Abstract: The article is devoted to the study of the etude genre, which in the work of domestic composers-pianists of the second half of the twentieth – early twenty-first centuries became an experiment and capture of a personal artistic picture of the world. The focus of the article is two opuses by contemporary pianist composers М. Kollontai and E. Chernov.
As a result of the cycle of analysis of etudes op. 55 Kollontai, the author comes to the conclusion that this work continues the line of Liszt’s transcendentalism. Particular attention in this cycle is aimed at considering religious and spiritual themes expressed at the verbal level. The composer’s artistic comments on the etudes, the epigraph from the poems of the poet and Catholic priest Geselle, the afterword to the plays, explain and explore the conceptual field of the program composition, which embodied New Testament stories related to the way of the cross of Jesus Christ on earth.
For the piano cycle – Nine etudes-pictures op. 11 by Chernov, nine etudes-pictures op. 39 Rachmaninoff. In the course of the analysis, it is noted that the cycle of etudes by Chernov is characterized by the following features: a concentric type of composition with an aspiration to the finale, the presence of a lyrical core, the development and interweaving of two psychological modes (lyrical and dramatic), which gives the cycle integrity and harmony, paired grouping of etudes according to the principle of contrast, the presence of leitmotifs, as well as leitgenres (nocturne and waltz) that permeate the piano cycle. The article emphasizes the idea that interest in such a genre of improvisational mix as «etude-fantasy» is found mainly in the legacy of virtuoso composers-pianists of the 19th-20th centuries, striving in their work to prolong romantic traditions.

Keywords: programming, transcendence, virtuosity, Russian composers, Aleksey Evgenievich Chernov, Mikhail Georgievich Kollontai, composer-pianist, romantic traditions, Etude, cycle

References:
Alekseev, A.D. (1988). History of piano art: textbook. Part 1. 2nd ed. Moscow: Muzyka.
Korobova, A.G. (2015). Musical genres and genre analysis: textbook, 2nd ed. Ekaterinburg: Ural State. conservatory. M. P. Mussorgsky.
Nazaikinsky, E.V. (2003). Style and genre in music: monograph. Moscow: Vlados.
Sokolov, O.V. (1994). Morphological system of music and its artistic genres. Nizhny Novgorod: Publishing house of the Nizhny Novgorod state. University.
Rakhmanova, M.P. (1989). A small afterword: a conversation. Interview withM. Ermolaev. Academy of Music, 9, 92. Retrieved from https://mus.academy/articles/malenkoe-posleslovie
Stepanova, I.V. (1995). M. Kollontai. Creativity – a way of knowledge or a yoke. Academy of Music, 1, 20-26.
Novikova, T.V. (2015). Traditions and innovation in music at the turn of the 20th – 21st centuries: on the territory of the piano forces of domestic composers. Autoref. dissertations for t

Abstract: The article draws attention to the system of musical ornaments given in the didactic standard of the Italian teacher of the mid-XIX century Giusto Dacci. Created in the conditions of the changed practice of performance, where the importance of reading the musical text as close as possible to the composer's intentions, Maestro Dacci's ornamentation system not only offered teachers their unification in the form of abbreviated letter signs, but also set standards for their decoding. In relation to the content of the music theory, section related to the study of ornamentation, the Dacci system has become the organizing construct that has acquired a stable form of didactic generalization. The types of ornamentation highlighted by Giusto Dacci: appoggiatura – accaccatura – mordent – gruppetto – trill, these are the elements of musical theory that retain universality to this day. They were introduced into the didactic standard at a special historical moment of the active creation of methodological concepts that provide theoretical and technological foundations for pedagogical work in professional musical educational institutions in Italy. Such work not only enriched the musical culture of the XIX century.
In the formation of basic coloring skills, it remains an important educational guideline today. 1. In music theory, it captures the experience of accurately encoding ornaments. This experience, in fact, is the key to the visualization of an unchanging sound. For musicology, it is of interest from the point of view of studying the history of the formation of the cycle of musical-theoretical disciplines and its content.
2. In educational practice, it expands the existing format of knowledge, opens up the opportunity for teachers to include this educational material in their practical work.
3. In performance, it allows to understand the facets of possible performing freedom in deciphering jewelry in works taken from a particular time chronotope.

Keywords: appoggiatura and accaccatura, terminology, didactic standard, the doctrine of ornamentation, Giusto Dacci, music theory, decorations in music, mordent, gruppetto, trill

References:
Dacci, G. (1847). Trattato teorico pratico. Lettura e Divisione Musicale. [Practical theoretical treatise. Reading and Musical Division]. Milano: G. Ricordi & C.
Daolmi, D. (2005). Uncovering the origins of the Milan Conservatory: the French model as a pretext and the fortunes of Italian opera. Musical Education in Europe (1770-1914). Michael Fend, Michel Noiray. Berlin: Berliner Wissenschafts-Verlag.
Konyus, G. E. (1905). Collection of tasks, exercises and questions (1001) for the practical study of elementary music theory. St. Petersburg: Central State Public Library named after. V.V. Mayakovsky.
Puzyrevsky, A.I. (2020). Textbook of elementary music theory. 6th ed., erased. St. Petersburg: Lan: Planet of Music.
Sposobin, I.V. (2023). Elementary theory of music: textbook; scientifically edited by E.M. Dvoskina. – 10th ed., rev. and additional. St. Petersburg: Lan: Planet of Music.
Rusyaeva, I. A. (2023). Handbook of elementary music theory. Tu

Abstract: In the modern performance of ancient music, one of the central tasks of singers is the desire to decorate the melody independently. Taking into account the lack of knowledge and skills of Baroque improvisation among domestic performers, the decorations used often represent, in fact, only a technical element that needs to be dealt with. In this case, the ornaments have no artistic value, they sound faded, not corresponding to the main purpose – to emphasize the affect and enhance its expressiveness.
The proposed article is aimed at solving topical problems in the field of Baroque performance related to vocal ornamentation and the transmission of the affect of the composition.
The author of the article provides historical data on the characteristics of melisms and their focus on the expression of certain affects, which determines the scientific novelty of the study. The research methodology is based on a historical approach. Methods of analysis and synthesis are also of particular importance, thanks to which, when studying disparate data, it was possible to recreate the history of ornamental art in connection with the opera traditions of the first half of the XVIII century. The author's position is that any kind of ornamentation in ancient arias should be used in the melodic line in order to emphasize and enhance the affect of the composition being performed. When performing compositions of the time in question, it is important for a singer to understand the importance of decorating a melody as one of the main means of expression and, accordingly, be guided by the choice of jewelry. The author draws conclusions about the relationship and mutual influence of ornamentation and affect in the Baroque music.
The material of the article and the conclusions will be useful to singers performing ancient music for its stylistically correct interpretation.

Keywords: decorations in singing, affects in music, style, ornamentation and affect, melisms, passages, vocal ornamentation, expressiveness in singing, Italian opera tradition, XVIII century

References:
Agricola, I. F. (2022). Instruction in the art of singing: A textbook. Trans. from it. Dmitry Zubov. St. Petersburg: Planet of Music.
Druskin, M. С. (1960). Keyboard music. L.: Muzgiz.
Kruglova, E. V. (2017). On the theory of affects in the vocal performance of the Baroque era: an educational and methodological manual. Moscow. Script Literature.
Lutsker, P. V., & Susidko I. P. (1998). Italian opera of the XVIII century. Part 1: Under the sign of Arcadia. Moscow.
Susidko, I. P. (2000). Opera serial: genesis and poetics of the genre: abstract ... Doctor of Art History: 17.00.02. Russian Academy of Sciences. music to them. Gnessinykh. Moscow.
Bach, C. Ph. E. (1753). Versuch über die wahre Art das Ciavier zu spielen. Berlin: Auctoris.
Brittain, K. A. G. (1996). A Performer’s Guide to Baroque Vocal Ornamentation As Applied To Selected Works of George Frideric Handel. A dissertation (PhD). The University of North Carolina at Gre

Abstract: The name of Vittoria Archilei has entered the history of vocal art as the first opera prima donna in a new style of singing for the turn of the XVI-XVII centuries. During her lifetime, the singer enjoyed great popularity. Outstanding composers G. Caccini, J. Peri, S. D'India, E. de’ Cavalieri, etc. they admired her skill, noting the extraordinary tenderness of the sound of her voice, combined with its bright virtuosity. Archilei performance was significantly different from other singers, her contemporaries. It is not by chance that J. Peri calls the prima donna the Euterpe of his time.
The article presents a creative portrait of Vittoria Archilei, the first brilliant interpreter of monodic music, an outstanding singer who created a new method of singing women.
The methodological basis of the work is the principle of historicism. The cultural and historical research method was used. The biographical reconstruction was made on the basis of source studies with reviews of the singer's contemporaries, letters, music-critical articles. In Russian musicology, this article is the first special publication dedicated to the creative path of Vittoria Archilei. This material will be useful for musicians, singers performing old music, for its stylistically correct interpretation, as well as in training courses on the history of vocal performance at vocal departments of music colleges and faculties of universities.

Keywords: vocal technique, improvisation, vocal ornamentation, virtuoso singing, opera diva, Vittoria Archilei, baroque music, Giulio Caccini, Antonio Archilei, monodic music

References:
Solerti, A. (1903). Le origini del melodramma: testimonian ze dei contemporanei. [The origins of melodrama: testimonial ze of contemporaries.]. Torino: Fratelli Bocca.
Yaroslavtseva, L. K. (2004). Opera. Singers. Vocal schools of Italy, France, Germany of the XVII-XX centuries. Moscow: Golden Fleece Publishing House.
Celletti, R. (2000). La grana della voce. Opere, direttori e cantanti. [The grain of the voice. Operas, conductors and singers]. Milano: Baldini & Castoldi.
Bowers, Ja. & Tick, Ju. (Eds.). (1986). Women making music: The Western art tradition, 1150-1950. Urbana: University of Illinois Press.
Shestakov, V. P. (2007). Philosophy and culture of the Renaissance. The Dawn of Europe. St. Petersburg: Nestor-History.
Cook, S. C. (1984). Virtuose in Italy, 1600-1640: a reference guide. New York: Garland.
Bizzarini, M. (2003). Luca Marenzio: The Career of a Musician Between the Renaissance and the Counter-Reformation (J. Chate

Abstract: The subject of the study is the conditions for the development of professional skills of the concertmaster in the music interpretation.
The article deals with the problem of interpreting a piece of music as a basic quality of a musician's personality in general, and in particular, in the structure of the concertmaster's professional activity. This article is devoted to the description of the process of working on a musical work of a musician in general, and, in particular, an accompanist. The author considers the pedagogical conditions for the formation of skills and abilities of interpretation of musical works as an important component in the training of a musician-performer, concertmaster; the importance of the concertmaster's communicative skills as one of the factors in the work on the interpretation of a musical work is determined. The role of psychological and professional qualities of a musician in the artistic embodiment of interpretation is revealed, which depend on his musical and auditory representations, intelligence, temperament, emotional sensitivity, musical experience, performing endurance, concentration of attention, ability to control his playing.
The novelty of the research lies in the identification of an algorithm of work aimed at creating an interpretation of a musical work in the joint performance of a soloist – concertmaster. The main conclusion of this work is that the use of artistic and pedagogical interpretation in the work of an accompanist on a piece of music can contribute to the development of professionally significant qualities of an accompanist.

Keywords: performance style, orientation actions, verbal language, sign-graphic language, musical image, communication skills, performance, interpretation, sign systems, emotional culture

References:
Matyushkova, T.M. Some aspects of the specifics of the professional activity of a pianist-accompanist in the field of music education / T.M. Matyushkov. Text: direct // Young scientist.-2018.-No. 20 (206). – S. 393-396. URL: https://moluch.ru/archive/206/50611/ (date of access: 04/15/2021).
Mnatsakanyan E.K. Joint activities of a teacher-choirmaster and an accompanist in vocal and choral work / E.K. Mnatsakanyan // In the collection: Scientific and practical aspects of modern choral art and education. Collection of articles based on materials of the II All-Russian Conference. Editor-compiler: Rychkova M.A.-2016.-S. 90-94.
Philosophical encyclopedic dictionary / ch.ed. L.F. Ilyichev and others-Moscow: Soviet Encyclopedia, 1983.-839 p.
Piletskaya, A.A. Communication and organizational skills of the choir leader as the main components of the specialist model / A.A. Piletskaya // In the world of scientific discoveries.-2009.-No. 1 (1).-S. 124-133.
Pustovaya, N.V. The work of an accompanist in the

Abstract: The subject of the study is the "female" chamber vocal cycle in Russian music of the 1960s and 1970s, which, according to the author, became a special sign of the time of changes and renewal that came to the musical culture of the Soviet Union together with the Khrushchev "thaw". The article is devoted to the typology of the "female" vocal cycle, the appearance of a large number of works based on poems by A. Akhmatova and M. Tsvetaeva, music for children and youth, numerous vocal compositions in the spirit of the "new folklore wave", works dedicated to outstanding interpreters of vocal music by modern Soviet composers - Z. Dolukhanova, L. Davydova, G. Vishnevskaya, E. Obraztsova, E. Gorokhovskaya, N. Yureneva and others. The main conclusion of the study is the idea that there are several stable types of "female" chamber vocal cycles associated primarily with the modern poetic tradition, folk music, with the concert performance practice established in the country, with various vocal capabilities of singers, the width of their vocal range, flexibility, timbre characteristics etc. Russian chamber and vocal music is being studied for the first time in such a perspective and this direction must be recognized as fruitful. It is quite obvious that it was the "female" vocal cycle that became the most important sign of the time of the radical renewal of the national musical art in the 1960s and 1970s.

Keywords: Chamber singing tradition, Vanguard, Renewal, Anna Akhmatova, Marina Tsvetaeva, Dmitry Shostakovich, Valery Gavrilin, Boris Tishchenko, Domestic music, Vocal cycle

References:
Ruchyevskaya, E. A. Cycle as genre and form // E. A. Ruchyevskaya. Works of different years: In 2 volumes / Vol. I. Articles. Notes. Memories / Editor V.V. Goryachikh. – St. Petersburg: Composer, 2011. – P. 456–486.
The history of modern domestic music. Tutorial / Editor E. Dolinskaya. – Moscow: Music, 2001. – Issue 3. – 656 p.
Slonimsky, S. M. Burlesques, elegies, dithyrambs in despicable prose / S. M. Slonimsky. – St. Petersburg: Composer, 2019. – 152 p.
Ruchevskaya, E. A. Yuri Falik. Monographic essay / E. A. Ruchevskaya. – Leningrad: Soviet composer, 1981. – 103 p.
Tsvetaeva, M. I. Selected Works / M. I. Tsvetaeva. Editor Vl. Orlov. – Moscow: Fiction, 1961. – 304 p.
Petrushanskaya, E. M. Consonances of the end of the thaw: Four Poems by Joseph Brodsky and Boris Tchaikovsky / E. M. Petrushanskaya // Artistic Culture. – 2019. – No. 3. – P. 120–151.
Zhirmunsky, V. M. Creativity of Anna Akhmatova / V. M. Zhirmunsky. – Leningrad: Science, 1973. – 184 p.
Katsko, T. G. Poetry and wisd

Abstract: The article attempts to substantiate the need for increased attention of stakeholders to the relevance of updating the professional training of vocal teachers. The author of the publication step-by-step reveals the ideal structure of a vocal teacher's competence based on the views of various experts systematized by him, and also suggests making separate principal accents on the comprehensive study of trends in modern musical culture by students, since conscious and purposeful familiarization with them is, in his opinion, an integral element in the system of modern professional competence. The personal and professional characteristics that every future vocal teacher should possess are disclosed in sufficient detail; the special importance of each of these components of success in the competitive struggle in the pedagogical labor market is emphasized. In addition, the key features of the dissemination of musical information in modern society, the impact of network technologies on the specialized training of teachers and recipients are highlighted. The specifics of the perception and use of musical information by different generations of Russian people are noted. As a conclusion, the author suggests a further, more in-depth study of the issues he raised, since, in his opinion, it is insufficiently developed at the scientific level. As a conclusion, the author suggests further study of the issues he raised.

Keywords: creative self-development, professional, culture, art, trends in musical culture, musical culture, pedagogical activity, teacher, vocals, vocal teacher

References:
Monakhova, L. Y. The structure of the teacher's information competence [Text] / L. Yu. Monakhova, E. A. Ryabokon // Man and education. - 2019. - No. 3 (60). - S. 31-38.
Kustov, Y. A. The essence of the socio-cultural competence of the individual [Text] / Y. A. Kustov, Yu. V.N. Tatishchev. - 2014. - Issue. 4(17). - S. 139-149.
Skivko, M. O. Market Analysis of Global Trends: Study Guide [Text] / M. O. Skivko. - Samara: Publishing House of Samara University, 2021. - 60 p.: ill.
Klabukova, A. V. Ways of forming the performing skills of vocalists in the universities of culture based on the activity approach [Text] / A. V. Klabukova // Bulletin of MGUKI. - 2018. - No. 3 (83), May-June. - S. 182-193.
Voitik, I. A. Competence-based analysis of pedagogical conditions for advanced training of vocal teachers in institutions of culture and additional education [Text] / I. A. Voytik // World of science, culture, education. - 2019. - No. 3 (76). – S. 93-95.
Shintyapina, I. V. Mastering the culture of vo

Abstract: This article examines the sonata for solo harp No. 2 "Epic sound patterns" by Valery Kikta in order to identify the genre features that form the basis of the artistic task. The Russian harp school has passed its own path of formation and has a recognized authority. Despite this fact, compositions for solo harp in the works of modern Russian authors are quite rare. Valery Kikta became one of the composers seeking to revive interest in the national harp art and advocating the preservation of tradition. His main achievement in this field is not only in the creation of new music, firmly included in the performing and concert repertoire, but also participation in the organization of the Russian Harp Society.
The three iconic characteristics of the composition analyzed by the author of the article – genre, timbre and fret – made it possible to define a work of musical art as a text that can be deciphered. In the process of work, special attention is paid to the detailed characteristics of traditional and innovative ways of working with the material. Special emphasis is placed on the search for links with the Russian school of composition and its characteristic reliance on national culture. The semiosis of the sonata and its constituent expressive features of the musical language are determined. The symbolism of the epic in combination with the software component announced by the author made it possible to discover the "message" contained in it.

Keywords: tradition, mode, sonata form, folklore, semiosis, semiotics, epic, harp, sonata, Kikta

References:
Nikolaeva, E.A. (2006). Valery Kikta: Sounds of time. Moscow: Music.
Tsukanova, M.V. (2017). Valery Kikta: artistic consciousness and poetics of the spiritual-choral genre. M.: Nauchnoye izdaniye.
Gulyanitskaya, N.S. (2014). Musical composition: modernism, postmodernism (history, theory, practice). M.: Yazyki slavyanskoy kul'tury.
Gulyanitskaya, N.S. (2002). Poetics of Musical Composition: Theoretical Aspects of Russian Sacred Music of the 20th Century. M.: Yazyki slavyanskoy kul'tury.
Luthero, T. (2015). On the concept of Umberto Eco and his contribution to semiological research. Language and Culture, 18, 129-133.
Bakhtin, M.M. (1975). Forms of time and chronotope in the novel. Essays on historical poetics. In Issues of literature and aesthetics (pp. 234-407). Moscow: «Fiction».
Savkina, E.S. (2016). About the «genre style» of V.G. Kikta. In T.I. Naumenko (Ed.) Research by Young Musicologists (pp. 38-44). M.: RAM them Gnesins.
Eco, U. (2005). The role of the reader. Explorations i

Abstract: Dove Attia and Albert Cohen – French authors and stage directors, and musical producers – contribute to the development of the genre in the XXI century. The subject of this research is their creativity, which is poorly studied by the science of theater. The goal lies in describing the role of Dove Attia and Albert Cohen in the development of the French musical on the theoretical level.  Research methodology is comprised on the following approaches: interdisciplinary, which involves scientific theories and concepts from other fields of knowledge; historical-culturological, which reveals that factors contributing to the convergence of French culture with the traditions of other cultures; systematic, which examines professional performance in French musical as a result of the works of Dove Attia and Albert Cohen. The scientific novelty lies in introduction into the scientific discourse of previously missing materials on the works of Dove Attia and Albert Cohen, their activity in the context of evolution of the genre of French musical. The theoretical significance consists in characterization of the concepts of “French musical of the new century”, "interpretation of classics", “French chanson style” within the framework of art history and methodology of science. The acquired result reveal the role of establishment and proliferation of French musical, as well as popularize the works of Dove Attia and Albert Cohen, which determines the practical importance of this study. It is noted that in French musical, Dove Attia and Albert Cohen invigorate the aesthetic tastes and mentality of the French, using it as an opportunity to defend the national values in a savory and beautiful way.

Keywords: children's musical, rock opera, religious musical, Albert Cohen, Dove Attia, musical, musical theater, France, antagonists, grotesque

References:
Antonova O. Muzykal'noe iskusstvo i religiya: filosofsko-istoricheskiy ocherk [Tekst]: monografiya / O.A. Antonova, Z.M. Kuznetsova; Tomskiy gos. un-t im. V.V. Kuybysheva. Tomsk: izd-vo Tom. un-ta, 1986. – 261 s.
Loo van B. Shanson kak neobkhodimyy komponent istorii Frantsii / Per. s flam. – M.: «ID «Flyuid», 2014. – 368 s.
Zazykin V.G. Akmeologiya ispolnitel'skogo khudozhestvennogo tvorchestva / V.G. Zazykin, O.-L. Mond – M.: NO «ITs «Moskvovedenie», 2011. – 224 s.
Kosenko S.I. Osobennosti kul'turnoy politiki Frantsii / S.I. Kosenko // Vestnik RUDN. Seriya «Mezhdunarodnye otnosheniya. M., 2007. – 333 s.
Le Pen Marin. Vo imya Frantsii / Per. s fr. I. A. Kondakovoy pod red. O. G. Andreevoy. – M.: Kuchkovo pole, 2016. – 288 s.
Mond O.-L. Frantsuzskiy myuzikl: epatazh, eklektika, evolyutsiya / O.-L. Mond // Problemy sovremennoy nauki. – 2013.-№ 7-2. – S. 85-98.
Morua A. Istoriya Frantsii / Andre Morua; per. s fr. A. Serebryannikovoy. – M.: Kolibri, Azbuka-Attikus, 2017. – 704 s.
Obichkina E.O. Frantsiya na rubezhe XX-XXI vekov

Abstract: The subject of this research is the symphonic works of the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko (1939–2010). The article analyzes the composer's first major ballet based on the poem “The Twelve” by A. Blok, which was requested in 1963 by the outstanding Soviet choreographer L. Yakobson for production design in the Kirovsky Theater in Leningrad. The author examines such aspects of the topic as Tishchenko's innovative role in the revival of Russian symphonic style in the second half the XX century, interrelation between music and poetry in the orchestral compositions of B. Tishchenko, as well as strong influence of the literary concepts upon the development of his symphonic style. Special attention is given to the topic of B. Tishchenko's succession of the great Russian symphonic tradition. The main conclusion lies in the thought that B. Tishchenko's ballet “The Twelve” is the first truly contemporary ballet performance in the Soviet musical theater. The author’s special contribution to this research consists in comprehensive examination of the works of the prominent Russian composer that have not receive due attention of the musicologists. The novelty lies in demonstration of the important role of Boris Tishchenko in the overall process of the revival of the Russian symphonic music of the 1960s on the example of the ballet of his early period. Developing his original artistic concepts, Tishchenko symphonized the ballet performance, paving the way for many Soviet composers in this direction.

Keywords: dramaturgy, renewal, symphony orchestra, poetry, literature, ballet, Boris Tishchenko, music of the XX century, Alexander Blok, musical Avant-garde

References:
Kholopova V. N. Boris Tishchenko: rel'efy spontannosti na fone ratsionalizma // Muzyka iz byvshego SSSR: sb. st. / Red.-sost. V. Tsenova. Vyp. 1. M.: Kompozitor, 1994. S. 56–71.
Shchedrin R. K. Put' kompozitora — eto marafon // Nasha gazeta. 27.07.2011. URL: https://nashagazeta.ch/news/12090 (data obrashcheniya: 20.02.2021).
Shnitke A. G. Na puti k voploshcheniyu novoy idei // Shnitke A. Stat'i o muzyke. M.: Kompozitor, 2004. S. 174–178.
Slonimskiy S. M. Paradoksy v sovremennoy muzyke i v sovremennoy zhizni: Neskol'ko interv'yu. SPb.: Kompozitor, 2017. 40 s.
Kats B. A. O muzyke Borisa Tishchenko: Opyt kriticheskogo issledovaniya. L.: Sov. kompozitor, 1986. 168 s.
Kholopova V. N. Put' po tsentru. Kompozitor Rodion Shchedrin. M.: Kompozitor, 2000. 310 s.
Ruch'evskaya E. A. Yuriy Falik: Monograficheskiy ocherk. L.: Sovetskiy kompozitor, 1981. 103 s.
Nest'eva M. I. Evolyutsiya Borisa Tishchenko v svyazi s muzykal'no-teatral'nym zhanrom // Kompozitory Rossiyskoy Federatsii: sb. st. / Red.-sost. V. I. Kazenin. Vyp. 1. M.: Sov. kompozitor, 19

Abstract: This article explores the specificity of teaching piano class in the university in the conditions of distance learning. The author suggests to consider distance learning as an active method of carrying out cognitive activity, i.e. a method of educating future piano performers, as well as from the perspective of modern organizational innovation. The article gradually covers certain historical prerequisites for the existence of distance learning method in music education in the middle of the XX century, as well as the conditions for its successful implementation. The author describes the formats of distance learning, Internet platforms that allow online and offline interaction of the participants of educational process. Based on the opinions of reputable educators-performers, as well leaning on the own experience of teaching classes remotely, the author determines the practical significance and feasibility of using the distance form of learning as a method of teaching future musicians. The conclusion is made that the all-round modernization, implementation and development of distance learning technology in the sphere of traditional education does not take into account the specificity of music and art universities. Despite all the flaws and imperfections of distance innovation, the author finds positive aspects, which would allow the pedagogues to implement distance learning to a certain extent for achieving certain educational objectives.

Keywords: dubbed musical aid, training of performers, musical education, musical art, performing tasks, piano class, distance learning method, student, musical aid, creative skills

References:
Bayakhunova L. P. V. Lobanov – pianist, pedagog, issledovatel' (K devyanostoletiyu so dnya rozhdeniya) [Elektronnyy resurs] / L. Bayakhunova. – Rezhim dostupa: https://docplayer.ru/27582360-P-v-lobanov-pianist-pedagog-issledovatel.html, svobodnyy.
Bayakhunova L. Pavel Vasil'evich Lobanov. Khranitel' muzyki / L. Bayakhunova // – Muzykal'naya Akademiya. – 2014. – № 3(747). – S. 136 – 141.
Karaseva, M. Muzykant – pedagog onlayn: problemy i resheniya [Elektronnyy resurs] / M. Karaseva. – Rezhim dostupa: https://nv.mosconsv.ru/muzykant-pedagog-onlayn-problemy-i-resh/, svobodnyy.
Marchuk N. Psikhologo pedagogicheskie osobennosti distantsionnogo obucheniya [Elektronnyy resurs] / N. Marchuk. – Rezhim dostupa: https://cyberleninka.ru/article/n/psihologo-pedagogicheskie-osobennosti-distantsionnogo-obucheniya/viewer, svobodnyy.
Novikov, A. Pedagogika: slovar' sistemy osnovnykh ponyatiy / A. Novikov. – M.: Izdatel'skiy tsentr IET, 2013. – 268 s.
Tsypin G. Muzykal'noe ispolnitel'stvo i pedagogika: uchebnik dlya vuzov / G. Tsypin. – M.: Izdat

Abstract: The subject of this research is Marina Symphony No.2 by the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko. It was completed in 1964, and for a long time remained unreleased. Special attention is given to the symphonic dramaturgy of the piece, interrelation between the music and the poetic text, as well as modernization of the language of composing. Specific trait of Tishchenko's symphonic style — the aspiration and ability to expose the surrounding conflicts and contradictions – is amplified in the symphony. Tishchenko masterfully reconstructs any desirable emotional and psychological atmosphere, which manifests in the variety of techniques and technical solutions. Symphony No.2 by Boris Tishchenko is a remarkable phenomenon in the national music, as well as an important step towards formation of the composer's unique symphonic style. In “Marina”, Tishchenko addresses the pivotal question of not only his creative path, but perhaps of the entire musical art of the XX century: the level of adherence of the author's imagination to the musical form. His imagination is irrepressible; the language is highly modern; the form is classically clear and closely related to the good Russian and Soviet symphonic style. The novelty of this research consists in consideration of the remarkable symphonic piece of Boris Tishchenko from the present-day perspective and in the context of revival of the entire national symphonic style of the 1960s.

Keywords: Marina Mnishek, renewal, mixed choir, symphony orchestra, choir symphony, Marina Tzvetaeva, Boris Tishchenko, history of Russia, poetry, drama

References:
Volkov S. M. Muzhanie talanta: Boris Tishchenko // Molodye kompozitory Leningrada. – L.: Sov. kompozitor, 1971. – S. 84–98.
Gladkova O. I. Boris Tishchenko. Postskriptum k simfonii: «Yaroslavna», khoreograficheskie razmyshleniya // XXI vek. Muzyka: Siluety peterburgskikh kompozitorov. – SPb.: Muzyka, 2007. – S.100 –136.
Byalik M. G. Boris Tishchenko // Muzyka Rossii: sb. st. / Sost. A. V. Grigor'eva. – M.: Sov. kompozitor, 1982. – Vyp. 4. – S.71–87.
Kholopova V. N. Boris Tishchenko: rel'efy spontannosti na fone ratsionalizma // Muzyka iz byvshego SSSR: sb. st. / Red.-sost. V. Tsenova. – M.: Kompozitor, 1994. – Vyp. 1. – S. 56–71.
Tishchenko B. I. Simfoniya №2 «Marina» / Partitura. – L.: Sovetskiy kompozitor, 1985. – 219 s.
Skorbyashchenskaya O. A. Boris Tishchenko: interv'yu Robusta. – SPb.: Kompozitor, 2010. – 40 s.
Kats B. A. O muzyke Borisa Tishchenko: Opyt kriticheskogo issledovaniya. – L.: Sov. kompozitor, 1986. – 168 s.
Syrov V. N. Boris Tishchenko i ego simfonii // Kompozitory soyuznykh respublik: sb. st. / Red.-sost. M. I. Nest

Abstract: This article examines the life and artistic journey of the Polish composer Witold Lutosławski over the period from 1913 to 1945. Special attention is given to the fate of his father Józef who along with his brother were executed by a firing squad in September 1918, as well as to the fate of the omposer himself and his brother Henryk during the World War II. In the second part of the article, the subject of research becomes the peculiarities of musical language of W. Lutoslawski, as well as his views upon the sound structure and dramaturgical construct of the compositions. The presence of two substantive aspects in Lutoslawski’s music is proven: 1) gradual transformation of harmonious vertical due to progressive changes or addition of sounds (in combination with intonation transformations); 2) dramaturgy of sections and dramaturgy of layers. The author offers a new perspective on the works of Witold Lutosławski as the continuation G. Mahler in the area of the general concept of symphonic style, as well as in the area of intonation plot. At attempt is made to explain the peculiarity of perception of Lutosławski’s music by Russian audience in the context of comparison of the Russian and Polish mentality.

Keywords: Gustav Mahler, Witold Maliszewski, musical dramaturgy, pitch structure, Chekist operations, hystory of Poland, biographical research, Witold Lutosławski, Polish culture, mentality

References:
Zdanovich A. A. Chekistskie operatsii po pol'skoy linii v 1918 g. // Noveyshaya istoriya Rossii. 2016. № 3 (17). S. 7–26. DOI 10.21638/11701/spbu24.2016.301
«Chleb i Ojczyzna» — Józef Lutosławski [Electronic resource] // Historialomzy.pl. Serwis historyczny ziemi Łomżyńskiej. — Available at: https://historialomzy.pl/chleb-i-ojczyzna-jozef-lutoslawski/
Nikol'skaya I. I. Besedy Iriny Nikol'skoy s Vitol'dom Lyutoslavskim. Stat'i. Vospominaniya. — M.: “Tantra”, 1995. 208 s.
Rappoport L. G. Vydayushchiysya master // Sovetskaya muzyka. 1969. № 7. S. 114–120.
Klimakin E. 10 faktov o Vitol'de Lyutoslavskom // Portal culture.pl. — Rezhim dostupa: https://culture.pl/ru/article/10-faktov-o-vitolde-lyutoslavskom
Będkowski S. The Diary of the Life, Works and Activity of Witold Lutosławski // Witold Lutosławski Studies. 2007. No. 1. P. 11–70.
Krakowiecki A. Książka o Kołymie. — L., 1950. 2nd ed.: Łomianki: LTW, 2014. 288 S.
Będkowski S. Rozmowa z Witolde

Abstract:  
One of the relevant tasks of the modern science of music is the examination of ethnic cultures. The object of this research is the piano music of the Buryat composer Yuri Irineevich Irdyneev. The subject is the peculiarities of realization of ethnic traditions in his piano compositions. The article analyzes opuses for the piano created during the composer's study at the conservatory, attributed to his early period. Based on the analysis of piano compositions, which became a so-called “creative laboratory” of Y. I. Irdyneev, the author traces the evolution of his style: since the first experiments of working with folk material in the piano cycle "Six Children Musical Compositions", through the reference to a romantic genre in the cycle "Three Improvisations", to a monumental conclusion of his creative pursuits – “The Piano Sonata” (1971). For understanding the uniqueness of composer's style, the carried out a comprehensive analysis of piano compositions, which includes examination of each piece from the perspective intonation, tonal and harmonious development, peculiarities of imagery sphere and dramaturgy. Emphasis is made on the specifics of performing interpretation of the ethnic piano compositions. The novelty lies in determination of systemic correlations of Y. I. Irdyneev's piano music with the national and European music traditions. It is concluded that the uniqueness of his piano heritage consists in the profound and multifaceted realization of ethnic traditions in the piano compositions. The author underlines the defining role of Buryat folklore, traditional festivities, songs, dances, imitation of the sound of folk instruments, philosophical and worldview constants in the formation of composer's style. The piano music of Y. I. Irdyneev is known for the original palette of artistic images, which evokes rich emotions and associations. The composer employs the traditional genres along with modern compositional techniques, bringing individuality by means of intonation-thematic material, Buryat ethnic origins and modality, as well as ways of working with thematic material. Yuri Irdyneev has enriched Buryat music with a number of new techniques of musical expression (sonorous consonances, clusters, dodecaphony), and significantly contributed to the piano educational and pedagogical repertoire for the music educational institutions of Buryatia.
 

Keywords: кварто-квинтовые, figurations, impromptu, sonata, genres, yohor, pentatonic, vertical lines, cluster, dodecaphony

References:
Dashieva L. D. Obryadovaya pesennaya traditsiya zapadnykh buryat: dis... d.isk. Vladivostok, 2018. 452 s.
Dugarova T. B. Irdyneev Yu.I. //Soyuz kompozitorov Respubliki Buryatiya (k 60-letiyu so dnya osnovaniya). Ulan-Ude : Respublikanskaya tipografiya, 2000. S. 59-65.
Zenkin K. V. Fortepiannaya miniatyura Shopena. Moskva, 1995. 151 s.
Kochetov A. N. Lamaizm. Moskva : Nauka, 1973. 199 s.
Kunitsyn O. I. Vyrazitel'nye sredstva buryatskoy professional'noy muzyki. Ulan-Ude : IPK VSGAKI. 1999. 142 s.
Kunitsyn O. I. Buddiyskaya tematika v tvorchestve kompozitorov Buryatii //Muzykal'naya akademiya. 2006. №1. S.56-61.
Kunitsyn O. I. Buryatskaya muzykal'naya literatura. Vyp.III. Ulan-Ude: Buryatskoe knizhnoe izdatel'stvo, 2007. S. 42-58.
Nikolaeva D. A. Semantika krugovogo tantsa ekhor u zapadnykh buryat: avtoreferat dis... k..i.n. Ulan-Ude, 2000. 20 s.
Tsybikova-Danzyn I. A. Etnoregional'nyy pedagogicheskiy repertuar v kurse fortepiano //Vestnik Vostochno-Sibirskoy gosudarstvennoy akademii kul'tury i iskusstv. Vyp.1. 2013. S. 86-

Abstract: The works of Sofia Gubaidulina comprise the best pages of the anthology of modern music. Despite the growing scientific interest towards oeuvres of S. Gubaidulina, not many studies are dedicated to her choral compositions. The goal of this analytical review became the determination of the range of musicological approaches to studying the composer’s choral music, which regardless of the existing discrepancies, contributed to the creation of holistic research image of this vector of Gubaidulina’s works. The results of research, conducted in accordance with genre principle, lead to demarcation of the questions raised by art historians into two blocks – theoretical and practical, as well as detection of evolution of the role of choir depending on the scale of composition. The author concludes on the prospects of studying the choral compositions of Sofia Gubaidulina due to the specificity of choral texture that requires meticulous theoretical attention and generates an entire complex of choirmastering and performative objectives.

Keywords: Night in Memphis, Hommage à Marina Tsvetayeva, Aus dem Stundenbuch, Sonnengesang, choral music, Sofia Gubaidulina, Jetzt immer Schnee, Alleluja, Johannes-Passion, choir

References:
Goodman, A. Stylistic trends in late 20th-century russian choral music / Andrea Goodman. — University of Cincinnati, 2000. — 106 p.
Dyganova, E.A. Sofia Gubaidulina's “Dedication to Marina Tsvetaeva” as the example of staginess in choral performance / E.A.Dyganova, N.V.Shirieva, Z.M. Yavgildina // 4th International Multidisciplinary Scientific Conferences on Social Sciences and Arts SGEM 2017: Conference Proceedings. – Book 6. Science and Arts. — Volume II. — P. 207–214.
Shirieva, N. V. Printsipy strukturnoy organizatsii khorovykh sochineniy Sofii Gubaydulinoy: monografiya / N. V. Shirieva. — Kazan': OOO PK «Astor i Ya», 2016. — 338 s.
Shirieva, N. V. «Posvyashchenie Marine Tsvetaevoy» S. A. Gubaydulinoy: opyt germenevticheskogo analiza / N. V. Shirieva. — 2010. — 2 (64). — C. 54–59.
Tsenova, V. S. Chislovye tayny muzyki Sofii Gubaydulinoy / V. S. Tsenova. — M.: Moskovskaya konservatoriya, 2000. — 200 s.
Kholopova, V. N. Sofiya Gubaydulina: putevoditel' po proizvedeniyam / V. N. Kholopova. — M.: Kompozitor, 2001. — 56

Abstract: This article is dedicated to the questions of interpretation of instrumental genre in art music (concerto grosso, suite, instrumental music concert, symphony) in the context of stylistic dialogue with rock music started at the turn of the 1960’s – 1970’s. The compositions “at the intersection” of rock and art music, attributed by the composers (primarily rock musicians) as “symphony”, “concert”, etc. are analyzed. The author explores the stylistic peculiarities, and determines that in most cases the methods of formation and development of musical content characteristic to the rock music, such as rhythmic and melodic ostinato, dynamic pick up, and timbre variation, come to the fore. Attention is given to the questions of the unity of cycle, intonation and structural lings in the particular musical compositions. Research methodology combines the musicological and historical-culturological approaches; leans on the works of M. Arnovsky, T. Didenko, V. Konen, V. Syrov, A. Ysuker and other scholars. The author introduces into the scientific discourse new material from the field of rock music (In Spe - Typewriter Concerto in D Major, Kostarev Group – Concerto Grosso #1); determines the specificities of genre interpretation of the famous pieces (Deep Purple – Concerto for Group and Orchestra). The conclusion is made that the compositional principles of rock music and the sound material withstand the “dialecticity” of the classical sonata allegro, although the functional load of the parts of sonata-symphonic cycle retains most of the time. However, the pre-classical types of multi-frequency composition and the related principles of concentration, contrast and playing acquire an important meaning.

Keywords: progressive rock, music form, suite, style, genre, rock music, sonata-symphonic cycle, concerto grosso, symphony, concerto

References:
Tsuker A. I rok, i simfoniya. Moskva: Kompozitor, 1993. – 304 s.
Utkin A. O kontsertirovanii i ego formakh v sovremennoy instrumental'noy muzyke // Stilevye tendentsii v sovetskoy muzyke 1960–1970-kh godov. L., 1979. – s. 63-84.
Syrov V. Kommunikativno-stilevye aspekty art-roka // Problemy muzykal'noy nauki. 2017. № 2 (27). S. 27-34.
Syrov V. Stilevye metamorfozy roka. Sankt-Peterburg: Planeta muzyki, 2017. – 296 s.
Savitskaya E. Erkki-Sven Tyuyur (In Spe): Svobodnyy khudozhnik // InRock. 2017, №4 (82). – S. 12–15.
Konen V. Teatr i simfoniya. M.: Muzyka, 1974. – 376 s.
Konen V. Tretiy plast. Novye massovye zhanry v muzyke XX veka. Moskva: Muzyka, 1994. – 160 s.
Dribushchak V., Epshteyn D. Deep Purple. Zvezda avtostrady. M.: Izdatel'stvo «Aroks» Galinoy E.G., 2002. – 304 s.
Dolinskaya E. Fortepiannyy kontsert v russkoy muzyke XX stoletiya: Issledovatel'skie ocherki. M., 2006. – 560 s.
Didenko T. Rok-muzyka: na puti k bol'shoy forme // Sovetskaya muzyka. 1987, № 7. – S. 23-28.
Vinichenko A. Stilisticheskie

Abstract: 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

References:
Bolotin S.V. Biograficheskiy slovar' muzykantov-ispolniteley na dukhovykh instrumentakh // V 2 ch., L.: Muzyka, 1969. – 201 s.
Eremin S. Vypiski iz orkestrovykh partiy trub i kornetov. Tetr. 1-4., Sost. S. Eremin.-M.: Muzgiz, 1958.-50 s.
Eremin S. Izbrannye etyudy dlya truby. Tetr. 1 – 2:, M.: Muzgiz. 1960, 1963 – 34c.
Maksimenko A. Etyudy i uprazhneniya dlya truby, Sov. kompozitor», M., 1975 – 17 s.
Orvid G. doklad «Stanovlenie i razvitie Moskovskoy shkoly igry na mednykh dukhovykh instrumentakh», MGK, 1966, rukopis' (31 str. mashinopisnogo teksta)
Pautov A. Tvorcheskaya deyatel'nost' G. A. Orvida i ee znachenie v razvitie otechestvennogo iskusstva igry na trube // diss., Moskva. 2015. – 186 s.
Usov Yu. Istoriya otechestvennogo ispolnitel'stva na dukhovykh instrumentakh // M.: Muzyka, 1985. – 192 s.
Usov Yu. Istoriya otechestvennogo ispolnitel'stva na dukhovykh instrumentakh // M.: Muzyka, 1989. — 207 s.
Fomin E. Izbrannye etyudy zarubezhnykh kompozitorov dlya truby. Red.sost. E.Fomin. Repertuar muzykal'nykh uchilishch // M.: K

Abstract: 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

References:
Adrianova-Peretts V. P. «Prazdnik kabatskikh yaryzhek»: Parodiya-satira vtoroy poloviny XVII veka // Trudy Otdela drevnerusskoy literatury. T. I. L.: Akademiya nauk SSSR, 1934. S. 171–247.
Banin A. A. Russkaya instrumental'naya muzyka fol'klornoy traditsii. [Elektronnyy resurs] // Russkie traditsii. Al'manakh russkoy traditsionnoy kul'tury. [sayt] URL: https://etnos.ru/knigi-teksty/112-russkaya-instrumentalnaya-muzyka.html
Bakhtin M. M. Tvorchestvo Fransua Rable i narodnaya kul'tura srednevekov'ya i Renessansa. M.: Khudozhestvennaya literatura, 1990. 541 s.
Varlamov D. I. Metamorfozy narodnogo muzykal'nogo instrumentariya. M.: Izdatel'stvo «Kompozitor», 2009. 180 s.
Vertkov K. A. Russkie narodnye muzykal'nye instrumenty. L.: Muzyka, Leningradskoe otdelenie, 1975. 280 s.
Veselovskiy A. N. Istoricheskaya poetika. M.: Vysshaya shkola, 1989. 404 s.
Vlasova Z. I. Skomorokhi i fol'klor. SPb.: Aleteyya, 2001. 523 s.
Voronin N. N. Medvezhiy kul't v Verkhnem Povolzh'e v XI veke // Kraevedcheskie zapiski Gosudarstvennogo Yaroslav

Abstract: Progressive development of instrument design affected the establishment of harp as one of the instruments with potential for virtuosity. Therefore, the subject of this analysis is the evolution of harp in the context of instrument’s design, repertoire and performance art in the XVIII century. The goal of the research lies in the need to reveal on the theoretical level the specificity of the phenomenon of evolution of harp, as well as the peculiarities of playing harp during the period under review. The theoretical importance is substantiated by the characteristics of the concepts “evolution of harp”, “design of harp”, “peculiarities of harp’s didactics” in the context of the history of philosophical and art knowledge. The practical significance is acknowledged by the fact that the acquired results allow examining the role of evolution of harp in a broader sense, as well as tracing the correlation between the instrument’s design and performance practice of the XVIII century. The main research method became the method of analytical study of the sources to elucidate the logics and content of the concept of “evolution of harp”. The method of comparative analysis allowed determining the correlation between the problems of universal history of the European music culture and the concept of local cultures associated with the evolution of playing harp. The scientific novelty is that this article is first to systematize the existing knowledge on the questions of evolution of harp based on examination of the idea of the universal history of music and the concept of local cultures via studying the means of musical expression, design and repertoire of harp in the XVIII century. The author underlines that the evolution of harp in the context of instrument’s design, repertoire and performance art of the XVIII is a unique sociocultural phenomenon, manifesting itself through the system of spiritual values and the essence of spiritual life of multiple nations.

Keywords: evolution, repertoire, performers, art, music, structure, musical instrument, Harp, Europе, XVIII century

References:
Livanova T.L. Istoriya zapadnoevropeĭskoĭ muzyki do 1789 goda: v 2 t. / T.L. Livanova. – M.: Muzyka, 1983. – 696 s.
Pokrovskaya N.N. Ob arfe i arfistakh / N.N. Pokrovskaya. – Novosibirsk: Novosibirskaya gos. konservatoriya im. Glinki, 2003. – 57 s.
Kholopova V.N. Fenomen muzyki / V.N. Kholopova. – M.: Direkt-Media, 2014. – 378 s.
Shestakov V.P. Istoriya muzykal'noy estetiki ot Antichnosti do XVIII veka / V.P. Shestakov. – M.: URSS, 2011. – 350 s.
Yazvinskaya E.R. Arfa / E.R. Yazvinskaya. – M.: Muzyka, 1968. – 59 s.
Backofen, J. G. H. Anleitung zum Harfenspiel, mit eingestreueten Bemerkungen ueber den Bau der Harfe. 2. Ausgabe / J. G. H. Backofen. – Leipzig: Breikopf & Haertel, 1807. – 66 r.
Barthel, L. Au coeur de la harpe au XVIII-éme siècle / L. Barthel. – France: Garnier-Francois Editions, 2005. – 209 p.
Genlis Comtesse de (Stéphanie--Félicité du Crest) Nouvelle methode pour apprendre a jouer de la harpe. – Paris: Duhan, 1811. – 65 p.
Hochbrucker, C. Six Sonates

Abstract: The subject of this research is the modern performing school of playing the trumpet at the Moscow Conservatory. The article reviews the modern professional training in the art of playing the trumpet and the activity of pedagogues-trumpeters of the Moscow Conservatory since 1970 until now. The author traces the evolution of the modern performing school of playing the trumpet, highlights the basic artistic principles of the pedagogues-trumpeters of the Moscow Conservatory, similarities and differences in their methods and performing principles. The article provides the previously known information of their creative activity, as well as the new facts obtained through conversations and interview. The selected complex methodology combines the logical analysis, retrospective method, chronological method, systemic analysis, comparative and descriptive analysis, method of classification; analytical, and historiographical approaches towards studying documental materials. The scientific novelty consists in the detailed coverage of the work of V. Novikov, A. Ikov, A. Korniliev, V. Lavrik and L. Guryev in the Moscow Conservatory, description of similarities and differences in their methods, innovations, continuity of pedagogical and performing traditions and principles.

Keywords: Eveniy Guryev, Alexey Korniliev, Vadim Novikov, Trumpet, Modern performing school, Russian musical heritage, Moscow conservatory, Vladislav Lavrik, Andrey Ikov, Modern teachers

References:
Bolotin S. Entsiklopedicheskiy biograficheskiy slovar' muzykantov-ispolniteley na dukhovykh instrumentakh. M.: Russkie fanfary, 1994. – 358 s.
Borodin A.B. Formirovanie ponyatiya shkola u muzykantov – ispolniteley v protsesse professional'nogo vuzovskogo obrazovaniya [tekst]: aftoref. Diss. Kand. Ped. Nauk.: 13.00.08 / AJB. Borodin; UGLU. Ekaterinburg, 2007. – 176 c
Belza I. «Vadim Novikov (truba)» // Portrety sovetskikh ispolniteley na dukhovykh instrumentakh. Sost. Yu. A. Usov. M.: Sovetskiy kompozitor. 1989. – 288-298 s.
Golubovskaya N. I. Iskusstvo pedalizatsii [Tekst]. M.: Muzyka, 1967. 111 s.
A. Kartashev «Tri klapana truby...» // «Rossiyskiy muzykant», may 2009
Krivitskaya E. Vadim Novikov: Truba polnopravnyy sol'nyy instrument // Kul'tura. 2006. 25-31 maya. № 20L. Gur'ev Starinnye truby v real'nosti i v sovremennoy praktike // Starinnaya muzyka. № 2 (12) 2001. M., 2001. S. 24-25
L. Gur'ev Mal'te Burba. Novaya shkola igry na trube / Perevod i primechaniya L. Gur'eva // Homo Musicus. Al'manakh muzykal'noy psikholo

Abstract: The object of this research is the unpublished and mostly unknown texts of M. F. Gnesin on the Jewish music culture: the report “Richard Wagner and Judaism” (1913), article “Anti-Semitism and Music” (1915), as well as manuscripts dedicated to the history and theoretical bases of Jewish music (“Jewish Music” and others, 1920’s). The subject of this research is the problems of cultural identity, national self-consciousness, “musical” nationalism that reflect a complicated process of establishments of the professional Jewish music culture in Russia of the early XX century. The key research methods contain the analysis of the handwritten and printed texts of M. F. Gnesin, as well as comparison of their fundamental premises and conclusions with the perspective of the national and foreign contemporaries. The following conclusions were made: Gnesin is one of the first national scholars, who comprehensively studied the history and stylistic peculiarities of Jewish music; Gnesin’s texts touch upon most important and relevant for his time questions – not only musicological, culturological, but also philosophical, social, psychological (particularly the phenomenon of the so-called “Jewish self-hatred”), as well as reflect the evolution of views upon the Jewish music culture within the environment of the representatives of Jewish intelligentsia of the early XX century. The scientific novelty consists in introducing into the scientific discourse the unstudied and unpublished texts of M. F. Gnesin, which have not previously been the subject of a particular research.

Keywords: nationalism, antisemitism, Jewish art, Jewish culture, Jewish music, Weininger, Wagner, Gnesin, Jewish self-identity, Jewish self-loathing

References:
Vagner R. Evreystvo v muzyke / Per. s nem. I. Yu-sa. SPb.: izd. S.E. Grozmani, 1908. 36 s.
Veyninger O. Pol i kharakter. Teoreticheskoe issledovanie / Per. s nem. V. Likhtenshtadta. Pod red. i s predisl. A.L. Volynskogo. SPb.: Posev, 1908. XXVI, 424 s.
Vol'fing [Metner E.K.]. Yudaizm // Vol'fing. Modernizm i muzyka. Stat'i kriticheskie i polemicheskie. 1907–1911. M.: Musaget, 1912. S. 382–400.
Gnesin M.F. «Internatsionalizm» i russkaya muzyka (chast' III) // RGALI, f. 2954, op. 1, ed. khr. 117, ll. 20–21ob. Gazetnaya vyrezka.
Gnesin M.F. Schirej Simroh. Sinagogal'nye rechitativy i khory. Soch. L. Gerovicha. 4-ya chast' // Novyy Voskhod. 1914. № 28. S. 29–31.
Gnesin M.F. Antisemitizm i muzyka [Gazeta «Priazovskiy kray». 1915] // RGALI, f. 2954, op. 1, ed. khr. 103, ll. 17–17 ob. Gazetnaya vyrezka.
Gnesin M.F. Vpechatleniya muzykanta. Kontsert evreyskoy dukhovnoy i narodnoy muzyki [retsenziya na kontsert v Zale Dvoryanskogo sobraniya, 12 yanvarya 1910 g.] // Evreyskiy mir. № 3. S. 55–57.
Gnesin M.F. Vtoraya poezdka v Palest

Abstract: The object of this research is the representatives of the Russian musical art – military wind orchestras. The goal is the examination of the problem of establishment of the military-formation repertoire of Russian military orchestra during the war and postwar periods of USSR (1945-1985) in historical-cultural context. Relevance of the article consists in revelation of common peculiarities and principles of the repertoire selection, as well as its future transformations and development. The author gives evaluation to the role of Soviet composers in evolution of the national march music of the indicated timeframe. Analysis of the problem is conducted through the prism of historical events, quantitative-qualitative characteristics of the compositions of military-formation repertoire. Such analysis is necessary for the more complete understanding of the factors that formed the repertoire of the national military orchestras in the postwar time (1945-1985). Author’s special contribution lies in consideration of the characteristic examples of compositions for the military orchestras that relate to one or another time segment from the artistic and compositional-technical perspectives. In conclusion, the author underlines the broadening of composer work towards expansion and enrichment of the repertoire of military orchestras in postwar time.

Keywords: creative heritage, the evolution of the genre, marching creativity, military band, domestic marches, national music, a massive song, military music, repertoire, soviet composers

References:
Tutunov, V.I. Istoriya voennoy muzyki Rossii. – M. : Muzyka, 2005. – 496 s.
Ozhegov, S.I., Shvedova, N.Yu. Tolkovyy slovar' russkogo yazyka. – M. : OOO A Temp, 2006. – 944 s.
Mishel' Kh. Vtoraya mirovaya voyna. – Parizh, 1968. – 469 s.
Nozdrunov, B.M. Tvorchestvo v poslevoennyy period. Sovetskaya voennaya muzyka / pod. red. B.T. Kozhevnikova. – M. : VDF, 1977. – S. 327–371.
Mayakin, T.K. Voenno-muzykal'naya kul'tura Rossii : istoriko-kul'turologicheskiy analiz. – M., 2010. –149 s.
Kabalevskiy, D.B. Pro trekh kitov i pro mnogoe drugoe. – Perm' : Permskoe knizhnoe izdatel'stvo, 1975. – 184 s.
Kulish, A.V. Muzykal'naya kul'tura Krasnoy Armii v gody Velikoy Otechestvennoy voyny : Istoricheskoe issledovanie. – M., 2004. – 210 s.
Diev, B.A., Khakhanyan, Kh.M. Stroevaya sluzhba voennogo orkestra. – M. : IVD, 1960. – 74 s.
Gorodetskaya, Z.I., Magaziner, L.L. Tipichnye cherty zhanra, kompozitsii i muzykal'nogo yazyka marshey. V pomoshch' voennomu dirizheru. – M. : IVD, 1955. – Vyp. 2. – S. 50–109.
Vlasova, E.S. 1948 god v sovetsko

Abstract: The object to this research is the rhythmic ostinato, understood as a repetition of the musical language, which expose a particular thought and cogitating itself as a constantly recognized resemblance. The article meticulously examine the rhythmic ostinato in the context of evolution of musical thinking, within the framework of communicative function of music, multifacetedness of its manifestations at various staged of development of the musical rhythmic and major flows of the new-European music, from Baroque to mass musical genres of the XX century. The interaction of rhythmic ostinato with other elements is revealed. The scientific novelty lies in the fact that this article is the first to conduct a theoretical analysis of the trends of application of rhythmic ostinato. Their integrated consideration and newly introduced panoramic coverage allowed developing an original outlook upon the correlation and cooperation of the rhythmic elements in musical practice. The theoretical importance consists in the thesis that the comprehension of rhythmic ostinato in the context of new-European music and eliminates some contradictions accumulated in musicology.

Keywords: qualitative, quantitative, synchrony, diachrony, similarity, rythmic ostinato, swing, antiostinato, jazz, rythm

References:
Kholopova V. Voprosy ritma v tvorchestve kompozitorov pervoy poloviny KhKh veka. M.: Muzyka, 1971. 304 s.
Enaff M. Klod Levi-Stros i strukturnaya antropologiya. SPb.: ITs «Gumanitarnaya Akademiya», 2010. 560 s
Farkhadov R. «Viktor Ekimovskiy plyus Ekimovskiy Viktor» // Muzykal'naya akademiya. 2007.No 3. S. 31-40.
Kharlap M. Narodno-russkaya muzykal'naya sistema i problema proiskhozhdeniya muzyki // Rannie formy iskusstva. M., 1972. S. 221-273.
Kharlap M. Taktovaya sistema muzykal'noy ritmiki // Problemy muzykal'nogo ritma: sb. statey / Sost. V. Kholopova. M.: Muzyka, 1978. S. 48-104.
Stravinskiy I. Dialogi. L., 1971. 415 s.
Surits E. Balet i tanets v Amerike. Ekaterinburg: Ural'skiy universitet, 2004. 392 s.
Syrov V. Sving v dzhaze. URL: http://www.jazz.ru/mag/225/swing.htm (data obrashcheniya 05.04.2018).
Zil'bert B. Semioticheskiy yazyk muzyki (v razvitie idey B.L. Yavorskogo) // Venok Yavorskomu. Mezhvuz. sb. nauch. st. Pervykh mezhdunarodnykh Nauchnykh Chteniy, posvyashchennykh B.L. Yavorskomu. Saratov, 2005. S. 44-56.
Sossyu

Abstract: The article is devoted to the education of professional musical ear for intonation and style based on the solfege classes. The subject of study is stylistic education hearing as the ability to perceive musical style on the basis of the manifestations of his signs, assessment of compliance with the stylistic elements and understand the content of a musical work in the style context. Music represents a hierarchical system comprising many components, acts at different levels of aggregation, characterized by the multidimensional nature of its existence and can be known through the study of its determinants-determinants of specific historical manifestations, persisted in his categorical system.Methodological basis are the works in the field of theoretical musicology B. V. Asafyev, V. N. Kholopova, V. E. Nazaikinskii, M. K. Mikhailov, in the study of musical-auditory perception and methods of teaching solfeggio – work L. A. Ostrovsky, L. Maslenkova, Z. I. Glideskina, Z. Lissa.The author gives a list of aspects of auditory perception necessary for the formation of stylistic relationship to the musical material, based on the study of historical, national and author's styles. The proposed methods are intonation and stylistic comprehension of music are supposed to provide the concept of different layers of musical culture, revealing the traditions and innovation of composers, compositions, forms, methods and the formation of a holistic perception of the whole musical tissue that contributes to the enrichment intonation and auditory experience of the musician.

Keywords: rhythm, texture, themes, musical language, stylistic feautures, style in music, musical hearing , ear training, dictation, aural analysis

References:
Kholopova V.N. Muzyka kak vid iskusstva: uchebnoe posobie. ¬– 4-e izd., ispr. – SPb.: Lan', Planeta muzyki, 2014.
Leont'ev A.N. Izbrannye psikhologicheskie proizvedeniya. V 2-kh t. T.1. M.: Pedagogika, 1983.
Toropova A.V. Muzykal'naya psikhologiya i psikhologiya muzykal'nogo obrazovaniya: uchebnoe posobie. – 3-e izd., ispr. i dop. – M.: Graf-Press, 2010.
Maslenkova L.M. O stilisticheskikh printsipakh vospitaniya slukha // Sovetskaya muzyka, 1981, № 12, s. 68-74.
Asaf'ev B.V. Rechevaya intonatsiya. M.–L.: Muzyka, 1965.
Asaf'ev B.V. Muzykal'naya forma kak protsess. Kn. 1 i 2. M.: Muzyka, 1971.
Asaf'ev B.V. M.I.Glinka, M.: Muzyka, 1978.
Asaf'ev B.V. Rechevaya intonatsiya. M.–L.: Muzyka,1965.
Odoevskiy V.F. Muzykal'no-literaturnoe nasledie. M.: Muzgiz, 1956.
Serov A.N. Pis'ma o muzyke. Izbrannye stat'i. T.2. M.: Gos.muz.izd-vo, 1950.
Ostrovskiy A.L. Vospriyatie muzyki i zadachi vospitaniya slukha. Diss. ...kand. isk. – L., 1946.
Ostrovskiy A.L. Ocherki po metodike teorii muzyki i sol'fedzhio. L.: Muzyka, 1954.
Ma

Abstract:  Modern media space explicitly and implicitly affects all forms of culture of the technologically developed regions of the world. Traditional and classical artifacts of culture are not only being represented, but also experience decoding in the modern media space. The subject of this research is the transformation of opera performance within the framework of modern media space. The author examines the main representational strategies of actualizing the visual component of modern opera productions. The work studies the influence of the phenomenon of clip culture upon the traditional musical artifact, in particular, the classical opera. The modern opera performance of classical composers is analyzed from the perspective of changes in interrelation of the role of audial and visual culture. The following conclusions are made: 1. Decoding of opera takes place in the context of visualization of the production and ways of its subsequent representation and broadcasting pnto the modern cultural reality; 2. The main role of audial content in the opera production is reduced; 3. The opera performance represents clips (fragments) of modern reality that have nothing in common with the classical art project; 4.  Rapid cuts and dynamic shooting of the opera performance contribute to its fragmented perception by the subject of culture. The scientific novelty consists in the thesis that leaning on the example of classical academic culture, namely opera, the author considers certain variants of the impact of clip culture of the modern media space upon the traditional artifacts.

Keywords: visual culture, clip culture, transformations, decoding, modern media space, classical artifact, opera performance, audial culture, classical music, media culture

References:
Asaf'ev B. V. Ob opere. Izbrannye stat'i – Leningrad: Izdatel'stvo «Muzyka», 1976. – 322 s.
Savchuk V. V. Mediafilosofiya. Pristup real'nosti. – SPb,: Izdatel'stvo RGKhA, 2013. – 350 s.
Savchuk V. V. Antologiya mediafilosofii / Redaktor-sostavitel' V. V. Savchuk. — SPb.: Izdatel'stvo RKhGA, 2013. – 339 s.
Muginshteyn M. L. Khronika mirovoy opery 1600-2000. – Ekaterinburg: U-Faktoriya (pri uchastii izd-va Gumanitarnogo un-ta), 2005. – 640 s.
Dianova V. M. Postmodernistskaya filosofiya iskusstva: istoki i sovremennost'. Sankt-Peterburg, OOO «Izdatel'stvo “Petropolis”», 1999. – 240 s.
Sati E. Zametki mlekopitayushchego: Proza. Pis'ma. Vospominaniya sovremennikov./ Per. s. fr., sost., predisl. i komment. V. Kislova. – SPb.: Izdatel'stvo Ivana Limbakha, 2015. – 416 s.
Mol' A. Sotsiodinamika kul'tury – Moskva: Progress, 1973. – 401 s.
Bart R. Camera lucida. Kommentariy k fotografii. – M.: OOO «Ad Marginem Press», 2013. – 192 s.
Eriksen T. Kh. Tiraniya momenta. Vremya v epokhu informatsii/ Per. s norv. – M.: Izdatel'

Abstract:  
This article gradually examines the process of searching the national identity in secular music of the XIX century by the Russian composers, beginning from the late XVIII century, when took place the first attempts of creating the classical music that includes the elements of folk songs, and endinf with the historical operas of the late XIX century. The author reviews the professional musical activity of the following composers: A. A. Alyabiev, A. L. Gurilev, A. E. Varlamov, M. I. Glinka, A. S. Dargomyzhsky, M. A. Balakirev, C. A. Cui, M. P. Mussorgsky, N. A. Rimsky–Korsakov, A. P. Borodin, P. I. Tchaikovsky, A. G. Rubinstein, and others. This process is examined using the method of music comparative studies, as well as the analysis of most influential aesthetic ideological processes, which took place in Russian cities of the XIX century. The conclusion is formulated that the inherent to Russian culture features were most intensively depicted in the opera genre oeuvres, if draw comparison with other secular music genres popular in the XIX century. The author defines the reasons that led the composers to pick opera as the most adequate musical form for expressing the peculiarities of Russian culture.
 

Keywords: Mikhail Ivanovich Glinka, The Mighty Handful, Russian folklore, Russian song tradition, urban culture, historical opera, secular music, Russian musical culture, Russian opera, national identity

References:
Asaf'ev, B.V. Russkaya muzyka. – 2 izd. – L.: Muzyka, 1979. – 344 s.
Berdyaev, N.A. Dusha Rossii. – M.: tipografiya tovarishchestva I.D. Sytina, 1915. – 42 s.
Gozenpud A.A. N.A. Rimskiy–Korsakov. Temy i idei ego opernogo tvorchestva. M.: Muzgiz, 1957.
Gozenpud, A.A. Opernyy slovar'. – 2 izd. – SPb.: Kompozitor, 2005. – 632 s.
Zhukova, G.K. Reprezentatsiya natsional'nogo v evropeyskom muzykal'nom diskurse. SPb.: Izdatel'stvo Sankt–Peterburgskogo gosudarstvennogo universiteta, 2014. – 167 s.
Zemtsovskiy, I.I. Russkaya protyazhnaya pesnya: opyt issledovaniya. – 2 izd. – L.: Muzyka, 1967. – 193 s.
Lobankova, E.V. Natsional'nye mify v russkoy muzykal'noy kul'ture. – SPb: Izdatel'stvo im. M.I. Novikova, 2014. – 416 s.
Losev, A.F. Iz rannikh proizvedeniy. – M.: Pravda, 1990. – 656 s.
Lotman, Yu.M. Istoriya i tipologiya russkoy kul'tury. – SPb.: Iskusstvo–SPB, 2002. – 768 s.
Mazel' L., Tsukkerman V. Analiz muzykal'nykh proizvedeniy. M.: Muzyka, 1967. – 752 s.
Neupokoeva, I.G. Obshchie cherty evropeyskogo romantizma

Abstract: This article reveals one of the important and insufficiently studied problems of orchestration – the interpretation of saxophone family instruments as the orchestral instruments, as well as reflects part of the major scientific conclusions of the cognominal thesis research that is dedicated to the interpretation of saxophone as an orchestral instrument. Based on the results of the analysis of the military marches original scores of the late XIX – early XX centuries, written by the composers of Western Europe and America (France, Germany, Great Britain, Italy, Austria-Hungary, Spain, USA, and Mexico), as well as academic works on the questions of theory and practice of the orchestration, the article reveals the ways, peculiarities, and trends of application of the saxophone family instruments in the genre of martial music. The modern communicative means (Internet) helped to find multiple compositions in the genre of march, but at times such scores dare not the original primary sources. However, the volume of materials that became accessible allows forming the holistic perception, as well as making substantiated conclusions. Discovering the facts on the use of saxophones in marches seems purposeful if leaning on the national affiliation of a composer, or in other words, within the framework of a separate country.  

Keywords: Orchestral texture, Score, Wind ensemble, Orchestra, Compositions, Composer, Martial music, March, Interpretation of saxophone, Saxophone

References:
Farmer G. Proiskhozhdenie i razvitie voennoy muzyki. London, 1902 // rus. per. K. Speranskogo i M. Chertoka. M.: Muzyka. S. 278-375.
Chertok M. Khrestomatiya po istorii zarubezhnoy voennoy muzyki. M.: Muzyka, 1973. S. 89-101.
Kars A. Istoriya orkestrovki. M.: Muzyka, 1990. S. 296-302.
Kandler G. Nemetskie voennye marshi. Bonn. 1961 / Sost. M. Chertok, rus. per. F. Petrova M., 2013. S. 21.
Gevart F. Rukovodstvo k instrumentovke // P.I. Chaykovskiy. Polnoe sobranie sochineniy. T.III-b / Tom podgotovlen Vl. Protopopovym. M.: Gosudarstvennoe Muzykal'noe Izdatel'stvo, 1961. S. 13.
Glinka M. Zametki ob instrumentovke // M.I. Glinka. Polnoe sobranie sochineniy. Literaturnye proizvedeniya i perepiska v 2 t. (komplekt iz 3 knig). T. 1. M.: Muzyka, 1973. S. 494.

Abstract: The relevance of this topic first and foremost is associated with the small number of research dedicated to the work of the College of Arts named after P. I. Tchaikovsky. The main attention is given to the revelation of the importance of persona of the Honored Art Worker of the Buryat-Mongolian Autonomous Soviet Socialist Republic Ekaterina Dmitrievna Mironskaya-Prozorova, who was the head of this educational facility over the period of 1944-1958. Through the coverage of various aspects of her work, the authors follow and give a generalized characteristic to the establishment and development of the theatrical and music education in Buryatia. The results of this research can serve as the starting point for the further examination of the processes of establishment of the theatrical and music education of Buryatia. The area of implementation of the results includes the history of culture of Buryatia, preservation of the cultural heritage, history of theatrical education of Buryatia, history of music education of Buryatia, as well as the history of P. I. Tchaikovsky College of Arts.   

Keywords: V. T. Naydakova, E.D. Prozorova, V. V. Lugski, Buryat- Mongolian School of Theatre and Music, College of Arts, music education of Buryatia, musical culture of Buryatia, F. S. Sakhirov, P. V. Shapova, L. M. Litvinova

References:
Natsional'nyy arkhiv Respubliki Buryatiya, f. 955, op.1, d.14, l.1-4.
Natsional'nyy arkhiv Respubliki Buryatiya, f.248, op.20, d.122, l.68.
Natsional'nyy arkhiv Respubliki Buryatiya, f.1512, op.1, d.25, l.17.
Natsional'nyy arkhiv Respubliki Buryatiya, f.1512, op.1, d.47, l.87.
Lichnyy arkhiv E.D. Prozorovoy
Kul'turnoe stroitel'stvo v Buryatskoy ASSR (1917-1981) : Dokumenty i materialy / [Sost. G. L. Sanzhiev i dr.].-Ulan-Ude : Buryat. kn. izd-vo, 1983.-537 s.
Interv'yu s F.S. Sakhirovym.
Interv'yu s P.V. Shapovoy.
Interv'yu s V.Ts. Naydakovoy
Interv'yu s L.M. Litvinovoy.
Arkhiv Muzeya istorii Buryatii. Iz zapisey v trudovoy knizhke V.D Obydennoy.
Arkhiv Kolledzha iskusstv im. P.I. Chaykovskogo
Natsional'nyy arkhiv Respubliki Buryatiya, f.955, op.1, d.263, ll.1-5.
Naydakova V. Ts. Buryatskiy sovetskiy dramaticheskiy teatr / V. Ts. Naydakova. – Ulan-Ude : Buryat. kn. izd-vo, 1974.-276 s.
Naydakova V. Ts. Teatral'nye portrety : Aktery Buryat. akad. teatra dramy im. Kh. Namsaraeva / V. Ts. Naydakova.-Ulan-Ude : Buryat.

Abstract:  
This article examines one of the important but insufficiently studied problems of orchestration, musicology, as well as music pedagogy – the use by the authors the opera-symphonic and ballet music of the saxophone family instruments in their creative work. Based on the results of the study of a number of the original score of compositors’ oeuvres of various countries and cultural-historical eras, the article reveals the ways, specificities, and trends of application of the representatives of saxophone family in score of compositions for the symphony orchestra as the music-theatrical (opera, ballet, musical illustrations to dramatic compositions), as well as other directions (autonomous compositions and musical illustrations to the films). Despite the demonstrated interest of the composers to the saxophone family, such instruments have not become the permanent participants pf the symphony orchestra.
 

Keywords: composer, family of saxophones, saxophone solo, interpretation of the saxophone, Saxophone, works, orchestra, symphonic orchestra, element of the orchestral texture, score

References:
Agafonnikov N. Simfonicheskaya partitura. L.: Muzyka, 1981. S. 196.
Kars A. Istoriya orkestrovki. M.: Muzyka, 1990. S. 269.
Gevart F. Rukovodstvo k instrumentovke // P.I. Chaykovskiy. Polnoe sobranie sochineniy. T. III-b / Tom podgotovlen Vl. Protopopovym. M.: Gosudarstvennoe Muzykal'noe Izdatel'stvo, 1961. S. 347-349.
Berlioz G. Bol'shoy traktat o sovremennoy instrumentovke i orkestrovke v dvukh tomakh. M.: Muzyka, 1972. T. 2. S. 492-496.
Glinka M. Zametki ob instrumentovke // M.I. Glinka. Polnoe sobranie sochineniy. Literaturnye proizvedeniya i perepiska v 2 tomakh (komplekt iz 3 knig). T. 1. M.: Muzyka, 1973. S. 179-181.

Abstract: The object of this research is the system of professional music education during the period of 1920-1940. The subject is the history of establishment and development of the first in the Republic of Buryatia music school – College of Arts named after P. I. Tchaikovsky. The relevance of the study of the history of music education is substantiation by the need for understanding the aspects of development of the national culture and education. The results of the research can serve as the starting point for creation of the innovation institutions in the sphere of music education, which would preserve the best national traditions of the Republic. The area of application of the results is the history of culture of Buryatia, as well as history of P. I. Tchaikovsky College of Arts. The scientific novelty of this work consists in the fact that it provides a complete picture of the establishment and development of P. I. Tchaikovsky College of Art in the 1920-1940’s in the context of the specific historical circumstances of Soviet society. The authors demonstrate the impact of state policy upon formation and development of the professional music education in the Republic, as well as introduce the unique archive materials into the scientific discourse.

Keywords: Dorzhi Lunkhoboev, Pavel Berlinsky, Boris Salmont, College of Arts, Music school, Buryat-Mongolian School of Theatre and Music, Buryat-Mongolian College of Arts, Development of professional music education, Verkhneudinsk Music College, Music education of Buryatia

References:
Kul'turnoe stroitel'stvo v Buryatskoy ASSR (1917-1981) : Dokumenty i materialy / [Sost. G. L. Sanzhiev i dr.].-Ulan-Ude : Buryat. kn. izd-vo, 1983.-537 s.
Natsional'nyy arkhiv Respubliki Buryatiya, f. 955, op. 1, d.263, ll.1-5
Natsional'nyy arkhiv Respubliki Buryatiya, f. 248, op. 20, d. 85, ll. 75-77.
Natsional'nyy arkhiv Respubliki Buryatiya, f. 1512, op.1, d. 47, l.87.
Naydakova V. Ts. Teatral'nye portrety : Aktery Buryat. akad. teatra dramy im. Kh. Namsaraeva / V. Ts. Naydakova.-Ulan-Ude : Buryat. kn. izd-vo, 1984.-144 s. : 24 l. il.;
Naydakova V. Ts. Buryatskiy sovetskiy dramaticheskiy teatr / V. Ts. Naydakova. – Ulan-Ude : Buryat. kn. izd-vo, 1974.-276 s.
Broytman M. Pervye shagi. // Baykal.-1975.-№ 3. – S. 148-150.
Buryat-Mongol'skaya pravda. – 1926.-№ 216-217
Buryat-Mongol'skaya pravda. – 1940.-22 maya.
Gonchikova M.Ts. Professional'noe muzykal'noe obrazovanie v Buryatii (1923-1991 gg.) / nauch. Red. T. E. Sanzhieva. – Ulan-Ude : Izdatel'stvo Buryatskogo gosudarstvennogo universiteta, 2014. – 140 s.
Dashitsyre

Abstract: The article discusses the history of the spread of H. Schenker’s doctrine in Russia. While in the English-speaking world the theory of Schenker had a powerful impact on the harmonic analysis, in the USSR it almost wasn’t known. Only through the efforts of Boris Plotnikov and Yurii Kholopov Russian musicologists were able to get acquainted with this theory at the beginning of the XXI century. The article provides an overview of publications on Schenker in Russia; in particular, we consider some works of Plotnikov.The author raises the question of the special "analytic hearing," which is educated by schenkerian methodology, as well as its inherent inevitable subjective factors.Considering the possibility of applying the theory of Schenker outside tonality the author comes to the conclusion that it can’t be entirely applied to the analysis of atonal and twelve-tone music. However, the reductive method may be isolated from Schenker’s theory in order to find the middleground pitch lines. The final part of article discusses the prospects of Schenker’s theory in Russia.

Keywords: analysis of melody, dodecaphonic music, reductive method, analytic hearing, linear-harmonic analysis, Yurii Kholopov, Boris Plotnikov, Heinrich Schenker, history of the music theory, perspectives of Schenker’s theory

References:
Forte A. Schenker’s conception of musical structure // Journal of Music Theory. Vol. 3. 1959. No. 1. Pp. 1-30.
Zakharov Yu.K. Individual'nyy garmonicheskiy zamysel muzykal'nogo proizvedeniya // PHILHARMONICA. International Music Journal. 2015. № 2. C. 189-229. DOI: 10.7256/2453-613X.2015.2.16969. URL: http://www.e-notabene.ru/phil/article_16969.html
Forte A. Contemporary Tone-Structures. N.Y.: Teachers College, Columbia University, 1955. 194 p.
Zakharov Yu.K. Dopolnenie k Shenkeru: linearno-garmonicheskiy analiz dvukh pesen R. Shumana // Istoricheskie, filosofskie, politicheskie i yuridicheskie nauki, kul'turologiya i iskusstvovedenie. Voprosy teorii i praktiki. 2015. № 2(52). Ch. 1. C. 78-86.
Lagutina E.V. Genrikh Shenker i ego «Uchenie o garmonii»: diss. … kand. iskusstv. V 2-kh t. M., 2014. T. 1. 258 s. T. 2. 267 c.
Lagutina E.V. «Dukh muzykal'noy tekhniki» (1895) – pervaya publikatsiya nauchnoy teorii Kh. Shenkera // Nauchnyy vestnik Moskovskoy konservatorii. 2013. № 2. S. 62-82.
Lagutina E.V. Paradoksy «Ucheniya o

Abstract: The subject of this research is the determination and generalization of the peculiarities of the Buryat composer Gur-Darma Dashipylov (1937-1980) vocal style. The goal of this work is the study of the songwriting of one of the brightest and talented composers of Buryatia, as well as definition of his uniqueness, the role and place within the musical culture of Buryatia. This article is one of the first researches dedicated to the examination of the songwriting of the Buryat composer G-D. Dashipylov based on the example of the song “Buryad Oronoym Solo”. The materials from this research can be used in the study of musical culture and professional music of Buryatia, as well as in the music education facilities of the republic. The results of this research can serve as a starting point for the further study of the processes of establishment and development of the song genre within the creative work of the Buryat composers. The area of application of the results includes the history of culture of Buryatia, preservation of cultural heritage, songwriting, and creative work of Buryat composers. It is necessary to note the composer’s ability to achieve poetically generalized and expansive imagery and psychological depth within small, aphoristically compact form of a song, as well as embodiment in his work of the traditions of Buryat folk music. The composer’s songs reached the audience’s sympathy with their psychological sensitivity, ability to express various shades of the mood, and serve as an inspirational example for their listeners.

Keywords: magtal, Buryat folk song, song genre, songwriting, Bau Yampilov, Gur-Darma Dashipylov, Zhigzhit Batuev, Buryat professional music, Buryat musical culture, solo

References:
Estradyn zokheolnuud. Ulaan-Үde, 1974. S. 105-108.
Ekhe oronoo duulanamdi = My Rodinu slavim: novye pesni / Buryaad. kompozitornuuday kholboon. Ulaan-Үde, 1972. S. 71-73.
Lyubov' moya, BAM: sb. pesen: [dlya peniya (khory, golos solo) v soprovozhd. fp.] / Sost. V. Ts. Tsytsykova. Ulan-Ude, 1984. S. 39-43; 66-68.
Duulayabdi, nүkhed = Spoemte, druz'ya: [khory, golos solo]. Ulaan-Үde : Buryaad. nom. kheblel, 1970. S. 24-26.
Duunaym ekhin bur'yalaad…: (buryaad һurguulin 1-4-dekhi kl. khereglegdekhe nom: akkomp. үgtөөgүy/ sugluul. Ts.B. Nimaeva; muz. red. Yu. Irdyneev. Ulaan-Үde: Buryaad. nom. kheblel, 1987. S. 8; 63-64; 69; 78.
Buryaad oronoym solo : үkhibudey duunuud / Sost., muzyk. red. Yu.I. Irdyneev. Ulaan-Үde: Buryaad. nom. kheblel, 1987. S. 3-4; 47-49; 54-57;68-69; 74-75.
Buryaad khүgzhem zokheogshodoy duunuud, khoornuud : [pesni i khory buryat. komp.: dlya peniya: (khory, golos solo) v soprovozhd. fp., bayana i bez soprovozhdeniya] / Sost. i muz. red. Yu. I. Ird

Abstract: The article discusses the scientific biography of the Soviet musicologist and folklorist Lev Kulakovsky (1897-1989). Particular attention is paid to the original methodology of melody analysis developed by Kulakovsky in 1928-1930. This methodology was based on the Theory of modal rhythm by B. Yavorsky. Kulakovsky identified three formants of melody (modal structure, mode-metric structure, melody pattern), consistently demonstrating the methods of analysis of each of them. His work shows the results of the statistical analysis of 255 songs of different nations on the basis of calculating the mode-metrical index of each tune. Kulakovsky considered melodic patterns and modal tensions as two opposing forces. Nevertheless Kulakovsky’s theory was undeservedly forgotten in the USSR due to the ideological factors. In the following years scientist turned to the study of Russian folklore; also he developed the hypothesis of syncretic unity of word and singing at “The Tale of Igor's Campaign”.

Keywords: analysis of expressivity, melodic center, theory of modal rhythm, Boleslav Yavorsky, Lev Kulakovsky, ethnomusicology, analysis of melody, Musicology of 1920-s, ideology and musicology, The Tale of Igor's Campaign

References:
Kulakovskiy L.V. Pesn' o polku Igoreve: Opyt vossozdaniya modeli drevnego melosa. M., 1977. 176 s.
Protopopov S.V. Elementy stroeniya muzykal'noy rechi. Ch. 1-2. M.: Muzsektor Gosizdata, 1930, 1931. Ch. 1. 168 s. Ch. 2. 176 s.
Elena Alkon Melos, modal'nost' i muzykal'noe myshlenie mifologicheskogo tipa: k razvitiyu idei E. Kurta // Uchenye zapiski Rossiyskoy akademii muzyki imeni Gnesinykh. 2014. № 1. C. 13 - 23.
Kulakovskiy L.V. «Pesn' o polku Igoreve»: Problema vossozdaniya muzyki // Sov. muzyka. 1946. № 12. S. 77-89.
Kulakovskiy L.V. Iz «Slova» pesni ne vykinut' // Znanie — sila. 1973. № 97. S. 30-32.
Kulakovskiy L.V. Pesnya, ee yazyk, struktura, sud'by: (Na materiale russkoy i ukrainskoy narodnoy, sovetskoy massovoy pesni). M.: Sovetskiy kompozitor, 1962. 342 s.
Kulakovskiy L.V. O metodologii analiza melodii // Sov. muzyka. 1933. № 1. S. 86-94.
Kulakovskiy L.V. Stroenie kupletnoy pesni. M.; L.: Muzgiz, 1939. 191 s.
Ryzhkin I. Teoriya ladovogo ritma (B. Yavorskiy) // Mazel' L., Ryzhkin I. Ocherki po i

Abstract: The subject of this research is the processes characteristic to the piano artistic performance in Siberia in the late XX – early XXI centuries.  The author thoroughly examines the most important events and factors associated with establishment of piano arts in Siberia. The author underlines the principles of organization of concert-educational work in connection with the traditions of the Russian piano school. A special attention is given to the work of pedagogues of Novosibirsk and Krasnoyarsk departments; their biographies, as well as role and importance in the establishment of the professional artistic performance are briefly covered. The main conclusion consists in the determination of the two interconnected “schools” of the piano artistic performance in Siberia, concentrated in the major musical centers – Novosibirsk and Krasnoyarsk. The author also highlights the contribution of the Siberian performers into the development of best traditions of the Russian musical art, as well as their role in propagation of the academic music and creative work of the Siberian composers.

Keywords: piano performance, Novosibirsk, Krasnoyarsk, concerts, festivals, EAT. Singer, ZN Tamarkin, IN AND. Slonim, NL Tulunina, AE Shvartsburg

References:
Obmorokova A.M. Otrazhenie protsessov regional'noy identifikatsii i samoidentifikatsii v krasnoyarskom kul'turnoe prostranstve (na materiale analiza kontsepta "Rodina") // Sotsiodinamika. - 2015. - 3. - C. 69 - 93. DOI: 10.7256/2409-7144.2015.3.14677. URL: http://www.e-notabene.ru/pr/article_14677.html
Aron I.S. Professional'noe samoopredelenie v osoboy sotsial'noy situatsii razvitiya // Psikhologiya i Psikhotekhnika. - 2014. - 3. - C. 320 - 328. DOI: 10.7256/2070-8955.2014.3.10425.
Kuzub T.I. Muzykal'naya kul'tura KhKh veka kak fenomen epokhi globalizatsii: avtoref. diss.. kandidata kul'turologii. Ekaterinburg. 2010. 24 s.
Lauk E.N., Komorovskaya T.V. Festival' fortepiannykh duetov «Vstrechi na Enisee» v Krasnoyarske // Kul'tura. Iskusstvo. Obrazovanie: mezhvuzovskiy sbornik nauchnykh i metodicheskikh trudov. Krasnoyarsk, 2011. Vyp.10. S. 230-240.
Mel'nikova N.I. Vspominaya V.I. Slonima // Iser Slonim. Ierusalim, 2006. S. 74-77.
Iglamova A.A. Fortepiannoe ispolnitel'stvo kak fenomen kul'tury: avtoref.dis. kand…..filosof

Abstract: The subject of study in this article are the "idea" and "morality" as a director effective tools of analysis of the play or the score of the opera. Special attention is paid to the development of clear definitions for each concept with a view to their precise delineation. It is stated that the "idea" and "morality" - fundamentally different from one another, expressed the idea of non-universal "mixing" of these two concepts. Shows the dangers of the concept of substitution of "morality," the concept of "idea" and their implications for the integrity and sense of play. It is emphasized that the engagement, The ideological, sotsiologichnost implemented on stage dramaturgical material just gives the usage of "morality", which is realized through strict delineation of conflicting characters into two adversarial parties. At that time, the use of such a tool, the "idea" significantly expands the possibilities of imaginative director by including in the conflict, without exception, all the actors, without distorting their character and motivations.Method and methodology of the study. The article provides a thorough theoretical analysis to give a strict definition, that is, to identify the characteristic hand, signs, features, characteristics and categories of actions the principle of "idea" and "morality." For this study on a thorough study of the classics of director effective analysis in a Drama and Opera House, the theory of drama and opera directing (a small part of which is shown in the bibliography), with detailed notes and quoting.Novelty and conclusions. The emergence over the last thirty years at the opera and dramatic theater productions, where the director conducted an artificial "updating" of the original classic dramatic material clearly indicates a crisis in the theory of directing. In particular, the absence of clear definitions of the key for the analysis of the play and the score, categories, directors either through ignorance or deliberately mixed the concept of "idea" and "morality" and thus distort the original dramatic vision, bringing deep philosophical works to ideological, partisan grandstanding.

Keywords: theater, directing, Directing theory, act, an effective analysis, plot, opera, Opera Directing, idea, morality

References:
Destutt de Tracy. Elements d'ideologie,v. l— 4.P.,1801—15
Lemann Kh.-T Postdramaticheskiy teatr / Per. s nemetskogo N. Isaeva // Teatr. M., 2013. № 10. S. 175-183.
Chernyakov D. Lyuboy spektakl'-eto razgovor o vazhnom // Kontinent. 2009. № 141.
Slovar' inostrannykh slov. M., 1964. 608 s.
Tovstonogov G.A. Zerkalo stseny. T. 1. M., 1980. 353 s.
Toporkov V. O. Stanislavskiy na repetitsii. M., 2002. 272 s.
Volkostrelov D. «...Ne dumat' o zritele» // Iskusstvo kino. 2013. may. № 5.
Gegel' G.V.F. Lektsii po filosofii istorii. SPb., 1993, 2000. 480 s.
Georgiy Tovstonogov repetiruet i uchit. SPb., 2007. 608 s.
Knebel' M.O. O tom, chto mne kazhetsya osobenno vazhnym. M., 1971. 485 s.
«Knyaz' Igor'» v N'yu-Yorke. Telereportazh o postanovke opery Borodina: "Knyaz' Igor'" v novoy redaktsii D. Chernyakova v Metropoliten-opera. Avtory: A. Lakhman, A. Belikov, R. Chernina. 3 fevralya 2014 g. // http://www.youtube.com/watch?v=Gfa89FUWuw4
Rayzberg B.A. Sovremennyy sotsioekonomicheskiy slovar'. M., 2012. 629 s.
Pokrovs

Abstract:  
This article draws attention to the conceptual side of the phenomenon of the musical management by determining within it as a special – the activity called the management of Academic music and aimed at the guaranteed preservation of the outstanding heritage of the Academic music within the cultural space of modernity. The authors link the history of formation of the first in Russia administrative system purposefully oriented at the promotion of Academic music in the post-reformation Russia to the work of the Imperial Russian musical society, the experience of which is very noticeable and originates the further reasoning in the chain of causes and events that reveals the in-depth problems of transformation and preservation of the system of values. Scientific novelty consists in realization of the objective analysis of the genesis of development of management in pre-revolutionary Russia. The Imperial Russian musical society gave birth to the historically first administrative system of the public-government construction in the area of Academic music that coordinates educational and concert life the country, and fits into the typology of the sociodynamic model.
 

Keywords: Genesis music management, post-Reform Russia, academic music, Management of classical music, Russian Musical Society, IRMO management model, cultural policy, market, system, model

References:
Shchapova E.V. Vserossiyskoe khorovoe obshchestvo: vzglyad v proshloe. M., 2013. 242 s.
Russkaya muzykal'naya gazeta. 1899. № 41. S. 1028.
Teoriya kul'tury: Uchebnoe posobie dlya vuzov / A.A. Oganov, I.G. Khangel'dieva. M., 2003. 416 s.
Shilova O.E. Didakticheskie osobennosti izucheniya art-menedzhmenta studentami muzykal'nykh spetsializatsiy v vuzakh kul'tury i iskusstv: Diss. ... na soisk. kand. ped. nauk. M., 2006. 200 s.
Ustav Russkogo Muzykal'nogo Obshchestva 1859 g. / Fond 1286, opis' 27, delo № 267 - Rossiyskiy gosudarstvennyy istoricheskiy arkhiv.
Ustav Imperatorskogo Russkogo Muzykal'nogo Obshchestva. Vysochayshe utverzhden 4-go (16-go) iyulya 1873 g., s izmeneniem, posledovavshim s Vysoshayshago razresheniya, 9-go (21-go) avgusta 1885 g. SPb., 1885, 19 s.
Russkaya muzykal'naya gazeta. 1987. № 1. S. 366.
Puzyrevskiy A.I. Imperatorskoe russkoe muzykal'noe obshchestvo v pervye 50 let ego deyatel'nosti [1859-1909]. SPb., 1909. 185 s.
Ob utverzhdenii Osnov gosudarstvennoy kul'turnoy politiki. Ukaz Prezidenta RF ot 24.12.2014 g.

Abstract: The article described the social and communication essence of rock music. The author presents a recording of rock music as a special social and communication construct (twofold institution) in global cross-cultural space. The varied picture of rock music is interpreted in the framework of the communication recording system. The features of the regional-subgenres of rock music in the Social Communications. Analyzed the social and communicative origins of rock and roll, showing the diversity of the England-American Rock. Particular attention is paid to the identity of the African, Asian and Latin Rock. In the analysis of the origin and variety of the meaning of «Rock Music» is used historical-genetic method. To determine the characteristics of the genre of rock music and its constituent used musicological method. In the study of individual features of the music industry it used a structured approach that has allowed to reveal the multidimensionality and diversity of communicative performance recording rock music. In addition, the use of comparative-historical method and the phenomenological approach made it possible to identify and characterize the main stages of evolution of the recording of rock music as a communication and communication categories. Terminology method has provided an opportunity to clarify the conceptual apparatus. Method Internet-survey revealed trends in the genre among the priorities of the regular visitors to music sites. The author concluded that the rock is a reflection of social and communication the era of high-tech audio. The study offer insight into the recording of rock music as a complex cluster of socio-cultural sphere, where he formed a stable rules appear certain historical patterns, as well as specific principles apply. The novelty of the research is to establish a communication system elements of rock, since the origins of the universality of this musical roots in the music industry and in the phenomena of a wide public plan.

Keywords: album, the recording industry, rock music, social communication, record producer, record label, phonographic products, musical style, Musical direction, subgenres

References:
Ustimenko-Kosorіch O.A. Masova muzika yak atribut molodіzhnoї kul'turi seredini KhKh stolіttya: avtoref. dis. … kand. mistetstvoznavstva : 26.00.01 / O.A. Ustimenko-Kosorіch ; Odes'kiy natsіonal'niy polіtekhnіchniy unіversitet. – K., 2008. – 19 s.
Meyson N. Inside Out: A Personal History of PINK FLOYD = Lichnaya istoriya PINK FLOYD / Nik Meyson; pod redaktsiey Filipa Dodda [per. s angl. M. Kondrat'eva, pod red. A. Burlaki]. – 2-e izd., ispr. – SPb.: Amfora, TID Amfora, 2011. – 468 s.
Harris J. «The Dark Side of the Moon» / John Harris // Harper Perennial. – 2006. – № 3. – pp. 78–79.
Sineokiy O.V. Bit dvukh tsivilizatsiy : Caga o pravovoy gramzapisi pop-muzyki do i posle gibeli mirovoy sistemy sotsializma / O.V. Sineokiy; [P. Yan'yatovich (Belgrad, Serbiya), Y. Razh i M. Chimera (Bratislava, Slovakiya) – predislovie, I. Kupriyanov (Moskva, Rossiya) – posleslovie]; pod. red. A.V. Galina. – M. : Izd-vo IP Galin A.V., 2012. – 520 s..
Shchepilov S.A. Perspektivy elektronnogo formirovaniya zvukov / S.A. Shchepilov, R. Mug // Music Box. –

Abstract: The article deals with the historical and cultural aspects of development in the plane philophonia collecting records and other musical audionositeley. The issue of research into the causes and conditions of formation and development in the socio-cultural philophonia communications under socialism is an actual scientific problem. Accordingly, the subject of the publication are the social and communicative aspects of collecting, the collecting of artifacts music recording activities in the recreational area of leisure culture. The purpose of the study is to examine the social infrastructure philophonia and its cultural and recreational functions. The methodological basis of the article is a systematic method, because the study is based on a synthesis of different perspectives in the social sciences and humanities to the phenomenon of philophonia. The author concludes that the introduction of the category "philophonia" will transform not only the theory of culture, communicative science: the typology of mass communication in the field of leisure is impossible without taking into account the experience of the creation of audio-visual collections. The particular attention is paid to the analysis of infrastructure like philophonia sociocommunicative phenomenon under socialism. This publication is characterized recreational function philophonia in leisure cultural space. The hypothesis according to which philophonia is a unique institution of social and cultural communication.

Keywords: Disc, Records, Vinyl, Collector, Collection, Sound Recording, Philophonia, Meloman, Leisure, Mass Culture

References:
Sineokiy O.V. Fenomen disko-kommunikatsii: sotsial'no-ekonomicheskaya priroda, psikhologicheskiy mekhanizm, politiko-geograficheskaya struktura, informatsionno-pravovye trendy / O.V. Sineokiy // Teoreticheskaya i prikladnaya ekonomika.-2012.-№1.-C. 154-293. URL: http://www.e-notabene.ru/etc/article_481.html.
Kalanov N.A. Adresnaya kniga kollektsionerov: [spravochnik] / [N.A. Kalanov, V.A. Novikov – avt.-sost.]. – M. : Kul'tura, 1992. – 172, [4] s.
Ponomarev S. Priglashaet «Filofonist» / S. Ponomarev // Melodiya. – 1989. – № 4. – S. 63–64.
Kachinskiy A.I. Tematicheskoe kollektsionirovanie / A.I. Kachinskiy; Vsesoyuzn. filatel. ob-vo. – M. : TsRIA, Soyuzpechat', 1969. – 62 s.
Korepanova I.A. Kollektsionirovanie – fenomen kul'turnyy i psikhologicheskiy / I.A. Korepanova, E.A. Zhurkova // Kul'turno-istoricheskaya psikhologiya. – 2007. – № 4. – C. 32–38.
Saverkina I.V. Istoriya chastnogo kollektsionirovaniya v Rossii: [ucheb.posob.] / I.V. Saverkina. – SPb. : SPBGUKI, 2004. – 208 s.
Il'in V.I. Igra kak sotsial'noe povedenie / V.I. Il'i

Abstract: The subject matter of the research is the popular soldier's song "Rise, Falcons, like Eagles". The purpose of work is: to track song history from the moment of its first emergence, the first public execution, the first publication. Result of work - updating of the facts of its first execution in the thirties the XIX century, in 1934, during Kalishsky maneuvers, instead of in the period of Patriotic war of 1812. Results of work can be used in preparation for the publication of song collections. Scope of results - the soldier's song, military history, preservation of a cultural heritage, song art, history of the Russian people in a context of studying of song art. Research method - search and studying of all mentions of a song in printing sources, audiovisual executions. Studying of existing song soldier's collections in Russian and foreign languages. The chronological order and support on historically established facts is observed. Conclusions: The ancient soldier's front song "Rise, Falcons, Eagles" is the most favourite and popular among the military personnel. The song has the rich history connected with heroism of the Russian people during wars. Various versions of the song with confidence allow to indicate the width of creative searches of soldier's authors.The song is actual and for modern creative specialists was a reason for television movie creation.

Keywords: soldier's song, alliance with Prussia, Kalishsky maneuvers,, Great Patriotic War, military history, cultural heritage, Camp, choral singing, Russian tzar, Prussian king

References:
Muzykal'naya entsiklopediya: v 6 t. / gl. red. Yu. V. Keldysh. – Sovetskaya entsiklopediya: Sovetskiy kompozitor. 173-1982.
Riman G. Muzykal'nyy slovar'. M.: Izd-vo P. Yurgensona. 1896.
Voennyy entsiklopedicheskiy leksikon. SPb.: Tip. shtaba voennykh vuzov, 1853.
Voennaya entsiklopediya: V 8 t. M.: Voennoe izdatel'stvo. 2001.
Mantulin V. N. Pesennik rossiyskogo voina. SPb. Russkaya lira. 2004.
Vessel' N. Kh., Al'brekht V. K. Sbornik soldatskikh, kazatskikh i matrosskikh pesen» S-Pb. 1875.
Egorov P. F. Sbornike izbrannykh pesen dlya soldatskogo khorovogo peniya. Ekaterinoslav. 1893.
Popov G. M. Boevye pesni russkogo soldata. SPb. izd. V. Berezovskogo V. 1893.
Popov. G. M. Sbornik boevykh, bytovykh i plyasovykh soldatskikh pesen v 2-kh chastyakh». Khar'kov. 1888.
Zhurnal prebyvaniya E. I. V. v g. Kalishe v avguste-sentyabre 1835 g. (ONIR RGB. F. 68. Op. 1. D. 17. L. 75-76.).
Sbornik russkikh, kazach'ikh, voennykh i istoricheskikh pesen dlya Donskogo kadetskogo korpusa (prim. 1880-e).
Voennyy dosug. SPb. Tsimmerman. 1912.
De

Abstract: Using methods of audiovisual anthropology, comparative art review and historicism, the authors conducted a compehensive study of the morphology of traditional Belarussian musical instrument - Duda (Belarussian bagpipe)  - in the northern part of Belarus. As a result of studying archive documentary films produced in the territory of Belarus during the summer of 1939, the authors managed to define different types of Duda and geographical range of expansion of this instrument in the territory of Belarus between the two wars. 

Keywords: representation of documentary films, Duda folk tunes, music culture, documentary film materials, Belorussian bagpipe, Duda, audiovisual anthropology, northern part of Belarus, camera news 'Soviet Art', ethnocultural identity

References:
Bez-Kornilovich, M.O. Istoricheskie svedeniya o primechatel'nykh mestakh v Belorussii: spravochnoe izdanie faksimil'nogo tipa / M.O. Bez-Kornilovich. – Minsk : Alvit, 1995. – 320 s.
Lazhechnikov, I.I. Ledyanoy dom : roman / I.I. Lazhechnikov, [vstup. st. N.N.Petrushinoy, primech. E.M.Shub, khudozh. V.I.Sytchenko]. – Minsk : Nar. asveta, 1985. – 230 s.
Morgenshtern, U. Istoriya volynki i sovremennaya volynochnaya mifologiya (inogda koza – eto prosto koza) / U. Morgenshtern // Aўtentychny fal'klor: prablemy zakhavannya, vyvuchennya, usprymannya: zbornіk navukovykh prats udzel'nіkaў VI Mіzhnarodnay navukova-praktychnay kanferentsyі (Mіnsk, 27-29 krasavіka 2012g.) / BDUKM ; redkal.: Mazheyka M.A. (adk. red.) [і іnsh.]. – Mіnsk : BDUKM, 2012. – S. 10 – 15.
Nazіna, І.D. Belaruskіya narodnyya muzychnyya іnstrumenty / І.D.Nazіna.– Mіnsk, 1997. – 239 s.
Pesnі і tantsy belaruskaga naroda // Kinozhurnal «Sovetskoe iskusstvo», 1939. – №7.
Remіsheўskі, K. Tradytsyynaya kul'tura belarusaў u kіnaletapіse 1930-kh gadoў / K. Remіsheўskі //Aўtentychny fal'klor:

Abstract: The author of the article views the history of gramophone recording in the countries of Central and South-Eastern Europe at the second half of XX century. The 'Era of Democrates' lasted for 30 years from 1945 to 1995 and was a unique phenomenon in Russian music. Even though the period is officially over, the topic is still interesting and important due to the fact that it still lacks thorough researches. The author of the article presents a conceptual model of the institution of gramophone recording as a specific social and communication phenomenon and describes its place in the system of mass communication. Special attention is paid to legal and communicative features of the development of gramophone recording of pop- and rock-music in the 'Eastern block' countries during socialism. 

Keywords: East Germany, Czechoslovakia, Romania, Bulgaria, Yugoslavia, label, rock-music, gramophone recording, Hungary, Poland

References:
PGP-RTB // Wikipedia [Elektronnyy resurs]. – Rezhim dostupa: http://en.wikipedia.org/wiki/PGP-RTB.
Radio Televisionof Serbia // Wikipedia [Elektronnyy resurs]. – Rezhim dostupa: http://en.wikipedia.org/wiki/Radio_Television_of_Serbia.
Založbakasetinplošč RTV Ljubljana // Wikipedia [Elektronnyy resurs].– Rezhim dostupa: http://en.wikipedia.org/wiki/Založba_kaset_in_plošč_RTV_Ljubljana.
Gaevskiy A.Yu. Rok Vostochnoy Evropy. Entsiklopedicheskiy spravochnik. / A.Yu. Gaevskiy – Vypusk 1. – M. : Izd-vo IP Galin A.V., 2009. – S.415.
Vodstvo zavoda // RTVSlo [Elektronnyy resurs]. – Rezhim dostupa:www.rtvslo.si/ortv/.
Jugodisk // Wikipedia [Elektronnyy resurs]. – Rezhim dostupa: http://en.wikipedia.org/wiki/Jugodisk.
Beograd Disk // Labels [Elektronnyy resurs]. – Rezhim dostupa:http://rateyourmusic.com/label/beograd_disk/3.
Beograd Disk // Discogs [Elektronnyy resurs]. – Rezhim dostupa:www.discogs.com/label/Beograd+Disk.
State Labels of Central Europe (1960-1990) // Europopmusi

Abstract: The article is devoted to the process of formation of classic music from the Middle Ages when it was seen as the 'sound cosmos' connecting human with God to the theory of music of our times. The appearance of so called Modern European Personality played an importat role in that process. The Modern European man seeked new ways to realize his desires and emotions. When studying the latter, the author analyzed the two interdependent spheres of human life, artificial (activity) and natural, in particular, emotional experience. The author offers his own theory of 'psychic realities' as well as the teaching about signs and schemes. At the end of the article the author concludes that classic music and certain qualities of Modern Human have being formed simultaneously. Noteworthy that formation of classic music was a necessary condition for formation of Modern European Personality and on the contrary, modern personal qualities created the grounds for formation of classic music. 

Keywords: music, personality, theory, inclination, scheme, sign, activity, emotional experience, realization, proof

References:
Konen V. Teatr i simfoniya. M., 1968.
Mazel' L. Problemy klassicheskoy garmonii. M., 1972. S. 61, 62.
Tam zhe. S. 119-121.
Kurt E. Romanticheskaya garmoniya i ee krizis v «Tristane» Vagnera. M., 1983. S. 27.
Asaf'ev. Muzykal'naya forma kak protsess. L., 1971. S. 217.
Kurt E. Romanticheskaya garmoniya…S. 41.
Tam zhe. S. 41.
Asaf'ev. Tsit. soch. S. 237.
Tam zhe. S. 358, 359.
Kurt E. Romanticheskaya garmoniya… S. 49.
Asaf'ev. Tsit. soch. S. 212.
Tam zhe. S. 262, 357.
Tam zhe. S. 54.
Garmoniya // Muzykal'naya entsiklopediya – Opera, 2008 (http://www.music-dic.ru/html-music-enc/g/1988.html)
Melodiya // Muzykal'naya entsiklopediya – Opera, 2008 (http://www.music-dic.ru/html-music-enc/m/4961.html)
Bychkov Yu.N. Iz istorii ucheniy o lade i garmonii. Lektsiya po kursu "Istoriya muzykal'no-teoreticheskikh sistem". M., 1993. Str. 16
Tam zhe. S. 17.
Khoral // Muzykal'naya entsiklopediya.
Avgustin Avreliy Ispoved'. M., 1992. S. 209.
Piko della Mirandola Dzh. Rech' o dostoinstve cheloveka // Istoriya estetiki. M.

Abstract: The article is devoted to Aprelevsk Factory of Gramophone Disks as the central element of the Soviet sound-recording industry. The author of the present article does not claim to provide a full analysis of all aspects of creating a gramophone record of rock music. At the same time, the author of the article views the most typical features of gramophone recording under the conditions of socialism. he analyzes the main stages of development of Aprelevsk Factory and some other factors of the Melodia Company. Special attention is paid at informative, legal and socio-communicative peculiarities of recording pop- and rock music in the USSR. 
The author of the article would like to acknowledge all authors (including unknown Internet users) who participated in the research and whose expressions or writings lie at the root of this article. The article contains references to all expressoins or writings and the author of the article does not claim to be the author of these quotations or studies. At the same time, he has reviewed, extended and developed these ideas.
The present article does not cover all music bands, disks, compact disks or record labels. However, the author hopes that his article will be able to fill in the gaps and reveal a few secrets of gramophone recording. All the singers, names of their albums and compositions are first given in their native language and only then translated into Russian.
Based on the results of his research the author of the article offers a hypothesis bout music recording being a unique tool of social communication.

Keywords: Melodia Company, Aprelevsk factory, gramophone record, gramophone disk, vinil, studio, rock music, collectors, rarity, catalogue

References:
Kozyurenko Yu. Novaya sistema zapisi / Yu. Kozyurenko // Melodiya. – 1990. – №3. – S. 49.
Katalog gramplastinok (mono i stereo) na 1985 g. // Aprelevskaya baza, Rosposyltorg Ministerstva torgovli RSFSR. – Ivanovo, 1985. – 143, [1] s.
Sukhorado V.V. Pyat' let raboty. Itogi i perspektivy / V. V. Sukhorado // Melodiya. – 1986. – №1. – S. 8-11.
Konkursy firmy «Melodiya» // Melodiya. – 1984. – №2. – S. 33.
Korsakov D. «Melodiya» – shou / D. Korsakov // Melodiya. – 1989. – №2. – S. 43-44.
«Melodiya» otvechaet // Melodiya. – 1981. – №3. – S. 79.
«Melodiya» otvechaet // Melodiya. – 1980. – №3. – S. 50-51.
Nazarov V. Torgovlya – eto ne tak prosto / V. Nazarov // Lyubitelyam gramplastinki. – Vyp. 1. – M., 1970. – S. 77-80.
Epokha 80-kh // Hits80.ru [Elektronnyy resurs]. – Rezhim dostupa: http://www.hits80.ru/music-zip/anonce/408/index.shtml.
Ukhov D. Ch'ya eto muzyka? / D. Ukhov // Ezhenedel'nyy Zhurnal. – 10 fevralya 2003. – №56.
Postanovlenie Plenuma Verkhovnogo Suda RF ot 26 aprelya 2007 g. №14 «O praktike rassmotreniya sud

Abstract: This article presents a study of one of the most outstanding and mysterious guitarists of the second half of the twentieth century -- Tommy Bolin. Particular attention is paid to the communicative requirements of becoming a guitarist in the music business. The analysis of his life story in rock still generates many versions of his early demise. The author considers the unexpected version of 'branding error' to be one of the circumstances that indirectly, on a psychological level, became the cause of the guitarist's growing drug addiction. In addition, the article presents a detailed overview of many recorded rarities featuring Tommy Bolin, including illegally manufactured domestic 'pirate' recordings. Given the current situation in high-tech developments, the music industry has seen better days, and its future requires a new platform that will allow the building of a healthy relationship between audiences and musicians. In this regard, the article touches upon the legal issues of reproducing phonographic releases in digital format.

Keywords: Tommy Bolin, Deep Purple, guitarist, label, recording, record, CD, concert, rock music

References:
Sineokiy, O.V. Bit dvukh tsivilizatsiy : Caga o pravovoy gramzapisi pop-muzyki do i posle gibeli mirovoy sistemy sotsializma / O.V. Sineokiy ; [Petar Yanyatovich (g. Belgrad, Serbiya), Yozef Razh i Mikhal Chimera (g. Bratislava, Slovakiya) – predislovie, Igor' Kupriyanov (g. Moskva, Rossiya) – posleslovie] ; pod. red. A.V. Galina. – Vyp. 3. – M. : Izd-vo IP Galin A.V., 2012. – S. 265. (Ceriya «Rok Vostochnoy Evropy»)
Kozlov, M. Glenn Hughes v Bronkse / Maksim Kozlov // Jazz kvadrat. – 2008. – №3 (75). – S. 78.
Russell Bizzett – Tribute To Tommy Bolin CD // SD Universe / [Elektronnyy resurs]. – Rezhim dostupa: www.cduniverse.com/productinfo.asp?pid=7537229.
Pis'mo iz proshlogo: Mister Bolin’s Late Night Revival «What If...» // Long Live Rock’n’roll & Heavy Metal Never Die!!! ot 7 yanvarya 2011 g. / [Elektronnyy resurs]. – Rezhim dostupa: http://cddvdreview.blogspot.com/2011/01/mister-bolins-late-night-revival-what.html.
Eving, D. Novye geroi fioletovoy ery / Dzherri Eving // Classic Rock. – 2003. – №5 (21). – S. 47-52.<

Abstract: The article gives a general description of the laws of existence and perception of classical music in a modern civilized environment and everyday life. The article deals wit particular functions of classical music indicated as a substitute for "empty" time, as a background in the process of working and different contexts of "live" communication. Classical music creates the illusion of harmony and aesthetic attraction of the surrounding world, everyday activities and social relationships. Furthermore classical music helps to eliminate the borders between distant historical epochs and brings the sense of the spiritual pithiness and consequence in monotonous operations. Also the article discusses the role of classical music in the structure of personal technical communication, namely virtual musical postcards and ringtones of mobile phones. By using classical melodies in this kind of communication, person can create one’s winning social and cultural image. However, the opposite trend is related to emotionally detached and full of irony treatment of the classics, when it’s involved in the process of interpersonal communication as a joke, surprise or shocking. 

Keywords: social behavior, entertainment, everyday life, sound sources, soundscape, background music, classic music, communication, mobile phone, ringtone

References:
Adorno T. Izbrannoe: Sotsiologiya muzyki. M., 2008.
Byukher K. Rabota i ritm. M., 1923.
Gol'dvarg I.A. Muzyka na proizvodstve. Perm', 1971.
Gol'dvarg I.A. Funktsional'naya muzyka. Perm', 1968.
Dukov E. Slushatel' v mire muzyki s kul'turno-istoricheskoy tochki zreniya // Voprosy sotsiologii muzyki. Sb. trudov. M., 1990. V. 3.
Dukov E.V. Sovremennye tsivilizatsionnye trendy i krakh massovoy kul'tury // Ot massovoy kul'tury k kul'ture individual'nykh mirov: novaya paradigma tsivilizatsii. M., 1998.
Levi M. Muzyka dlya zhizni. Funktsional'naya muzyka kak yavlenie sovremennoy kul'tury – sravnitel'nyy analiz zarubezhnogo i otechestvennogo opyta // http://www.levi.ru
Lobanova M.N. Zapadnoevropeyskoe muzykal'noe barokko: problemy estetiki i poetiki. M., 1994.
Mikhaylov A.V. Poetika barokko: zavershenie ritoricheskoy epokhi // Yazyki kul'tury. Uchebnoe posobie po kul'turologii. M., 1997.
Ogarkova N.A. Tseremonii, prazdnestva, muzyka russkogo dvora XVIII – XIX veka. SPb., 2004
Povileyko R.P. Funktsional'naya muzyka. Sverdl

Abstract: The work purpose – analysis of the organizing principles underlying the musical parody. The main question – to consider the general mechanisms of the parody, the concrete musical means leading to its formation, and also its general functions in musical art.The basic principle of the parody consists in the structural-semantic inversion of the initial text forming its image overturned in the semantic relation. Parody reconsideration of the original usually occurs at the expense of parallel action of the intra text and intertext relations: a certain mutual coordination of the parody text elements, and also "comparison" of this text with the parodied original.Thus the concrete embodiment of inversion can be connected, first, with a certain immanent organization of the musical text structure, secondly – with its extra musical semantic sphere (in musical and theatrical works, vocal music). On concrete examples the main receptions of the parody in music – deformation and agglutination - are considered. At last, functions of the musical parody in a historical and cultural context are separately shown. In particular, the principle of parody inversion is opposed to the idealization and mythologization phenomena accompanying each other in development of culture. Work can be interesting to culturologists, critics, and also everything who is interested in problems of a musical art theory and history.

Keywords: parody, music, inversion, agglutination, deformation, hyperbole, semantics, text, culture, art history

References:
Parodies: An Anthology from Chaucer to Beerbohm. N.Y., 1960. 574 r.
Tsuker A. Osobennosti muzykal'nogo groteska // Tsuker A. Edinyy mir muzyki: Izbrannye stat'i. Rostov-na-Donu, 2003. S. 14-26.
Zhirmunskiy V. Vvedenie v literaturovedenie. M., 2009. 464 s.
P'ege-Gro N. Vvedenie v teoriyu intertekstual'nosti. M., 2008. 240 s.
Tynyanov Yu. Dostoevskiy i Gogol' (k teorii parodii) // Poetika. Istoriya literatury. Kino. M., 1977. S. 285-311.
Freydenberg O. O proiskhozhdenii parodii // Uchenye zapiski Tartuskogo universiteta: Vyp. 308: Trudy po znakovym sistemam: Vyp. 6. Tartu, 1973. s. 490-497.
Darkevich V. Narodnaya kul'tura Srednevekov'ya: Parodiya v literature i iskusstve IX-XVI vv. M., 2004. 328 s.
Vinogradov V. Stil' Pushkina. M., 1941. 620 s.
Bonfel'd M. Parodiya v muzyke venskikh klassikov // Sovetskaya muzyka. 1977, №5. S. 99-102.
Bakhtin M. Problemy poetiki Dostoevskogo. M., 1972. 471 s.

Abstract: Piano music composed by Kazimierz Serocki and Bogusław Schaeffer includes highly original composition in the aesthetics of polish sonoristics and aleatorics. This composers created his own avant-garde piano stylistics. The main features of the works by polish composers of 1960 – 1970 are the stylistic synthesis and the interest to avant-garde techniques.

Keywords: Polish music, XX century, piano music compositions, Kazimierz Serocki, music avant-garde, sonoristics, aleatorics, Bogusław Schaeffer

References:
Vitol'd Lyutoslavskiy. Besedy Iriny Nikol'skoy s Vitol'dom Lyutoslavskim. Stat'i, vospominaniya. M.: 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.
Chomiński J.M. Historia 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, № 20.
Zieliński T.A. «A piacere» Kazimierza Serockiego // Ruch muzyczny. 1963, № 22.
Zieliński T.A. O twórczości Kazimierza Serockiego / Muzyka polska w dokumentacjach i interpretacjach. Kraków: PWM, 1985.