Abstract: The article proposes the term «new dilettantism», which defines one of the dominant strategies in music of recent decades: it manifests itself in the use of average, commonly used, predicable intonations, the poetics of the insignificant, the preference for the slow and quiet over the fast and loud, the idea of an «imperfect opus», and finally, in the erosion boundaries between «professional» and «non-professional». «New dilettantism» is one of the facets of musical metamodernism – a direction that offers simplicity instead of complexity, work with «banal» material instead of searching an individual composer’s language, semantic oscillation instead of technical centrism. In the broad sense, the field of «new dilettantism» can include such phenomena as the music and views of Morton Feldman, who openly criticized complex music, the Wandelweiser group, which introduced quiet sonorities into academic music, not held together by a formal idea, as well as radically simplified works of Russian composers Sergei Zagniy and Kirill Shirokov in their own language. To derive general patterns that allow us to talk about new amateurism, the cultural-historical method and the method of holistic analysis are used: each of the mentioned works is considered in the broadest cultural context.The main conclusions of the study are the following: the trends of metamodern art of recent decades allow us to speak of “new amateurism” (new dilettantism), as the most important creative strategy; “new amateurism” (new dilettantism), in the broadest sense is opposed to the “technocentrism” characteristic of music in the second half of the twentieth century; works of the “new amateurism” appeal to “childish”, “weak” and “banal” material, contrasting it with the “well-developed”, “complex”, “perfect” material of the era of the second avant-garde.

Keywords: Shirokov, Zagny, Feldman, imperfect opus, poetics of the insignificant, weak style, new dilettantism, metamodern, banal material, new music

Abstract: Modern music research methods used for the analysis of the cantata "Now Always Snow" requires specific approaches to studying its external (formal) and internal (textural) structures. This paper proposes another approach to the analysis of "Now Always Snow" based on Helmut Lachenmann's classification of sound types for a holistic view on both imagery and content aspects of the composition. Lachenmann's system has been used to analyse the cantata's movements in terms of form making and dramaturgical development closely associated with the visual semantics of its means of musical expression. This paper presents a method to analyse sound structures used by S. Gubaidulina to describe a range of images in the poetry of G. Aigi, including Barthes's perception of modern literature, in which a new concept fraught with multi-dimensional meanings. Barthes's concept is used to analyse basic poetic universals of G. Aigi congruent with philosophic universals of S. Gubaidulina reflected in the cantata. Its analysis reveals the logic behind the interaction of sonorities, which can be classified into the fluctuation, texture, structure and colour sound types, according to H. Lachenmann. Apart from sound characteristics, each sonority is associated with certain images and meanings ranging from a landscape with calm snowing to an almost apocalyptic blizzard and escaping into a symbolic space in which textural means are used to depict the cross and a way for man to overcome his sinful nature. This analysis of the Cantata "Now Always Snow" has detailed the dramaturgical development and form making of the cantata's movements and musical means that S. Gubaidulina applied to the poetry of G. Aigi. The main conclusion is that the composer's vision of the cantata combines the power of imagination with strict form-making principles.

Keywords: timbre sound, structural sound, textured sound, fluctuating sound, Gennadij Aigi, Helmut Lachenmann, Sofia Gubaidulina, sound types, poetry, music

Abstract: The subject of the study are works for voice and piano, which are part of the collection "Voices of the Motherland", published following the results of the All-Russian creative competition of composers and poets for composing a patriotic song. The object of the study is the military-patriotic repertoire of the XX–XXI centuries. Special attention is paid to the issues of professional mastery of the skills of careful piano accompaniment by future military brass band conductors, namely: reading sheet music, feeling the balance between soloist and accompanist, understanding dynamic, articulatory, dramatic tasks, overcoming pianistic difficulties. Addressing the topic of military-patriotic songs by modern authors is becoming particularly relevant in our time, supporting the strength of the spirit of military personnel and civilians, preserving spiritual and moral values and contributing to the musical and aesthetic education of Russian citizens. The novelty of the research lies in the study of a new military-patriotic repertoire in the context of the development of piano accompaniment skills by future conductors of a military brass band. The studied methodological works of the luminaries of the national school of pianism, devoted to the problems of working in the accompaniment class, were used as a theoretical basis used in the analysis of the works of modern composers who compiled the collection "Voices of the Motherland". The updated repertoire created over the past few years, which included military songs by modern composers dedicated to a special military operation, enriched the existing methodological material of the department 46 (piano) Military Institute (military Conductors) The Military University made it possible to expand the thematic and imaginative spectrum, contributing to the introduction of acutely modern and topical topics into the program.

Keywords: Musician, patriot, Repertoire, Military Brass Band, Pianist, Conductor, Vocal, accompaniment, accompanist, Piano

Abstract: The article deals with the facts of religious and mythological song dedicated to the Patron Saint of Men, Travellers and Warriors in the Ossetian pantheon. The relevance of the study is due to the lack of scientific research in this area of musical folklore studies. The aim of the work is to identify musical, poetic and typological features of the song Uastyrdzhiyy Zaræg. Archival and published sources, as well as personal field materials of the author of the article served as the material for the research. The main corpus of sources is concentrated in the North Ossetian Institute of Humanitarian and Social Studies Scientific Archive. The analysis also includes transcripts of the author's field recordings from 2007–2022 in Suburban districts of the Republic of North Ossetia. As a result of the work, we have revealed that all religious-mythological songs of Uastyrdzhiyy Zaræg are typologically homogeneous. They are characterised by: performance of the song by a soloist and a group of singers, without instrumental accompaniment; a single intonation and harmony nature, the general logic of which relies on the change of three harmonic functions, one main one – the thesis and two side antithesis; a wide composite sound order (from decima to duodecima) with the range of the melodic line not more than an octave; as well as not caesured verse of unordered syllabic composition – a tirade, with one or more phrasal accents; from two to four tirades of different length in a song stanza; marking the boundaries of tirades with exclamations (both single marked with longitude and twice repeated, with longitude on the second sound). The study suggests that the songs of Uastyrdzhiyy Zaræg are stable and intonationally recognisable, and their style has not undergone significant changes over time.

Keywords: Ossetians, Ossetian culture, folk songs, religious and mythological songs, traditional culture, folk beliefs, Ossetian ethnomusicology, ossetian songs, Republic of North Ossetia-Alania, Ossetian musical folklore

Abstract: The article is devoted to the identification of elements of the Mongolian musical tradition in the quartet work of the outstanding modern Chinese composer Liang Lei. The focus is on two quartets: "Serashi Fragments" (2005) and "Gobi Gloria" (2006), which found their artistic embodiment of the song folklore of the Mongols with its characteristic performance styles - urtyn-duu, bogino-duu, features of playing national instruments, primarily on the morin khura, a special the form of performance for two voices is chaoer. A special place in quartets is occupied by imitation of the sound of traditional instruments, which is manifested both at the level of sound acuity and in terms of the textured arrangement of voices. Two Mongolian songs are used as quotation material in the quartets - "One White Sheep" and "Night Sky", which are reinterpreted by the composer, acquiring an instrumental character. The indicated works are included in the range of works written based on Mongolian themes and folk traditions. It is indicated that the studied quartets of Liang Lei are a vivid example of modern compositional searches aimed at discovering ways to harmoniously combine traditional models and modern techniques. This work combines a large volume of literature and musical scores, as well as relevant theories and existing results of Chinese and Russian scientists. Based on the analysis of musical scores, the string quartet in the Mongolian style by Chinese composer Liang Lei is analyzed from the point of view of its compositional basis, technique and cultural overtones. The conclusion of this work is that Liang Lei, as a composer who lived in both China and the United States, has a deep understanding of Eastern and Western cultures and philosophies and is able to skillfully use Western compositional techniques and instruments to creatively combine traditional Oriental music, embodying his own ideas and preserving traditions. The main contribution and innovation of this work is the acquaintance and analysis of the life, creativity and ideas of famous modern Chinese and Chinese-American composers, which demonstrates to the Russian reader the modern achievements of China in the field of musical innovation, as well as the multicultural subtext of a group of composers who received different education in China and in the West, which is represented by Liang Lei.

Keywords: Mongolian musical culture, morin khur, bogino-duu, traditional Mongolian music, chaoer, urtyn-duu, Gobi Gloria, Serashi Fragments, Liang Lei, Five Seasons