Review: The research subject is the usage of wind instruments in the scores of D.S. Bortniansky of the 1780s. The research object is the creative work of Bortniansky in the context of settlement of musical classicism in Russia and the interest in the galant style esthetics among the aristocratic circles. The authors consider the peculiarities of the galant style and the techniques of the composer’s orchestra scores. The authors analyze the instrumental composition of the scores and the manner of usage of each instrument of the wind group (in the scores under study, they are flutes, hoboys, clarinets, fagotts and French horns). The authors use the historical method revealing esthetic and style peculiarities of the epoch under study; the analytical method helping to study the role and the character of usage of wind instruments by the composer; the music-theoretical method connected with the issues of instrumentation. The research conclusions are: 1) creating the compositions of the galant style, the composer marks lyric and expressive characteristics of timbres of wind instruments, while their technical characteristics are irrelevant for Bortniansky; 2) wind instruments come to the fore in the moments of performing the affects of grief, sadness and contemplation, which  corresponds with the topos of gallantry and pastorale; 3) referring to the pair composition of a symphonic orchestra, Bortniansky strives to differentiate its composition breaking the speech into ensemble groups thus individualising the music fabric. 
 

Keywords: instrumentation, score, opera, brass, gallant style, musical classicism, composer Bortnyansky, Russian music, eighteenth century, pastoral

Review: A single-action pedal harp - harpe organisee - was created in 1720. The research subject in the article is its history, parts and speech peculiarities. The aim of the research is to theoretically reveal the specificity of playing a single-action pedal harp in the middle of the 18th century, when the first attempts were made to formulate the principles of harp pedagogics. Theoretical significance is proved by the characteristics of the terms “a single-action pedal harp”, “European music”, “the parts of a harp”, “a harp’s speech peculiarities” in the context of the history of philosophical and the study of art knowledge and the scientific methodology.
The practical importance is proved by the fact that the acquired results give the opportunity to broadly understand the role of a single-action pedal harp, trace back the correlation between harp technique with performing practice of the 18th century, define the place of harp within a system of the philosophy of culture and art of the 21st century. 
The research methodology is defined by the aim and tasks of the study and the uniqueness of the material under study. It is based on the method of analytical study of sources clarifying the logic and the idea of a single-action pedal harp; and the method of comparative analysis. The scientific novelty is defined by the very problem statement and proved by the fact that the author adds new facts about a single-action pedal harp to the Russian musicology, which helps to see the problems of its history, parts and speech peculiarities in a new perspective. The result of the research - the historical processes in harp performance and the specifics of a single-action pedal harp - is the topical scientific problem. Its solution would lead to better understanding of historic performance and dominants of meaning in harp music in the European civilization. 
 

Keywords: strings, tracts, playing the harp, repertoire, performance, music, art, Single action harp, sounds, instrumental masters