Abstract: One of the vectors of active search for genre solutions in the domestic musical and theatrical art of recent decades is associated with the mono-opera genre. It is characterized by extreme diversity and participates in the active processes of transformation of the opera, the pull for renewal and adaptation to the social, cultural and spiritual needs of society. The concert mono-opera «The Death of a Poet» by Sergei Slonimsky for voice and piano, considered in this article, is an example that largely preserves the traditions of monologue forms of utterance in the opera genre. Slonimsky’s opus reveals the theme of the Poet, the unrecognized prophet, which is relevant for contemporary authors. The appeal to M. Lermontov’s poem of the same name, ambiguous in terms of genre and semantic content, which combined elegy and satire, determined the specifics of the formation of the mono-opera, its stylistic diversity associated with the comparison of two main figurative spheres of the mono-opera – sphere Poet (Pushkin, Lermontov) and Socially (high society, Dantes). The mono-opera completely lacks stage action and storyline, which brings it closer to the vocal poem genre; the literary basis is completely preserved, the declamatory type of intonation prevails. The theme of the «archetypal» conflict is presented by the composer within the framework of romantic aesthetics: the image of the rebellious Hero with his lyrical impulses is opposed to the alien world of the Anti-Hero. Surveillance of the mono-opera by S. Slonimsky «The Death of a Poet» allows us to conclude that it largely inherits the fundamental properties of the genre, which consist in focusing on the experiences of a creative person who is in conflict with others, however, it sharpens such properties of the newest mono-opera as a monologue confession of the hero in a critical life situation, maximum concentration on the image of the protagonist.

Keywords: Alexander Pushkin, The Death of a Poet, vocal poem, modern mono-opera, Mikhail Lermontov, opera, concert mono-opera, Sergei Slonimsky, mono-opera, XXI century

References:
Zadneprovskaya, G.V. (2020). Modern domestic mono-opera: theory and practice. Manuscript.13(9), 166-173. doi.org/10.30853/manuscript.2020.9.33
Prikhodovskaya, E. A. (Ed.). (2017). The semantic and expressive potential of the mono-opera. Tomsk: Publishing House of Tomsk State University.
Ulitina, N. (2016). Existential images in the dramaturgy of M.Yu. Lermontov. Bulletin of Culture and Arts, 4, 77-89.
Kirillova, N. B., Ulitina, N. M. (2015). The origins of existentialism in the work of M. Yu. Lermontov: a cultural aspect. Bulletin of the Ural Federal University. Series 1: problems of education, science and culture, 3, 112-124.
Prikhodovskaya, E.A. (2009). Genre of a vocal poem: principles of organization of the whole. Topical issues of socio-humanitarian knowledge: history and modernity. Interuniversity collection of scientific papers, 4, 32-37.
Krivolapova, V., Nikitina, K. (2016). Vocal poems by C. Debussy and M. Ravel “Soupir” According to Mallarmé. Musical Almanac of Tomsk State U

Abstract: The subject of the article is the multifaceted activity of an opera theater conductor in the unity of his directorial and pedagogical activity, necessary for professional development and creative realization of the team. The article identifies and describes various aspects of the complex impact on the opera theater staff through performing, communicative and emotional-volitional components on the example of the work of the outstanding Russian conductor, the founder of the New Opera Theater named after E.V. Kolobov, Evgeny Vladimirovich Kolobov (1946-2003). Methods of systematic and historical approaches, comparative and stylistic analysis, work with literary and musical sources were used in the work. The scientific novelty of the research consists in establishing the dialectical unity of different aspects of E. V. Kolobov's activity, which allows us to consider it as a symbiosis of conductor - director - teacher", in focusing attention on his pedagogical hypostasis, which had a huge impact on specific musicians and the theater team as a whole. The analysis of E.V. Kolobov's activity during his work at the Novaya Opera Theater allows us to get into the essence of his interpretations of the author's concepts and see the changing role of the orchestra in opera scores, as well as the interpretative and aesthetic principles that underlie opera conducting. It is proved that the tasks of an opera theater conductor include not only determining the repertoire policy, goals and objectives of joint creativity, organizing the rehearsal process, managing collective activities, but also creating conditions that contribute to the development of the creative capacities of musicians and singers.

Keywords: duality, end-to-end action, conflict, architectonic principle, interpretative and aesthetic principles, conductor of the opera house, Evgeny Kolobov, contamination, pedagogical aspects, postmodernism

References:
Akulov E. A. Opera music and stage action. Moscow: OBE, 1978. 455 p.
Altshuler V. A. The functions of the orchestra and the place of the conductor in the scenic interpretation of the opera : dissertation ... Candidate of Art History : 17.00.01. / Vladimir Abramovich Altshuler.-St. Petersburg, 2005.-194 p.
Astafyev V. P., Kolobov E.V. Consonance. M.: Sapronov, 2009. 313 p.
Bibikova, A.V. The role of the leader of the performing collective in the embodiment of a work of art: dissertation... Candidate of Art History : 17.00.09 / Anna Valeryevna Bibikova. – Saratov, 2018. – 172 p.
Bochkarev L. L. Psychology of musical activity. M.: Classics-XXI, 2006. 352 p.
Yerzhemsky G. L. Psychology of conducting. M.: Music, 1988. 96 p.
Kuklinskaya M. Ya. Opera and the "director's" theater of the XXI century // Observatory of Culture. 2018. No. 3. pp. 272-281.
Medushevsky V. V. Intonation form of music. Research. Moscow: Composer, 1993. 262 p.
Muginstein M. L. Chronicle of World Opera. Yekaterin

Abstract: The research is devoted to the study of the musical interpretation of the heroes of the "Petersburg Stories" and the poem "Dead Souls" by N. Gogol in the ballet "Sketches" by A. Schnittke. The musical characteristics of Gogol's characters in the ballet are considered from the standpoint of ladoharmonic, rhythmic, timbre, texture features. The stylistic context of each number of the ballet cycle is analyzed in the aspect of the technique of polystylistics. Playing with stylistic models in the field of genre, form, and musical language contributed to the expansion of space-time relations and the enrichment of the figurative sphere of ballet. Due to the multi-component nature of the latter, the compositional and dramatic aspects of the ballet cycle are highlighted, based on the principles of extended expositionality, bright contrast, and distinctive characteristics. The study of the musical characteristics of the characters is carried out for the first time and is carried out from the standpoint of the individual characteristics of the Schnittke style. The author's handwriting of the composer is guessed not only in the use of polystylistic means, but also in the methods of displaying Good and Evil, "base" and "sublime". The unattractiveness of the personal qualities of Gogol's characters was clothed in an attractive mask of smash hits. The cartoon waltz, hyperbolized tango, gallop, mazurka became the symbol of the smash hit. The use of a genre stereotype to denounce evil is also observed in the Second Violin Sonata, Concerto grosso No. 1, the cantata "The Story of Dr. Johann Faust", the ballet "Peer Gynt", etc. Conclusions are drawn about the uniqueness of the musical material of each Gogol hero in the context of Schnittke's individual author's approach.

Keywords: smash hits, denunciation of evil, author's interpretation, musical characteristics, ladoharmonic system, genre stereotype, polystylistics, ballet, Gogol, Schnittke

References:
Bogdanova, A. V., Dolinskaya, A. G. (Eds.). (2013). Alfred Schnittke in the memoirs of his contemporaries. To the 20th anniversary of the Moscow State Institute of Music named after Schnittke. Moscow: Composer.
Chigareva, E. I. (Ed.). (2017). Alfred Schnittke: At the intersection of the past and the future. Moscow: SIC "Moscow Conservatory".
Arnoldi, L. I. (1862). My acquaintance with Gogol. In Memoirs of contemporaries about N. V. Gogol. Retrieved from https://www.litmir.me/br/?b=99025&p=108.
Bely, A. (1934). Gogol's Mastery: A Study. Moscow: Fiction.
Gogol, V. N. (1842). Dead souls [DX Reader version]. Retrieved from https://ilibrary.ru/text/78/index.html.
Gogol, N. V. (1942). Petersburg stories [DX Reader version]. Retrieved from https://classica-online.ru/catalog/nos-gogol-glava2.
Gogol, N. V. (1990). The author's confession. Kursk: All-Russian Cultural Foundation. Pskov branch.
Ivashkin, A.V. (2015). Conversations with Alfred Schnittke. Moscow: Classics-XXI.
Krylova, A. V.

Abstract: The subject of the study is the opera by composer John Adams "Nixon in China". This opera is written in the style of musical minimalism in the context of postmodern trends. "Nixon in China" is the first documentary opera based on the genre of reportage. On the example of the opera "Nixon in China", the peculiarities of the functioning of the opera genre in the postmodern era are clearly manifested. In "Nixon in China", the culture of performance is combined with the traditions of the bolshoi opera, refracted in the light of the spiritual quest of music of the second half of the XX century. The social problems of the opera conceal a number of philosophical issues related to the fate of the individual and the state. The main conclusions of the study are the provisions on the combination of minimalism, grand opera and postmodernism in "Nixon in China". It is determined that minimalism in the musical language is manifested in the meditativeness of the musical image, the use of patterns of development of musical material enriched with harmonic movement. Postmodernism expressed itself in intertextuality, performance culture, eclecticism and in the peculiarities of the genre nature of opera. The basis for the opera was the genre of news reporting. The vocal characteristics of the heroes have a cross-cutting development in the direction from the external diplomatic appearance to internal experiences, against the background of which philosophical questions are raised about the uncertainty of the fate of the state and the role of the individual in history.

Keywords: musical language, musical pattern, musical image, minimalism, intertextuality, John Adams, CNN-opera, Nixon in China, postmodern, rehearsal technique

References:
Andrushchenko E. Sovremennaya opera «Pod znakom myuzikla»: predposylki, istoki, tendencii // Yuzhno-Rossijskij muzykal'nyj al'manah. 2015. ¹ 4 (21). S. 89-94.
Davletshin I. A. «Nikson v Kitae» Dzhona Adamsa kak obrazec minimalizma v opere // Aktual'nye problemy muzykal'no-ispolnitel'skogo iskusstva: istoriya i sovremennost'. Kazan', 2020. ¹ 2 (73). S. 120-134.
Denisov A. V. Mifologicheskij syuzhet v opere XX veka // Obshchestvo. Sreda. Razvitie (Terra Humana). 2007. ¹ 3-4. S. 37-43.
Kiseeva E. V. Stanovlenie hudozhestvennyh principov minimalizma v tvorchestve kompozitorov i horeografov vtoroj poloviny XX veka // Yuzhno-Rossijskij muzykal'nyj al'manah. 2016. ¹ 2 (23). S. 62-68.
Krom A. E. Amerikanskij muzykal'nyj minimalizm: problemy recepcii i interpretacii // Vestnik Akademii russkogo baleta im. A. Ya. Vaganovoj. 2017. ¹ 6 (53). S. 75-84.
Mazel' L. Stroenie muzykal'nyh proizvedenij: Ucheb. Posobie. – 2-e izd, dop. i pererab. – M.: Muzyka, 1979. – 536 s.
Molchanov A. S. O sootnoshenii

Abstract: As the world theatrical practice of the last decades shows, it is the legacy of A.P. Chekhov that is an inexhaustible source of inspiration for many directors and composers. There is a huge number of works devoted to the topic "Chekhov and music". The musicality of Chekhov's prose is one of the most frequent topics in philological and musicological studies. Plays, novels, and short stories by the author have more than once become an occasion for new creations in the opera house. In this article, the author examines the famous operas of composers of the turn of the XX-XXI centuries based on the prose of A. Chekhov. The works are arranged according to the principle of differences between the plot plot and the libretto of operas from the literary source. In foreign musicology, the genre transformation of opera, in which the literary component becomes the main factor of centralizing unity, has been called literary (the term of K. Dahlhaus). In the most general sense, this genre should be understood as a reliable musical version in accuracy or in the abbreviation of the literary source. In Russian musicology, literary opera is a little-studied area of music history, which allows us to speak about the scientific novelty of the presented material. Thus, in the article the author comes to the conclusion that operas based on A.P. Chekhov stand apart in the implementation of the genre of literary opera in the domestic theater of the selected period. Based on the analysis, the author identifies three types of literary opera, which allow to characterize the method of composers' work with the literary source.

Keywords: Sergey Cortes, Vitaly Hodosh, Peter Etwes, Nikolai Martynov, Elena Gokhman, Vladimir Tarnopolsky, Literary opera, Musical Theater, Opera, Anton Chekhov

References:
Gassner J. Form and idea in modern theater / Translated from English. D. F. Sokolova, ed., foreword. and note. N. V. Mints. M.: Publishing house of foreign literature, 1959. 256 p.
Demchenko A. Selected pages of Elena Gokhman's creative work. - Saratov, 2010. - 54 p.
Demchenko A. Con tempo/ Composer Elena Gokhman. - M.: Publishing house "COMPOSITOR", 2016. - 240 p.
Kremlev Y. Chekhov and music // Selected articles. - L .: Music, 1976. - S. 125-131.
Merezhkovsky D. Chekhov and Gorky // Maxim Gorky: pro et contra. - St. Petersburg: RKHGI, 1997. - P. 643-687
Nest'eva M. Tarnopolsky V. When time overflows its banks // Academy of Music. - 2000. - No. 2. - S. 14-17
Tarnopolsky V. When time overflows [Electronic resource]. – URL: https://tarnopolski.ru/ru/articles_01_wenn (date of access: 05/24/20).
Turgenev Ivan Sergeevich Letters (1831-1849) [Electronic resource]. – URL: http://az.lib.ru/t/turgenew_i_s/text_0600.shtml:18.05.21).
Zucker A. "The Art of Being Yourself" // Academy of Mu

Abstract: J. Offenbach’s opera “The Tales of Hoffmann” stands out from other compositions of this genre. Because of a complicated story behind, this piece of music has several versions and, consequently, various interpretations of the plot. The opera has also other features which are described in the article. Pride of place goes to the study of sopranos. The authors detect the linkage between the main female characters (Olympia, Antonia and Giulietta). The common thread, uniting Hoffmann’s ladies, is an incidental character Stella. The three stories of the poet’s ladies are the stages of Hoffmann’s relations with Stella. Each scene of “The Tales” contains the heroine’s projection which manifests a definite trait of her character. 
The ladies from “The Tales” de facto represent various traits of one girl while being de jure the main characters of each story. The composer portrays them in detail which can be seen through the difference in singing ranges and tessituras (from coloratura to lyrical-dramatic soprano).
Tessitura differences along with genre duality of the opera affect the selection of expressive means. Features of opera comique allow embodying Olympia’s hardhearted mechanism from the first scene (by means of onomatopoeic elements expressed in complex coloratura passages and music ornaments). Opera lyrique develops Antonia’s inner conflict from the second scene by means of romance parties and lamentation character of music. This peculiar synthesis of both genres manifests itself in Giulietta with the irony of opera comique hidden under the haze of opera lyrique which corresponds with the essence of the heroine (third scene).
The above mentioned peculiarities sometimes do not allow performing soprano parties in accordance with the composer’s idea in which the four heroines should be embodied in one solo singer. However, there’ve been lucky occasions in the history of this opera when the singers managed to implement the composer’s idea. 
 

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

References:
Denisov A.V. Metamorfozy muzykal'nogo teksta: monografiya. 2-e izd., ispr. i dop. M.: Izdatel'stvo Yurayt, 2020. 189 s.
Hadlock H. Mad Loves: Women and Musicin Offenbach’s Les Contes d’Hoffmann. Princeton University Press, 2014. 165 p.
Faris Al. Jacques Offenbach. London: Faber and Faber, 1980. 275 p.
Fel'zenshteyn V. O muzykal'nom teatre. M.: Raduga, 1984. 407 s.
Booth W.C. The Rhetoric of Fiction – Chicago: University of Chicago Press, 1983. 572 p.
Zhak Offenbakh. Nablyudatel'. Efir 20.06.2019. [Elektronnyy resurs]: Live.russia.tv. 2019. Rezhim dostupa: https://live.russia.tv/channel/4/double/8/video/1913986
Muginshteyn M.L. Khronika mirovoy opery: 400 let, 400 oper, 400 interpretatorov. T. 2. Ekaterinburg: U–Faktoriya. 2005. 615 s.
Tsodokov E.S. Metamarfozy «Skazok Gofmana» [Elektronnyy resurs]: Operanews.ru. 2015. Rezhim dostupa: http://www.operanews.ru/15022301.html
Kuklinskaya M.Ya. «Skazki Gofmana» Zhaka Offenbakha – kvintessentsiya muzykal'nogo romantizma. Yuzhno-rossiyskiy muzykal'nyy al'manakh. 2

Abstract: The author studies the problem of intercultural cooperation between Russia and Italy in the field of ballet art. Since this type of interaction has been ongoing for several centuries, the research is divided into two vectors: the historical-cultural and the critical ones. Besides, the author considers an important issue of the origins of the cultural cooperation stemming from the opera art, traditional for Italy. The article considers not only the chronological component of Russia-Italy cooperation during the 18th - the 21st centuries, but also explains (in the socio-cultural and critical ways) the processes of surge and slump of interest in this form of cultural communication. The author detects and explains a unique pattern - the initial priority of Italians at the Russian scene of the 19th century, and the following radical change of this influence - a triumphal conquering of Europe by the Russian masters, whose talent is still appreciated. The scientific novelty of the research consists in the fact that for the first time attention is not only given to the very historical chronology of the visits of Italian dancers to the Russian Imperial Ballet Scene, but also the dynamics of this process is explained. Moreover, the article is the first work focusing on the change of a locomotive component in the system of the Italy-Russia cultural exchange which  took place in the late 20th century. Thus, the scientific novelty and importance of the research consist in the attempt to study the process of intercultural cooperation in its development from the 18th century to the present moment. Such an approach allows detection the historical, socio-cultural and critical components, and helps to reveal the topicality of this problem for the modernity, when art is still a soft mechanism of, among other things, political and geographical interaction between countries, forming a “cultural portrayal” of the country on the world map. 
 

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

References:
Agrippina Vaganova: Stat'i. Vospominaniya. Materialy. L.-M.: Iskusstvo, 1958. 343s.
Boglacheva I.A. Artisty Sankt-Peterburgskogo imperatorskogo baleta XIX vek. SPb.: Chistyy list, 2015. 344s.
Bogolyubova N.M. Ital'yanskiy opernyy teatr v Peterburge // Vestnik SPbGUKI. ¹3(20), 2014. S.80-85.
Vazem E.O. Zapiski baleriny Sankt-Peterburgskogo Bol'shogo teatra 1867 – 1884. SPb.: Lan', 2009. 448s.
Krasovskaya V.M. Russkiy baletnyy teatr vtoroy poloviny XIX veka M.-L.: Iskusstvo,1963. 551s.
Maksimova E. Madam «Net». M.: AST-press kniga, 2003. 344s.
Peterburgskiy balet. Tri veka: khronika. T. III (1851 – 1900). SPb.: Akademiya Russkogo baleta im. A.Ya. Vaganovoy, 2015. 431s.
Pleshcheev A.A. Nash balet (1673 – 1899). Balet v Rossii do nachala XIX stoletiya i balet v Sankt-Peterburge do 1899 goda. SPb.: Lan', 2009. 576s.
Plisetskaya M. Ya, Mayya Plisetskaya. M.: AST, 1998.496s.
Sveshnikova A. Peterburgskie sezony Artura Sen-Leona (1859 – 1870). SPb.: Baltiyskie sezony,2008. 424s.
Slonimskiy Yu. Baletnye strok

Abstract: The opera by Jacques Offenbach “The Tales of Hoffmann” is a unique phenomenon in the history of the opera genre attracting the attention of interpreters and researchers. Dealing with the text, musicians face particular problems caused by an unusual story behind the opera and its other peculiarities. The purpose of this article is to study the specificity of the opera at the literary, music, and stage levels using  the hermeneutical approach. The three independent original works of Hoffmann were combined in a grand drama composed by J. Barbier and M. Carré, and then in a libretto (J. Barbier) by means of deconstruction of romantic stereotypes of the main character, which reveals the peculiarities of the opera under consideration and explains the topicality of this research. The music analysis is aimed at the detection of expressive means through which the composer had managed to explain the idea of the authors of the literary text and get it across to the audience. The key formative way of building a music drama is a “romantic irony” (M. Ya. Kuklinskaya). That’s where the genre dualism of the opera under consideration comes from, which manifested itself in the form of the synthesis of the genres opera comique and opera lyrique. The authors also detect the interaction of elements of both genres helping to create an unusual atmosphere of the opera, and the play with the audience, allowing manipulating the spectators’ expectations, which is more typical of operetta than of opera genre. 
 

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

References:
Faris, Alexander Jacques Offenbach. London: Faber and Faber, 1980. Istochniki I. Offenbakh Zh. Skazki Gofmana: klavir. Red. F. Oyzera. Alkor-Edition Kassel, 2014. II. Dimitrin Yu.G. «Skazki Gofmana» i drugie komediynye p'esy dlya muzykal'nogo teatra. SPb.: Lan', Planeta muzyki, 2018.III. Gofman, Ernst Teodor Amadey Pesochnyy chelovek. Per. s nem. A. A. Morozova. SPb.: Kristall, 2000.IV. Gofman, Ernst Teodor Amadey Serapionovy brat'ya. V 2-kh tomakh. T. 1. Per. s nem. A. L. Sokolovskogo. M.: Navia Morionum. 1994. V. Gofman, Ernst Teodor Amadey Zhiteyskie vozzreniya Kota Murra // Polnoe sobranie sochineniy v dvukh tomakh. Tom 1. Per. s nem. K. D. Bal'monta. M.: Al'fa–kniga, 2017.
Rissin, David Offenbach, ou le Rire en Musique. Paris: Fayard, 1980.
Gasparov, M. L. Parodiya // Bol'shaya sovetskaya entsiklopediya v 30-ti tomakh (3-e izdanie) pod red. A. M. Prokhorova. T. 10. Iva – Italiki. M.: Sov. entsiklopediya, 1972. S. 225.
Mikhaylov A. V. Ironiya // Novaya filosofskaya entsiklopediya v 4 tomakh pod red. V. S. Stepina. T. 2. M.

Abstract: The research subject is the period of the 1960s - the 1970s - the period of flourishing of the Soviet ballet theatre. During this period, in many theatres of the Soviet Union,  choreographers-pioneers were working whose creativity was based on the commitment to traditions and readiness to propose their own vision of the development of ballet theatre. The article considers the early period of work of one of “the men of the sixties” - a choreographer Gennady Malkhasyants (1937 - 2008). The author of the article reconstructs one of his earliest plays - the ballet “Naughty Couplets” staged in 1974 in Voronezh Opera and Ballet Theatre. The ballet was a part of an one-act ballet recital. The novelty of the research consists in the fact that it introduces into the scholar discourse the materials of the personal archive of the choreographer. The topicality of the research consists in the necessity to analyze the creative work of choreographers-directors, to reconstruct the plays which are not performed any longer and haven’t been recorded. In the 1970s, G. Malkhasyants was developing various choreographer’s techniques and director’s principles of the composition of a dance. So far, the creative work of G. Malkhasyants almost hasn’t been studied. The knowledge of the materials and the creative process of G. Malkhasyants gives the opportunity to trace back the main tendencies and, probably, to find the new ways of development of the modern art of choreography. 
 

Keywords: staging techniques, musical and choreographic drama, dance composition, the art of a choreographer, a generation of innovative choreographers, soviet ballet theater, director's principles, choreographic imagery, plastic expressiveness, stylization

References:
Lichnyy domashniy arkhiv sem'i Malkhasyants.
Spisok libretto dlya odnoaktnykh spektakley // RGALI. Fond 648. Op. 5. Ed. khr. 920. L. 148 ob.
Yablonovskaya, A. Khoreograficheskie novelly // Kommuna. Voronezh. 22.02.1974.
Chernova, N.Yu. Vecher vysokogo tantsa // Pravda. M. 1974.
Dzhavrova, I. Gastroli Voronezhskogo teatra opery i baleta. Odnoaktnye balety // Smolenskaya pravda. Smolensk. 1976.
Medvedev, K. Diapazon talanta. Dve retsenzii // Volgogradskaya pravda. Volgograd.24.07.1974.
Programma vechera odnoaktnykh baletov. Voronezh. 1973.
Voronezhskaya nedelya // Kommuna. Voronezh. 27.12.1973.
Sayt Muzykal'nye sezony [Elektronnyy resurs] URL: https://musicseasons.org/shedrin_rhodium/ (data obrashcheniya 26.06.2020).
Sayt Music.e-publish.ru [Elektronnyy resurs] URL: https://music.e-publish.ru/p102aa1.html (data obrashcheniya 6.08.2020).

Abstract: This article explores the musical component and artistic activity of the Russian diaspora's outstanding choreographer Leonide Massine (1895–1979), whose 125th birthday was celebrated by the theatrical world in 2020. The main milestones of the choreographer's musical education are noted, the spectrum of his musical interests is revealed, and his techniques of working with the music of the created ballets are studied. The purpose of this research, carried out using historical and typological methods, is to study the stages of the formation of the choreographer's musical maturity and style. The circumstances of Massine's collaboration with contemporary composers Manuel de Falla, Eric Satie, Sergei Prokofiev, and Paul Hindemith are also considered. Special attention is paid to the formation of a system of artistic methods of working with music in the choreographer’s joint work with Igor Stravinsky on the implementation of the ballets Pulcinella and Sacred Spring. The questions of Massine's attitude to such spheres of musical expressiveness, including rhythm, dynamics, and timbre, are highlighted. The methods of the choreographer's work with works of symphonic music are studied, and the ways of achieving musical and plastic synthesis in the stage solutions of Massine's choreographic symphonies are analyzed, including Omens (1933) to the music of the Fifth Symphony by Pyotr Tchaikovsky, Choreartium (1933) to the music of the 4th Symphony by Johannes Brahms, Fantastic Symphony (1936) to the music of the symphony by the same name by Hector Berlioz, etc. It is concluded that the laws of musical composition and dramaturgy were a source of artistic renewal and enrichment for the choreographer’s style, marking the development of his choreography's intellectual beginning.

Keywords: musical theater, musicality of choreography, ballet music, musicology, ballet, music, Hindemith, symphony-ballet, Stravinsky, Myasin

References:
Surits, E. Ya. (2012). Artist and choreographer Leonid Massine. Perm: Knizhny Mir. p. 304.
Myasin, L. (1997). My life in ballet. M.: Artist. Director, Theater. p. 366.
Golovnina, N. A. (2018). Ballets "Salad" and "Blue Express" in dialogue with time. Bulletin of the Academy of Russian Ballet, (2), 6–16.
Manuel Rosenthal – The Grand Old Man of French Music. A Conversation with Bruce Duffie. [September 9, 1985]. (Date accessed 02/09/2020). http://www.bruceduffie.com/rosenthal.html
Orledge, R. (1990). Satie the Composer. Cambridge, NY: Cambridge University Press. p. 394.
Prokof'ev, S. S. (2002). Dnevnik 1907–1933. Paris. p. 890.
Stravinsky, I. (2005). Chronicle of my life [Foreword] in I. Ya. Vershinina (Ed.). Moscow. p. 463.
Mnemosyne. (n.d.). Documents and facts from the history of the national theater of the twentieth century. In V. V. Ivanov (Ed.), [issue 6].
Stravinsky, I. (1971). Dialogues. Memories. Reflections. Comments. In V. A. Linnik (Trans.), G. A. Orlova & M. S. Drusk

Abstract: This article analyzes the interaction between music and dance in Emilio de' Cavalieri’s ballo O Che Nuovo Miracolo (Oh What a New Miracle, Florence, 1589). The relevance of this research lies in the interest in the emergence and development of the theatre ballet genre during this period. The purpose of this research is to study the interplay between music and dance, exploring how they interact on multiple levels to create a complex, multi-sided performance. In this work, the author reveals traditional techniques of adjustment based on the commonness of the measured length of syllables/motives/steps and innovative forms of interaction that manifest themselves in the correlation between the expressive properties of dance with music fabric’s metrics, rhythm, texture, and timbres.

The distinctive features of creative musical endeavors are analyzed based on historical, historical-typological, and intertextual research methods. The author analyzes the multilayered structure of the musical piece, which consists of interweaving complex visual and music-intonation transformations and the exposition of dance and music’s contrasting and symmetrically consistent entities. The author concludes with a special dramatic significance that arises from the fusion of music and choreography found by Cavalieri, symbolizing the process of acquiring “the gift of Harmony.” The multilayered intertextual crossings form a complex composition that can be referred to as one of the most unique artistic findings of the epoch.

 

Keywords: ballet music, Aria di Fiorenza, La Pellegrina, che nuovo miracolo, Emilio de' Cavalieri, theory of music, musical art, ballet music composing, musical score, intertext interaction

References:
Bulycheva A. V. (2004). Gardens of Armida: French Baroque musical theater. Agraf. p. 448.
D. Stevens (1995). The Letters of Claudio Monteverdi (translated). Oxford University Press. p. 480.
Mikhailova-Smolnyakova E.S. (2010). Ancient ballroom dances: Renaissance. St. Petersburg: Doe, Planet of Music. p. 176.
Malkiewicz, M. (2001). On the choreography of Claudio Monteverdi's ballet music: Aspects of (re)construction. Recercare, 13, 125–145.
Cavalieri, Emilio de'. (n.d.). O che nuovo miracolo. In A. Bornstein (Ed.), L'organo a Frienze da Medici all'unta d'Italia. https://imslp.org/wiki/O_che_nuovo_miracolo_(Cavalieri%2C_Emilio_de') (date accessed: 28/01/2020)
Giacomo, V. (1591). Intermedii et concerti. https://imslp.org/wiki/Intermedii_et_concerti_(Vincenti%2C_Giacomo) (date accessed: 28/01/2020)
Nevile J. (1998). Cavalieri's theatrical ballo "O Che Nuovo Miracolo": A reconstruction. Dance Chronicle, 21(3), 353–388.
Caroso F. (1600). Nobilta di dame. Del S.r Fabritio Caroso Da Sermon

Abstract: The research subject of this article is the musical The Sound of Music by the composer Richard Rodgers and the writer Oscar Hammerstein II—one of the brightest examples of classic Broadway musicals. The author describes the main genre and style, as well as the musical’s dramatic peculiarities, and attempts to address the following research objectives: to analyze the piece’s narrative and genre components, the main characters’ intonation complexes, the most significant groups of characters and their vocal techniques, and to trace the influence of Austrian genres in the musical’s musical fabric. The author uses the following methods: cultural-historical, comparative analysis, and music-style and music-history analysis. Despite the obvious significance of this piece of music and its thumping success, The Sound of Music hasn’t been given enough scholarly attention in scientific literature. The author arrives at the conclusion that the distinct dramatism, engaging plot, intricate music drama, and diverse blend of genre and style are the hallmark features of this musical, which has been instrumental in the musical’s enduring success over time.  

Keywords: Oscar Hammerstein II, Richard Rogers, Maria von Trapp, The Sound of Music, Broadway musical, musical analysis, Robert Wise, genre, style, jazz vocals

References:
Wise, P. (Director). (1965). The Sound of Music [Film]. 20th Century Fox.
Kichin, V. (2011). Musical Sounds. Russian newspaper [Oct 13, 2011]. pp. 9¬10
Konen, V.D. (1965). Ways of American music: Essays on the history of musical culture in the USA. Muzyka. p. 523.
Box, V. I. (1989). Vocals in popular music. VAAP-INFORM. p. 45.
Kyuregyan, T. S., Moscow, Yu. V., & Kholopov, Yu. N. (2008). Gregorian chant. Moscow State Conservatory. p. 260.
Official website of the von Trapp family "Trapp Family Lodge". URL: https://www.trappfamily.com/von-trapp-story.htm (accessed 05/15/2020).
Nazaikinsky, E. V. (2003). Style and genre in music. Humanit. ed. center VLADOS. p. 248.
Polyakov, A. S. (2015). Methods of teaching pop singing: Express course. Publishing House Consent. p. 248.
Cheboksarova, L. (2011). How the von Trapps deceived the Nazis. Musical Life, (10), p. 59.
Shulin, V.V. (2018). The specifics of the musical language of jazz and pop. Man and Culture, (1). https://nbpublish.com/

Abstract: The subject of this study is the interpretation of Boris Godunov's part in the opera of the same name by M.P. Mussorgsky by two Bulgarian opera stars: B. Hristov and N. Giaurov, as well as their approach to working on this role. Aiming to reveal the main semantic accents of the interpretation of the title part of the opera "Boris Godunov", the author analyzed reviews and essays of opera critics, biographical works of researchers of the singers' creativity, as well as memoirs of their contemporaries and interviews with the artists themselves as research material. The relevance of the presented work is seen in the need to carefully study the world performing heritage of the opera scene, which will create the basis for new, worthy interpretations. According to the results of the research, the author came to the conclusion that Christ's main semantic emphasis in the interpretation of the party is placed on the lofty, worthy aspirations of the tsar, who, being a dreamer and a knight, sought to exalt and strengthen his state, but fell victim to boyar resistance and the inexorable course of Russian history. Giaurov does not justify Godunov at all, although he forms the image of an awe-inspiring and admiring sovereign - monumental, domineering and proud. If Hristov, following Mussorgsky, saw in Tsar Boris a man crushed by power, then for Giaurov, as for Pushkin, the image of a tsar who subordinated everything human in himself to his main goal - power is closer.

Keywords: artistic image, bulgarian bass, interpretation of the party, interpretation of the party, Mussorgsky 's opera, Nikolay Giaurov, Boris Hristov, Boris Godunov, Chaliapin, opera

References:
Abadzhiev A. Nikolay Gyaurov. M.: Raduga, 1984. 110 s.
Vystavka «Fedor Shalyapin i Boris Khristov – legendy XX veka» / Kul'tura. RF [Elektronnyy resurs]. URL: https://www.culture.ru/events/100823/vystavka-fyodor-shalyapin-i-boris-khristov-legendy-xx-veka (data obrashcheniya 16.08.2020).
Gozhev G. M. Serdtseved russkoy opery i pesni – Boris Khristov [Elektronnyy resurs]: Sbornik trudov pervoy konferentsii ARSII im. G. R. Derzhavina / Pod obshch. red. D. N. Kirshina. SPb., 2008.
Muginshteyn M. L. Khronika mirovoy opery. 1851–1900. Ekaterinburg: Anteverta (pri uchastii izd-va Gumanitarnogo un-ta), 2012. 616 s.
Nikolay Gyaurov / Muzykal'nye sezony: portal o klassicheskoy muzyke, opere i tantse [Elektronnyy resurs]. URL: https://musicseasons.org/nikolaj-gyaurov/ (data obrashcheniya 16.08.2020).
Popova I. Vstrechi na opernoy stsene / Per. s bolgarskogo i kommentarii M. Mal'kova. – SPb., 2013. (Elektronnaya versiya ispravlennaya i dopolnennaya). (data obrashcheniya 07.05.2018).
Prudnikova L. Chetvertyy son Very Pavlovny // ... URL: http

Abstract: The research object of this article is the music embellishment of a dramatic play as one of the key elements in creating a theatrical piece of work's single text. The author is the first to consider the formation of musical space as a director’s method of creating a stage performance. The need to study it is determined by the movement of the modern theatre towards musicalization—the formation of the stage as a single sound space and the shifting of the functions of a background music writer to the director. The research subject is the use of background music and the interpretations of the main musical themes, the detection of the peculiarities of their functions, and an attempt to define the operating name of a director’s method. To achieve this goal, the author uses the observation method and studies the production of the play Krechinsky’s Wedding at Penza Drama Theatre as a director, a choreographer, and an author of the background music. The analysis of the use of background music, which is undertaken for the first time within the framework of theatre drama, shows that music, applied in this algorithm, performs various functions. It creates the atmosphere of action, becomes a play’s full-fledged “text,” and an instrument of the author’s “translation” of a literary work into a theatre-stage language. At the same time, it allows the music space to become integral, thus following the trend of drama theatre moving towards its musicalization. The author suggests naming the director’s method the “transformation of a musical theme.”  

Keywords: transforming a musical theme, timbre, interpretation, musical arrangement, artistic director's method, music in drama theater, drama theatre, musicalization, modern theatrical art, the method of participant observation

References:
Babich, N. F. (2012). Music in the plastic theater at the turn of the twentieth to twenty-first centuries. Rostov-on-Don: RGK(A). p. 196.
Brodova, I. A. (1989). Basic principles of the theatricalization of music in a dramatic performance. Kyiv: Kyiv State Conservatory. p. 215.
Davidenkova, E. A. (2011). Timbre as a category of modern art history and its significance in the practice of musical sound engineering. St. Petersburg Humanitarian University of Trade Unions. p. 211.
Zykov, A. I. (2020). Theatrical experiments: Performances “without words” in the theater of the Word (directions of study) // Dialogue of arts and art paradigms. Articles. Essays. Materials. According to the materials of the International Scientific Forum. Saratov: Saratov State Conservatory named after L. V. Sobinov. pp. 56–64.
Kagan, M. S. (1972). Morphology of art. Art. p. 6.
Lesakova, N. I. (2017). Expressive possibilities of music in a dramatic performance. Yaroslavl Pedagogical Bulletin, (2), pp. 352–355.
Lot

Abstract: The purpose of the article is to confirm or confute the semantic and compositional similarity of Chopin’s piano heritage with its ideal and graphic interpretation by a choreographer John Neumeier in the context of synthetic materialization on the ballet stage.
The object of research is the “black” duet of Marguerite and Armand from the 1978 ballet Lady of the Camellias. The contextual unity of the compositional and semantic choreographic interpretation of this fragment with the music images of the Ballade No.1 g-moll is the subject of research. The theoretical and methodological background of the research is the principles of critical analysis of the choreographic and musical text of the play, and the semantic analysis of choreography developed by historians and theorists of the ballet art (Vanslov, Dobrovolskaya, Lopukhov, Slonimsky). The research is based on video materials from the archives of the Ballettzentrum Hamburg and the Bolshoi Theatre in Moscow. The author uses the method of overt observation (based on the personal experience of work with Neumeier as a participant of the Lady of the Camellias first run in Moscow on March 20th, 2014) together with the analysis of the choreographer’s lectures  and rehearsals records from the author’s archive. The analysis of the semantics of the choreographic form and vocabulary of the “black” adagio is the main instrument used for solving the scientific problem. Among the new results are the significant groundwork in the detection of classic and innovative author’s expression elements of Neumeier’s artistic language. The author concludes that the combination of the ballade narration with the harmony of the sonata form typical for the Ballade No.1 dictates Neumeier the allocation of parts and the development of choreographic themes inconcert with the music ones, while the dramatic propensity towards conflict allows the choreographer to develop the main characters’ confession. 
 

Keywords: Choreographic language analysis, Marguerite and Armand, Pas de deux, Choreographic interpretation, Ballad g-moll, Frédéric Chopin, Lady of the camellias, Choreography, Ballet, John Neumeier

References:
Vaganova A. Osnovy klassicheskogo tantsa. SPb.: Iskusstvo, 2003. 192 s.
Asaf'ev B.V. Muzykal'naya forma kak protsess. L.: Muzyka, 1971. Kn. 1, 2. 367 s.
Arkhipova M.V. O ritmicheskoy prirode muzykal'nogo zhesta: k postanovke problemy. Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie. 2016. ¹ 3 (23). S. 106 – 113.
Shkolyarenko S.I. Novatorstvo F. Shopena v oblasti fortepiannoy faktury: polizhanrovost', kontsertnost', kamernost' // Yuzhno-Rossiyskiy muzykal'nyy al'manakh, 2014. ¹ 3 (16). S. 32 – 37.
Noymayer Dzh. / Konspekt lektsii Dzh. Noymayera v Gosudarstvennom akademicheskom Bol'shom teatre Rossii dlya artistov – uchastnikov moskovskoy prem'ery «Damy s kameliyami» 18 marta 2014 g. Arkhiv avtora.
Noymayer Dzh. Mirovaya literatura v baletakh Dzh. Noymayera / Konspekt lektsii Dzh. Noymayera v Gosudarstvennom tsentral'nom teatral'nom muzee im. A.A. Bakhrushina 10 marta 2014 g. Arkhiv avtora.
Zozulina N. N. Dzhon Noymayer v Peterburge. SPb.: Alaborg, 2012. 423 s.
Russkiy balet: entsiklopediya /

Abstract: This article focuses on a separate branch of music theatre: the English Savoy operas, which are predominantly comic operas by William Schwenk Gilbert and Arthur Sullivan. Having the traits of ballad operas, operettas, and musicals, 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 were put on from 1877 to 1998.

Consequently, Gilbert and Sullivan’s theatrical works incorporated the achievements of their predecessors while also introducing original elements that furthered the evolution of musical theatre; it raised operetta to a much higher level and became a starting point for new genres.

The composers placed specific and rigorous requirements on the artists and performers. This research aims to study the peculiarities of the performing style seen in Gilbert and Sullivans’ operettas. The scientific value of this article lies in the accentuation of an original aspect of the research: the Savoy opera performing style, the generalization of incomplete data on this problem, and the introduction of new sources. The conceptual elements of compositions, which are at the core of the musical theatre image, take on special value. It is a dramaturgic component that determines vocal delivery, influences the approach to diction and phrasing, and determines the physical embodiment of the role.

In addition, the article’s materials have methodical importance for modern performers 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

References:
Bakhtin, M. M. (1986). Notes: Literary-critical articles. Hood. literature. pp. 509–531.
Bakhtin, M. M. (1975). Rabelais and Gogol: The art of the word and folk laughter culture: Questions of literature and aesthetics: Issled. different years. Hood Literature. pp. 484–495
Breitburg, V. V. (n.d.). Genre pop musical in the work of Kim Breitburg: Monograph. Moscow: Composer. p. 240.
Konen, V. (1994). The third layer: New mass genres in the music of the twentieth century. Muzyka. p. 160.
Mond, O. -L. (2011). Vocal and physical markers of musical theater styles. Problems of Modern Science, 2, 51–57.
Mond, O.-L. (2011). Traditions of Acting in the Gilbert and Sullivan Operettas. Psychology and Pedagogy: Methods and Problems of Practical Application, 21(2), 84–88.
Polyanovskaya, Ya. M. (2000). Savoy Opera by Gilbert and Sullivan. p. 313.
Arrighi, G. (2012). D'Oyly Carte's pantomimes: Complementarity and innovation. Popular Entertainment Studies, 3(2), 31–44.
Cannadine, D. (1991). Thre

Abstract: Italian composer Salvatore Sciarrino (born 1947), a philosopher and esthete whose music experimentalizes with audibility threshold, is one of the leaders of the vanguard music culture of the 20th and 21st centuries. The author’s artistic concept is developed within the framework of post-serial searching, which is defined as “music ecology” and the “ecology of listening.” Despite his music's wide recognition in Europe and the US, Sciarrino’s artistic work has received little analysis or study thus far. This is especially the case of his opera works, which draw the attention of the leading opera houses and become significant musical events. The topicality of this research is determined by the necessity to study the composer’s works and his philosophic and esthetic views in detail. Sciarrino’s experiments in the realm of music theatre are connected to the notion of azione invisible (“invisible action”), which is the focus of this article in the context of the composer’s artistic concept.
The research subject of this study is Sciarrino’s opera Infinito Nero (1998). The research methodology is based on a complex approach that includes systematic, interpretational, musical, and analytical methods. Through an analysis of the libretto, dramaturgy, and its acoustic realization, the author uncovers the distinctive features of “invisible action” in Infinito Nero, including the lack of traditional plot development, the leveling of a visual component, the ambiguity of character identification, the vagueness of space and time, and the modeling of a sonorous environment in which the microscopic acoustic elements with ecological origins and their transformation become of primary importance. The concept of “invisible action” is defined by the dramaturgy of listening and the new mode of listener comprehension in which the visualization process of acoustic images plays a central role in understanding the meaning of everything that’s happening.
 

Keywords: contemporary opera, opera theatre, Maria Maddalena de'Pazzi, azione invisibile, Infinito nero, Salvatore Sciarrino, opera dramaturgy, libretto, ecology of sound, aural ecology

References:
Lavrova, S. V. (2016). Projections of the main concepts of post-structuralist philosophy in the music of post-serialism. St. Petersburg. p. 535.
Lavrova, S. V. (2019). "Invisible Action": off-screen role of the sound landscape and intertextuality in the operas "Aspern" and "Quail in the sarcophagus" by Salvatore Sciarrino. Bulletin of the Academy of Russian Ballet, 1(60), pp. 136–157.
Lavrova, S. V. (2015). Naturalistic concept of Salvatore Sharrino. Problems of musical science, 1 (18), pp. 24–27.
Lavrova, S. V. (2013). "Ecology of listening" and the effect of "Invisible Action" in the operas "The Little Match Girl" (Das madchen mit den schwefelholzern) by Helmut Lachenmann and "Lohengrin" (Lohengrin - azione invisibile) by Salvatore Sciarrino // Bulletin of St. Petersburg State University. Series 15: Art history. – No. 1. –. – S. 9–20.
Agasso, D. (2017). Santa Maria Maddalena de' Pazzi Vergine. Santi, beati e testimony: Enciclopedia dei Santi. http://www.santiebeati.it/dettaglio/27450. (date

Abstract: The author considers one of the five operas performed at the 2019 festival “Archstoyanie” in the village of Nikola-Lenivets, Kaluga oblast. In the natural environment, among meadows, trees, barrows, and basins, artists build art objects in which young composers perform their works. Artiom Pyś, the Moscow Conservatory alumnus, performed an hour and a half opera “teo/TEO/Theo”. 
The article analyzes the idea and the concept of the piece; the author analyzes the music text and raises the question about the future of opera as a music genre. The author uses the method of comprehensive analysis which includes a brief characteristics of the work of a young composer, the structural, compositional and conceptual analysis of the music text. The scientific novelty consists in the first and the only review of one of the projects of the Contemporary Music Laboratory, in the analysis of an original piece of music which can be in the vanguard of Russia’s artistic achievements. Based on the research, the author makes suggestion about the discovery of a new direction in opera art, connected with both narrative moves (the opera’s lead character is virtual Teo/TEO/Theo), and a postmodern mixture of music genres, opera patterns and sound experiments including those involving human voice. 
 

Keywords: arch standing, musical ecosystem, voice lab, modern art laboratory, avant-garde vocals, opera, Artyom Pyss, music quotes, allusions, Natalya Pshenichnikova

References:
Pys' Artem // Elektronnyy resurs. Rezhim dostupa: https://specialradio.ru/sk/pys-artem/
Arkhstoyanie-2019: 321 ispolnitel' — arkhitektory, khudozhniki, kompozitory i dramaturgi // Elektronnyy resurs. Rezhim dostupa: https://news.rambler.ru/other/42276819-arhstoyanie-2019-321-ispolnitel-arhitektory-hudozhniki-kompozitory-i-dramaturgi/?update

Abstract: The article analyzes the use of mathematical structures in the music of Estonian composer Arvo Pärt and their incorporation in choreography. The author considers Pärt’s works interpreted by choreographs, namely: «Spiegel im Spiegel», «Fratres»,«Tabula rasa», «Summa». These works are analyzed from the viewpoint of the composer’s referral to “lyrical geometry” in while composing. The author also considers symmetry principles in choreography. Symmetry, first of all, is geometrically adjusted and balanced positioning of the artist’s body, it’s position in space. In choreographic incorporations of Pärt’s music, choreographers project symmetry of the musical text onto the choreographic one. The author analyzes the following ballets from the viewpoint of symmetry using: “Otello” by John Neumeier, “Déjà vu” by Hans Van Manen, “Ward No. 6” by Radu Poklitaru, “Nunc Dimittis” by Nacho Duato. The methodological basis of the research is the comprehensive approach based on scientific achievements of both the modern musicology and the study of choreography. In his works, Arvo Pärt often refers to mathematical structures in composing. It is determined not only by rational grounds of the author’s technique  tintinnabuli, but also by the spiritual component of Pärt’s music, so the structure in the composer’s works is often symbolic. In ballets to the music of Pärt, we can see the choreographer’s references to the symmetry principles as one of the ways of interaction with music. Depending on the artistic goal, relations with the music, the genre of the ballet, the symmetry principles incorporated into Pärt’s compositions and reflected in choreographic interpretations of his works, are used differently by choreographers.
 

Keywords: Hans van Manen, John Neumeier, lyrical geometry, symmetry, mathematical structure, Arvo Pärt, Radu Poklitaru, Nacho Duato, Spiegel im spiegel, Fratres

References:
Krapivina I. V. Problemy formoobrazovaniya v muzykal'nom minimalizme: dis. ...kand. isk.: 17.00.02. Novosibirsk: Novosib. gos. konservatoriya (akademiya) im. M. I. Glinki, 2003. 329 s.
Zobov R. A. Mostepanenko, A. M. Ritm, prostranstvo i vremya v literature i iskusstve. L.: Nauka, 1974. 299 s.
Kiseeva E. V. Stanovlenie khudozhestvennykh printsipov minimalizma v tvorchestve kompozitorov i khoreografov vtoroy poloviny XX veka // Yuzhno-Rossiyskiy muzykal'nyy al'manakh. 2016. ¹ 2 (23). S. 62-68.
Brazhnikova Yu. A. Simmetriya zvukovysotnykh sistem: dis. ...kand. Iskusstvovedeniya: 17.00.02. Saratov, 2013, 186 s.
Arvo Pyart: besedy, issledovaniya, razmyshleniya. Kiev: Dukh i Litera, 2014. 97 s.
Baletmeyster A. A. Gorskiy: materialy, vospominaniya, stat'i. SPb.: Dmitriy Bulanin, 2000. 369 s.
Blok L. D. Klassicheskiy tanets. Istoriya i sovremennost'. M.:Iskusstvo, 1987. 556 s.
Lomanov M. Elementy simmetrii v muzyke // Muzykal'noe iskusstvo i nauka. Vyp. 1. M., 1970. S. 136-165.
Zamornikova K., Katunyan M. «Fratres» Arv

Abstract: The article studies the phenomenon of contact improvisation founded by the choreographer Steve Paxton. The contact improvisation technique is very popular today, being founded in America in the 1970s. Steve Paxton defined contact improvisation as a formation of a “spherical space” which is “the result of so many changes in spatial and kinesthetic orientation in a short time”. In the plastic of contact improvisation, both an individual body and an interpersonal system can take a metastable position. We can observe the same phenomenon in other improvisational experiments. The main research method is comparative analysis of philosophical roots of contact improvisation, particularly the connection with one of the postulates of A. Bergson holding that “all division of matter into independent bodies with absolutely determined outlines is an artificial division”, and the connection with the ideas of modern cognitive scientists and psychologists. Comparing contact improvisation with an equivalent phenomenon of ensemble improvisation in the works of Stockhausen “From the Seven Days”, the authors conclude that in both cases, the starting point of improvisation is the projection of individual peculiarities of physical conditions of the participants (heart rate, breath, the specificity of reflecting the initial images of movement in the improvisation and other aspects). 
 

Keywords: sound space, intuitive music, contact improvisation, Stockhausen, modern music, modern dance, Steve Paxton, postmodern dance, Material for the Spinå, dance technique

References:
Khabibulina L. Esli vy khotite popast' v deystvitel'no novoe mesto, vy ne mozhete znat', kuda vy idete // Peterburgskiy Teatral'nyy Zhurnal 2003 ¹2 (32) [Elektronnyy zhurnal] URL: http://ptj.spb.ru/archive/32/music-theatre-32/esli-vyxotite-popast-v-dejstvitelno-novoe-mesto-vynemozhete-znatkuda-vyidete/ (data obrashcheniya 18.09.2019)
Marengo M., Muniz Z.-A Glance Upon Material for the Spine, by Steve Paxton Rev. Bras. Estud. Presença, Porto Alegre, v. 8, n. 1, p. 151-165, Jan./Mar. 2018
Cole M. Culture and Cognitive Science. Talk Presented to the Cognitive Science Program, U.C. Santa Barbara, May 15, 1997.
Fuko M. «Slova i veshchi. Arkheologiya gumanitarnykh nauk». SPb A-cad 1994-407 c.
Pekston S. Zametki o vnutrenney tekhnike / Perevod A. Andrianova [Elektronnyy resurs] http://old.girshon.ru/www.dancetrio/Articles/paxton2.html
Bergson A. Tvorcheskaya evolyutsiya. Materiya i pamyat'. Minsk: Kharvest, 1999 g., 1408 s.
Stockhausen K. Aus den sieben tagen (From the Seven Days) (1968) 15 "intuitive music" text

Abstract: The research subject is the peculiarities of the development of choreography in Vladivostok in the early 1920s. This area of the history of music culture of the Russian Far East is poorly studied. In the result of migration processes after the 1917 revolutions and the Civil War, large creative forces concentrated in Vladivostok. Ballet studios and schools opened, choreography teachers appeared. Heads and students of those schools and studios were actively involving in theatral life of the city, adding variety to the lists of productions. Based on the periodicals, the author reconstructs the events connected with the development of choreography in Vladivostok. The author reveals the names of ballet dancers and choreographers, studies concert events, analyzes journalist materials. The research of the work of choreography schools and studios of Vladivostok of the early 1920s helps conclude about their primary role in the production of integral ballet plays, about the priority in the performance of classical and romantic ballets in Vladivostok carrying on the traditions of the Russian ballet school, about stimulating the appearance of the first critical publications about the ballet in local press. All the above mentioned circumstances promoted and supported the further interest in ballet art in Vladivostok. 
 

Keywords: ballet studios, ballet schools, teachers of the ballet, choreographic art, ballet history, domestic ballet school, ballet, the ballet in Vladivostok, ballet theater, musical culture of Vladivostok

References:
Novyy teatr A. S. Kevorkova. Kontsert v pol'zu «dvukhnedel'nika krasnoy armii» [Teatr i muzyka] // Golos Rodiny. — 1922. — 28 noyabrya (¹ 850). — S. 5.
Krylovskaya I. I. Tantsovshchiki O. P. Manzheley i B. A. Serov na rossiyskom Dal'nem Vostoke i v emigratsii // Vestnik Akademii russkogo baleta im. A.Ya.Vaganovoy. — SPB. — 2018. — ¹ 3 (56). — S.75 – 94.
Kogan S. Balerina. K 100-letiyu so dnya rozhdeniya solistki baleta Odesskogo opernogo teatra Dory Alidort // Tikva. — 2007. — 26 dekabrya (¹ 559 (52)). — S. 10. [Elektronnyy resurs]. — URL: http://viknaodessa.od.ua/newspaper/news/?4699. — (data obrashcheniya: 26.03.2018).
Baletoman. Balet [Teatr i muzyka] // Golos Rodiny. — 1921. — 24 aprelya (¹ 69). — S. 4 – 5.
Vavilov S. P., Tkalenko Ya. V. Opernye postanovki tomichey v 1900 – 1920-kh gg. // Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie. — 2018. — ¹ 29. — S. 172 – 179.
[Teatr i muzyka] // Dalekaya okraina. — 1916. — 22 iyulya (¹ 2992). — S. 3. ¬
Epishkin N. I. Istoricheskiy slovar'

Abstract: The research subject is the new Sergey Slonimsky’s opera “King Lear” (2001) based on Shakespeare’s tragedy. It is the first opera in modern Russian musical theatre, which is based on the old genre dramma per musica. The author of the paper studies the score and premiere plays in Moscow and St. Petersburg to analyze the cultural senses of the creative concept. The author reveals the peculiarities of performing the concept of Shakespeare’s tragedy in drama and the music style of the opera, analyzes the characters’ features and their interpretation by the performer in premiere plays. The author uses the methodology of culturological study, complex and interdisciplinary approaches, methods of historical-comparative analysis, culturological and musicological interpretation. The scientific novelty of the study consists in the fact that it is the first study, which gives profound and comprehensive theoretical and culturological analysis of the new opera “King Lear” by the patriarch of Russian music culture Sergey Slonimsky. It contains the characteristics of premiere plays of 2016 and their artistic evaluation. On the basis of Slonimsky’s work the author concludes about impressive innovation of Russian opera of the 21st century, composer’s reliance on the traditions of the Shakespearean drama theatre and music theatre of the 16th – the 17th centuries, rich in innovations of the 21st century, which smoothly synthesize the features of elite and mass culture. 

Keywords: music of the 21st century , opera drama, innovations, dramma per musica, folklore , mass culture , elite culture, Shakespeare's tragedy, modern opera, Sergey Slonimsky

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