Review: The article considers the structure and dramaturgy of the Christmas Festive Triptych by archimandrite Matthew (Mormyl). The author notes the liturgic substantiation of the Triptych’s structure. The research subject is the pitch organization and timbre dramaturgy of the composition justified by the liturgic concept of Father Matthew. In the author’s opinion, in part I of the Triptych, the modally colored mode prevails combined with the high sonority of the choir. Part II is based on the classic functional mode and strong sonorousness of the choir. Part III is vernacular polyphony. The author applies the functional method and takes into account the P.I. Tchaikovsky’s concept of ‘all-stageness’, developed by A.N. Myasoyedov. When considering the vernacular polyphony, the author notes its typological relationship with the rules of composition of the later Renaissance studied by the representatives of Yu. N. Kholopov’s scientific school. The timber aspect of the Triptych is described in compliance with N.G. Denisov’s concept developed within the structural-typological method. The author also uses the method of graphic representation of the polyphony introduced in folklore studies by E. A. Linyova. The scientific novelty of the article is determined by several factors. The author is the first to study the pitch and timber aspects of the Christmas Triptych; the analytical methodology by Yu. N. Kholopov is for the first time applied to the liturgic material.; the music logic of archimandrite Matthew is represented as a phenomenon mediated by his theological views. The author concludes that archimandrite Matthew created the Christmas Festive Triptych not only as an offering to the two thousandth anniversary of the Nativity of Christ, but also as an opportunity to give his pastor’s message about this key event of the sacred history. 
 

Keywords: tonal functions, timbre dramaturgy, variability, tonal status, Triptych, Christmas, archimandrite Matthew, polyphony, statutory tune, harmonization

Review: The object of research in this article is a separate branch of music theatre - the English Savoy operas. These are predominantly comic operas by W.S. Gilbert and A. Sullivan. Having the traits of a ballad opera, operetta and musical, they combine music and performing techniques typical for these forms of performance. These plays were immensely popular both abroad and in Russia where 177 performances had been put on from 1877 till 1998. Consequently, Gilbert’s and Sullivan’s theatre, summing the achievements of its predecessors, at the same time contributed original traits to the further development of music theatre; it raised operetta to a much higher layer and became a starting point for new genres. 
Specific and severe requirements were imposed by the composers on the artists. The purpose of the research is to study the peculiarities of the performing style of operettas by Gilbert and Sullivan. The scientific value of the materials of the article consists in the accentuation of an original aspect of the research - the Savoy opera performing style, the generalization of sketchy data on this problem, the introduction of new sources. The conceptual elements of compositions, which are the core of a theatre-music image, take on special value. It is a dramaturgic component that determines vocal implementation, influences the attitude to diction and phrasing, and the plastic pattern of the role.
The materials of the article have methodical importance for the modern performers playing in operettas and popular musicals. 
 

Keywords: acting, musical theater, mass art, performing style, Savoy Opera, Gilbert and Sullivan, operetta, stage image, vocal technique, English music

Review: The subject of research in this article is jazz historiography formation source - sound recording. The importance of sound recording for the evolution and the study of jazz can hardly be overestimated. It is much more significant than in the case of any other kind of music art. Sound recording is the main resource of jazz heritage of a great scientific value. This is the most typical opinion of researchers of jazz. However, the development of jazzology has begotten the scientific opinions raising the questions about reevaluation of the role of sound recording. The research method is the analysis of  various scientific views on this problem which helps understand the specificity of jazz sound recording. The author considers the opinions of such researchers as G. Schuller, J. Rasula, E. Clarke, M. Butterfield, A. Batashev. This list of names shows that there’s only one Russian researcher of the problem on it. The scientific novelty of the research consists in the fact that the author considers a poorly studied topic. The research has revealed the presence of contradictory scientific views which should be studied in order for the truth to be established. 
 

Keywords: Matthew Butterfield, Eric Clarke, Jed Rasula, phonogram, sound recording, pop music, jazz, Evan Eisenberg, Gunter Schuller, Alexey Batashev

Review: The article studies music novations in Aristotle’s philosophy. The object of research is Aristotle’s philosophical and aesthetical views. The research subject is music novations in Aristotle’s philosophy. The purpose of the research is to detect music novations in Aristotle’s philosophy. To achieve this purpose, the author performs the following tasks: to study Aristotle’s essays and to define his philosophic and aesthetical attitude to music resulting in music novations which had appeared in his philosophy. The author gives attention to Aristotle’s theoretical views on music art. The main research methods are the analytical and hermeneutical ones. The article contains the analysis of the main ideas about music in Aristotle’s essays and characterizes music innovations typical for his aesthetics. The author concludes that Aristotle’s philosophy and aesthetics contain the following novations: a music composition is the key jewel of a tragedy, one of its components; music is divided into practical and theoretical (music art and music science); the “composer-performer” system appears in which a composer is the author of the music, and a performer is the one who plays or teaches the music; the formation of a comprehensive concept of a piece of music; music is a melodic and harmonic reflection of life and an expression of spiritual and moral values and properties of humanity. 
 

Keywords: theoretical music, antiquity, performer, composer, musical composition, aesthetics, philosophy, musical innovation, Aristotle, practical music

Review: The article studies the methods (instructions, guidelines, teachings, questionnaires, and other similar documents) of collecting folk music in the context of formation and development of Russian ethno-musicology. The author focuses on the examination of sources of a wide chronological range, and the early stage of science - from the first third of the 19th century till the turn of the 20th century. Documents are considered as specific guidelines containing purposes, tasks and the basic principles of folklore recording. The author is the first to study the methods of collecting folklore within historiographic approach with the use of the methods of comparative-historical and typological analysis. The scientific novelty of the research consists in the introduction of new documentary sources; in the detection of historic dynamics of the approaches to collecting music folklore in Russian tradition; in the generalization of the results of scientific and instructional guidelines in the field research practice including ethno-notation.

Keywords: tune, song, folk music, musical folklore, methodological guidelines, interview guides, questionnaire, ethnomusicology, music theory, ethnic notation