Review: The research subject is a monumental semi-orchestral composition created by an outstanding Russian composer of the late 20th century Boris Tischenko “Requiem” with lyrics by A. Akhmatova. A funeral service over Akhmatova was read at the church of St. Nicholas Naval Cathedral in Leningrad on March 10, 1966. The score of the “Requiem” was finished on August 16, 1966. Thus, the composition with the lyrics by Akhmatova has become a tribute to her, a musical offering, and even the first monument not built with hands. The author gives special attention to the symphonic form of the “Requiem”, differences in the interpretations of the poetic theme in the works of Tischenko and Akhmatova, the role of the symphonic orchestra and the leading singers; the author also considers an important issue of a high-quality performance of the hardest scores created by Tischenko. The main conclusion of the research is the fact that Tischenko’s “Requiem” has become an important element in the process of renovation of Russian symphonic style of the 1960s - the 1970s. As a composition, written in a modern language, it has become one of the drivers of this renovation. As such, the composition is a vocal symphony, and the composer develops the symphonic form step-by-step. The scientific novelty of the research consists in the fact that it is the first work in Russian musicology to consider Tischenko’s “Requiem” in detail, to reveal the contensive aspect of the composition, and to analyze the difficulties of performing the composition. The author reasonably reckons the symphonic composition by Tischenko among the most significant pieces in the history of Russian music. 
 

Keywords: Symphony orchestra, tenor, soprano, Symphony, Requiem, Dmitry Shostakovich, Anna Akhmatova, Boris Tishchenko, poetry, drama

Review: Jazz is the first type of music art the earliest stage of development of which had been recorded. A single play recorded in 1917 by the quintet Original Dixieland “Jass” Band from New Orleans is known in history as the first jazz record. There’s a perception in the academic community that the musical material on this record can hardly be considered as a typical representative of jazz music of that period. The music was performed by the white musicians, though most first jazz bands were black, and the music was far from a real solo improvisation. However, it was not typical in the first place because it had been recorded. The research subject of the article is the influence of sound recording technology on jazz culture at the stage of its foundation.
In those years, if jazz musicians wanted to make a recording they had to bear in mind numerous peculiarities of sound recording technology. The author gives special attention to the analysis of the consequences of reproducibility of a recording for jazz musicians, and for the audience’s perception. As a research methodology, the author uses the comprehensive approach which includes the study of historical sources and jazz musicians’ memoirs related to the sound recording industry. The research proves that audio recordings are not sufficient as a source for critical research of the first jazz gramophone record, and suggests alternative approaches to its interpretation. 
 

Keywords: Henry Ragas, Nick LaRocca, ODJB, phonogram, sound recording, pop music, jazz, Larry Shields, Edwin Edwards, Tony Sbarbaro

Keywords: Taneev, cantata, musical semantics, Khomyakov, Christianity, allegory, symbol, metaphor, microcosm, macrocosm

Keywords: Wilhelm Mueller, Ludwig Berger, romanticism, Schubert vocal cycles, leaderspiel, the Berlin song school, circle of songs, symbolism, German Lied, The Lovely Maid of the Mill

Keywords: Russian music, modern music, Boris Tchaikovsky, symphony, symphonic music, symphonic work, orchestra, timbre, orchestral aspect, orchestral techniques

Keywords: ballerina, dancer, theater, XVIII - XXI century, Italy, Russia, ballet, intercultural dialogue, art, Saint-Petersburg

Keywords: opera comique, academic vocals, romantic irony, deconstruction, interpretation, Tales of Hoffman, Offenbach, musical theater, opera lyrique, musical hermeneutics

Keywords: folklore archive, folklore genres, Russian North, local traditions, musical epos, ballads, spiritual verses, memorial chants, Novgorod folklore, folk songs