Abstract: This article focuses on the initial stage of the formation of popular music culture in the first half of the 19th century. It analyzes the historical, social, and cultural context of the emergence of one of the earliest genres of popular culture—operetta—in France and Great Britain. In these countries, popular public entertainment (cafe-chantant, public concerts, music halls, burlesque theatres) created the prerequisites for the emergence of not only a new genre but also a new type of culture. Jacques Offenbach, William Schwenck Gilbert, and Arthur Sullivan became the founders of the original versions of this genre, which were based on national music and theatre traditions. The scientific novelty of the research is determined by the fact that the emergence of the operetta is described as a natural result of cultural and historical development; the author outlines the similar factors that spawned a different and, at the same time, internally close phenomena. Operetta, as a popular music phenomenon, filled the gap between opera and the genres of folk theatre, soaking up the merits of both. The novelty of the genre manifested itself both in the peculiarities of the content and the music forms and the new social function, an appeal to a fundamentally new audience that united different social classes and directly influenced the final artistic result.  

Abstract: This article focuses on the initial stage of the formation of popular music culture in the first half of the 19th century. It analyzes the historical, social, and cultural context of the emergence of one of the earliest genres of popular culture—operetta—in France and Great Britain. In these countries, popular public entertainment (cafe-chantant, public concerts, music halls, burlesque theatres) created the prerequisites for the emergence of not only a new genre but also a new type of culture. Jacques Offenbach, William Schwenck Gilbert, and Arthur Sullivan became the founders of the original versions of this genre, which were based on national music and theatre traditions. The scientific novelty of the research is determined by the fact that the emergence of the operetta is described as a natural result of cultural and historical development; the author outlines the similar factors that spawned a different and, at the same time, internally close phenomena. Operetta, as a popular music phenomenon, filled the gap between opera and the genres of folk theatre, soaking up the merits of both. The novelty of the genre manifested itself both in the peculiarities of the content and the music forms and the new social function, an appeal to a fundamentally new audience that united different social classes and directly influenced the final artistic result.  

Abstract: This article focuses on the initial stage of the formation of popular music culture in the first half of the 19th century. It analyzes the historical, social, and cultural context of the emergence of one of the earliest genres of popular culture—operetta—in France and Great Britain. In these countries, popular public entertainment (café-chantant, public concerts, music halls, burlesque theatres) created the prerequisites for the emergence of not only a new genre but also a new type of culture. Jacques Offenbach, William Schwenck Gilbert, and Arthur Sullivan became the founders of the original versions of this genre, which were based on national music and theatre traditions. The scientific novelty of the research is determined by the fact that the emergence of the operetta is described as a natural result of cultural and historical development; the author outlines the similar factors that spawned a different and, at the same time, internally close phenomena. Operetta, as a popular music phenomenon, filled the gap between opera and the genres of folk theatre, soaking up the merits of both. The novelty of the genre manifested itself both in the peculiarities of the content and the music forms and the new social function, an appeal to a fundamentally new audience that united different social classes and directly influenced the final artistic result.  

Abstract: The research subject is the phenomena and processes related to the beginning of the Vienna operetta genre as a phenomenon of the emerging mass culture.
On the cusp of the 18th and 19th centuries, Vienna, the capital of Austria, was the largest music center, where a range of music and theatre genres, anticipating the emergence of new music phenomena, became widely spread - aristocratic Italian opera, French operetta, Austrian-German busk comedy and singspiel. The specificity of the socio-political conditions in the country (the Age of Metternich) facilitated the utmost development of the art of entertainment, in music - vocal lyrics and dance (waltz), in theatre - comic genres. The author uses the comparative historical method, the historical-typological approach, general scientific methods of analysis, generalization and classification. The novelty of the approach consists in the fact that Vienna operetta is considered as one of the initial stages of mass culture formation.
The model of French operetta showed Vienna composers and playwriters the example able to combine the advantages of “high” and “low” genres, foreign influence and domestic traditions. As a result, Vienna operetta (F. von Suppé) was formed as a variant of a young genre possessing the features of a fundamentally new mass culture.