Review: The author examines the periods of professional training in the art of playing the trumpet and activity of the pedagogues-trumpeters who worked in the Moscow Conservatory from 1930’s to 2005 – students and successors of M. I. Tabakov, differences in their methods, innovations, continuity of pedagogical and performing traditions, as well as their principles. The article contains the previously known records on pedagogical activity of G. A. Orvid, S. N. Yeremin, L. N. Volodin, Y. A. Usov, A. Maksimenko, V. Y. Yudin, E. Y, Fomin, and Y. E. Vlasenko, along with the new information obtained via conversations and interviews with their colleagues and students. The selected complex methodology combines the historical-chronological method, logical analysis, retrospective method, chronological method, systemic analysis, comparative and descriptive analysis, method of classification; analytical, historiographical and historical approaches towards studying documental materials, as well as technological approach. The scientific novelty consists in the fact that this article is first to provide a full-scale review of the work of M. I. Tabakov’s successors in the Moscow Conservatory, analyze their creative activity and pedagogical principles as a part of a peculiar and unique phenomenon of the Russian music culture and education, as well as a part of the world’s musical heritage.

Keywords: Evgeniy Fomin, Valentin Yudin, Georgiy Orvid, Moscow Conservatory, Russian musical heritage, Mikhail Innokentyevich Tabakov, Trumpet, Sergey Yeremin, Yuriy Usov, Yuriy Vlasenko

Review: This article covers the traditions of gusli performance since the VI century until present time. Leaning on the extant documents, the author analyzes the art of playing gusli during the different historical periods, as well as determines several inwardly homogenous traditions: epic, spiritual, buffoonish, and class of the XVII-XIX centuries.  The subject of this research is the early traditions of the art of playing gusli. The object of this research is the survived archival documents and literary sources reciting about the art of playing gusli since the VI century until the beginning of the XX century. Particular attention is given to correlation between the traditions and the modern performance art of playing gusli. The main conclusion in the statement that playing gusli being the most ancient Russian folk art was popular among all social classes and greatly impacted the Russian pre-classical and classical music, contributing to the development of its epic beginning. The interest to playing gusli revived in the late XX century, when it became a part of the professional academic art. The scientific novelty consists in the fact that the author is first to systematically examine the connection of the art of playing gusli since its conception and early existence with the modern practice.

Keywords: Christianity, folklore, buffoons, gusli players, Russian ancient music, gusli playing, Russian epos, traditions, gusli, distinctiveness

Review: The subject of this research is the study of the potential of traditional symbols of Sakha people in preservation of cultural memory and development of socio-cultural processes. The authors analyze the role of the traditional symbols of Sakha people in the formation of culture as the framework for development and survival of the ethos; examine function of the traditional symbols of Sakha people, namely amulets within the modern socio-cultural environment; as well as conduct classification of amulets as symbols (in accordance with Charles Sanders Peirce). Special attention is given to studying the everyday practice of using amulets by the various population categories of Sakha Republic (Yakutia). Including youth. The nature and role of the traditional national symbols in the development of socioeconomic sphere of Sakha Republic is determined. The following conclusions were made: amulets as symbols of the traditional culture of Sakha people currently manifest as the adaptation (protection) mechanisms, allowing to retain inner balance and confidence, adjust to the changing external and internal conditions of social development; being multifunctional as any symbol, amulets within the system of traditional symbols may serve as the means for translating and preserving culture and cultural memory if appropriately incorporated into the context of social and educational activities.

Keywords: adaptation function, iconic signs, social marker, amulet, symbol, ethnic picture of the world, traditional culture, national identity, cultural memory, ritual