fabric of instrumental compositions. Research methodology: the interdisciplinary nature predetermined the use of the comparative method to identify and substantiate the typical features of calligraphic writing in the musical fabric of named works. Selected chamber-instrumental opuses of contemporary Asian composers are considered in Russian musicology for the first time and are intended to expand understanding of the methods of refracting the art of Chinese calligraphy in music. In the aforementioned chamber-instrumental works by Lee Chie Tsang, Lei Liang and Yi-hsien Chen, the specificity of the refraction of individual graphic elements of the hieroglyph in music is considered; different types of consistency and shades of mascara (dry, wet, concentrated, light, broken), as well as the manner of working with it (spraying); the features of the sound reflection of a brush stroke are identified using texture organization and sound production techniques, the brush stroke is presented as a musical gesture, a sign reflecting the choreography of a plastic gesture; the principles of transposition of calligraphic laws of space organization were formulated, the idea of ordering the score sheet using calligraphy methods using pauses and fermata to separate “imaginary squares” (metric grid) and “adjusting” the ratio of time intervals between musical gestures was substantiated.

Keywords: contemporary Chinese music, Sparking, Interfusion IV, Brush Stroke, Yi-hsien Chen, Lei Liang, Lee Chie Tsang, calligraphic gesture, calligraphy in music, Chinese chamber music

Abstract: The subject of the study is the original author's method of composition, developed by the modern Chinese composer Chung Yiu Kwang based on the 64 hexagrams of the “I-Ching”. The ancient Chinese philosophy of taiji attracted many composers of the second half of the twentieth century. Chung Yiu Kwang developed a quasi-serial writing technique: four 12-tone fundamental series are built on the tritone relationship of two hexachords - yin and yang. The purpose of the research is to study the implementation of the basic principles of the “I-Ching” in the composition system of Chung, using the example of the composer’s only serial piece “Under The Red Eaves”. For the first time in Russian musicology, the composition method of Chung Yiu Kwang was considered; a creative portrait of the composer and an overview of his main works are presented; the path of formation of his original technique is traced; аn analysis of the first hexagrams in the orchestral play “Under The Red Eaves” was carried out. The formation of the original composition method was due to the creative interests of Chung, his studies in New York, his acquaintance with Chou Wen-Chung and his students - representatives of the Chinese New Wave - Tan Dun, Zhou Long, Chen Yi. This predetermined the musician's turn to the synthesis of the ancient Chinese philosophy “I-Ching” with Western serial methods of organizing musical texture. Based on the symbolism of hexagrams and the ancient Chinese lü scale, the author builds a three-level system of interaction of pitch relations: the level of fundamental series, the level of complementarity of yin and yang segments that give rise to 12-tone rows, and the level of alternation of yin and yang tones in accordance with the change of dotted and solid lines in hexagrams..

Keywords: fundamental series, contemporary composition systems, contemporary music of Taiwan, taiji, hexagrams, yin-yang, I Ching, Under the Red Eaves, Chung Yiu Kwang, serial technique

Abstract: The object of the article is the Turkic ethnic groups of the Lower Volga region, which carry their own long-established ethnomusicological traditions, at the same time interacting with each other, related by language group, religion. The subject of the article is the phenomenon of dialogic and polyphonic cultures of the Turkic ethnic groups of the Lower Volga region. The author examines in detail such aspects as dialogism, polyphonism of cultures, which give answers in understanding the centuries-old ethno-cultural processes of interaction and mutual influence. Special attention is paid to the genre and stylistic community of samples of epic khushavaz, the genre of "conversation in saza", instrumental plays of the wedding folklore of the Yurt Tatars and Nogai Karagashes. Typological phenomena include the peculiarities of the ladointonal organization of melodies and plays, groups of intonations with typical properties and acting as stable components are identified in intonation dictionaries. Also, the rhythmic organization that unites multi-genre melodies acts as stable elements. Considering that this problem is interdisciplinary in nature, the methodological foundations were the concepts of Russian philosophers: M.M. Bakhtin, Y.M. Lotman, D.D. Likhachev, as well as the concepts of leading Russian ethnomusicologists: V.A. Lapin, N.I. Zhulanova, etc. Consideration of the principles of the mechanism of dialogue and polyphonism of some Turkic cultures with others united by one region, related by language group, religion, but still bearing their own long-established ethnomusicological traditions, is poorly studied both for the region of the polyethnic Lower Volga region, and in particular, the Astrakhan Region, and in general, in ethnomusicology. This confirms the relevance of this study. but still carrying their own long-established ethnomusicological traditions, it is poorly studied both for the region of the polyethnic Lower Volga region, in particular in the Astrakhan Region, and in general, in ethnomusicology. This confirms the relevance of this study. The main conclusions of the conducted research are the expansion of their own musical genre system in the context of dialogism of cultures.

Keywords: Lower Volga region, intercultural interaction, musical and folklore genres, multiethnicity, cultural equivalence, subjects of dialogue, regional system, polyphony of cultures, Turkic ethnic groups, dialogism