Abstract: This article is devoted to one of the most common phenomena in contemporary art – the actual performance of the work of art. The article deals with the issues of its origin. In this respect, it covers different forms of art of the past, such as syncretic ritual, medieval street theater, commedia dell'arte, and some synthesized works of the Renaissance and the Baroque period, and their modifications in the XXth – early XXIst century. Some common features in the well-known performance pieces of the past and the present are compared. The works by Tan Dun, L. Lipkis, K. Stockhausen, I. Xenakis, J. Cage and others are given as an example. Performance is considered as a single phenomenon of modern culture that reveals the main constant of postmodernism - a synthesis of the arts. In this connection, a method of holistic analysis is used in addition to the analytical method of presentation. The conclusions demonstrate the main genre features of performance, which appeared in the past eras (works by da Vinci, L. Bernini, etc.), and represent performance as a genre in the twentieth century.

Keywords: music, ritual, theatricality, genre, art history, performance art, performance, synthesizing, postmodernism, Synthesis of arts

References:
Goldberg R. Performance Art: From Futurism to the Present. — M.: Ad Marginem Press, 2014. 320 p.
Dubinets, Y.A. Signs of Sounds. About Modern Musical Notation. — Kiev: Gamayun, 1999. 314 p.
Nazaikinskiy, Y.V. Spatial Music // Theory of Modern Composition: Textbook / Ex. Ed. V.S. Tsenova. — M.: Music, 2007. P. 450-464.
Papenina, A.N. Musical Avant-Garde of the Middle XX Century and Issues of Art Perception.-SPb.: Publishing House SPbGUP, 2008. 152 p.
Petrov, V.O. Instrumental Theater: Movement Features of Performers // Current Problems of Higher Music Education: Analytical and Educational Scientific Journal.-2011. – No. 2 (18). P. 40-45
Petrov, V.O. Musical Happening: Phenomenon Aesthetics // Philosophy and Art: Materials of the II International Conference / Ex. Editor T.P. Zaborskikh. — M.: Gnessin Russian Academy of Music, 2013. P. 28-35.
Petrov, V.O Pioneering Art Images in the Twentieth Century: From the Perspective of Epatage // Culture and Art.-2013. – No. 5. P. 562-569.
Petrov, V.O.

Abstract: This article is devoted to one of the most common phenomena in contemporary
art – the actual performance of the work of art. The article deals with the issues of its
origin. In this respect, it covers different forms of art of the past, such as syncretic
ritual, medieval street theater, commedia dell'arte, and some synthesized works of the
Renaissance and the Baroque period, and their modifications in the XXth – early
XXIst century. Some common features in the well-known performance pieces of the
past and the present are compared. The works by Tan Dun, L. Lipkis, K.
Stockhausen, I. Xenakis, J. Cage and others are given as an example. Performance is
considered as a single phenomenon of modern culture that reveals the main constant
of postmodernism - a synthesis of the arts. In this connection, a method of holistic
analysis is used in addition to the analytical method of presentation. The conclusions
demonstrate the main genre features of performance, which appeared in the past eras
(works by da Vinci, L. Bernini, etc.), and represent performance as a genre in the
twentieth century.

Keywords: Synthesis of arts, Postmodernism, Synaesthesia, Performance, Actionism, History of art, Genre, Theatricality, Ritual, Music

References:
Malinverni L. 13 gennaio 1490: la Festa del Paradiso // http://lauramalinverni.net/pdf/13_GENNAIO_1490_LA_FESTA_DEL_PARADISO.pdf
Goldberg R. Performance Art: From Futurism to the Present (World of Art). Thames & Hudson, 2001.
Lucignani L. Il gran teatro di Bernini // la Repubblica. — 11.04.1992.
Carr C. On Edge: Performance at the End of the Twentieth Century. – Wesleyan Univer-sity Press, 1993.
Carlson M. Performance: A Critical Introduction. London and New York: Routledge, 1996.
Terekhin A.V. Sotsial'no–filosofskiy aspekt kontseptsii narodnoy smekhovoy kul'tury M.M. Bakhtina // Iskusstvo KhKh veka: Paradoksy smekhovoy kul'tury: Sb. statey. — Nizhniy Novgorod, 2001.
Sigida S.Yu. Muzykal'naya kul'tura Evropy. Vtoraya polovina KhKh veka. Velikobri-taniya // Istoriya zarubezhnoy muzyki. KhKh vek: Uchebnoe posobie / Otv. red. N.A. Gavrilova. — M.: Muzyka, 2005.
Petrov V.O. Epatazh v iskusstve KhKh veka // Kul'tura i iskusstvo. — 2013. — № 6.
Petrov V.O. Pod znakom performansa // Muzykal'naya akademiya. — 2012. — №

Abstract: The subject of this research is the work of Ján Cikker (1911-1989), which remains virtually unknown in Russia, despite the fact that this composer is rightly acknowledged alongside Eugen Suchoňto be the founder of the modern composition school; it is no coincidence that out of his class graduated almost all notable composers of Slovakia. His work is marked by a special interest to opera, which remains a fairly rare phenomenon for the music of the XX century. Moreover, as his task he set the creation of such musical language that would combine modern forms with the national material. The author carefully examines the stages of life and formation of the creative principles of one of the renowned composers of the XX century. The main conclusions of the research consist in the fact that the creative style of Ján Cikker is distinguished by the clarity of idea, bright imagery, and inclination towards lyricism. The main theme of his work is the theme of human personality, developed in many works of various genres. The composer embodied the national theme and realized the national folklore on the highest level of composing mastery, but a special place for the Slovak culture is held by his operas

Keywords: Ján Cikker , Ján Cikker , Slovak music, XX century, Opera, Mussorgsky, Symphonic poems, Piano art, Václav Talich, Juro Jánošík

References:
Palovčik M. Ján Cikker v spomienkach a tvorbe. – Prešov: Matúš music, 1995.
Sukhon' E. Byt' iskrennim // Sovetskaya muzyka. – 1983. – № 12. – S. 118–120.
Polyakova L. Yan Tsikker: «Ya schitayu, chto nado pisat' muzyku o cheloveke, ego dukhovnom razvitii…» // Sovetskaya muzyka. – 1971. – № 9. – S. 133–135.
Polyakova L. Cheshskaya i slovatskaya opera KhKh veka. Kn. vtoraya. – M: Sovetskiy kompozitor, 1983. C. 123.
Šamko J. Ján Cikker. – SVKL, Bratislava, 1955.

Abstract: The subject of this research is the work of Ján Cikker (1911-1989), which remains virtually unknown in Russia, despite the fact that this composer is rightly acknowledged alongside Eugen Suchoňto be the founder of the modern composition school; it is no coincidence that out of his class graduated almost all notable composers of Slovakia. His work is marked by a special interest to opera, which remains a fairly rare phenomenon for the music of the XX century. Moreover, as his task he set the creation of such musical language that would combine modern forms with the national material. The author carefully examines the stages of life and formation of the creative principles of one of the renowned composers of the XX century. The main conclusions of the research consist in the fact that the creative style of Ján Cikker is distinguished by the clarity of idea, bright imagery, and inclination towards lyricism. The main theme of his work is the theme of human personality, developed in many works of various genres. The composer embodied the national theme and realized the national folklore on the highest level of composing mastery, but a special place for the Slovak culture is held by his operas.

Keywords: Václav Talich, piano art, symphonic poems, Mussorgsky, opera, XX century, Slovak music, Ilja Zeljenka, Ján Cikker, Juro Jánošík

References:
Šamko J. Ján Cikker. SVKL, Bratislava, 1955.
Sukhon' E. Byt' iskrennim // Sovetskaya muzyka. 1983. № 12. S. 118–120.
Palovčik M. Ján Cikker v spomienkach a tvorbe. Prešov: Matúš music, 1995.
Polyakova L. Cheshskaya i slovatskaya opera KhKh veka. Kn. 2. M: Sovetskiy kompozitor, 1983. C. 123.
Polyakova L. Yan Tsikker: «Ya schitayu, chto nado pisat' muzyku o cheloveke, ego dukhovnom razvitii…» // Sovetskaya muzyka. 1971. № 9. S. 133–135.

Abstract: The subject of this article is the comparison of the work of renowned Polish composers of the XX century – Andrzej Panufnik (1914-1991) and Roman Palester (1907-1989). By the early 1950’s both composers were successful not only at home, but also in the countries of the Western Europe. But the desire for freedom of creative expression motivated them to elect the difficult path of being emigrants. From the mid 1950’s the work of Panufnik and Palester became banned in Poland, and all their future works faced the uneasy path of winning new audiences, first in England and Switzerland, and then, from the 1980’s, at home. The novelty of this research consists in the comparison of the creative paths and compositional principles of both composers, and presentation of their work to the Russian readers. A special emphasis is made on the fact that in continuing their path of emigration, the composers referred not only to new techniques of composition, but also to the traditions of Polish music. Preferring traditional genres of symphonic music, both have demonstrated remarkable creative innovation in their individual approach towards dodecaphony. We can certainly state that the works of Panufnik and Palester written during emigration have substantially enriched the scene of development of modern Polish music.

Keywords: Andrzej Panufnik, Roman Palester, Polish music, serial technique, dodecaphony, Polish avant-garde, aleatory, panufnikovskaya sound box, "Warsaw Autumn", Polish symphony

References:
Grochowska, M. Przynęta i obroża Andrzeja Panufnika / Gazeta Wyborcza, 25.10.2014. URL: http://wyborcza.pl/magazyn/1,141465,16854218,Przyneta_i_obroza_Andrzeja_Panufnika.html?disableRedirects=true (data obrashcheniya: 24.12.2015).
Gwizdalanka, D. Ucieczka z państwa grozy / Ruch Muzyczny. – 2014. – Nr. 07. URL: http://www.ruchmuzyczny.art.pl/index.php/tematy/punkt/670-ucieczka-z-panstwa-grozy (data obrashcheniya: 24.12.2015).
Helman Z. Roman Palester. Twórca i dzieło. – Kraków: Musica Iagellonica, 1999.
Kolinek-Siechowicz, K. Jego muzyka jest bardzo ludzka. Rozmowa z Camillą Panufnik // Ruch Muzyczny. – 2014. – Nr. 09. URL: http://www.ruchmuzyczny.art.pl/index.php/tematy/punkt/776-jego-muzyka-jest-bardzo-ludzkaa 25.12.2015 (data obrashcheniya: 24.12.2015).
Lindstedt I. Grupa (szkoła) manchesterska // Nowa muzyka brytyjska / Red. A. Kwiecińska. Kraków, Krakowskie Biuro Festiwalowe, 2010. – S. 79–80.
Łobaczewska S. Kraków muzyczny // Dziennik Literac

Abstract: This article first analysed the problem of the Christian faith as a humanitarian value in the tragic literary and musical interpretation of Goethe’s Faust by Berlioz. The aim of the work was the discovery of a new interpretation by the composer of disbelief as evil leading to the condemnation and death of man – in the light of new romantic poetics, and new thinking by Berlioz. The Christian content of ‘Easter carols’ – a secular cantata for voices, mixed choir and symphony orchestra ‘Eight scenes from Faust by Goethe (1828 – 1829) was considered. It is a musical drama, with many peculiarities of musical language. It is a piece written in the original vocally symphonic genre of ‘dramatic legend’ – La Damnation de Faust (1845 – 1846). The features of the genre semantics of the legend of Faust were identified; application of methods of complex analysis in the study of the concept of faith in the music content of the following score sections is distinguished by novelty: Easter Hymn, Litany, Episode from the Epilogue - In Heaven (for a choir of seraphim before the throne of the Most High), and the Apotheosis of Marguerite. The historical pattern of the emergence of Berlioz’s artistic concept in the context of the development of art and literature of French Romanticism of 1800s – 1840s, and the connections between La Damnation de Faust with essential trends in the development of Romanticism, as well as the establish-ment of spirituality and the apologia for the Christian faith in the work of F.R. de Chateaubriand, are shown. The relevance of the ideas of Christianity in the operas and oratorios of French composers in the cultural space of France is demonstrated.

Keywords: La Damnation de Faust, H. Berlioz, dramatic legend, Easter Hymn, Litany, Christianity, faith, opera, oratorio, French Romanticism

References:
Аверинцев С. София – Логос. Словарь. Собр. соч. / Под ред. Н. П. Аверинцевой и К. Б. Сигова. Киев.: «ΔУХ И ЛΙТЕРА». 2006. – 912 с.
Азарова B. B. Тема христианского гуманизма в лирических операх Ж. Массне: «Таис», «Сафо», «Жонглер Богоматери». Очерки. Воронеж, «Истоки», 2000.— 208 с./ Valentina Azarova. «Subject of Christian 
humanism in lyrical operas by Jules Massenet: Thaïs, Sapho, The juggler of Notre-Dame» — 208 p.
Азарова B. B. Античность во французской опере 1890–1900-х годов. LAP Lambert Academic Publishing 
GMbH & Co., Saabrücken, 2011.— 464 с. / Subject of Classical Anitquity in French opera in the turn of XXth 
century. LAP Lambert Academic Publishing GMbH & Co., Saabrücken, 2011. – 464 p.
Азарова В. В. Интерпретация идей христианства в операх и ораториях французcких композито¬ров XIX – XX веков.
«Французская музыкальная драма» В. д’Энди / Interpretation of christian ideas in operas and oratorios by French composers
in the XIX–

Abstract: В статье впервые исследована проблема христианской веры как гуманитарной ценности в трагедийной литературно-музыкальной интерпретации Г. Берлиозом «Фауста» Гёте. Целью работы явилось обнаружение нового истолкования композитором неверия как зла, ведущего к осуждению и гибели человека – в свете новой романтической поэтики, нового мышления Берлиоза. Рассмотрены христианское содержание «Пасхальных песнопений» из светской кантаты для голосов, смешанного хора и симфонического оркестра «Восемь сцен из "Фауста" Гёте» (1828 – 1829); программа, музыкальная драматургия, особенности музыкального языка произведения, написанного в оригинальном вокально-симфоническом жанре «драматической легенды», – «Осуждение Фауста» (1845 – 1846). Выявлены особенности жанровой семантики легенды о Фаусте; новизной отличается применение методов комплексного анализа в исследовании концепта веры в музыкальном содержании следующих разделов партитуры: «Пасхальный гимн», Литания, эпизода из Эпилога «На небе» (хор серафимов перед престолом Всевышнего) и Апофеоз Маргариты. Показаны историческая закономерность возникновения художественной концепции Берлиоза в контексте развития искусства и литературы французского романтизма 1800 – 1840-х годов; связи «Осуждения Фауста» с основополагающими тенденциями развития романтизма – утверждением духовности и апологией христианской веры в творчестве Ф. Р. де Шатобриана. Обоснована актуальность идей христианства в операх и ораториях французских композиторов, в культурном пространстве Франции.

Keywords: «Osuzhdenie Fausta», G. Berlioz, dramaticheskaya legenda, litaniya, khristianstvo, vera, opera, oratoriya, romanticheskaya poetika

References:
Аверинцев С. София – Логос. Словарь. Собр. соч. / Под ред. Н. П. Аверинцевой и К. Б. Сигова. Киев.: «ΔУХ И ЛΙТЕРА». 2006. – 912 с.
Азарова B. B. Тема христианского гуманизма в лирических операх Ж. Массне: «Таис», «Сафо», «Жонглер Богоматери». Очерки. Воронеж, «Истоки», 2000.— 208 с./ Valentina Azarova. «Subject of Christian 
humanism in lyrical operas by Jules Massenet: Thaïs, Sapho, The juggler of Notre-Dame» — 208 p.
Азарова B. B. Античность во французской опере 1890–1900-х годов. LAP Lambert Academic Publishing 
GMbH & Co., Saabrücken, 2011.— 464 с. / Subject of Classical Anitquity in French opera in the turn of XXth 
century. LAP Lambert Academic Publishing GMbH & Co., Saabrücken, 2011. – 464 p.
Азарова В. В. Интерпретация идей христианства в операх и ораториях французcких композито¬ров XIX – XX веков.
«Французская музыкальная драма» В. д’Энди / Interpretation of christian ideas in operas and oratorios by French composers
in the XIX–

Abstract: The interest in new artistic trends and viable means of expression became the distinctive feature of Polish music of the second half of the 20th century. In their aspiration for the creation of an individual style, Kazimierz Serocki and Bogusław Schaeffer enriched their musical language with usage of sonoristic, aleatory and serial techniques. The main direction of Serocki’s works was the search for new sound qualities, new means of usage of traditional musical instruments. The quest for stylistic synthesis can be considered to be the distinctive feature of the Polish school of composition of the 1960s and 1970s, since it was along this path, in particular, that the most artistically significant works were created. Particularly in this direction that Serocki brought along extensive changes of sound technique, which justified is fame as one of the most outstanding sonoristic composers. The musical development in Schaeffer’ piano works is determined by idea of “decomposition” and contains a multitude of interpretations. Following the aleatory ideas in various forms, during many years Schaeffer also introduced in his works the dodecaphony and serial principles.

Keywords: Polish music, 20th century, piano compositions, Kazimierz Serocki, Bogusław Schaeffer, avant-garde music, sonoristic technique, aleatory technique, dodecaphony, decomposition

References:
Витольд Лютославский. Беседы Ирины Никольской с Витольдом Лютославским. Статьи, воспоминания. М.: Тантра, 1995. [Witold Lutosławski. Conversations of Irina Nikolskaya with Witold Lutosławski. Articles, Memoirs. Moscow: Tantra, 1995].
Buczek B. Twórczość Bogusława Schaeffera – tendencje, idee, realizacje // Przemiany techniki dźwiękowej, stylu i estetyki w polskiej muzyce lat 70 / Ed. L. Polony. Kraków: Akademia Muzyczna w Krakowie, 1986.
Gawrońska, B. Organizacja tworzywa muzycznego w twórczości Kazimierza Serockiego po roku 1960 // Muzyka. 1981, N 2.
Chomiński J.M. Histоria harmonii i kontrapunktu. T. III. Kraków: PWM, 1990.
Chomiński J.M., Wilkowska-Chomińska K. Historia muzyki polskiej. Cz. II. Kraków: PWM, 1996.
Pociej B. Żródła aleatorismu. III. Gra // Ruch muzyczny. 1966, N 20.
Zieliński T.A. “A piacere” Kazimierza Serockiego // Ruch muzyczny. 1963, N 22.
Zieliński T.

Abstract: The object of Boris Asafiev’s article is to define the reason why Modest Mussorgsky’s music strongly affects the listeners. Asafiev invents his method of analysis himself from his observations of life impulses that generate the movement towards the artistic outcome. The main quality was not in his composing good melodies, but in his ability to fill his melodies with the image and human character of the protagonist and to manifest it into the intonational and plastic expressivity. Asafiev bases his elaborations on the concept of intonation developed by him. Another feature of Mussorgsky’s artistic thinking is disclosed by Asafiev through the parameter of musical form; the theorist makes note of the variant type of thinking and the writing of the music in different versions. The researcher came to the conclusion of the functioning here of the principle of improvisation. And this assertion by Boris Asafiev is a unique one in the entire music literature about Modest Mussorgsky.

Keywords: Mussorgsky, melody, intonation, image, expressivity, effect, human being, form, variant quality, improvisational quality

References:
Asafiev, Boris. Muzykalnaya forma kak protsess [Musical Form as a Process]. Books 1 and
With an Introductory Article by Elena Orlova. Second Edition, Leningrad, 1971.
Orlova, Elena. B.V. Asafiev. Put’ issledovatelya i publitsista [The Path of a Researcher and Publicist].Leningrad, 1964.
Orlova, Elena, Kryukov, Andrei. Akademik Boris Vladimirovich Asafiev [Academician Boris Vladimirovich Asafiev]. Leningrad, 1984.
Jiranek, Jaroslav. Asafievova teorie intonace, její geneze a vyʹznam.

Abstract: Интерес к новым художественным направлениям и актуальным средствам выразительности стал отличительным качеством польской музыки второй половины ХХ века. Стремясь к созданию индивидуального стиля, Казимеж Сероцкий и Богуслав Шеффер обогатили свой музыкальный язык приемами сериализма, сонористики, алеаторики. Стремление к стилистическому синтезу можно считать отличием польского композиторского творчества 1960 – 1970-х годов, именно на этом пути рождались наиболее художественно значимые творческие явления, в том числе, в области фортепианного творчества. Стилистический анализ, структурно-функциональный анализ, системный подход. Существенное значение имели практическое исполнительское овладение музыкальным материалом, изучение записей исполнительских интерпретаций, а также сравнительного анализа. Основным направлением творчества Сероцкого был поиск новых звуковых качеств, новых способов использования традиционных музыкальных инструментов. Именно развиваясь в этом направлении, он получил признание как наиболее выдающийся композитор-сонорист. Музыкальное развитие в фортепианных произведениях Шеффера обусловлено идеей «декомпозиции» и предполагает множественность исполнительских интерпретаций. Придерживаясь идей алеаторики в самых разных формах, Шеффер также развивал принципы додекафонии и сериализма в своих композиция на протяжении многих лет.

Keywords: KhKh vek, fortepiannye kompozitsii, Kazimezh Serotskii, Boguslav Sheffer, sonoristika, aleatorika, dodekafoniya, serializm

References:
Витольд Лютославский. Беседы Ирины Никольской с Витольдом Лютославским. Статьи, воспоминания. М.: Тантра, 1995.
Buczek B. Twórczość Bogusława Schaeffera – tendencje, idee, realizacje // Przemiany techniki dźwiękowej, stylu i estetyki w polskiej muzyce lat 70 / Ed. L. Polony. Kraków: Akademia Muzyczna w Krakowie, 1986.
Gawrońska, B. Organizacja tworzywa muzycznego w twórczości Kazimierza Serockiego po roku 1960 // Muzyka. 1981, N 2.
Chomiński J.M. Histоria harmonii i kontrapunktu. T. III. Kraków: PWM, 1990.
Chomiński J.M., Wilkowska-Chomińska K. Historia muzyki polskiej. Cz. II. Kraków: PWM, 1996.
Pociej B. Żródła aleatorismu. III. Gra // Ruch muzyczny. 1966, N 20.
Zieliński T.A. «A piacere» Kazimierza Serockiego // Ruch muzyczny. 1963, N 22.
Zieliński T.A. O twórczości Kazimierza Serockiego / Muzyka polska w dokumentacjach i interpretacjach. Kraków: PWM, 1985.

Abstract: Предметом статьи Бориса Асафьева является определение причины того, почему музыка Модеста Мусоргского сильно воздействует на окружающих. Метод анализа Асафьев изобретает сам, исходя из своих наблюдений над жизненными, так называемыми, импульсами, дававшими движение на пути к художественному итогу. Как представляется автору, дело было не просто в умении сочинять хорошие мелодии, секрет дарования был в способности закладывать в мелос целостный образ и выразительный характер персонажа, воплощать это в интонационной и пластической выразительности. Асафьев, опирается на разработанное и исследуемое им понятие «интонация». Еще одно свойство художественного мышления Мусоргского Асафьев раскрывает через музыкальную форму, замечая вариантный способ мышления композитора, его умение писать музыку в разных версиях. И исследователь делает на этом основании вывод о действии в творчестве выдающегося композитора принципа импровизационности. Именно это утверждение Бориса Асафьева является уникальным во всей литературе о творчестве Модеста Мусоргского.

Keywords: Musorgskii, melodiya, intonatsiya, obraz, vozdeistvie, chelovek, forma

References:
Асафьев, Борис. Музыкальная форма как процесс. Книги 1-я и 2-я.
Со вступительной статьей Елены Орловой. Изд. 2-е. Ленинград, 1971.
Орлова, Елена. Б.В.Асафьев. Путь исследователя и публициста. Ленинград, 1964.
Орлова, Елена; Крюков, Андрей. Академик Борис Владимирович Асафьев. Ленинград, 1984.
Jiranek, Jaroslav. Asafievova teorie intonace, její geneze a vyʹznam.