Review: The object of the research is the musical dramaturgy and the structure of images in a mono opera 'Émilie' by a famous modern Finnish composer Kaija Saariaho. Based on the anaylsis of libretto, musical composition and combination of expressive means enabling plot-forming and dramaturgical solutions in the opera, the author of the present article describes and analyzes original principles used by the composer in her creating the image of the main heroine. One of the most brilliant principles is the composer's revealing the image of Émilie through her 'invisible presence' in monologues of other 'characters' mentioned in the libretto and expressed in music. The main analytical methods used by the author in this research relate to musical hermeneutics. In addition, the author also bases the research on approaches that are traditionally used by Russian music studies to analyze opera librettos and music. The scientific novelty of the research is caused by the fact that the author studies this particular opera. The result of the research is the conclusion that versatile dramaturgy of the opera libretto and music along with the polyphony of images in the opera 'Émilie' provides new opportunities for developing the genre. 

Keywords: Finnish composer, Lyonese opera, Amin Maalouf, music of the 21st century, modern opera, Saint-Lambert, Voltaire, mono opera, Émilie, Kaija Saariaho

References:
Siren V. Emilie is arguably Kaija Saariaho’s most beautiful opera [Elektronnyy resurs] // Helsingin Sanomat: [sayt]. URL: www.hs.fi/english/print/1135253549936 (data obrashcheniya: 25.04.2014).
Saariaho K. Emilie [Elektronnyy resurs] // Kaija Saariaho: [sayt]. URL: http://saariaho.org/works/emilie/ (data obrashcheniya: 8.12.2016).

References (transliteration):
Siren V. Emilie is arguably Kaija Saariaho’s most beautiful opera [Elektronnyy resurs] // Helsingin Sanomat: [sayt]. URL: www.hs.fi/english/print/1135253549936 (data obrashcheniya: 25.04.2014).
Saariaho K. Emilie [Elektronnyy resurs] // Kaija Saariaho: [sayt]. URL: http://saariaho.org/works/emilie/ (data obrashcheniya: 8.12.2016).

Review: The object of the research is the opera writing by Rimsky-Korsakov through revealing fantasy female characters in the fairy opera tales "Sadko", "The Tale of Tsar Saltan", "Kashchei Immortal", "The Golden Cockerel", and "The Legend of the Invisible City of Kitezh". Man's understanding of the beautiful had always gone hand in hand with art which, in its turn, is one of the finest manifestations of the society's culture as well as an inexhaustible topic for research. In this paper Krapiva investigates the best traditions of Russian opera and imaginative realm of "Beautiful Lady" in the works of Nikolai Rimsky-Korsakov. The author describes common features of idealized images of beautiful ladies in creative works created by poets and philosophers and how these images are shown in the composer's fairy plots. The methodological basis of the research includes the materialistic theory of knowledge. In the course of the research the author has also used general research methods such as analysis, synthesis, historical-artistic, comparative and systems-structural analysis. The author concludes that analysis of the image of "Beautiful Lady" embodied in the fabulous female characters in Rimsky-Korsakov's opera  allows performers (singers and actresses) to come to a better understanding of the vocal part and is necessary for the realization of bright beautiful female characters in opera.

Keywords: World Art, music, art, vocal understanding, female characters, fairytale opera, Russian opera, Rimsky-Korsakov, the image of Beautiful Lady, imaginative sphere

References:
Rimskiy-Korsakov N. Letopis' moey muzykal'noy zhizni. – M.: Gosudarstvennoe muzykal'noe izd-vo, 1935. – 5-e izd-e. – S. 315.
Pogontseva D.V. Kul'turno-istoricheskaya dinamika predstavleniy o zhenskoy krasote // Chelovek i kul'tura.-2014.-5.-C. 67-85. DOI: 10.7256/2409-8744.2014.5.14612. URL: http://www.e-notabene.ru/ca/article_14612.html (data obrashcheniya:04.05.2016).
Shapovalov V. Osnovy filosofii. Ot klassiki do sovremennosti. — 2-e izd., dopolnennoe. — M.: FAIR-PRESS, 2001. — S. 351.
Shekspir U. Sonety / Perevod s angl. S. Marshaka. Predislovie, primechaniya A. Aniksta. – Khabarovsk: kn. izd-vo, 1987. – 224 s.
Sol'v'ev V. O deystvitel'nosti vneshnego mira i osnovanii metafizicheskogo poznaniya // Sol'v'ev V. Izbrannye proizvedeniya. Seriya «vydayushchiesya mysliteli». – Rostov-na-Donu: Feniks, 1998. – S. 54 – 67.
Sol'v'ev V. Krasota v prirode // Sol'v'ev V. Izbrannye proizvedeniya. Seriya «vydayushchiesya mysliteli». – Rostov-na-Donu: Feniks, 1998. – S. 276 – 294.
Druskin M. Istoriya zarubezhnoy muzyki: uchebnik / pod red. Kotominoy S. – M.: Muzyka, 1980. – Vyp. 4, izd-e 5. – 528 s.
Kandinskiy. A. Glava VII. Opernoe tvorchestvo 1900-kh godov. Skazochnye opery: «Skazka o tsare Saltane» // Istoriya russkoy muzyki. Vtoraya polovina XIX veka. N. A. Rimskiy-Korsakov: Uchebnik dlya muz. Vuzov. – M.: Muzyka, 1984. – 2-e izd-e., T. 2, kn. 2. – S. 165-178.
Kantor Vladimir «Vechno zhenstvennoe» i russkaya kul'tura // «Zhurnal'nyy zal». – 2003. – oktyabr', ¹ 11. Sistemnye trebovaniya: URL: http://magazines.russ.ru/october/2003/11/kantor.html (data obrashcheniya: 26.03.2016)
Blok A.A.// Blok A. Stikhotvoreniya. Poemy. Teatr // Biblioteka vsemirnoy literatury. Seriya Literatura XX veka – M.: Khudozhestvennaya literatura, 1968. –Tom 138. – S. 47-108.
Antokol'skiy P. «Aleksandr Blok» // Blok A. Stikhotvoreniya. Poemy. Teatr // Biblioteka vsemirnoy literatury. Seriya 3. Literatura XX veka – M.: Khudozhestvennaya literatura, 1968. –Tom 138. – S. 5-22.

References (transliteration):
Rimskiy-Korsakov N. Letopis' moey muzykal'noy zhizni. – M.: Gosudarstvennoe muzykal'noe izd-vo, 1935. – 5-e izd-e. – S. 315.
Pogontseva D.V. Kul'turno-istoricheskaya dinamika predstavleniy o zhenskoy krasote // Chelovek i kul'tura.-2014.-5.-C. 67-85. DOI: 10.7256/2409-8744.2014.5.14612. URL: http://www.e-notabene.ru/ca/article_14612.html (data obrashcheniya:04.05.2016).
Shapovalov V. Osnovy filosofii. Ot klassiki do sovremennosti. — 2-e izd., dopolnennoe. — M.: FAIR-PRESS, 2001. — S. 351.
Shekspir U. Sonety / Perevod s angl. S. Marshaka. Predislovie, primechaniya A. Aniksta. – Khabarovsk: kn. izd-vo, 1987. – 224 s.
Sol'v'ev V. O deystvitel'nosti vneshnego mira i osnovanii metafizicheskogo poznaniya // Sol'v'ev V. Izbrannye proizvedeniya. Seriya «vydayushchiesya mysliteli». – Rostov-na-Donu: Feniks, 1998. – S. 54 – 67.
Sol'v'ev V. Krasota v prirode // Sol'v'ev V. Izbrannye proizvedeniya. Seriya «vydayushchiesya mysliteli». – Rostov-na-Donu: Feniks, 1998. – S. 276 – 294.
Druskin M. Istoriya zarubezhnoy muzyki: uchebnik / pod red. Kotominoy S. – M.: Muzyka, 1980. – Vyp. 4, izd-e 5. – 528 s.
Kandinskiy. A. Glava VII. Opernoe tvorchestvo 1900-kh godov. Skazochnye opery: «Skazka o tsare Saltane» // Istoriya russkoy muzyki. Vtoraya polovina XIX veka. N. A. Rimskiy-Korsakov: Uchebnik dlya muz. Vuzov. – M.: Muzyka, 1984. – 2-e izd-e., T. 2, kn. 2. – S. 165-178.
Kantor Vladimir «Vechno zhenstvennoe» i russkaya kul'tura // «Zhurnal'nyy zal». – 2003. – oktyabr', ¹ 11. Sistemnye trebovaniya: URL: http://magazines.russ.ru/october/2003/11/kantor.html (data obrashcheniya: 26.03.2016)
Blok A.A.// Blok A. Stikhotvoreniya. Poemy. Teatr // Biblioteka vsemirnoy literatury. Seriya Literatura XX veka – M.: Khudozhestvennaya literatura, 1968. –Tom 138. – S. 47-108.
Antokol'skiy P. «Aleksandr Blok» // Blok A. Stikhotvoreniya. Poemy. Teatr // Biblioteka vsemirnoy literatury. Seriya 3. Literatura XX veka – M.: Khudozhestvennaya literatura, 1968. –Tom 138. – S. 5-22.

Review: The article continues the elaboration of new methods of tonal melody analysis initiated by the author in previous works. These methods are based on the original interpretation of Heinrich Schenker's theory. The subject of the research is F. Schubert’s song "Das Wandern" (from the cycle "Die Schöne Müllerin") and Lied ohne Worte No 20 by F. Mendelssohn. Melody is considered in four aspects: 1) in the context of harmonic four-part texture; 2) in the context of linear progressions (the Urlinie and middleground pitch-lines according to Schenker); 3) within the melodic ambitus (identifying the primary, secondary and intermediate stable tones); 4) as the intoned conjugation of tones or chords. The researcher describes initial and/or final arrays of keynotes ('solid particles'). Melodic principles are divided into basic, auxiliary and intermediate ones. The final stage of analysis is the producing both detailed and concise schemes of melody. The methods offered by the researcher adequately demonstrate the movement of melody in the context of the linear-harmonic continuity of the mode. The article also includes a brief history of studying melody in the USSR.

Keywords: Heinrich Schenker, dynamic triangle, stable tone, intonation, ambitus, linear-harmonic analysis, melody, history of the music theory, Franz Schubert, Felix Mendelssohn

References:
Kulakovskiy L.V. Analiz vyrazitel'nosti narodnykh melodiy // Muzykal'noe obrazovanie. 1930. ¹ 6. S. 25-35.
Mazel' L.A. Opyt issledovaniya zolotogo secheniya v muzykal'nykh postroeniyakh v svete obshchego analiza form // Muzykal'noe obrazovanie. 1930. ¹ 2. S. 24-33.
Mazel' L.A. Prelyudiya A-dur Shopena s tochki zreniya teorii mnogoosnovnosti ladov i sozvuchiy // Muzykal'noe obrazovanie. 1930. ¹ 3. S. 28-32.
Mazel' L.A. O melodii. – M.: Gosmuzizdat, 1952. 300 s.
Yavorskiy B.L. Stroenie muzykal'noy rechi. Materialy i zametki. V 3-kh ch. – M.: tip. G. Aralova, 1908. I ch.: 8 s. II ch.: 8 s. III ch. 1 otd.: 8 s. 2 otd. (M.: notopechatnya P. Yurgensona, 1911): 12 s.
Belyaeva-Ekzemplyarskaya S.N., Yavorskiy B.L. Vospriyatie ladovykh melodicheskikh postroeniy // Sborniki eksperimental'no-psikhologicheskikh issledovaniy. Trudy Gos. akad. khud. nauk. Psikhofizicheskaya laboratoriya. Vyp. 1. – L., 1926. S. 3-32.
Yavorskiy B.L. Konstruktsiya melodicheskogo protsessa // Belyaeva-Ekzemplyarskaya S.N., Yavorskiy B.L. Struktura melodii: Trudy gos. akademii khud. nauk. Vyp. 3. – M.: GAKhN, 1929. S. 7-36.
Kulakovskiy L.V. K voprosu o stroenii narodnykh melodiy // Muzykal'noe îbrazovanie. 1928. ¹ 4/5. S. 13-38. ¹ 6. S. 16-38.
Asaf'ev B.V. Muzykal'naya forma kak protsess. Izd. 2-e. – L.: Muzyka, 1971. 376 s.
Kurt E. Osnovy linearnogo kontrapunkta: melodicheskaya polifoniya Bakha / pod red. i so vstup. stat'ey B. V. Asaf'eva. – M.: Gosmuzizdat, 1931. 304 s.
Shishov I.P. K voprosu ob analize melodicheskogo stroeniya // Muzykal'noe obrazovanie. 1927. ¹ 1/2. S. 150-158. ¹ 3/4. S. 26-31.
Zakharov Yu.K. Ivan Shishov: pervye opyty analiza melodii v SSSR // Observatoriya kul'tury. 2014. ¹ 3. S. 90-98.
Ryazanova N.P. Kurs melodiki P. Ryazanova v kontekste aktual'nykh v 1920-e gody muzykal'no-teoreticheskikh ucheniy // Universitetskiy nauchnyy zhurnal (Filologicheskie i istoricheskie nauki, iskusstvovedenie). 2015. ¹ 12. S. 93-109.
Ryazanova N.P. O vydayushchemsya deyatele russkoy muzykal'noy kul'tury P.B. Ryazanove // Vestnik SPbGUKI. 2012. ¹ 4(13) dekabr'. S. 157-167.
Ryazanova N.P. P.B. Ryazanov i B.V. Asaf'ev: iz istorii odnoy kollektivnoy raboty // OPERA MUSICOLOGICA. 2014. ¹ 1(19). S. 4-26.
Asaf'ev B.V. (Igor' Glebov). Protsess oformleniya zvuchashchego veshchestva // De musica: sb. statey pod red. Igorya Glebova. – Pg., 1923. S. 144-164.
Vershinina I.Ya. Rechevaya vyrazitel'nost' melodiki Musorgskogo // Sovetskaya muzyka. 1959. ¹ 7. S. 71-79.
Grigor'ev S.S. O melodike Rimskogo-Korsakova. – M.: Gosmuzizdat, 1961. 196 s.
Korchmar L.O. Uchenie o melodii v XVIII veke // Voprosy teorii muzyki. Vyp. 2. / Sb. statey; red.-sost. Yu.N. Tyulin. – M.: Muzyka, 1970. S. 455-468.
Mokreeva G.Yu. O melodike Stravinskogo // Voprosy teorii muzyki. Vyp. 2. Sb. statey; red.-sost. Yu.N. Tyulin. – M.: Muzyka, 1970. S. 290-324.
Isaeva (Isaeva-Gordeeva) I.A. O melodicheskoy prirode garmonii i faktury v muzyke Musorgskogo // Voprosy teorii muzyki. Vyp. 3. – M.: Muzyka, 1975. S. 132-156.
Belova S.N. O nekotorykh strukturnykh osobennostyakh melodicheskogo tematizma K. Debyussi // Muzykoznanie: sb. statey. Vyp. VIII-IX. – Alma-Ata, 1976. S. 180-205.
Papush M.P. K analizu ponyatiya melodii // Muzykal'noe iskusstvo i nauka. Vyp. 2. – M., 1973. S. 135-174.
Papush M.P. Elementy ucheniya o melodii // Muzykal'noe iskusstvo i nauka. Vyp. 3. – M., 1978. S. 145-167.
Kholopov Yu.N. Melodiya // Muzykal'naya entsiklopediya. T. 3. – M.: «Sov. entsiklopediya», 1976. Stb. 512-529.
Shenker G. Svobodnoe pis'mo. Novye muzykal'nye teorii i fantazii III: v 2-kh t. / per. B. T. Plotnikova. – Krasnoyarsk, 2003. T. 1: tekst. 152 s. T. 2: notn. primery. 128 s.
Aranovskiy M.G. Sintaksicheskaya struktura melodii: Issledovanie. – M.: Muzyka, 1991. 320 s.
Zakharov Yu.K. Na puti k novym metodam analiza tonal'noy melodii (pesni F. Shuberta) // Nauchnyy vestnik Moskovskoy konservatorii. 2015. ¹ 1(20). S. 100-119.
Zakharov Yu.K. Vozmozhen li analiz melodii po metodu Shenkera? // Muzykal'naya akademiya. 2015. ¹ 1. S. 179-186.
Zakharov Yu.K. Ladovoe stroenie znamennykh stikhir XVII veka (na primere dogmatika pervogo glasa) // Iskusstvo muzyki: teoriya i istoriya [Elektronnyy zhurnal]. ¹ 14. 2016. S. 1-28. URL: http://imti.sias.ru/upload/iblock/fe5/imti_2016_14_1_28_zakharov.pdf (data obrashcheniya 30.04.2016).
Zakharov Yu.K. Novoe slovo o sushchnosti muzykal'noy intonatsii // Dom Burganova. Prostranstvo kul'tury. 2013. ¹ 3. S. 63-75.
Kholopov Yu.N. Muzykal'no-teoreticheskaya sistema Khaynrikha Shenkera. – M.: ID «Kompozitor», 2006. 160 s
Elena Alkon Melos, modal'nost' i muzykal'noe myshlenie mifologicheskogo tipa: k razvitiyu idei E. Kurta // Uchenye zapiski Rossiyskoy akademii muzyki imeni Gnesinykh. - 2014. - 1. - C. 13 - 23.

References (transliteration):
Kulakovskiy L.V. Analiz vyrazitel'nosti narodnykh melodiy // Muzykal'noe obrazovanie. 1930. ¹ 6. S. 25-35.
Mazel' L.A. Opyt issledovaniya zolotogo secheniya v muzykal'nykh postroeniyakh v svete obshchego analiza form // Muzykal'noe obrazovanie. 1930. ¹ 2. S. 24-33.
Mazel' L.A. Prelyudiya A-dur Shopena s tochki zreniya teorii mnogoosnovnosti ladov i sozvuchiy // Muzykal'noe obrazovanie. 1930. ¹ 3. S. 28-32.
Mazel' L.A. O melodii. – M.: Gosmuzizdat, 1952. 300 s.
Yavorskiy B.L. Stroenie muzykal'noy rechi. Materialy i zametki. V 3-kh ch. – M.: tip. G. Aralova, 1908. I ch.: 8 s. II ch.: 8 s. III ch. 1 otd.: 8 s. 2 otd. (M.: notopechatnya P. Yurgensona, 1911): 12 s.
Belyaeva-Ekzemplyarskaya S.N., Yavorskiy B.L. Vospriyatie ladovykh melodicheskikh postroeniy // Sborniki eksperimental'no-psikhologicheskikh issledovaniy. Trudy Gos. akad. khud. nauk. Psikhofizicheskaya laboratoriya. Vyp. 1. – L., 1926. S. 3-32.
Yavorskiy B.L. Konstruktsiya melodicheskogo protsessa // Belyaeva-Ekzemplyarskaya S.N., Yavorskiy B.L. Struktura melodii: Trudy gos. akademii khud. nauk. Vyp. 3. – M.: GAKhN, 1929. S. 7-36.
Kulakovskiy L.V. K voprosu o stroenii narodnykh melodiy // Muzykal'noe obrazovanie. 1928. ¹ 4/5. S. 13-38. ¹ 6. S. 16-38.
Asaf'ev B.V. Muzykal'naya forma kak protsess. Izd. 2-e. – L.: Muzyka, 1971. 376 s.
Kurt E. Osnovy linearnogo kontrapunkta: melodicheskaya polifoniya Bakha / pod red. i so vstup. stat'ey B. V. Asaf'eva. – M.: Gosmuzizdat, 1931. 304 s.
Shishov I.P. K voprosu ob analize melodicheskogo stroeniya // Muzykal'noe obrazovanie. 1927. ¹ 1/2. S. 150-158. ¹ 3/4. S. 26-31.
Zakharov Yu.K. Ivan Shishov: pervye opyty analiza melodii v SSSR // Observatoriya kul'tury. 2014. ¹ 3. S. 90-98.
Ryazanova N.P. Kurs melodiki P. Ryazanova v kontekste aktual'nykh v 1920-e gody muzykal'no-teoreticheskikh ucheniy // Universitetskiy nauchnyy zhurnal (Filologicheskie i istoricheskie nauki, iskusstvovedenie). 2015. ¹ 12. S. 93-109.
Ryazanova N.P. O vydayushchemsya deyatele russkoy muzykal'noy kul'tury P.B. Ryazanove // Vestnik SPbGUKI. 2012. ¹ 4(13) dekabr'. S. 157-167.
Ryazanova N.P. P.B. Ryazanov i B.V. Asaf'ev: iz istorii odnoy kollektivnoy raboty // OPERA MUSICOLOGICA. 2014. ¹ 1(19). S. 4-26.
Asaf'ev B.V. (Igor' Glebov). Protsess oformleniya zvuchashchego veshchestva // De musica: sb. statey pod red. Igorya Glebova. – Pg., 1923. S. 144-164.
Vershinina I.Ya. Rechevaya vyrazitel'nost' melodiki Musorgskogo // Sovetskaya muzyka. 1959. ¹ 7. S. 71-79.
Grigor'ev S.S. O melodike Rimskogo-Korsakova. – M.: Gosmuzizdat, 1961. 196 s.
Korchmar L.O. Uchenie o melodii v XVIII veke // Voprosy teorii muzyki. Vyp. 2. / Sb. statey; red.-sost. Yu.N. Tyulin. – M.: Muzyka, 1970. S. 455-468.
Mokreeva G.Yu. O melodike Stravinskogo // Voprosy teorii muzyki. Vyp. 2. Sb. statey; red.-sost. Yu.N. Tyulin. – M.: Muzyka, 1970. S. 290-324.
Isaeva (Isaeva-Gordeeva) I.A. O melodicheskoy prirode garmonii i faktury v muzyke Musorgskogo // Voprosy teorii muzyki. Vyp. 3. – M.: Muzyka, 1975. S. 132-156.
Belova S.N. O nekotorykh strukturnykh osobennostyakh melodicheskogo tematizma K. Debyussi // Muzykoznanie: sb. statey. Vyp. VIII-IX. – Alma-Ata, 1976. S. 180-205.
Papush M.P. K analizu ponyatiya melodii // Muzykal'noe iskusstvo i nauka. Vyp. 2. – M., 1973. S. 135-174.
Papush M.P. Elementy ucheniya o melodii // Muzykal'noe iskusstvo i nauka. Vyp. 3. – M., 1978. S. 145-167.
Kholopov Yu.N. Melodiya // Muzykal'naya entsiklopediya. T. 3. – M.: «Sov. entsiklopediya», 1976. Stb. 512-529.
Shenker G. Svobodnoe pis'mo. Novye muzykal'nye teorii i fantazii III: v 2-kh t. / per. B. T. Plotnikova. – Krasnoyarsk, 2003. T. 1: tekst. 152 s. T. 2: notn. primery. 128 s.
Aranovskiy M.G. Sintaksicheskaya struktura melodii: Issledovanie. – M.: Muzyka, 1991. 320 s.
Zakharov Yu.K. Na puti k novym metodam analiza tonal'noy melodii (pesni F. Shuberta) // Nauchnyy vestnik Moskovskoy konservatorii. 2015. ¹ 1(20). S. 100-119.
Zakharov Yu.K. Vozmozhen li analiz melodii po metodu Shenkera? // Muzykal'naya akademiya. 2015. ¹ 1. S. 179-186.
Zakharov Yu.K. Ladovoe stroenie znamennykh stikhir XVII veka (na primere dogmatika pervogo glasa) // Iskusstvo muzyki: teoriya i istoriya [Elektronnyy zhurnal]. ¹ 14. 2016. S. 1-28. URL: http://imti.sias.ru/upload/iblock/fe5/imti_2016_14_1_28_zakharov.pdf (data obrashcheniya 30.04.2016).
Zakharov Yu.K. Novoe slovo o sushchnosti muzykal'noy intonatsii // Dom Burganova. Prostranstvo kul'tury. 2013. ¹ 3. S. 63-75.
Kholopov Yu.N. Muzykal'no-teoreticheskaya sistema Khaynrikha Shenkera. – M.: ID «Kompozitor», 2006. 160 s
Elena Alkon Melos, modal'nost' i muzykal'noe myshlenie mifologicheskogo tipa: k razvitiyu idei E. Kurta // Uchenye zapiski Rossiyskoy akademii muzyki imeni Gnesinykh. - 2014. - 1. - C. 13 - 23.

Review: The importance of the present research is caused by the growing popularity of the romantic music genre and orientation at romantic styles and trends demonstrated by contemporary composers and players. In this regard, it is very important to appeal to the creative life and work of the most brilliant representatives of the romantic movement in music, Polish violinist and composer Henryk Wieniawski. Remarkable and spectaculous and at the same time philosophical compositions of Wieniawsky opened the door to new discoveries, heights and directions for the development of the violin art, thus helping to develop the genre of violin concert. The subject of the research is the two compositions of Henryk Wieniawski in the genre of violin concert as the brightest example of his creative style. The author of the article makes an attempt to draw attention of modern music teachers and players to the composer's intention and profound conceptual solutions, in particular, in his Second concert. The research is based on the integrated theoretical and practical approach and the method of comparative analysis of these two Henryk Wieniawski's violin concerts in terms of the research subject. The scientific novelty of the research is caused by the fact that the author describes parameters for the comparative analysis of the two violin concerts composed by Henryk Wieniawski from the point of view of their concent and style. As a result of the research, the author makes conclusions about the development of the Polish composer's style and way of thinking, peculiarities of his expressive means and symphonization principles. The results of the research can be important for further researches of the creative life and work of the Polish composer and violonist Henryk Wieniawski as well as encourage further studies of European romantic art. 

Keywords: virtuosic romantic genre, romantic lyrical genre, narrative methods, monointonationalism, monothematism, composition logic, instrumental ornamentality, conceptual way of thinking, violin concert, Henryk Wieniawski

References:
Rubinshteyn A.G. Muzyka i ee predstaviteli. M.: Parovaya skoropechatnya not P. Yurgensona, 1891. 185 s.
Zaytseva M.L. Virtuoznost' i rasshirenie granits vospriyatiya muzykal'nogo ispolnitel'skogo iskusstva / M.L. Zaytseva // Materialy XII mezhdunarodnoy nauchno-prakticheskoy konferentsii «Klyuchevye aspekty nauchnoy deyatel'nosti – 2016» (7–15 yanvarya 2016 g., Pol'sha, g. Peremyshl'). T. 5. Muzyka i zhizn'. Peremyshl': Nauka i studia, 2016. S. 55–57.
Grigor'ev V.Yu. Genrik Venyavskiy. M.: Muzyka, 1966. 118 s.
Grigor'ev V.Yu. Istoriya pol'skogo skripichnogo iskusstva XIX veka Tekst: dis. … d-ra iskusstvovedeniya. M., 1981. 381 s.
Auer L. Moya shkola igry na skripke. Interpretatsiya proizvedeniy skripichnoy klassiki. M.: Muzyka, 1965. 274 s.
Anisimov A.V. Vzaimodeystvie solista i orkestra v zapadnoevropeyskom skripichnom kontserte XVII-XIX vekov Tekst: dis. … k-ta iskusstvovedeniya. Magnitogorsk, 2011. 248 s.
«Signale fur die musikalische Welt», Leipzig, 1853 / Grigor'ev V.Yu. Genrik Venyavskiy. M.: Muzyka, 1966. 118 s.

References (transliteration):
Rubinshteyn A.G. Muzyka i ee predstaviteli. M.: Parovaya skoropechatnya not P. Yurgensona, 1891. 185 s.
Zaytseva M.L. Virtuoznost' i rasshirenie granits vospriyatiya muzykal'nogo ispolnitel'skogo iskusstva / M.L. Zaytseva // Materialy XII mezhdunarodnoy nauchno-prakticheskoy konferentsii «Klyuchevye aspekty nauchnoy deyatel'nosti – 2016» (7–15 yanvarya 2016 g., Pol'sha, g. Peremyshl'). T. 5. Muzyka i zhizn'. Peremyshl': Nauka i studia, 2016. S. 55–57.
Grigor'ev V.Yu. Genrik Venyavskiy. M.: Muzyka, 1966. 118 s.
Grigor'ev V.Yu. Istoriya pol'skogo skripichnogo iskusstva XIX veka Tekst: dis. … d-ra iskusstvovedeniya. M., 1981. 381 s.
Auer L. Moya shkola igry na skripke. Interpretatsiya proizvedeniy skripichnoy klassiki. M.: Muzyka, 1965. 274 s.
Anisimov A.V. Vzaimodeystvie solista i orkestra v zapadnoevropeyskom skripichnom kontserte XVII-XIX vekov Tekst: dis. … k-ta iskusstvovedeniya. Magnitogorsk, 2011. 248 s.
«Signale fur die musikalische Welt», Leipzig, 1853 / Grigor'ev V.Yu. Genrik Venyavskiy. M.: Muzyka, 1966. 118 s.

Review: The present article is devoted to the creative work of one of the most famous Belgium musicians Henri Vieuxtemps whose unique gift for music came in full force in his compositions and performing art. Despite the important role of Henri Vieuxtemps' activities in the development of violin music, his achievements in the sphere of concert genre are still not recognized the way they should be. In this regard, the author of the present article decides to make Henri Vieuxtemps' violin concerts as the object of the research. The subject of the resaerch is the peculiarities of the musical language of his violin which was based on the synthesis of virtuosity and symphony in the concert genre. The present article is aimed at defining inventive features of Henri Vieuxtemps in the genre of violin concert, which are being viewed from the point of view of style, form making and principles of 'symphonization' of musical dramatic composition. The research is based on the complex theoretical approach combining historical and stylistic, comparative musicological and genre methods of analysis. For the first time in the academic literature the author of the present article gives evaluation of Henri Vieuxtemps' innovations in the sphere of violin concert in terms of principles of symphonic development. It is proved that the principles of musical development used by the composer demonstrate his attribution to the lyrical dramatic (monological) type of symphonism, which become apparent at the level of his dramatic composition and expressive means. The author of the article concludes that the main peculiarity of Henri Vieuxtemps' musical thinking is his creation of lyrical epic images of the romantic nature. As a result of the research, the author describes Henri Vieuxtemps' unique interpretation of thegenre of violin concert through synthesizing virtuosity and romanticism with dynamics of symphonic development. 

Keywords: violin concert, Vieuxtemps, principles of symphonization, symphonic development, monological type of symphonism, romanticism, virtuosity, stylistic synthesizing, music style, concert cycle

References:
Auer, L. Moya shkola igry na skripke. Interpretatsiya proizvedeniy skripichnoy klassiki. – M.: Muzyka, 1965. – 274 s.
Izai, E. Anri V'etan – moy uchitel' / Muzykal'noe ispolnitel'stvo: Vos'moy sbornik statey / Sost. G.Ya. Edel'man. Otvetstv. red. A.A. Nikolaev. Obshchaya redaktsiya G.Ya. Edel'mana i V.A. Natansona.-M.: Muzyka, 1973. – 240 s.
Teatral'nyy i muzykal'nyy vestnik, 1860.-¹ 10.
Chaykovskiy, P.I. Muzykal'no-kriticheskie stat'i. Vtoroe izdanie.-M.: Gos. muz. izd., 1953. – 437 s.
Gregoir, Ed. Les artistes-musiciens belges an XVIII-me et an XIX-me siècles. – Bruxelles, 1888. – 294 r.
Journal des Debats. Paris: L.-Fr. Bertin, 1852 / Ginzburg L. Anri V'etan: Monografiya. – M.: Muzyka, 1983. – 176 s.
Radoux, J.-Th. Vieuxtemps. Sa vie, ses oeuvres.-Liège, 1891(pereizd. 1983g.).-166 r.
Schering, A. Geschichte des Instrumentalkonzerts. – Leipzig: Breitkopf, 1927. – 235 s

References (transliteration):
Auer, L. Moya shkola igry na skripke. Interpretatsiya proizvedeniy skripichnoy klassiki. – M.: Muzyka, 1965. – 274 s.
Izai, E. Anri V'etan – moy uchitel' / Muzykal'noe ispolnitel'stvo: Vos'moy sbornik statey / Sost. G.Ya. Edel'man. Otvetstv. red. A.A. Nikolaev. Obshchaya redaktsiya G.Ya. Edel'mana i V.A. Natansona.-M.: Muzyka, 1973. – 240 s.
Teatral'nyy i muzykal'nyy vestnik, 1860.-¹ 10.
Chaykovskiy, P.I. Muzykal'no-kriticheskie stat'i. Vtoroe izdanie.-M.: Gos. muz. izd., 1953. – 437 s.
Gregoir, Ed. Les artistes-musiciens belges an XVIII-me et an XIX-me siècles. – Bruxelles, 1888. – 294 r.
Journal des Debats. Paris: L.-Fr. Bertin, 1852 / Ginzburg L. Anri V'etan: Monografiya. – M.: Muzyka, 1983. – 176 s.
Radoux, J.-Th. Vieuxtemps. Sa vie, ses oeuvres.-Liège, 1891(pereizd. 1983g.).-166 r.
Schering, A. Geschichte des Instrumentalkonzerts. – Leipzig: Breitkopf, 1927. – 235 s

Review: The present article is devoted to harpsichord concerts of Francaix, Carter and Górecki which were held in Europe and America in the 50s - 80s of the XXth century and were a great example of the main trends of the harpsichord repertoire of the second half of the XXth century. The second half of the XXth century was marked by the expansion of genres and styles for harpsichord which had come back to music at the turn of the XIXth - XXth centuries as part of neoclassicism and be an important part of the music life by the middle of the last century. The genre of harpsichord concert which used to be the leading trend in harpsichord repertoire of the 20s - 30s, faded into insignificance and was replaced by ensembles and recital plays allowing the composers to reveal new potential of harpsichord. However, the genre of concert is still attractive for composers which reflects the general tendency of the contemporary harpsichord style of the second half of the century from neoclassicism of the 20s - 30s, in particular, the two trends, towards avant-garde and the union of academic and popular intonations. The author of the article describes how the aforesaid harpsichord concerts were created as well as their structure, peculiarities of a harpsichord party and its interaction with orchestra instruments. As the main conclusion of the article, the author underlines the popularity of the concert genre among composers of Europe and America when creating plays for harpsichord in the XXth century including the second half of the XXth century. This allows to state with full confidence that the concert genre is one of the most representative genres of contemporary harpsichord repertoire. 

Keywords: contemporary harpsichord, harpsichord music pieces, neoclassicism, harpsichord, contemporary harpsichord repertoire, harpsichord concert, concert for harpsichord, concert genre, contemporary music, avant-guard

References:
Palmer L. Harpsichord in America: A Twentieth-Century Revival. Bloomington and Indianopolis: Indiana University Press, 1989. 202 p.
«Khenrik Mikolay Guretskiy» / Pol'skiy muzykal'no-informatsionnyy tsentr, Soyuz pol'skikh kompozitorov, noyabr' 2001 g. S. 34 // Elektronnyy resurs: www.culture.pl. Data obrashcheniya 10.04.2012.
Fialko O.V. Zhanr kontserta v sovremennom klavesinnom repertuare: Fal'ya, Pulenk, Martinu (1920-1930-e gg.). // Istoricheskie, filosofskie, politicheskie i yuridicheskie nauki, kul'turologiya i iskusstvovedenie. Voprosy teorii i praktiki. 2015. ¹ 1(51), chast' I. S. 198-201.
Fialko O.V. Klavesin v KhKh veke: galereya imidzhey // Muzyka i vremya. 2013. ¹ 9. S. 68-72.
Dulat-Aleev V.R. Sovremennaya teoriya muzyki: problemy i perspektivy distsiplinarnoy matritsy // Zhurnal Obshchestva teorii muzyki. 2014 / 4a(8a). S. 14 // Elektronnyy resurs: http://journal-otmroo.ru/node/7. Data obrashcheniya 15.11.2015.
Lo Chau-Yee. Endangered Species. The Harpsichord and its New Repertoire since 1960. The University of Leeds School of Music, 2004. 200 p.

References (transliteration):
Palmer L. Harpsichord in America: A Twentieth-Century Revival. Bloomington and Indianopolis: Indiana University Press, 1989. 202 p.
«Khenrik Mikolay Guretskiy» / Pol'skiy muzykal'no-informatsionnyy tsentr, Soyuz pol'skikh kompozitorov, noyabr' 2001 g. S. 34 // Elektronnyy resurs: www.culture.pl. Data obrashcheniya 10.04.2012.
Fialko O.V. Zhanr kontserta v sovremennom klavesinnom repertuare: Fal'ya, Pulenk, Martinu (1920-1930-e gg.). // Istoricheskie, filosofskie, politicheskie i yuridicheskie nauki, kul'turologiya i iskusstvovedenie. Voprosy teorii i praktiki. 2015. ¹ 1(51), chast' I. S. 198-201.
Fialko O.V. Klavesin v KhKh veke: galereya imidzhey // Muzyka i vremya. 2013. ¹ 9. S. 68-72.
Dulat-Aleev V.R. Sovremennaya teoriya muzyki: problemy i perspektivy distsiplinarnoy matritsy // Zhurnal Obshchestva teorii muzyki. 2014 / 4a(8a). S. 14 // Elektronnyy resurs: http://journal-otmroo.ru/node/7. Data obrashcheniya 15.11.2015.
Lo Chau-Yee. Endangered Species. The Harpsichord and its New Repertoire since 1960. The University of Leeds School of Music, 2004. 200 p.

Review: The article presents a creative portrait of the famous in Russia and abroad scientist and art critic  Alla Sokolova from Adygea. In 2015 Alla Sokolova is going to celebrate her anniversary. The author of the article provides a description of the polycultural environment in Kazakhstan and Sokolova's professional music education (received in Karaganda and Almaty) which encouraged a better understanding of Kazakh music and efficient methods of studying Kazakh folk art. The author also describes the first years of Alla Sokolova's professional activity and the beginning of scientific researches on the identity and values of the Adyghe folk music. The author of the present article proves the fact that it is possible to analyze and research ethnic culture for a scientist who is not a genetic bearer of tradition. It is emphasized that ethnographic researches started by Kazakhs in the nineteenth century were based on the traditions of Russian science and were written mostly in Russian. The main method used by the author to analyze the scientific activity of Alla Sokolova is the diachronic method combined with the method of structural analysis which has allowed to describe the main focus of her work including research, mentoring, enlightenment and social practice. The novelty of this research is caused by the fact that the author presents a brief review of the main works of Alla Sokolova that demonstrate how she developed the methodology of her system research of the Adyghe music culture. It is proved that her research and mentoring activities created the basis for a scientific school. Alla Sokolova's researches have become an example for many researchers of folk music of Caucasus and Russia in general. The author proves that Adyghe ethnomusicology presented by Alla Sokolova should be recognized at the international level. Foreign speeches and publications of Alla Sokolova present Adyghe music culture to the international academic community systematically. In her researches Alla Sokolova combines narrow music studies with a broader cultural research of long-term complex processes.   

Keywords: Alla Sokolova, anniversary, Adyghe music culture, instrumental music, system approach, scientific school, followers, ethnomusicology, social projects, international recognition

References:
Adygi, balkartsy i karachaevtsy v izvestiyakh evropeyskikh avtorov XIII-XIX vv. Sostavlenie, redaktsiya perevodov, vvedenie i vstupitel'nye stat'i k tekstam V. K. Gardanova. Nal'chik: «El'brus», 1974. 636 s.
Religioznye perezhitki u cherkesov-shapsugov: Materialy shapsugskoy ekspeditsii 1939 g. M., 1940. 82 s.
Narodnye pesni i instrumental'nye naigryshi adygov / Pod red E. V. Gippiusa. T. 1. M.: Vsesoyuznoe izd-vo Sovetskiy kompozitor, 1980. 223 s.
Sokolova A. N. Magomet Khagaudzh i adygskaya garmonika. Maykop: izd-vo AGU, 2000. S. 8.
Sokolova A. N. Pkhachich – adygskie treshchotki. Maykop: Kachestvo, 2002. 80 s.
Sokolova A. Adygskaya garmonika v kontekste etnicheskoy muzykal'noy kul'tury. Maykop: izd-vo «Kachestvo», 2004. 272 s.
Asaf'ev B. Muzykal'naya forma kak protsess. L.: Muzyka, 1971. 376 s.
Siyukhova A. M. Sotsiokul'turnye aspekty muzykal'noy zhizni adygov. Diss. … kandidata kul'turologii. Moskva, 2001. 168 s.
Siyukhova A. M. Kontsept nochi v traditsionnoy kul'tre adygov. Diss. … doktora kul'turologii. Moskva, 2012. 377 s.
Anzarokova M. Ch. Umar Tkhabisimov v kontekste adygskoy muzykal'noy kul'tury Diss. … kandidata iskusstvovedeniya. Sankt-Peterburg, 2006. 238 s.
Gogina E. L. Stanovlenie professional'nogo khorovogo iskusstva v Adygee. Diss. … kandidata iskusstvovedeniya. Rostov-na Donu, 2008. 241 s.
Kharaeva F. F. Traditsionnye muzykal'nye instrumenty i instrumental'naya muzyka adygov. Diss. … kandidata iskusstvovedeniya. Moskva, 2000. 417 s.
Vishnevskaya L. A. Severokavkazskoe vokal'noe mnogogolosie. tipologiya pevcheskikh modeley. Diss. … doktora iskusstvovedeniya. Saratov, 2012. 472 s.
Chanba N. V. Geroicheskaya khorovaya pesnya abkhazov. Dissertatsiya … kandidata iskusstvovedeniya. Moskva, 2014. 208 s.
Gucheva A. V. Natsional'naya garmonika Kabardino-Balkarii v aspekte mezhnatsional'nykh, muzykal'no-didakticheskikh vzaimodeystviy // Russkaya muzyka v polietnicheskom kontekste. Materialy mezhdunarodnoy nauchnoy konferentsii. Ministerstvo kul'tury Rossiyskoy Federatsii, Rossiyskiy gumanitarnyy nauchnyy fond, Kazanskaya gosudarstvennaya konservatoriya (akademiya) im. N.G. Zhiganova. Kazan', 2012. S. 227-234.
Kesheva Z. M. Tantseval'naya kul'tura kabardintsev kak istochnik formirovaniya sovremennogo etnokul'turnogo brenda // Kul'tura i prostranstvo. Tishkov V.A., Mal'kova V.K. M., 2010. S. 154-175.
Dzlieva D. M. Ornamental'nye khorovody v traditsionnoy khoreografii osetin // Izvestiya SOIGSI. Shkola molodykh uchenykh. 2014. T. 12. ¹ 12. S. 239-252.
Nurieva I. M. Udmurtskaya muzykal'no-pesennaya traditsiya: spetsifika zhanroobrazovaniya i funktsionirovaniya. Diss. … doktora iskusstvovedeniya. Moskva, 2015. 415 s.
Bukanova R. G., Mavlyutova R.F. Velikaya Otechestvennaya voyna i razvitie bashkirskogo narodnogo muzykal'nogo iskusstva // Nauchno-informatsionnyy zhurnal Armiya i obshchestvo. 2010. ¹ 2. S. 89-94.
Moskvicheva S. A. Traditsionnye garmoshechnye naigryshi tambovskogo kraya («Kanareyka»: osobennosti bytovaniya) // Izvestiya Samarskogo nauchnogo tsentra Rossiyskoy akademii nauk. 2010. T. 12. ¹ 5-3. S. 855-859.
Mikhaylova A. A. Saratovskaya garmonika v sotsiokul'turnom prostranstve polietnicheskogo regiona povolzh'ya. Saratov: Saratovskaya gosudarstvennaya konservatoriya im. L.V. Sobinova, 2014. 408 s.
Kovardeev D. S., Korsakova I.A. Mnogonatsional'nye istoki tantseval'nogo iskusstva kubanskogo kazachestva // Muzyka v informatsionnom prostranstve kul'tury tret'ego tysyacheletiya: problemy, mneniya, perspektivy. Sbornik nauchnykh trudov. M., 2014. S. 213-218.
Abdulaeva M. Sh. Etnokul'turnaya identichnost' narodov Dagestana: edinstvo i mnogoobrazie. Dissertatsiya … doktora kul'turologii. Sankt-Peterburg, 2013. 337 s.
Pozdnyakov Yu. A. Garmonika v otechestvennoy muzykal'noy nauke: v poiskakh metodologicheskoy paradigmy // Muzykovedenie. 2010. ¹ 7. S. 50-55.
Sokolova A. Zhu – vocal part of Adyghe traditional instrumental polyphony // The Fourth International Symposium on Traditional Polyphony / Ed. By Rusudan Tzurtzumia, Joseph Jordania. –Tbilisi, 2010. P. 267-291.
Sokolova A. The Meaning and Codes of the Amoebean Form of Singing in the Adyghe Traditional Culture // The Fifth International Symposium on Traditional Polyphony. 4-8 October 2010, Tbilisi, Georgia / International Research Center for Traditional Polyphony of Tbilisi Vano Sarajishvili. Tbilisi State Conservatoire, 2012. P. 123-132: notes.
Sokolova A. Traditional Adyghe music as Ethnointegrational Cultural Phenomenon // International symposium “Circassians in the 21-th Century: Problems and Opportunities. 22-25 September. – Ankara, 2011. P. 9.
Sokolova A. Sircum Pontiac Lezginka Dance // 4-th Symposium of the ICTM Study Group on Music of the Turkic Speaking World. 18-20 April, 2014. Istanbul, Turkey. P. 38.
Sokolova A. Destructive, Constructive and Reconstructive processes in the Traditional Instrumental Music of the Adyghes during the Soviet and Post-Soviet times // Cultural paradigms and political change in the Caucasus. Ed. By Nino Tsitsishvili. Lambert Academic Publishing, Saarbrucken, 2010. P. 110-129.
Sokolova A. Domination of national dance of minorities as a result of cultural policy in the Soviet Union // 42nd World Conference of the International Council for Traditional Music, Shanghai, China, July 11 to 17, 2013. P. 219-220.
Pis'mo Z. M. Naloeva A. N. Sokolovoy ot 25.04.2010 goda. Lichnyy arkhiv A. N. Sokolovoy.

References (transliteration):
Adygi, balkartsy i karachaevtsy v izvestiyakh evropeyskikh avtorov XIII-XIX vv. Sostavlenie, redaktsiya perevodov, vvedenie i vstupitel'nye stat'i k tekstam V. K. Gardanova. Nal'chik: «El'brus», 1974. 636 s.
Religioznye perezhitki u cherkesov-shapsugov: Materialy shapsugskoy ekspeditsii 1939 g. M., 1940. 82 s.
Narodnye pesni i instrumental'nye naigryshi adygov / Pod red E. V. Gippiusa. T. 1. M.: Vsesoyuznoe izd-vo Sovetskiy kompozitor, 1980. 223 s.
Sokolova A. N. Magomet Khagaudzh i adygskaya garmonika. Maykop: izd-vo AGU, 2000. S. 8.
Sokolova A. N. Pkhachich – adygskie treshchotki. Maykop: Kachestvo, 2002. 80 s.
Sokolova A. Adygskaya garmonika v kontekste etnicheskoy muzykal'noy kul'tury. Maykop: izd-vo «Kachestvo», 2004. 272 s.
Asaf'ev B. Muzykal'naya forma kak protsess. L.: Muzyka, 1971. 376 s.
Siyukhova A. M. Sotsiokul'turnye aspekty muzykal'noy zhizni adygov. Diss. … kandidata kul'turologii. Moskva, 2001. 168 s.
Siyukhova A. M. Kontsept nochi v traditsionnoy kul'tre adygov. Diss. … doktora kul'turologii. Moskva, 2012. 377 s.
Anzarokova M. Ch. Umar Tkhabisimov v kontekste adygskoy muzykal'noy kul'tury Diss. … kandidata iskusstvovedeniya. Sankt-Peterburg, 2006. 238 s.
Gogina E. L. Stanovlenie professional'nogo khorovogo iskusstva v Adygee. Diss. … kandidata iskusstvovedeniya. Rostov-na Donu, 2008. 241 s.
Kharaeva F. F. Traditsionnye muzykal'nye instrumenty i instrumental'naya muzyka adygov. Diss. … kandidata iskusstvovedeniya. Moskva, 2000. 417 s.
Vishnevskaya L. A. Severokavkazskoe vokal'noe mnogogolosie. tipologiya pevcheskikh modeley. Diss. … doktora iskusstvovedeniya. Saratov, 2012. 472 s.
Chanba N. V. Geroicheskaya khorovaya pesnya abkhazov. Dissertatsiya … kandidata iskusstvovedeniya. Moskva, 2014. 208 s.
Gucheva A. V. Natsional'naya garmonika Kabardino-Balkarii v aspekte mezhnatsional'nykh, muzykal'no-didakticheskikh vzaimodeystviy // Russkaya muzyka v polietnicheskom kontekste. Materialy mezhdunarodnoy nauchnoy konferentsii. Ministerstvo kul'tury Rossiyskoy Federatsii, Rossiyskiy gumanitarnyy nauchnyy fond, Kazanskaya gosudarstvennaya konservatoriya (akademiya) im. N.G. Zhiganova. Kazan', 2012. S. 227-234.
Kesheva Z. M. Tantseval'naya kul'tura kabardintsev kak istochnik formirovaniya sovremennogo etnokul'turnogo brenda // Kul'tura i prostranstvo. Tishkov V.A., Mal'kova V.K. M., 2010. S. 154-175.
Dzlieva D. M. Ornamental'nye khorovody v traditsionnoy khoreografii osetin // Izvestiya SOIGSI. Shkola molodykh uchenykh. 2014. T. 12. ¹ 12. S. 239-252.
Nurieva I. M. Udmurtskaya muzykal'no-pesennaya traditsiya: spetsifika zhanroobrazovaniya i funktsionirovaniya. Diss. … doktora iskusstvovedeniya. Moskva, 2015. 415 s.
Bukanova R. G., Mavlyutova R.F. Velikaya Otechestvennaya voyna i razvitie bashkirskogo narodnogo muzykal'nogo iskusstva // Nauchno-informatsionnyy zhurnal Armiya i obshchestvo. 2010. ¹ 2. S. 89-94.
Moskvicheva S. A. Traditsionnye garmoshechnye naigryshi tambovskogo kraya («Kanareyka»: osobennosti bytovaniya) // Izvestiya Samarskogo nauchnogo tsentra Rossiyskoy akademii nauk. 2010. T. 12. ¹ 5-3. S. 855-859.
Mikhaylova A. A. Saratovskaya garmonika v sotsiokul'turnom prostranstve polietnicheskogo regiona povolzh'ya. Saratov: Saratovskaya gosudarstvennaya konservatoriya im. L.V. Sobinova, 2014. 408 s.
Kovardeev D. S., Korsakova I.A. Mnogonatsional'nye istoki tantseval'nogo iskusstva kubanskogo kazachestva // Muzyka v informatsionnom prostranstve kul'tury tret'ego tysyacheletiya: problemy, mneniya, perspektivy. Sbornik nauchnykh trudov. M., 2014. S. 213-218.
Abdulaeva M. Sh. Etnokul'turnaya identichnost' narodov Dagestana: edinstvo i mnogoobrazie. Dissertatsiya … doktora kul'turologii. Sankt-Peterburg, 2013. 337 s.
Pozdnyakov Yu. A. Garmonika v otechestvennoy muzykal'noy nauke: v poiskakh metodologicheskoy paradigmy // Muzykovedenie. 2010. ¹ 7. S. 50-55.
Sokolova A. Zhu – vocal part of Adyghe traditional instrumental polyphony // The Fourth International Symposium on Traditional Polyphony / Ed. By Rusudan Tzurtzumia, Joseph Jordania. –Tbilisi, 2010. P. 267-291.
Sokolova A. The Meaning and Codes of the Amoebean Form of Singing in the Adyghe Traditional Culture // The Fifth International Symposium on Traditional Polyphony. 4-8 October 2010, Tbilisi, Georgia / International Research Center for Traditional Polyphony of Tbilisi Vano Sarajishvili. Tbilisi State Conservatoire, 2012. P. 123-132: notes.
Sokolova A. Traditional Adyghe music as Ethnointegrational Cultural Phenomenon // International symposium “Circassians in the 21-th Century: Problems and Opportunities. 22-25 September. – Ankara, 2011. P. 9.
Sokolova A. Sircum Pontiac Lezginka Dance // 4-th Symposium of the ICTM Study Group on Music of the Turkic Speaking World. 18-20 April, 2014. Istanbul, Turkey. P. 38.
Sokolova A. Destructive, Constructive and Reconstructive processes in the Traditional Instrumental Music of the Adyghes during the Soviet and Post-Soviet times // Cultural paradigms and political change in the Caucasus. Ed. By Nino Tsitsishvili. Lambert Academic Publishing, Saarbrucken, 2010. P. 110-129.
Sokolova A. Domination of national dance of minorities as a result of cultural policy in the Soviet Union // 42nd World Conference of the International Council for Traditional Music, Shanghai, China, July 11 to 17, 2013. P. 219-220.
Pis'mo Z. M. Naloeva A. N. Sokolovoy ot 25.04.2010 goda. Lichnyy arkhiv A. N. Sokolovoy.

Review: The subject of the research is one of the most popular contemporary genres of music composing, the genre of instrumental theatre. The author of the article examines the variety of mass instrumental performance  such as 1) compositions when an instrumentalist (leading performer, character) opposes to the orchestra or band (individual is personified, contrasts or conflicts with the other participants which namely typical for pieces written for a leading performer and orchestra);  2) pieces when a number of instrumentalists (leading performers, characters) have their personification and enter into relationship with the orchestra, band or one another, 3) pieces when personification is not an individual feature (of a instrumentalist or leading performer) but the feature of a group of instruments, parts of the orchestra, which allows to achieve the theatre stage effect  of "mass confrontation". Mass instrumental performance is viewed as an integral phenomenon, therefore the author of the article has applied the method of the integral analysis of the phenomenon. The result of this research is the description of specific relations between dramaturgic layers in the process of mass instrumental performances (musical, behavioral, visual, verbal, etc.). It is noted that the presence of these layers, on the one hand, encourages a more basic understanding of music (dramaturgic comparison of layers reveals the essence of music through the behavior of instrumentalists on stage, their visual appearance and/or the use of the word), and on the other hand, withdraws music from the traditional performance of compositions which attracts the attention of a larger audience.

Keywords: synthesis of the arts, music, instrumental theatre, postmodernism, musical actionism, genre, synesthesia, performance, dramaturgy, scene, stage

References:
Vysotskaya M.S. Logika paradoksa v instrumental'nom teatre Faradzha Karaeva // Muzykovedenie. — 2009. — ¹ 1. S. 24-29.
Gulyanitskaya N.S. «Ekho» dekonstruktivizma v muzyke // Muzykovedenie k nachalu veka: proshloe i nastoyashchee: Sb. trudov po materialam konf. 30 oktyabrya — 1 noyabrya 2007 go-da. — M.: RAM im. Gnesinykh, 2007. S. 58-66.
Koreneva M.M. Literaturnoe izmerenie absurda // Khudozhestvennye orientiry za-rubezhnoy literatury KhKh veka. / Redkol.: Bazilevskiy A.B. i dr. — M.: IMLI RAN, 2002. S. 477-506.
Morozova G.V. O plasticheskoy kompozitsii spektaklya: Metodicheskoe posobie. — M.: VTsKhT, 2001. 144 s.
Petrov V.O. Instrumental'nyy teatr KhKh veka: voprosy istorii i teorii zhanra: Monografiya. — Astrakhan': Izdatel'stvo GAOU AO DPO «AIPKP», 2013. — 355 s.
Petrov V.O. Instrumental'nyy teatr: tipologiya zhanra // Muzykal'naya akademiya. — 2010. — ¹ 3. S. 161-166.
Petrov V.O. Kamernyy instrumental'nyy spektakl': k voprosu o sootnoshenii dramaturgicheskikh plastov // Muzyka: iskusstvo, nauka, praktika: Nauchnyy zhurnal Kazan-skoy gosudarstvennoy konservatorii im. N.G. Zhiganova. — 2014. — ¹ 4 (8). S. 16-26.
Petrov V.O. Monospektakl' — raznovidnost' instrumental'nogo teatra // Muzy-kal'noe proizvedenie v kontekste khudozhestvennoy kul'tury: Sbornik nauchnykh statey / Gl.red. — L.V. Savvina, red.-sost. — V.O. Petrov. — Astrakhan': Astrakhanskaya gosudarst-vennaya konservatoriya (akademiya), 2012. S. 64-79.
Petrov V.O. O sobytiynosti syuzhetov v proizvedeniyakh instrumental'nogo teatra // Muzykovedenie. — 2011. — ¹ 12. S. 9-14.
Petrov V.O. O spetsifike zhanra instrumental'nogo teatra // Aktual'nye pro-blemy vysshego muzykal'nogo obrazovaniya: Nauchno-analiticheskiy i nauchno-obrazovatel'nyy zhurnal. — 2013. — ¹ 1 (27). S. 40-45.
Farkhadov R.Ya. Faradzh Karaev: territoriya absurda // Muzyka i vremya. — 2008. — ¹ 4. S. 9-13.
Tsenova V.S. Kul'turologiya Vladimira Tarnopol'skogo // Muzyka iz byvshego SSSR: Sb. statey. Vyp. 1. / Red.-sost. V.S. Tsenova. — M.: Kompozitor, 1994. S. 283-295.

References (transliteration):
Vysotskaya M.S. Logika paradoksa v instrumental'nom teatre Faradzha Karaeva // Muzykovedenie. — 2009. — ¹ 1. S. 24-29.
Gulyanitskaya N.S. «Ekho» dekonstruktivizma v muzyke // Muzykovedenie k nachalu veka: proshloe i nastoyashchee: Sb. trudov po materialam konf. 30 oktyabrya — 1 noyabrya 2007 go-da. — M.: RAM im. Gnesinykh, 2007. S. 58-66.
Koreneva M.M. Literaturnoe izmerenie absurda // Khudozhestvennye orientiry za-rubezhnoy literatury KhKh veka. / Redkol.: Bazilevskiy A.B. i dr. — M.: IMLI RAN, 2002. S. 477-506.
Morozova G.V. O plasticheskoy kompozitsii spektaklya: Metodicheskoe posobie. — M.: VTsKhT, 2001. 144 s.
Petrov V.O. Instrumental'nyy teatr KhKh veka: voprosy istorii i teorii zhanra: Monografiya. — Astrakhan': Izdatel'stvo GAOU AO DPO «AIPKP», 2013. — 355 s.
Petrov V.O. Instrumental'nyy teatr: tipologiya zhanra // Muzykal'naya akademiya. — 2010. — ¹ 3. S. 161-166.
Petrov V.O. Kamernyy instrumental'nyy spektakl': k voprosu o sootnoshenii dramaturgicheskikh plastov // Muzyka: iskusstvo, nauka, praktika: Nauchnyy zhurnal Kazan-skoy gosudarstvennoy konservatorii im. N.G. Zhiganova. — 2014. — ¹ 4 (8). S. 16-26.
Petrov V.O. Monospektakl' — raznovidnost' instrumental'nogo teatra // Muzy-kal'noe proizvedenie v kontekste khudozhestvennoy kul'tury: Sbornik nauchnykh statey / Gl.red. — L.V. Savvina, red.-sost. — V.O. Petrov. — Astrakhan': Astrakhanskaya gosudarst-vennaya konservatoriya (akademiya), 2012. S. 64-79.
Petrov V.O. O sobytiynosti syuzhetov v proizvedeniyakh instrumental'nogo teatra // Muzykovedenie. — 2011. — ¹ 12. S. 9-14.
Petrov V.O. O spetsifike zhanra instrumental'nogo teatra // Aktual'nye pro-blemy vysshego muzykal'nogo obrazovaniya: Nauchno-analiticheskiy i nauchno-obrazovatel'nyy zhurnal. — 2013. — ¹ 1 (27). S. 40-45.
Farkhadov R.Ya. Faradzh Karaev: territoriya absurda // Muzyka i vremya. — 2008. — ¹ 4. S. 9-13.
Tsenova V.S. Kul'turologiya Vladimira Tarnopol'skogo // Muzyka iz byvshego SSSR: Sb. statey. Vyp. 1. / Red.-sost. V.S. Tsenova. — M.: Kompozitor, 1994. S. 283-295.

Review: In his article Sineokiy presents the results of his research devoted to the social process of rock music recording as a youth subcultural phenomenon in the second half of the XX century. The subject of the research is the socio-communicative conditions of formation and development of the tape recording community as part of the history of Soviet youth subcultures in the 1970-80's. The purpose of the research is to conduct a retrospective study of the tape recording culture, i.e. the culture of home music rewriting in the USSR. In general, the Soviet youth subculture was a complex combination of different social groups, both interrelated and autonomous ones, where the passion for rock music occupied a central position. The author of the article examines the content and dynamics of the sociocommunicative component in the development of informal entities of the Soviet youth who were interested in collecting records and music tape recordings. Thereupon the author pays particular attention to the analysis of the social infrastructure of The Tape Recording Community in terms of recreational functions of record collecting. The images of 'Sound Writers' as part of the expansion of the socio-cultural scope of the term 'Magizdat' are characterized. The location of recording studios in the mass media and their organizational role during the consumption of the phonographic products are revealed. The interdisciplinary nature of the scientific description of the phenomenon of The Tape Recording Community led to the use of various human science methods in the present research. The phenomenon of tape recording subculture is characterized as part of the mass recording formed under socialism. The definition of the term Taping Subculture is substantiated. The similarity of the positions in this case has a syntactical nature. The phenomenon of Musical Recording Subculture as a complex cluster of spheres of social and cultural communication that formed stable interdependence rules and principles of the phonographic and record collecting cultures are presented. The hypothesis, according to which The Tape Recording Community was an important element of multichannel polysubcultural communication in the USSR both legally and illegally in the sphere of music is proved.

Keywords: collectors, sound recording, studios, music, rock, 'Sound Writers / Recorders', 'Tape Recording Community', 'Magizdat', record collecting, subculture

References:
Korotkov S. A. Istoriya sovremennoy muzyki / S. A. Korotkov. – Izd. 2-e, ispr. – Kh. : FLP Kovalenko A.V., 2011. – 496 s.
Androsova D. N. Obuchenie inostrannykh studentov v SSSR v seredine 1950-kh–1960-kh gg.: avtoref. diss. … kand. istor. nauk : 07.00.02 / D. N. Androsova; Ros. gos. gumanitar. un-t. – M. : RGGU, 2012. – 21 s.
Polozhenie o studii zvukozapisi: [utverzhdeno Ministerstvom bytovogo obsluzhivaniya naseleniya RSFSR 06.02.85]. – M. : TsBNTI MBON RSFSR, 1985. – 9 s.
Nikonov E. Magnitnye lenty dlya lyubitel'skoy zapisi / [E. Nikonov, A. Dunaev, V. Chuprin, I. Galamay] // Radio. – 1979. – ¹ 6. – S. 59–60.
Karnaukhov E. Kassetnye magnitofony / E. Karnaukhov // Radio. – 1995. – ¹ 4. – S. 53–55.
Karnaukhov E. Audiokassety / E. Karnaukhov // Radio. – 1995. – ¹ 8. – S. 51–52.
Minyushev F. I. Sotsiologiya kul'tury : [uchebnoe posobie dlya vuzov po spetsial'nostyam «Sotsiologiya» i «Sotsial'naya antropologiya»] / F. I. Minyushev, Mosk. gos. un-t im. M. V. Lomonosova (MGU). – M. : Akademicheskiy proekt, 2004. – 272 s.
Ionin L. G. Sotsiologiya kul'tury: put' v novoe tysyacheletie : [ucheb. posobie dlya studentov vuzov] / L. G. Ionin. – 3-e izd., pererab. i dop. – M. : Logos, 2000. – 431 s.
Ivashchenko G. M. Molodezhnye subkul'tury v sisteme sotsial'nogo upravleniya : diss. … kand. sotsiol. nauk : 22.00.08 / G. M. Ivashchenko. – Ufa, 2003. – 162 s.
Kalanov N. A. Adresnaya kniga kollektsionerov: [spravochnik] / N. A. Kalanov, V. A. Novikov – avt.-sost.]. – M. : Kul'tura, 1992. – 172, [4] s.
Sineokiy O.V. Filofoniya kak osobyy sotsial'nyy fenomen: kommunikativnye aspekty sobiratel'sko-kollektsionerskoy deyatel'nosti v rekreativnom prostranstve kul'tury dosuga // Chelovek i kul'tura. - 2015. - 4. - C. 97 - 121. DOI: 10.7256/2409-8744.2015.4.15815. URL: http://www.e-notabene.ru/ca/article_15815.html
Sineokiy O.V. Aprelevskiy megazavod i drugie predpriyatiya gramplastinok: nekotorye artefakty sovetskoy rok-kommunikatsii // Chelovek i kul'tura. - 2013. - 2. - C. 197 - 272. DOI: 10.7256/2409-8744.2013.2.379. URL: http://www.e-notabene.ru/ca/article_379.html
Sineokiy O.V. Fenomen disko-kommunikatsii: sotsial'no-ekonomicheskaya priroda, psikhologicheskiy mekhanizm, politiko-geograficheskaya struktura, informatsionno-pravovye trendy // Teoreticheskaya i prikladnaya ekonomika. - 2012. - 1. - C. 154 - 293. URL: http://www.e-notabene.ru/etc/article_481.html

References (transliteration):
Korotkov S. A. Istoriya sovremennoy muzyki / S. A. Korotkov. – Izd. 2-e, ispr. – Kh. : FLP Kovalenko A.V., 2011. – 496 s.
Androsova D. N. Obuchenie inostrannykh studentov v SSSR v seredine 1950-kh–1960-kh gg.: avtoref. diss. … kand. istor. nauk : 07.00.02 / D. N. Androsova; Ros. gos. gumanitar. un-t. – M. : RGGU, 2012. – 21 s.
Polozhenie o studii zvukozapisi: [utverzhdeno Ministerstvom bytovogo obsluzhivaniya naseleniya RSFSR 06.02.85]. – M. : TsBNTI MBON RSFSR, 1985. – 9 s.
Nikonov E. Magnitnye lenty dlya lyubitel'skoy zapisi / [E. Nikonov, A. Dunaev, V. Chuprin, I. Galamay] // Radio. – 1979. – ¹ 6. – S. 59–60.
Karnaukhov E. Kassetnye magnitofony / E. Karnaukhov // Radio. – 1995. – ¹ 4. – S. 53–55.
Karnaukhov E. Audiokassety / E. Karnaukhov // Radio. – 1995. – ¹ 8. – S. 51–52.
Minyushev F. I. Sotsiologiya kul'tury : [uchebnoe posobie dlya vuzov po spetsial'nostyam «Sotsiologiya» i «Sotsial'naya antropologiya»] / F. I. Minyushev, Mosk. gos. un-t im. M. V. Lomonosova (MGU). – M. : Akademicheskiy proekt, 2004. – 272 s.
Ionin L. G. Sotsiologiya kul'tury: put' v novoe tysyacheletie : [ucheb. posobie dlya studentov vuzov] / L. G. Ionin. – 3-e izd., pererab. i dop. – M. : Logos, 2000. – 431 s.
Ivashchenko G. M. Molodezhnye subkul'tury v sisteme sotsial'nogo upravleniya : diss. … kand. sotsiol. nauk : 22.00.08 / G. M. Ivashchenko. – Ufa, 2003. – 162 s.
Kalanov N. A. Adresnaya kniga kollektsionerov: [spravochnik] / N. A. Kalanov, V. A. Novikov – avt.-sost.]. – M. : Kul'tura, 1992. – 172, [4] s.
Sineokiy O.V. Filofoniya kak osobyy sotsial'nyy fenomen: kommunikativnye aspekty sobiratel'sko-kollektsionerskoy deyatel'nosti v rekreativnom prostranstve kul'tury dosuga // Chelovek i kul'tura. - 2015. - 4. - C. 97 - 121. DOI: 10.7256/2409-8744.2015.4.15815. URL: http://www.e-notabene.ru/ca/article_15815.html
Sineokiy O.V. Aprelevskiy megazavod i drugie predpriyatiya gramplastinok: nekotorye artefakty sovetskoy rok-kommunikatsii // Chelovek i kul'tura. - 2013. - 2. - C. 197 - 272. DOI: 10.7256/2409-8744.2013.2.379. URL: http://www.e-notabene.ru/ca/article_379.html
Sineokiy O.V. Fenomen disko-kommunikatsii: sotsial'no-ekonomicheskaya priroda, psikhologicheskiy mekhanizm, politiko-geograficheskaya struktura, informatsionno-pravovye trendy // Teoreticheskaya i prikladnaya ekonomika. - 2012. - 1. - C. 154 - 293. URL: http://www.e-notabene.ru/etc/article_481.html

Review: The paper is devoted to the typical features of music modality from the point of view of their harmonic imlementation. The purpose of the article is to demonstrate the features of modal harmony as a special type of musical thinking. The subject of the research is the peculiarities of the composition of folk and medieval modal moods. Based on the examples of the Catholic Church moduses, Russian folk songs and Indian traditional moods "tkhat" the author considers the logic of sound sequences and functional relationships within the modal moods. The author also analyzes the principles of the composition of the sequences of moods in the sound continuum, harmonic roles of their tones and ontological aspects of the modal mood. The research is based on the method of harmonic analysis and comparative analysis of the principles of modality and tonality of moods. For the purpose of interpreting modal moods as a type of thinking and aesthetic world view, the author has also appealed to the philosophical idea of the unity of substance and form postulated in modal ontologies. The novelty of the author's research is caused by the fact that the author applies the logical-ontological approach to the interpretation of harmonic phenomena and summarizes peculiarities of European, Russian and Indian moods as historical forms of modal thinking in music. In the course of the research the author has defined such features of harmonic modality as the impossibility of the unification of moods, reproduction of moods in a form of any number of sequences that potentially have different pitches of sound, folding of each sequence of modal functions and, on the contrary, performance of one and the same function at different levels. These qualities speak of particular plasticity of modal musical thinking within which such phenonena as the mood, melody (tune) and musical form tend to be indistinguishable.   

Keywords: modality, modal harmony, modal mood, tonality, modal thinking, raga, tkhat, modal variability, modus, modal integrity

References:
Repertuar narodnogo pevtsa / Sost. L.V. Shamina. – Vyp.1. – Moskva: Muzyka, 1987. – S.8.
Etinger, M. Modal'naya garmoniya Palestriny i Lasso // Istoriya gar-monicheskikh stiley: zarubezhnaya muzyka doklassicheskogo perioda. – Vyp. 92. – Moskva, 1987. – S. 64.
Yusfin, A. Nekotorye voprosy izucheniya melodicheskikh ladov narodnoy muzyki // Problemy lada. – Moskva: Muzyka, 1972. – S. 145.
Frank, S.L. Sochineniya. – Moskva: Pravda, 1990. – S. 458.
Medova, A.A. Analiticheskoe myshlenie kak otnosheniya vo vremeni: na primere etyuda O. Messiana «Lad dlitel'nostey i intensivnostey» // Kul'tura i iskusstvo. – 2013. – ¹ 5. – URL: http://nbpublish.com/library_read_article.php?id=-26266; Elena Alkon. Melos, modal'nost' i muzykal'noe myshlenie mifologicheskogo tipa: k razvitiyu idei E. Kurta // Uchenye zapiski Rossiyskoy akademii muzyki imeni Gnesinykh. – 2014. – ¹1. –URL: http://www.nbpublish.com/go_to_article.php?id=32371; Medova, A.A. O znachenii ponyatiya modus v logicheskoy, lingvisticheskoy i muzykal'noy kul'ture // Filosofiya i kul'tura. – 2015. – ¹2. – C. 220-229. – URL: http://www.nbpublish.com/go_to_article.php?id=32909
Bershadskaya, T.S. Nedorazumenie, stanovyashcheesya traditsiey (K probleme: lady tonal'nye – lady modal'nye) // Muzykal'naya akademiya. – 2008. – ¹ 1.
Moskva, Yu. Osnovnye kategorii modal'nosti grigorianskogo khorala // Muzykal'naya akademiya. – 2007. – ¹ 2. – S. 163.
Lebedev, S. O modal'noy garmonii XIV veka // Istoriya garmonicheskikh stiley: zarubezhnaya muzyka doklassicheskogo perioda. – Vyp. 92. – Moskva, 1987. – S. 7.
Langleben, M.M. O nekotorykh muzykal'nykh sistemakh i muzykal'nykh notatsiyakh drevnosti // Rannie formy iskusstva. – Moskva: Iskusstvo, 1972. – S. 438.
Babkina, M. P. Indiyskaya muzyka // Entsiklopediya Belcanto.ru. – El. resurs. – URL: http://www.belcanto.ru/india.html.
Bychkov, Yu.N. Odnogolosnye diktanty. Prilozhenie // Yu.N. Bychkov. Posobie po kursu sol'fedzhio dlya uchashchikhsya muzykal'nykh uchilishch i vuzov. – Moskva: Rossiyskaya akademiya muzyki im. Gnesinykh, 1996. – URL: http://yuri317.narod.ru/d1/pril.htm.
Langleben, M.M. O nekotorykh muzykal'nykh sistemakh i muzykal'nykh notatsiyakh drevnosti // Rannie formy iskusstva. – Moskva: Iskusstvo, 1972. – S. 438.
Gertsman, E. Antichnoe muzykal'noe myshlenie. – Leningrad: Muzyka, 1986. – S.5.
Zarlino, G. Le Istitutioni harmoniche, p. 4, 1558. – New Haven; London, 1983. – XXIII. – R. 11.
Ibid. Diapason v terminologii 16 veka oboznachaet zvukoryad v predelakh oktavy ili sam etot akusticheski sovershennyy interval.
Medushevskiy, V. V. Intonatsionnaya forma muzyki. – Moskva: Kompozitor, 1993; Nazaykinskiy, E. V. Logika muzykal'noy kompozitsii. – Moskva: Muzyka, 1982.

References (transliteration):
Repertuar narodnogo pevtsa / Sost. L.V. Shamina. – Vyp.1. – Moskva: Muzyka, 1987. – S.8.
Etinger, M. Modal'naya garmoniya Palestriny i Lasso // Istoriya gar-monicheskikh stiley: zarubezhnaya muzyka doklassicheskogo perioda. – Vyp. 92. – Moskva, 1987. – S. 64.
Yusfin, A. Nekotorye voprosy izucheniya melodicheskikh ladov narodnoy muzyki // Problemy lada. – Moskva: Muzyka, 1972. – S. 145.
Frank, S.L. Sochineniya. – Moskva: Pravda, 1990. – S. 458.
Medova, A.A. Analiticheskoe myshlenie kak otnosheniya vo vremeni: na primere etyuda O. Messiana «Lad dlitel'nostey i intensivnostey» // Kul'tura i iskusstvo. – 2013. – ¹ 5. – URL: http://nbpublish.com/library_read_article.php?id=-26266; Elena Alkon. Melos, modal'nost' i muzykal'noe myshlenie mifologicheskogo tipa: k razvitiyu idei E. Kurta // Uchenye zapiski Rossiyskoy akademii muzyki imeni Gnesinykh. – 2014. – ¹1. –URL: http://www.nbpublish.com/go_to_article.php?id=32371; Medova, A.A. O znachenii ponyatiya modus v logicheskoy, lingvisticheskoy i muzykal'noy kul'ture // Filosofiya i kul'tura. – 2015. – ¹2. – C. 220-229. – URL: http://www.nbpublish.com/go_to_article.php?id=32909
Bershadskaya, T.S. Nedorazumenie, stanovyashcheesya traditsiey (K probleme: lady tonal'nye – lady modal'nye) // Muzykal'naya akademiya. – 2008. – ¹ 1.
Moskva, Yu. Osnovnye kategorii modal'nosti grigorianskogo khorala // Muzykal'naya akademiya. – 2007. – ¹ 2. – S. 163.
Lebedev, S. O modal'noy garmonii XIV veka // Istoriya garmonicheskikh stiley: zarubezhnaya muzyka doklassicheskogo perioda. – Vyp. 92. – Moskva, 1987. – S. 7.
Langleben, M.M. O nekotorykh muzykal'nykh sistemakh i muzykal'nykh notatsiyakh drevnosti // Rannie formy iskusstva. – Moskva: Iskusstvo, 1972. – S. 438.
Babkina, M. P. Indiyskaya muzyka // Entsiklopediya Belcanto.ru. – El. resurs. – URL: http://www.belcanto.ru/india.html.
Bychkov, Yu.N. Odnogolosnye diktanty. Prilozhenie // Yu.N. Bychkov. Posobie po kursu sol'fedzhio dlya uchashchikhsya muzykal'nykh uchilishch i vuzov. – Moskva: Rossiyskaya akademiya muzyki im. Gnesinykh, 1996. – URL: http://yuri317.narod.ru/d1/pril.htm.
Langleben, M.M. O nekotorykh muzykal'nykh sistemakh i muzykal'nykh notatsiyakh drevnosti // Rannie formy iskusstva. – Moskva: Iskusstvo, 1972. – S. 438.
Gertsman, E. Antichnoe muzykal'noe myshlenie. – Leningrad: Muzyka, 1986. – S.5.
Zarlino, G. Le Istitutioni harmoniche, p. 4, 1558. – New Haven; London, 1983. – XXIII. – R. 11.
Ibid. Diapason v terminologii 16 veka oboznachaet zvukoryad v predelakh oktavy ili sam etot akusticheski sovershennyy interval.
Medushevskiy, V. V. Intonatsionnaya forma muzyki. – Moskva: Kompozitor, 1993; Nazaykinskiy, E. V. Logika muzykal'noy kompozitsii. – Moskva: Muzyka, 1982.

Review: Part 1. The object of research.The object of the present research is the famous Parisian music theatre “Opera Comique” which has marked its 300 years anniversary this year. The author traces the history of the theatre, the main stages of its development and its role in the history of music and theatre art in France. Attention is paid to the repertoire policy of the theatre during its three centuries, as well as to the famous productions, important in opera history, the first nights of “Carmen” by Bizet, “Manon” by Massenet, “Pelleas and Melizande” by Debussy and others. Information is given about the works of Russian composers - Musorgsky, Borodin, Rimsky-Korsakov which were staged in the theatre, about Russian opera artists who performed on this stage.Part 2. Methods and methodology of research.While preparing the material work has been done on finding information, electronic archives of the theatre “Opera Comique” have been studied, as well as the first-hand sources, such as memoires of a number of musicians. The main methods of research were textual and semantic analysis of the sources and historic and cultural analysis of the context of the theatre’s activity. Part 3. The Novelty of Results.The innovativeness of the present research lies in the fact that in our country it is the first systematic rendering of the history of Parisian music theatre “Opera Comique” since its foundation till our days, fiving the full idea of all periods and important events in its history. This research is an innovative project of presenting empirical facts as an evidence of historic dynamics of culture and evolution of a cultural form in a combination of synchronic and diachronic analysis.

Keywords: culture of France, history, genre, comic Opera, Opera-Comique, music theatre, opera, music, Art, Paris

References:
Abert G. V. A. Motsart. V 2 chastyakh, 4-kh kn. M., 1887-1990.
Berlioz G. Memuary. M., 1962.
Bryantseva V. N. Frantsuzskaya komicheskaya opera 18 veka. M., 1985.
Krakauer Z. Zhak offenbakh i Parizh ego vremeni. M., 2000.
Kremlev Yu. Zhyul' Massne. M., 1969
Krechmar G. Istoriya opery. L., 1925.
Kruntyaeva T. Ital'yanskaya komicheskaya opera 18 veka. L., 1981.
Serov A. N. Izbrannye stat'i v 2-kh tt. M., 1957.
Frakkaroli A. Gaetano Donitsetti. SPb., 2003.
Khokhlovkina A. Zapadnoevropeyskaya opera. Konets 18-go – 1-ya pol. 19-go veka. M., 1962.
Tsodokov E. Opera. Entsiklopedicheskiy slovart. M., 1999.
Les Archives de l’Opera Comique //URL https://dezede.org/
Massenet J. Mes souvenirs. Paris, 1912.

References (transliteration):
Abert G. V. A. Motsart. V 2 chastyakh, 4-kh kn. M., 1887-1990.
Berlioz G. Memuary. M., 1962.
Bryantseva V. N. Frantsuzskaya komicheskaya opera 18 veka. M., 1985.
Krakauer Z. Zhak offenbakh i Parizh ego vremeni. M., 2000.
Kremlev Yu. Zhyul' Massne. M., 1969
Krechmar G. Istoriya opery. L., 1925.
Kruntyaeva T. Ital'yanskaya komicheskaya opera 18 veka. L., 1981.
Serov A. N. Izbrannye stat'i v 2-kh tt. M., 1957.
Frakkaroli A. Gaetano Donitsetti. SPb., 2003.
Khokhlovkina A. Zapadnoevropeyskaya opera. Konets 18-go – 1-ya pol. 19-go veka. M., 1962.
Tsodokov E. Opera. Entsiklopedicheskiy slovart. M., 1999.
Les Archives de l’Opera Comique //URL https://dezede.org/
Massenet J. Mes souvenirs. Paris, 1912.

Review: The author of the present article offers a new philosophical concept of music based on his own experience in methodology, cultural research and humanitarian studies. V. Rozin outlines the following problems to be solved: to explain the strong influence of music on human and different interpretations of music, irreducibility of music to the technique and sound and the dilemma bout whether music is a language or a system of symbols. The researcher introduces his hypothesis that music, on one hand, is a form of life that solve the personality problems and on the other hand, the artistic reality. V. Rozin also discusses the main features of artistic reality including the textual nature, the unity of experiencing and constructing events of the artistic reality and the role of the personality of an artist. In the last part of the article the researcher substantiates the initial hypothesis on the nature of music, compares music with other art forms and shows that classical music has been formed as a form of life allowing a new European personality to achieve the main tasks of existence. The researcher offers a definition of music culture as an important feature of music. In the course of the development of his music concept, the researcher has used humanitarian methodology, comparative analysis of different forms of art, case analysis, genetic arguments, the method of problematisation and construction of ideal objects. As a result, V. Rozin manages to create a new philosophical concept of music, to solve a number of problems related to music and, as he hopes, to partly solve the mystery of music. An important aspect of this mystery is that by listening to music, a human solves his existential problems in the form of music temporality and activity that includes reading and artistic understanding of a musical material form.

Keywords: Music, event, problem, personality, sound, set of sounds, word, life, understanding, reality.

References:
Rozin V.M.. Razmyshleniya ob arkhitekture (dialog, initsiirovannyy Aleksandrom Rappaportom) // Kul'tury i iskusstva. 2013. N 5.
Rozin V.M Osobennosti diskursa i obraztsy issledovaniya v gumanitarnoy nauke. M., 2008.
Rozin V.M. Vizual'naya kul'tura i vospriyatie. Kak chelovek vidit i ponimaet mir. Izd. 5. M,. 2012.
Rozin Vvedenie v skhemologiyu. Skhemy v filosofii, kul'ture, nauke, proektirovanii. M., 2011.
Rozin V.M. Psikhologiya: nauka i praktika. Uchebnoe posobie. OMEGA-L. M., 2005.
Rozin V.M. Psikhicheskaya real'nost', sposobnosti i zdorov'e cheloveka. M., 2000.
Rozin V.M. Semioticheskie issledovaniya. M., 2001.
Rozin V.M. Fenomen mnozhestvennoy lichnosti. Po materialam knigi Daniela Kiza «Mnozhestvennye umy Billi Milligana». M., 2008, 2012.
Prokof'ev S.S.. Materialy. Dokumenty. Vospominaniya. M., 1961. 10yu Svobodnyy tanets – drugoe litso autentizma // Moskovskoe deystvo. 100-letiyu pervogo vystupleniya Aysedory Dunkan v Moskve posvyashchaetsya. 29 iyunya – 14 iyulya 2005 goda. M., 2005. 11. Stravinskiy I. Khronika moey zhizni. M., 2005. 12. Tamila Dzhani-Zade, Valida Kelle Zapadnoevropeyskaya muzyka. (http://school-collection.iv-edu.ru/dlrstore/5cd4876e-1c43-b264-df29-2281f8333f9c/1012101A.htm) 13. Tina Gay Dvoyniki: Rikhter – Gul'd http://sotvori-sebia-sam.ru/svyatoslav-rixter. 14. Todorov Ts. Poetika // Strukturalizm «za» i «protiv». M., 1975. 15. Khaydegger M. Vklady v delo filosofii. Ot sobytiya // Ἕρμηνεία N 1 (1) 2009. 16. Khaydegger M. Raboty i razmyshleniya raznykh let. M., 1993. 17. Shestakov V. Esteticheskaya filosofiya S'yuzen Langer. http://philosophy.ru/library/langer/pril.html 18. Shnitke A.G. Slovo o Prokof'eve // Besedy s Al'fredom Shnitke. M., 1994. http://lib.rus.ec/b/354987/read 19. Yung K. Vospominaniya, snovideniya, razmyshleniya. Kiev, 1994. 20. http://lib.rus.ec/b/354987/read
S.T. Gubina Tipologii muzykal'nykh predpochteniy:
psikhologicheskie tipy bytiynogo
i defitsitarnogo
vospriyatiya muzyki // Psikhologiya i Psikhotekhnika. - 2013. - 5. - C. 433 - 439. DOI: 10.7256/2070-8955.2013.5.7304.
A.V. Denisov V «krivom zerkale» muzykal'noy parodii // PHILHARMONICA. International Music Journal. - 2014. - 1. - C. 52 - 63. DOI: 10.7256/.2014.1.12425.
D. A. Zhurkova Muzyka kak fon povsednevnosti:
funktsii i osobennosti vospriyatiya // Kul'tura i iskusstvo. - 2011. - 4. - C. 66 - 73.

References (transliteration):
Rozin V.M.. Razmyshleniya ob arkhitekture (dialog, initsiirovannyy Aleksandrom Rappaportom) // Kul'tury i iskusstva. 2013. N 5.
Rozin V.M Osobennosti diskursa i obraztsy issledovaniya v gumanitarnoy nauke. M., 2008.
Rozin V.M. Vizual'naya kul'tura i vospriyatie. Kak chelovek vidit i ponimaet mir. Izd. 5. M,. 2012.
Rozin Vvedenie v skhemologiyu. Skhemy v filosofii, kul'ture, nauke, proektirovanii. M., 2011.
Rozin V.M. Psikhologiya: nauka i praktika. Uchebnoe posobie. OMEGA-L. M., 2005.
Rozin V.M. Psikhicheskaya real'nost', sposobnosti i zdorov'e cheloveka. M., 2000.
Rozin V.M. Semioticheskie issledovaniya. M., 2001.
Rozin V.M. Fenomen mnozhestvennoy lichnosti. Po materialam knigi Daniela Kiza «Mnozhestvennye umy Billi Milligana». M., 2008, 2012.
Prokof'ev S.S.. Materialy. Dokumenty. Vospominaniya. M., 1961. 10yu Svobodnyy tanets – drugoe litso autentizma // Moskovskoe deystvo. 100-letiyu pervogo vystupleniya Aysedory Dunkan v Moskve posvyashchaetsya. 29 iyunya – 14 iyulya 2005 goda. M., 2005. 11. Stravinskiy I. Khronika moey zhizni. M., 2005. 12. Tamila Dzhani-Zade, Valida Kelle Zapadnoevropeyskaya muzyka. (http://school-collection.iv-edu.ru/dlrstore/5cd4876e-1c43-b264-df29-2281f8333f9c/1012101A.htm) 13. Tina Gay Dvoyniki: Rikhter – Gul'd http://sotvori-sebia-sam.ru/svyatoslav-rixter. 14. Todorov Ts. Poetika // Strukturalizm «za» i «protiv». M., 1975. 15. Khaydegger M. Vklady v delo filosofii. Ot sobytiya // Ἕρμηνεία N 1 (1) 2009. 16. Khaydegger M. Raboty i razmyshleniya raznykh let. M., 1993. 17. Shestakov V. Esteticheskaya filosofiya S'yuzen Langer. http://philosophy.ru/library/langer/pril.html 18. Shnitke A.G. Slovo o Prokof'eve // Besedy s Al'fredom Shnitke. M., 1994. http://lib.rus.ec/b/354987/read 19. Yung K. Vospominaniya, snovideniya, razmyshleniya. Kiev, 1994. 20. http://lib.rus.ec/b/354987/read
S.T. Gubina Tipologii muzykal'nykh predpochteniy:
psikhologicheskie tipy bytiynogo
i defitsitarnogo
vospriyatiya muzyki // Psikhologiya i Psikhotekhnika. - 2013. - 5. - C. 433 - 439. DOI: 10.7256/2070-8955.2013.5.7304.
A.V. Denisov V «krivom zerkale» muzykal'noy parodii // PHILHARMONICA. International Music Journal. - 2014. - 1. - C. 52 - 63. DOI: 10.7256/.2014.1.12425.
D. A. Zhurkova Muzyka kak fon povsednevnosti:
funktsii i osobennosti vospriyatiya // Kul'tura i iskusstvo. - 2011. - 4. - C. 66 - 73.

Review: The article provides a review of music of the second half of the 20th century in the frame of the artistic culture and environment. The main peculiarity of that stage of development is the relation of music not only to various branches of art such as fine arts, literature, architecture, poetry, theatre, cinematograph but also to other branches of knowledge such as philosophy, esthetics, semiotics, linguistics, mathematics, physics, computer science and psychology. The author describes the two leading tendencies in music of the second half of the 20th century. One tendency relates to determinism, conditioned by the cause-and-effect relations and based on mathematics. The second tendency is based on indeterminism that views the chance and unpredictability as the esthetic ideal. This weakens the cause-and-effect relations, destroys the integrated composition and creates texts that are principally disconnected. The above mentioned tendencies are analyzed based on the example of a number of music pieces of the 20th century. The analysis is carried out taking into account these two tendencies. The two tendencies in music are associated with the two styles of composer’s thinking that are based on the two structural-semantic invariants. These are the informative thinking and synthesizing thinking. The first type is based on the combination of homogenous elements and has the following properties: - it is determined by the type of most-modern ‘scanning’ consciousness; - it was the result of the tendency towards determinism; - it is described with homogeneity that leads to programming of music; - it was born under the influence of exact sciences, in particular, mathematics; - it has the centralized nature due to the influence of centripetal tendencies. In the first case the prevalence of the rational beginning is caused by the properties of the artistic text oriented at exact sciences. The second type of thinking is based on the combination of heterogeneous properties and synthesizing texts involving interaction of various codes. It also has the following properties: - it is determined by the type of post-modernistic ‘articulatory’ consciousness; - it was the result of the tendency towards indeterminism; - it is described with heterogeneity and contrast music codes; - it has the decentralized nature due to the influence of centrifugal forces.

Keywords: Artistic culture, determinism, indeterminism, structural-semantic invariant, composer’s thinking, informative expression, synthesizing expression, musical semiotics, music of the 20th century, music.

References:
Amelin G.L. O syuzhetakh v bessyuzhetnom (o stikhotvorenii Osipa Mandel'shtama «Dayte Tyutchevu strekozu…») // Semiotika: antologiya. M., 2001.
Vlasova N.O. Tvorchestvo Arnol'da Shenberga. Avtroref. dis. … dokt. iskusstvovedeniya: 17.00.02. M., 2007.
Gil'dinson L.S. K probleme edinstva stilya v proizvedeniyakh A. Shnitke 70-kh godov // Sovetskaya muzyka 70-80-kh godov. Stil' i stilevye dialogi: Trudy GMPI im. Gnesinykh. Vyp. 82. M., 1985. S. 80-104.
Gulyanitskaya N.S. «Ekho» dekonstruktivizma v muzyke // Muzykovedenie k nachalu veka: proshloe i nastoyashchee. M., 2007. S. 58-66.
Kunitskaya R.I. Frantsuzskie kompozitory KhKh veka. M., 1990.
Kutyrev V.A. Filosofiya postmodernizma. Nizhniy Novgorod, 2006.
Lotman Yu.M. Istoriya i tipologiya russkoy kul'tury. SPb., 2002.
Lotman Yu.M. Pamyat' v kul'turologicheskom osveshchenii // Lotman, Yu.M. Semiosfera. SPb., 2004.
Naumenko T.N. «Stil' vremeni»: o nekotorykh tendentsiyakh sovremennogo muzykovedeniya // Muzykovedenie k nachalu veka. M., 2007. S. 32-41.
Rozhnovskiy V.G. Postmodernizm: krushenie estetiki? // Muzykovedenie k nachalu veka: proshloe i nastoyashchee. M., 2002. S. 230-238.
Savvina L.V. Mekhanizmy slushatel'skogo vospriyatiya muzykal'nogo teksta KhKh veka // Izvestiya Rossiyskogo gosudarstvennogo pedagogicheskogo universiteta im. A.I. Gertsena. — 2009. — ¹ 108. S. 162-169.
Savvina L.V. Muzykal'noe soobshchenie KhKh veka: k voprosu o sootnoshenii ponyatiy informatsiya i smysl // Muzykovedenie. — 2009. — ¹ 8. S. 2-6.
Savvina L.V. Semioticheskiy podkhod k izucheniyu zvukoorganizatsii muzyki KhKh veka // Vestnik Chelyabinskogo gosudarstvennogo universiteta. — 2009. — ¹ 30. S. 175-179.

References (transliteration):
Amelin G.L. O syuzhetakh v bessyuzhetnom (o stikhotvorenii Osipa Mandel'shtama «Dayte Tyutchevu strekozu…») // Semiotika: antologiya. M., 2001.
Vlasova N.O. Tvorchestvo Arnol'da Shenberga. Avtroref. dis. … dokt. iskusstvovedeniya: 17.00.02. M., 2007.
Gil'dinson L.S. K probleme edinstva stilya v proizvedeniyakh A. Shnitke 70-kh godov // Sovetskaya muzyka 70-80-kh godov. Stil' i stilevye dialogi: Trudy GMPI im. Gnesinykh. Vyp. 82. M., 1985. S. 80-104.
Gulyanitskaya N.S. «Ekho» dekonstruktivizma v muzyke // Muzykovedenie k nachalu veka: proshloe i nastoyashchee. M., 2007. S. 58-66.
Kunitskaya R.I. Frantsuzskie kompozitory KhKh veka. M., 1990.
Kutyrev V.A. Filosofiya postmodernizma. Nizhniy Novgorod, 2006.
Lotman Yu.M. Istoriya i tipologiya russkoy kul'tury. SPb., 2002.
Lotman Yu.M. Pamyat' v kul'turologicheskom osveshchenii // Lotman, Yu.M. Semiosfera. SPb., 2004.
Naumenko T.N. «Stil' vremeni»: o nekotorykh tendentsiyakh sovremennogo muzykovedeniya // Muzykovedenie k nachalu veka. M., 2007. S. 32-41.
Rozhnovskiy V.G. Postmodernizm: krushenie estetiki? // Muzykovedenie k nachalu veka: proshloe i nastoyashchee. M., 2002. S. 230-238.
Savvina L.V. Mekhanizmy slushatel'skogo vospriyatiya muzykal'nogo teksta KhKh veka // Izvestiya Rossiyskogo gosudarstvennogo pedagogicheskogo universiteta im. A.I. Gertsena. — 2009. — ¹ 108. S. 162-169.
Savvina L.V. Muzykal'noe soobshchenie KhKh veka: k voprosu o sootnoshenii ponyatiy informatsiya i smysl // Muzykovedenie. — 2009. — ¹ 8. S. 2-6.
Savvina L.V. Semioticheskiy podkhod k izucheniyu zvukoorganizatsii muzyki KhKh veka // Vestnik Chelyabinskogo gosudarstvennogo universiteta. — 2009. — ¹ 30. S. 175-179.

Review: The subject under review is actionism as a phenomenon of post-modernistic culture and actionism in the heritage of an American composer John Cage. The author of the article describes the main forms of musical actionism including happening, instrumental theatre as a form of performance and multimedia. It is noted that actionism should be understood as a creative act that forms a new type of perception not typical for the previous ‘classical’ process of perceiving a piece of music. The new type of music perception was created in the middle of the 20th century and was caused by the desire of many composers to achieve the synthesis of arts. The article is based on the analytical method of analyzing the main forms of musical actionism. The researcher tries to draw our attention at peculiar properties of actionism in creative work of a particular composer. This is the first comprehensive research of Cage’s musical actionism in Russian art studies. The researcher proves that Cage’s synthesizing ideas combined with the principle of indeterminism is the central shapegenerating feature of Cage’s actions that mostly denies famous principles of musical art. According to the researcher, Cage’s actionism is an expression of his own inner world elated to Buddhism and the concept of the synthesis of arts rather than a challenge or an example of his deliberate epatage.

Keywords: Action, musical actionism, happening, performance, multimedia, instrumental theatre, synthesis of arts, John Cage, music forms, post-modernism.

References:
Eko U. Otkrytoe proizvedenie: forma i neopredelennost' v sovremennoy poetike. SPb.: Simpozium, 2006. 350 s.
Chernova E. Fonosfera Dzhona Keydzha // Problemy kul'tury i iskusstva v mirovozzrenii sovremennoy molodezhi: preemstvennost' i novatorstvo: Sbornik nauchnykh statey po materialam IV Vserossiyskoy nauchno-prakticheskoy konferentsii studentov i aspirantov. Saratov, 2006. S. 79-82.
Farkhadov R. Dzhon Keydzh — «paradoksov drug» // Kultura.az: portal kul'tury i iskusstva / http://www.kultura.az/articles.php?item_id=20080505050613058&sec_id=16
Petrov V.O. Proizvedeniya Dzhona Keydzha dlya podgotovlennogo fortepiano // Muzykal'noe iskusstvo: istoriya i sovremennost': Sbornik nauchnykh statey k 40-letiyu Astrakhanskoy gosudarstvennoy konservatorii. Astrakhan': Izdatel'stvo OGOU DPO «AIPKP», 2009. S. 59-68.
Petrov V.O. O spetsifike zhanra instrumental'nogo teatra // Aktual'nye problemy vysshego muzykal'nogo obrazovaniya. — 2013. — ¹ 1 (27). S. 40-45.
Petrov V.O. Instrumental'nyy teatr: istoricheskaya piramida zhanra // Kul'tura i iskusstvo: Nauchnyy retsenziruemyy zhurnal. — 2012. — ¹ 5. S. 99-109.
Petrov V.O. Instrumental'nyy teatr: funktsii peredvizheniya ispolniteley // Aktual'nye problemy vysshego muzykal'nogo obrazovaniya. — 2011. — ¹ 2 (18). S. 40-45.
Petrov V.O. Notatsiya Dzhona Keydzha: urovni ispolnitel'skoy svobody // Aktual'nye problemy muzykal'no-ispolnitel'skogo iskusstva: Istoriya i sovremennost'. Vyp. 6: Materialy Vserossiyskoy nauchno-prakticheskoy konferentsii, Kazan', 3 aprelya 2013 goda. Kazan': Kazanskaya gosudarstvennaya konservatoriya, 2014. S. 100-106.
Petrov V.O. Zvuchashchie listy Dzhona Keydzha: graficheskaya notatsiya i aleatorika // Muzykal'naya semiotika: puti i perspektivy razvitiya: Sbornik statey po materialam Vtoroy Mezhdunarodnoy nauchnoy konferentsii 13-14 noyabrya 2008 goda. Astrakhan': Izd-vo OGOU DPO AIPKP, 2008. S. 176-189.
Petrov V.O. Instrumental'noe mul'timedia: o sootnoshenii muzykal'nogo i vizual'nogo ryadov // Izvestiya Volgogradskogo gosudarstvennogo pedagogicheskogo universiteta. Seriya «Sotsial'no-ekonomicheskie nauki i iskusstvo». — 2013. — ¹ 8 (83). S. 75-78.
Pereverzeva M. Kheppeningi Dzhona Keydzha // Outsider abstract journal, 2006. / http://www/aposition.org/musart3/cage.htm.
Petrov V.O. Dzhon Keydzh. «Evropery» (stilisticheskoe obosnovanie) // Muzykal'noe obrazovanie v kontekste kul'tury: voprosy teorii, istorii i metodologii: Materialy Mezhdunarodnoy nauchnoy konferentsii 21-23 oktyabrya 2008 goda. M.: RAM im. Gnesinykh, 2009. S. 349-359.
Zenkin K. Dzhon Keydzh i «chas nul'» kul'tury // Dzhon Keydzh. K 90-letiyu so dnya rozhdeniya: materialy nauchnoy konferentsii. M.: Moskovskaya gosudarstvennaya konservatoriya im. P.I. Chaykovskogo, 2004. S. 67-78.
Zhitomirskiy D., Leont'eva O., Myalo K. Zapadnyy muzykal'nyy avangard posle vtoroy mirovoy voyny. M.: Muzyka, 1989. 303 s.
Dubinets E. Made in USA: Muzyka — eto vse, chto zvuchit vokrug. M.: Kompozitor, 2006. 416 s.
Anastas'ev N.A. Knigi ne dlya chteniya (Gertruda Stayn) // Voprosy literatury. — 2007. — ¹ 1. S. 250-289.
Pereverzeva M.V.. Stokhasticheskaya muzyka: filosofskiy aspekt. // Filosofiya i kul'tura.-2014.-¹ 7.-C. 954-963. DOI: 10.7256/1999-2793.2014.7.9931
Miklina N.N.. Metapoetika muzykal'nogo iskusstva: k postanovke problemy. // Filosofiya i kul'tura.-2014.-¹ 7.-C. 1047-1060. DOI: 10.7256/1999-2793.2014.7.1236

References (transliteration):
Eko U. Otkrytoe proizvedenie: forma i neopredelennost' v sovremennoy poetike. SPb.: Simpozium, 2006. 350 s.
Chernova E. Fonosfera Dzhona Keydzha // Problemy kul'tury i iskusstva v mirovozzrenii sovremennoy molodezhi: preemstvennost' i novatorstvo: Sbornik nauchnykh statey po materialam IV Vserossiyskoy nauchno-prakticheskoy konferentsii studentov i aspirantov. Saratov, 2006. S. 79-82.
Farkhadov R. Dzhon Keydzh — «paradoksov drug» // Kultura.az: portal kul'tury i iskusstva / http://www.kultura.az/articles.php?item_id=20080505050613058&sec_id=16
Petrov V.O. Proizvedeniya Dzhona Keydzha dlya podgotovlennogo fortepiano // Muzykal'noe iskusstvo: istoriya i sovremennost': Sbornik nauchnykh statey k 40-letiyu Astrakhanskoy gosudarstvennoy konservatorii. Astrakhan': Izdatel'stvo OGOU DPO «AIPKP», 2009. S. 59-68.
Petrov V.O. O spetsifike zhanra instrumental'nogo teatra // Aktual'nye problemy vysshego muzykal'nogo obrazovaniya. — 2013. — ¹ 1 (27). S. 40-45.
Petrov V.O. Instrumental'nyy teatr: istoricheskaya piramida zhanra // Kul'tura i iskusstvo: Nauchnyy retsenziruemyy zhurnal. — 2012. — ¹ 5. S. 99-109.
Petrov V.O. Instrumental'nyy teatr: funktsii peredvizheniya ispolniteley // Aktual'nye problemy vysshego muzykal'nogo obrazovaniya. — 2011. — ¹ 2 (18). S. 40-45.
Petrov V.O. Notatsiya Dzhona Keydzha: urovni ispolnitel'skoy svobody // Aktual'nye problemy muzykal'no-ispolnitel'skogo iskusstva: Istoriya i sovremennost'. Vyp. 6: Materialy Vserossiyskoy nauchno-prakticheskoy konferentsii, Kazan', 3 aprelya 2013 goda. Kazan': Kazanskaya gosudarstvennaya konservatoriya, 2014. S. 100-106.
Petrov V.O. Zvuchashchie listy Dzhona Keydzha: graficheskaya notatsiya i aleatorika // Muzykal'naya semiotika: puti i perspektivy razvitiya: Sbornik statey po materialam Vtoroy Mezhdunarodnoy nauchnoy konferentsii 13-14 noyabrya 2008 goda. Astrakhan': Izd-vo OGOU DPO AIPKP, 2008. S. 176-189.
Petrov V.O. Instrumental'noe mul'timedia: o sootnoshenii muzykal'nogo i vizual'nogo ryadov // Izvestiya Volgogradskogo gosudarstvennogo pedagogicheskogo universiteta. Seriya «Sotsial'no-ekonomicheskie nauki i iskusstvo». — 2013. — ¹ 8 (83). S. 75-78.
Pereverzeva M. Kheppeningi Dzhona Keydzha // Outsider abstract journal, 2006. / http://www/aposition.org/musart3/cage.htm.
Petrov V.O. Dzhon Keydzh. «Evropery» (stilisticheskoe obosnovanie) // Muzykal'noe obrazovanie v kontekste kul'tury: voprosy teorii, istorii i metodologii: Materialy Mezhdunarodnoy nauchnoy konferentsii 21-23 oktyabrya 2008 goda. M.: RAM im. Gnesinykh, 2009. S. 349-359.
Zenkin K. Dzhon Keydzh i «chas nul'» kul'tury // Dzhon Keydzh. K 90-letiyu so dnya rozhdeniya: materialy nauchnoy konferentsii. M.: Moskovskaya gosudarstvennaya konservatoriya im. P.I. Chaykovskogo, 2004. S. 67-78.
Zhitomirskiy D., Leont'eva O., Myalo K. Zapadnyy muzykal'nyy avangard posle vtoroy mirovoy voyny. M.: Muzyka, 1989. 303 s.
Dubinets E. Made in USA: Muzyka — eto vse, chto zvuchit vokrug. M.: Kompozitor, 2006. 416 s.
Anastas'ev N.A. Knigi ne dlya chteniya (Gertruda Stayn) // Voprosy literatury. — 2007. — ¹ 1. S. 250-289.
Pereverzeva M.V.. Stokhasticheskaya muzyka: filosofskiy aspekt. // Filosofiya i kul'tura.-2014.-¹ 7.-C. 954-963. DOI: 10.7256/1999-2793.2014.7.9931
Miklina N.N.. Metapoetika muzykal'nogo iskusstva: k postanovke problemy. // Filosofiya i kul'tura.-2014.-¹ 7.-C. 1047-1060. DOI: 10.7256/1999-2793.2014.7.1236

Review: The author of the present article offers a new philosophical concept of music based on his own experience in methodology, cultural research and humanitarian studies. V. Rozin outlines the following problems to be solved: to explain the strong influence of music on human and different interpretations of music, irreducibility of music to the technique and sound and the dilemma bout whether music is a language or a system of symbols. The researcher introduces his hypothesis that music, on one hand, is a form of life that solve the personality problems and on the other hand, the artistic reality. V. Rozin also discusses the main features of artistic reality including the textual nature, the unity of experiencing and constructing events of the artistic reality and the role of the personality of an artist. In the last part of the article the researcher substantiates the initial hypothesis on the nature of music, compares music with other art forms and shows that classical music has been formed as a form of life allowing a new European personality to achieve the main tasks of existence. The researcher offers a definition of music culture as an important feature of music. In the course of the development of his music concept, the researcher has used humanitarian methodology, comparative analysis of different forms of art, case analysis, genetic arguments, the method of problematisation and construction of ideal objects. As a result, V. Rozin manages to create a new philosophical concept of music, to solve a number of problems related to music and, as he hopes, to partly solve the mystery of music. An important aspect of this mystery is that by listening to music, a human solves his existential problems in the form of music temporality and activity that includes reading and artistic understanding of a musical material form.

Keywords: Music, event, problem, personality, sound, set of sounds, word, life, understanding, reality.

References:
Tamila Dzhani-Zade, Valida Kelle Zapadnoevropeyskaya muzyka. (http://school-collection.iv-edu.ru/dlrstore/5cd4876e-1c43-b264-df29-2281f8333f9c/1012101A.htm)
Stravinskiy I. Khronika moey zhizni. M., 2005.
Svobodnyy tanets – drugoe litso autentizma // Moskovskoe deystvo. 100-letiyu pervogo vystupleniya Aysedory Dunkan v Moskve posvyashchaetsya. 29 iyunya – 14 iyulya 2005 goda. M., 2005.
Prokof'ev S.S.. Materialy. Dokumenty. Vospominaniya. M., 1961
Rozin V.M. Fenomen mnozhestvennoy lichnosti. Po materialam knigi Daniela Kiza «Mnozhestvennye umy Billi Milligana». M., 2008, 2012.
Rozin V.M. Semioticheskie issledovaniya. M., 2001
Rozin V.M. Psikhicheskaya real'nost', sposobnosti i zdorov'e cheloveka. M., 2000.
Rozin V.M. Psikhologiya: nauka i praktika. Uchebnoe posobie. OMEGA-L. M., 2005.
Rozin Vvedenie v skhemologiyu. Skhemy v filosofii, kul'ture, nauke, proektirovanii. M., 2011.
Rozin V.M. Vizual'naya kul'tura i vospriyatie. Kak chelovek vidit i ponimaet mir. Izd. 5. M,. 2012.
Rozin V.M Osobennosti diskursa i obraztsy issledovaniya v gumanitarnoy nauke. M., 2008
Rozin V.M.. Razmyshleniya ob arkhitekture (dialog, initsiirovannyy Aleksandrom Rappaportom) // Kul'tury i iskusstva. 2013. N 5.
Rozin V.M. Stanovlenie i teoreticheskoe osmyslenie v kul'ture Novogo vremeni klassicheskoy muzyki // Kul'tury i iskusstva. 2013. N 3
Rozin V.M. Genezis evropeyskogo iskusstva (filosofskiy i kul'turno-istoricheskiy analiz). M., 2011
Polyakov M.Ya. Voprosy poetiki i khudozhestvennoy semantiki. M., 1978.
Melodiya // Muzykal'naya entsiklopediya – Opera, 2008 (http://www.music-dic.ru/html-music-enc/g/1988.html)
Mamardashvili M. Literaturnaya kritika kak akt chteniya // Kak ya ponimayu filosofiyu. M., 1990.
Mazel' L. Problemy klassicheskoy garmonii. M., 1972.
Konen V. Teatr i simfoniya. M., 1968.
Malyshev I. Khronotop muzykal'nogo proizvedeniya. http://www.proza.ru/2010/03/09/1185
Vershinina Kommentarii k knige Igorya Stravinskogo Khronika moey zhizni. http://lib.rus.ec/b/354987/read
Vol'nov V. Fenomen muzyki. http://www.v-volnov.narod.ru/SmallWorks/PhenomenonOfMusic.htm
Bychkov Yu.N. Iz istorii ucheniy o lade i garmonii. Lektsiya po kursu «Istoriya muzykal'no-teoreticheskikh sistem». M., 1993.
Benyumov M.I. Khudozhestvennye sredstva muzykanta-ispolnitelya: paradoks ponyatiya, istoricheskiy genezis, struktura, funktsii. Krasnoyarsk, 2012.
Bakhtin M. Voprosy literatury i estetiki. M., 1975.
Benkhabib S. Prityazaniya kul'tury. Ravenstvo i raznoobrazie v global'nuyu epokhu. M., 2003.
Asaf'ev. Muzykal'naya forma kak protsess. L., 1971.
Bakhtin M.M. K metodologii literaturovedeniya // Kontekst. 1974. M., 1975.
Aylamaz'yan A.M., Tashkeeva E.I. Muzykal'noe dvizhenie: pedagogika, psikhologiya, khudozhestvennaya praktika // Kul'tura i iskusstvo. 2014. N
Tina Gay Dvoyniki: Rikhter – Gul'd http://sotvori-sebia-sam.ru/svyatoslav-rixter
Todorov Ts. Poetika // Strukturalizm «za» i «protiv». M., 1975.
Khaydegger M. Vklady v delo filosofii. Ot sobytiya // Ἕρμηνεία N 1 (1) 2009.
Khaydegger M. Raboty i razmyshleniya raznykh let. M., 1993.
Shestakov V. Esteticheskaya filosofiya S'yuzen Langer. http://philosophy.ru/library/langer/pril.html
Shnitke A.G. Slovo o Prokof'eve // Besedy s Al'fredom Shnitke. M., 1994.
http://lib.rus.ec/b/354987/read
Yung K. Vospominaniya, snovideniya, razmyshleniya. Kiev, 1994.
D. A. Zhurkova Muzyka kak fon povsednevnosti:
funktsii i osobennosti vospriyatiya // Kul'tura i iskusstvo. - 2011. - 4. - C. 66 - 73.
S.T. Gubina Tipologii muzykal'nykh predpochteniy:
psikhologicheskie tipy bytiynogo
i defitsitarnogo
vospriyatiya muzyki // Psikhologiya i Psikhotekhnika. - 2013. - 5. - C. 433 - 439. DOI: 10.7256/2070-8955.2013.5.7304.

References (transliteration):
Tamila Dzhani-Zade, Valida Kelle Zapadnoevropeyskaya muzyka. (http://school-collection.iv-edu.ru/dlrstore/5cd4876e-1c43-b264-df29-2281f8333f9c/1012101A.htm)
Stravinskiy I. Khronika moey zhizni. M., 2005.
Svobodnyy tanets – drugoe litso autentizma // Moskovskoe deystvo. 100-letiyu pervogo vystupleniya Aysedory Dunkan v Moskve posvyashchaetsya. 29 iyunya – 14 iyulya 2005 goda. M., 2005.
Prokof'ev S.S.. Materialy. Dokumenty. Vospominaniya. M., 1961
Rozin V.M. Fenomen mnozhestvennoy lichnosti. Po materialam knigi Daniela Kiza «Mnozhestvennye umy Billi Milligana». M., 2008, 2012.
Rozin V.M. Semioticheskie issledovaniya. M., 2001
Rozin V.M. Psikhicheskaya real'nost', sposobnosti i zdorov'e cheloveka. M., 2000.
Rozin V.M. Psikhologiya: nauka i praktika. Uchebnoe posobie. OMEGA-L. M., 2005.
Rozin Vvedenie v skhemologiyu. Skhemy v filosofii, kul'ture, nauke, proektirovanii. M., 2011.
Rozin V.M. Vizual'naya kul'tura i vospriyatie. Kak chelovek vidit i ponimaet mir. Izd. 5. M,. 2012.
Rozin V.M Osobennosti diskursa i obraztsy issledovaniya v gumanitarnoy nauke. M., 2008
Rozin V.M.. Razmyshleniya ob arkhitekture (dialog, initsiirovannyy Aleksandrom Rappaportom) // Kul'tury i iskusstva. 2013. N 5.
Rozin V.M. Stanovlenie i teoreticheskoe osmyslenie v kul'ture Novogo vremeni klassicheskoy muzyki // Kul'tury i iskusstva. 2013. N 3
Rozin V.M. Genezis evropeyskogo iskusstva (filosofskiy i kul'turno-istoricheskiy analiz). M., 2011
Polyakov M.Ya. Voprosy poetiki i khudozhestvennoy semantiki. M., 1978.
Melodiya // Muzykal'naya entsiklopediya – Opera, 2008 (http://www.music-dic.ru/html-music-enc/g/1988.html)
Mamardashvili M. Literaturnaya kritika kak akt chteniya // Kak ya ponimayu filosofiyu. M., 1990.
Mazel' L. Problemy klassicheskoy garmonii. M., 1972.
Konen V. Teatr i simfoniya. M., 1968.
Malyshev I. Khronotop muzykal'nogo proizvedeniya. http://www.proza.ru/2010/03/09/1185
Vershinina Kommentarii k knige Igorya Stravinskogo Khronika moey zhizni. http://lib.rus.ec/b/354987/read
Vol'nov V. Fenomen muzyki. http://www.v-volnov.narod.ru/SmallWorks/PhenomenonOfMusic.htm
Bychkov Yu.N. Iz istorii ucheniy o lade i garmonii. Lektsiya po kursu «Istoriya muzykal'no-teoreticheskikh sistem». M., 1993.
Benyumov M.I. Khudozhestvennye sredstva muzykanta-ispolnitelya: paradoks ponyatiya, istoricheskiy genezis, struktura, funktsii. Krasnoyarsk, 2012.
Bakhtin M. Voprosy literatury i estetiki. M., 1975.
Benkhabib S. Prityazaniya kul'tury. Ravenstvo i raznoobrazie v global'nuyu epokhu. M., 2003.
Asaf'ev. Muzykal'naya forma kak protsess. L., 1971.
Bakhtin M.M. K metodologii literaturovedeniya // Kontekst. 1974. M., 1975.
Aylamaz'yan A.M., Tashkeeva E.I. Muzykal'noe dvizhenie: pedagogika, psikhologiya, khudozhestvennaya praktika // Kul'tura i iskusstvo. 2014. N
Tina Gay Dvoyniki: Rikhter – Gul'd http://sotvori-sebia-sam.ru/svyatoslav-rixter
Todorov Ts. Poetika // Strukturalizm «za» i «protiv». M., 1975.
Khaydegger M. Vklady v delo filosofii. Ot sobytiya // Ἕρμηνεία N 1 (1) 2009.
Khaydegger M. Raboty i razmyshleniya raznykh let. M., 1993.
Shestakov V. Esteticheskaya filosofiya S'yuzen Langer. http://philosophy.ru/library/langer/pril.html
Shnitke A.G. Slovo o Prokof'eve // Besedy s Al'fredom Shnitke. M., 1994.
http://lib.rus.ec/b/354987/read
Yung K. Vospominaniya, snovideniya, razmyshleniya. Kiev, 1994.
D. A. Zhurkova Muzyka kak fon povsednevnosti:
funktsii i osobennosti vospriyatiya // Kul'tura i iskusstvo. - 2011. - 4. - C. 66 - 73.
S.T. Gubina Tipologii muzykal'nykh predpochteniy:
psikhologicheskie tipy bytiynogo
i defitsitarnogo
vospriyatiya muzyki // Psikhologiya i Psikhotekhnika. - 2013. - 5. - C. 433 - 439. DOI: 10.7256/2070-8955.2013.5.7304.

Review: Acoustic experiments during performance of musical compositions are one of the innovatory features of modern musical art. Such experiments are typical for creative work of may composers of the second half of the 20th century including John Cage, Karlheinz Stockhausen, Iannis Xenakis , George Crumb, John Adams, Rodion Shchedrin, Alfred Schnittke, Nikolai Korndorf, Vladimir Martynov, Sofia Gubaidulina and others. A significant number of similar compositions were also created by a brilliant representative of postmodernism and a German innovative composer Mauricio Kagel (1931-2008). Kagel’s legacy consists of a great number of compositions which creation involved acoustic experiments. There are a number of parameters that ensure the significance of such experiments and show their important role in the evolution of music writing in general. These parameters include using items that are not usually used in musical art as musical instruments, singular arrangement of instruments and items on stage and in the audience hall and displacement of acoustic items when a composition is performed in a form of a play. By using a comprehensive analysis, the author of the present article analyzes a number of Kagel’s works that are based on acoustic experiments. The results of the analysis allow to draw a number of conclusions about the practical importance of Kagel’s experiments. In the majority of Kagel’s compositions acoustic experiments are not a sign of the epatage that was so fashionable in the 20th century but an expression of the composer’s attitude to inventions and his desire for innovations of the old ‘classical’ forms of music writing. Kagel managed not to get lost in the abundance of experimental tendencies and not to cross the line between a musical composition (when the sound bears certain information) and epatage or conglomerate of different techniques and styles of music writing combined in one piece of music as many composers of the post-modernistic generation did. This is what made Kagel an original leader of postmodernism in music.

Keywords: Acoustics, Kagel, post-modernism, experiment, musical art, instrumental theatre, happening, synthesis of arts, musical space, musical sound.

Contact information: Petrov Vladilsav Olegovich, 414000, Russia, Astrakhan, ul. Sovetskaya, d. 23

References:
Barban E.S. Kontakty. Sobranie interv'yu. SPb.: Izdatel'stvo «Kompozitor», 2006. 472 s.
Leont'eva O.T. «Eksperimental'naya» muzyka v osnove «eksperimental'noy» pedagogiki // Sovetskaya muzyka. — 1978. — ¹ 12. S. 110-119.
Petrov V.O. Znaki postmodernizma v tvorcheskom nasledii Maurisio Kagelya // Observatoriya kul'tu-ry. — 2013. — ¹ 5. S. 81-87.
Petrov V.O. Instrumental'nyy teatr Maurisio Kagelya // Iskusstvo i obrazovanie: zhurnal metodiki, teorii i praktiki khudozhestvennogo obrazovaniya i esteticheskogo vospitaniya. M., 2011. — ¹ 5 (73). S. 36-48.
Petrov V.O. Novatorskie obrazy iskusstva KhKh veka: v rakurse epatazha // Kul'tura i iskusstvo: Nauch-nyy retsenziruemyy zhurnal. M.: OOO «NB-Media», 2013. — ¹ 5. S. 562-569.
Petrov V.O. Epatazh v iskusstve KhKh veka // Kul'tura i iskusstvo: Nauchnyy retsenziruemyy zhurnal. — M.: OOO «NB-Media», 2013. — ¹ 6. S. 623-632.
Bergman S. Kagel’s Finale // Who Killed Cleveland’s Critic? / Elektronnyy resurs: http://insidetheclassics.myminnesotaorchestra.org/2008/09/kagels-finale-2/
Cobb B. Humor in Mauricio Kagel’s MM 51 and L’art Bruit // Elektronnyy resurs: http://www.briancobbmusic.com
Der Schall und die Folgen. Mauricio Kagel im Gespräch mit Matthias Kassel // Basel, Gare du Nord, 9. Februar 2007. Ss. 14-21.

References (transliteration):
Barban E.S. Kontakty. Sobranie interv'yu. SPb.: Izdatel'stvo «Kompozitor», 2006. 472 s.
Leont'eva O.T. «Eksperimental'naya» muzyka v osnove «eksperimental'noy» pedagogiki // Sovetskaya muzyka. — 1978. — ¹ 12. S. 110-119.
Petrov V.O. Znaki postmodernizma v tvorcheskom nasledii Maurisio Kagelya // Observatoriya kul'tu-ry. — 2013. — ¹ 5. S. 81-87.
Petrov V.O. Instrumental'nyy teatr Maurisio Kagelya // Iskusstvo i obrazovanie: zhurnal metodiki, teorii i praktiki khudozhestvennogo obrazovaniya i esteticheskogo vospitaniya. M., 2011. — ¹ 5 (73). S. 36-48.
Petrov V.O. Novatorskie obrazy iskusstva KhKh veka: v rakurse epatazha // Kul'tura i iskusstvo: Nauch-nyy retsenziruemyy zhurnal. M.: OOO «NB-Media», 2013. — ¹ 5. S. 562-569.
Petrov V.O. Epatazh v iskusstve KhKh veka // Kul'tura i iskusstvo: Nauchnyy retsenziruemyy zhurnal. — M.: OOO «NB-Media», 2013. — ¹ 6. S. 623-632.
Bergman S. Kagel’s Finale // Who Killed Cleveland’s Critic? / Elektronnyy resurs: http://insidetheclassics.myminnesotaorchestra.org/2008/09/kagels-finale-2/
Cobb B. Humor in Mauricio Kagel’s MM 51 and L’art Bruit // Elektronnyy resurs: http://www.briancobbmusic.com
Der Schall und die Folgen. Mauricio Kagel im Gespräch mit Matthias Kassel // Basel, Gare du Nord, 9. Februar 2007. Ss. 14-21.

Review: The subject matter of the present research article is one of the most popular soldier’s marching song ‘Fly Up Like Eagles, Falcons!’. The purpose of the present article is to trace back the history of the song from the moment when it was first heard till the moment when it was first performed for the audience and first published. The results of the study are the discovery of the first facts of the song being performed in the 30th of XIXth century, particularly in 1834 during the Kalisz maneuvers but not during the Patriotic War of 1812. The results of research can be used to prepare for publication of selected patriotic and soldier’s songs. The scope of application of the results includes soldier’s songs, military history, preservation of cultural heritage, songcraft and Russian history. The research methods include the search and analysis of all references to this song in printing materials and audio and visual works. The author of the article studied different variants of the song as well as existing selected soldier’s songs published in Russian and foreign languages. Conclusions: the old soldier’s song ‘Fly Up Like Eagles, Falcons!’ is still dearly loved and popular among military officers. The song has a rich history that relates to the heroism of Russian people during wars. Different variants of the song also show the creativity of composers of soldier’s songs. The song is quite important for modern creative professionals.

Keywords: soldier’s song, union with Prussia, Kalisz maneuvers, Great Patriotic War, military history, cultural heritage, field camp, choir singing, Russian tsar, Prussian King.

Contact information: Chertok Mikhail Davidovich, 129021, Russia, Moscow, Komsomolsky prospect 18.

Review: Based on the example of the concept offered by a British scientist Malcolm Budd, the author of the article views the strategy used by scientists to prove the relation between music ad emotion based on the principle of cross-categorical similarity between the sound of music and one’s emotional experience. Using the idea of ‘make-believe’ introduced by Kendall Walton as an additional explicit mean as well as the three disjunctive ‘imaginative projects’ explaining the possible ways of perceiving emotional expressive music, Budd’s concept tends to fully explain the phenomenon of music expression and emotional impact made by music. The main purpose of the research was to describe the explicit potentials of Budd’s concept and the main research method used by the researcher was the method of conceptual analysis. The researcher concludes that the analogy principle cannot be used at the core of the basic concept of musical expression because it has certain limits and cannot cover all possible forms of musical expression of emotion. It also has certain limits when used as the methodological principle lying in the basis of the synthetic approach integrating different explicit means.

Keywords: internal similarity, synthetic theory, cross-categorical similarity, Budd, movement, make-believe, Pratt, perception of emotions, sympathetic response, make-believe truth.

Contact information: Panaiotidi Elvira Georgievna, 362003, Russia, Vladikavkaz, ul. K. Marksa 36.

Review: The article is devoted to the discovery of the temporary modus of analytical thinking that means description of logical relations in the sphere of time relations. Time means one’s internal perception and subjective experience of time. Serial music was chosen as the empirical material that is equally based on time relations and analytical thinking. The research methods included phenomenological analysis of perception of time as well as the structural and harmonious and rhythmic analysis of the musical text. The article also describes time aspects of preconditions of analytical operations: division, distinction and concreteness (tematization); the role of perception of time in formation of categories of quality and quantity is also shown. The differentiating potential of time relations is well shown during the analysis of the etude No. 2 of the cycle «Four Rhythmic Etudes for a Piano» composed by Olivier Messiaen (1908–1992). The musical text is analyzed from the point of view of axiological and differentiating role of time. The etude is submitted as art integrity where time is a source and condition of distinctions, differentiations, creation of logical system, recognition and definiteness of tones, tematization of sounds of series.

Keywords: cultural research, analytical thinking, internal perception of time, distinction, differentiation, thematisation, quality and quantity, length and intensity, serialism, Oliver Messiaen.

Contact information: Medova Anastasia Anatolievna, 660049, Russia, Krasnoyarsk, prospect Mira 82.

References:
Messiaen Olivier. Mode de valeurs et d’intensités. ¹ 2 des “Quarte Études de rythme” pour piano. Édition avec analyse du compositeur. Durand Editions Musicales.
Alyushin, A.L. Kontseptsiya kognitivnykh kadrov // Filosofskie nauki, 2010. ¹ 11. S. 104-115.
Bergson, A. Vospriyatie izmenchivosti. Per. V. Flerovoy // A. Bergson. Tvorcheskaya evolyutsiya. Materiya i pamyat'. Minsk: Kharvest, 1999. S. 926-959.
Bergson, A. Sobranie sochineniy v 4-kh tomakh. Tom 1. Opyt o neposredstvennykh dannykh soznaniya. Materiya i pamyat'. M.: Moskovskiy klub, 1992. 336 s.
Gusserl', E. Ideya fenomenologii. Pyat' lektsiy. Per. N.A. Artemenko. SPb.: Gumanitarnaya akademiya, 2006. 224 s.
Delez, Zh. Razlichie i povtorenie. Per. s fr. N.B. Man'kovskoy i E.P. Yurovskoy. SPb.: TOO TK Petropolis, 1998. 384 s.
Ekimovskiy V. Oliv'e Messian: Zhizn' i tvorchestvo. M.: Sov. kompozitor, 1987. 304 s.
Langleben, M.M. O nekotorykh muzykal'nykh sistemakh i muzykal'nykh notatsiyakh drevnosti // Rannie formy iskusstva. M., 1972. S. 428-443.
Molchanov, V.I. Paradigmy soznaniya i struktury opyta // Logos. ¹ 3. 1992. S. 7-36.
Molchanov, V.I. Predposylka tozhdestva i analitika razlichiy // Logos, 1999. ¹11-12. S. 183-208.
Ovcharova, T.V. Artikulyatsiono-dinamicheskie problemy interpretatsii proizvedeniy O. Messiana // Filologiya, iskusstvovedenie i kul'turologiya: tendentsii razvitiya. Materialy mezhdunarodnoy zaochnoy nauchno-prakticheskoy konferentsii. Novosibirsk: Izd. «SibAK», 2013. S. 121-129.
Porus, V.N. Ratsional'nost' // Internet-versiya izdaniya: Novaya filosofskaya entsiklopediya: v 4 t. / In-t filosofii RAN; Nats. obshchestv.-nauch. fond; Preds. nauchno-red. soveta V.S. Stepin. 2-e izd., ispr. i dopol. M.: Mysl', 2010. Elektronnyy resurs. URL: http://iph.ras.ru/elib/2555.html
Sartr, Zh.-P. Bytie i Nichto: Opyt fenomenologicheskoy ontologii. Per. s fr., predisl. i primech. V.I. Kolyadko. M.: Terra-Knizhnyy klub; Respublika, 2002. 640 s

References (transliteration):
Messiaen Olivier. Mode de valeurs et d’intensités. ¹ 2 des “Quarte Études de rythme” pour piano. Édition avec analyse du compositeur. Durand Editions Musicales.
Alyushin, A.L. Kontseptsiya kognitivnykh kadrov // Filosofskie nauki, 2010. ¹ 11. S. 104-115.
Bergson, A. Vospriyatie izmenchivosti. Per. V. Flerovoy // A. Bergson. Tvorcheskaya evolyutsiya. Materiya i pamyat'. Minsk: Kharvest, 1999. S. 926-959.
Bergson, A. Sobranie sochineniy v 4-kh tomakh. Tom 1. Opyt o neposredstvennykh dannykh soznaniya. Materiya i pamyat'. M.: Moskovskiy klub, 1992. 336 s.
Gusserl', E. Ideya fenomenologii. Pyat' lektsiy. Per. N.A. Artemenko. SPb.: Gumanitarnaya akademiya, 2006. 224 s.
Delez, Zh. Razlichie i povtorenie. Per. s fr. N.B. Man'kovskoy i E.P. Yurovskoy. SPb.: TOO TK Petropolis, 1998. 384 s.
Ekimovskiy V. Oliv'e Messian: Zhizn' i tvorchestvo. M.: Sov. kompozitor, 1987. 304 s.
Langleben, M.M. O nekotorykh muzykal'nykh sistemakh i muzykal'nykh notatsiyakh drevnosti // Rannie formy iskusstva. M., 1972. S. 428-443.
Molchanov, V.I. Paradigmy soznaniya i struktury opyta // Logos. ¹ 3. 1992. S. 7-36.
Molchanov, V.I. Predposylka tozhdestva i analitika razlichiy // Logos, 1999. ¹11-12. S. 183-208.
Ovcharova, T.V. Artikulyatsiono-dinamicheskie problemy interpretatsii proizvedeniy O. Messiana // Filologiya, iskusstvovedenie i kul'turologiya: tendentsii razvitiya. Materialy mezhdunarodnoy zaochnoy nauchno-prakticheskoy konferentsii. Novosibirsk: Izd. «SibAK», 2013. S. 121-129.
Porus, V.N. Ratsional'nost' // Internet-versiya izdaniya: Novaya filosofskaya entsiklopediya: v 4 t. / In-t filosofii RAN; Nats. obshchestv.-nauch. fond; Preds. nauchno-red. soveta V.S. Stepin. 2-e izd., ispr. i dopol. M.: Mysl', 2010. Elektronnyy resurs. URL: http://iph.ras.ru/elib/2555.html
Sartr, Zh.-P. Bytie i Nichto: Opyt fenomenologicheskoy ontologii. Per. s fr., predisl. i primech. V.I. Kolyadko. M.: Terra-Knizhnyy klub; Respublika, 2002. 640 s

Review: the article attempts to determine the degree of authenticity of the battlefield music in movies dedicated to the Fatherland War of 1812. The author analyzes the feature films by Russian and foreign cinematographers and concludes that the true Napoleon-era battlefield music is almost never used by both Russian and foreign cinematographers. The exception is the 1965 motion picture “War and Peace” by S. Bondarchuk, which uses authentic recordings of the French Republic Guard orchestra conducted by A.A. Skrya bin, an immigrant nephew of the famous Russian composer. The explanation for this is not only ignorance of modern composers and sound engineers, but also the lack of the sources of music itself (sheets, or descriptions in academic sources or memoires). The article is addressed towards moviemakers to assist them in achieving more authentic correspondence of historic facts and cinematography based on them.

Keywords: history of art, music culture, army, Napoleonika, Borodino, march, signal, Bagration, Napoleon I, 1812.

Contact information: Chertok Mikhail Davidovich, 125009, Russian Federation, Moscow, Kozinskiy Pereulok, 5.

References:
1. Ryzhkova N. // Starinnaya muzyka. ¹ 1, 2. 2002.
2. Tutunov V.I. Istoriya voennoy muzyki Rossii. M.: Muzyka, 2005.
3. Bogdanovich M. Otechestvennaya voyna 1812 goda. T. 1. SPb.: Tipografiya torgovogo doma S. Strugovits-
kogo, G. Pokhitonova, I. Vodova i Ko, 1859.
4. Rubinshteyn A. Pesni Frantsuzskoy revolyutsii // Literaturnyy kritik. ¹ 8–9. 1939.
5. Veyder B. Blistatel'nyy Bonapart. M.: Mezhdunarodnye otnosheniya, 1992.
6. Chertok M. Russkiy voennyy marsh. K 100-letiyu marsha «Proshchanie slavyanki». M.: Kanon+, 2012.

References (transliteration):
1. Ryzhkova N. // Starinnaya muzyka. ¹ 1, 2. 2002.
2. Tutunov V.I. Istoriya voennoy muzyki Rossii. M.: Muzyka, 2005.
3. Bogdanovich M. Otechestvennaya voyna 1812 goda. T. 1. SPb.: Tipografiya torgovogo doma S. Strugovits-
kogo, G. Pokhitonova, I. Vodova i Ko, 1859.
4. Rubinshteyn A. Pesni Frantsuzskoy revolyutsii // Literaturnyy kritik. ¹ 8–9. 1939.
5. Veyder B. Blistatel'nyy Bonapart. M.: Mezhdunarodnye otnosheniya, 1992.
6. Chertok M. Russkiy voennyy marsh. K 100-letiyu marsha «Proshchanie slavyanki». M.: Kanon+, 2012.

Review: Based on the example of the vocal symphony that was formed in XIX century as a genre and became one of the key elements of symphony modifi - cation, the author discusses the synthesis between the two forms of expression – musical and verbal ones. The relation between music and word also refl ects the historical evolution of the vocal symphony. The author also analyzes a number of original artworks.

Keywords: art history, music, symphony, word, genre, synthesis of arts, image, avant-garde, text, semantics.

Contact information: PETROV Vladislav Olegovich, 414000, Russia, Astrakhan, ul. Sovetskaya, 23.

References:
1. Barsova I. A. Simfonii Gustava Malera. M.: Sovetskiy kompozitor, 1975.
2. Borisova E. Galina Ustvol'skaya: za predelami «fi ne arts» // Muzyka i vremya, 2004. ¹ 8. S. 45-47.
3. Gladkova O. I. Galina Ustvol'skaya. Muzyka kak navazhdenie. SPb.: Muzyka, 1999.
4. Denisov E. V. Sovremennaya muzyka i problemy evolyutsii kompozitorskoy tekhniki. M.: Sovetskiy
kompozitor, 1986.
5. Kirillina L.V. Muzykal'naya kul'tura Evropy. Vtoraya polovina KhKh veka. Italiya // Istoriya zarubezhnoy
muzyki. KhKh vek: uchebnoe posobie. M.: Muzyka, 2005. S. 278–332.
6. Konstantinova E. Muzykal'nyy sad pana Penderetskogo // Zerkalo nedeli, 2006. ¹ 23 (17 iyunya) / Elekt-
ronnyy resurs: http://www.zn.ua/articles/46993?section=newspaper#article
7. Korobeynikova E. A. «Simfoniya» Lyuchano Berio v situatsii «dialoga kul'tur» // Prinoshenie muzyke
KhKh veka: Sb. statey. Ekaterinburg: Ural. gos. konservatoriya, 2003. S. 107–128.
8. Maler G. Pis'ma. Vospominaniya. Izd. 2-e. M.: Muzyka, 1968.
9. Mukosey B.V. Maler, ili tyazhkiy put' poznaniya // Bol'shoy teatr, 2009. ¹ 12. Elektronnyy resurs:
http://www.bolshoi.ru/ru/season/orchestra/events/index.php?id26=1375
10. Petrov V. O. Slovo v instrumental'noy muzyke. Astrakhan': GAOU AO DPO «AIPKP», 2011.
11. Sergey Slonimskiy: «Ya — chast' naroda…» (interv'yu s Ivanom Vishnevskim) // Zavtra, 2009. ¹ 53 (841)
ot 30 dekabrya / Elektronnyy resurs: http://www.zavtra.ru/cgi/veil/data/zavtra/09/841/81.html
12. Cherednichenko T. V. Muzykal'nyy zapas. 70-e. Problemy. Portrety. Sluchai. M.: Novoe literaturnoe
obozrenie, 2002.
13. Chigareva E. I. Stilisticheskie osobennosti simfoniy A. Lokshina // Muzyka i sovremennost': Sb. statey.
M.: Muzyka, 1976. S. 52–78.

References (transliteration):
1. Barsova I. A. Simfonii Gustava Malera. M.: Sovetskiy kompozitor, 1975.
2. Borisova E. Galina Ustvol'skaya: za predelami «fi ne arts» // Muzyka i vremya, 2004. ¹ 8. S. 45-47.
3. Gladkova O. I. Galina Ustvol'skaya. Muzyka kak navazhdenie. SPb.: Muzyka, 1999.
4. Denisov E. V. Sovremennaya muzyka i problemy evolyutsii kompozitorskoy tekhniki. M.: Sovetskiy
kompozitor, 1986.
5. Kirillina L.V. Muzykal'naya kul'tura Evropy. Vtoraya polovina KhKh veka. Italiya // Istoriya zarubezhnoy
muzyki. KhKh vek: uchebnoe posobie. M.: Muzyka, 2005. S. 278–332.
6. Konstantinova E. Muzykal'nyy sad pana Penderetskogo // Zerkalo nedeli, 2006. ¹ 23 (17 iyunya) / Elekt-
ronnyy resurs: http://www.zn.ua/articles/46993?section=newspaper#article
7. Korobeynikova E. A. «Simfoniya» Lyuchano Berio v situatsii «dialoga kul'tur» // Prinoshenie muzyke
KhKh veka: Sb. statey. Ekaterinburg: Ural. gos. konservatoriya, 2003. S. 107–128.
8. Maler G. Pis'ma. Vospominaniya. Izd. 2-e. M.: Muzyka, 1968.
9. Mukosey B.V. Maler, ili tyazhkiy put' poznaniya // Bol'shoy teatr, 2009. ¹ 12. Elektronnyy resurs:
http://www.bolshoi.ru/ru/season/orchestra/events/index.php?id26=1375
10. Petrov V. O. Slovo v instrumental'noy muzyke. Astrakhan': GAOU AO DPO «AIPKP», 2011.
11. Sergey Slonimskiy: «Ya — chast' naroda…» (interv'yu s Ivanom Vishnevskim) // Zavtra, 2009. ¹ 53 (841)
ot 30 dekabrya / Elektronnyy resurs: http://www.zavtra.ru/cgi/veil/data/zavtra/09/841/81.html
12. Cherednichenko T. V. Muzykal'nyy zapas. 70-e. Problemy. Portrety. Sluchai. M.: Novoe literaturnoe
obozrenie, 2002.
13. Chigareva E. I. Stilisticheskie osobennosti simfoniy A. Lokshina // Muzyka i sovremennost': Sb. statey.
M.: Muzyka, 1976. S. 52–78.

Review: This article is an attempt to analyze principles lying in the basis of musical travesty as an artistic device. The author of the article considers general mechanisms of travesty and concrete musical means causing its formation as well as functions of travesty in musical art. The main principle of travesty is the structural and semantic inversion of the initial text. Travesty interpretations of the original is usually performed on the account of parallel actions between intra-and inter textual relations – certain mutual coordination of travesty elements as well as ‘comparison’ of this text with the original. Concrete implementation of inversion can be connected with a certain organization of intonation structures in musical text and its meaning beyond music. Based on concrete examples, the author views the main methods of travesty in music – deformation and agglutination. The author also shows the role and functions of musical travesty in terms of history and culture. In particular, the principle of travesty inversion are compared to the phenomena of idealization and mythologize which accompanies one another in the process of cultural development.

Keywords: history of art, travesty, text, music, culture, semantics, structure, inversion, deformation, agglutination.

References:
1. Bakhtin M. M. Problemy poetiki Dostoevskogo. M., 1972. 471 s.
2. Bonfel'd M. Parodiya v muzyke venskikh klassikov // Sovetskaya muzyka. 1977. ¹ 5. S. 99–102.
3. Vinogradov V. V. Stil' Pushkina. M., 1941. 620 s.
4. Darkevich V. P. Narodnaya kul'tura Srednevekov'ya: Parodiya v literature i iskusstve IX–XVI vv.
M., 2004. 328 s.
5. Zhirmunskiy V. M. Vvedenie v literaturovedenie. M., 2009. 464 s.
6. Tynyanov Yu. N. Dostoevskiy i Gogol' (k teorii parodii) // Tynyanov Yu. N. Poetika. Istoriya literatury.
Kino. M., 1977. S. 198–226.
7. Freydenberg O. M. O proiskhozhdenii parodii // Uchenye zapiski Tartuskogo universiteta: Vyp. 308: Trudy
po znakovym sistemam: Vyp. 6. Tartu, 1973. S. 490-497.
8. Tsuker A. Osobennosti muzykal'nogo groteska // Tsuker A. Edinyy mir muzyki: Izbr. stat'i. Rostov-na-Donu,
2003. S. 14–26.
9. Parodies: An Anthology from Chaucer to Beerbohm. N. Y., 1960. 574 p.

References (transliteration):
1. Bakhtin M. M. Problemy poetiki Dostoevskogo. M., 1972. 471 s.
2. Bonfel'd M. Parodiya v muzyke venskikh klassikov // Sovetskaya muzyka. 1977. ¹ 5. S. 99–102.
3. Vinogradov V. V. Stil' Pushkina. M., 1941. 620 s.
4. Darkevich V. P. Narodnaya kul'tura Srednevekov'ya: Parodiya v literature i iskusstve IX–XVI vv.
M., 2004. 328 s.
5. Zhirmunskiy V. M. Vvedenie v literaturovedenie. M., 2009. 464 s.
6. Tynyanov Yu. N. Dostoevskiy i Gogol' (k teorii parodii) // Tynyanov Yu. N. Poetika. Istoriya literatury.
Kino. M., 1977. S. 198–226.
7. Freydenberg O. M. O proiskhozhdenii parodii // Uchenye zapiski Tartuskogo universiteta: Vyp. 308: Trudy
po znakovym sistemam: Vyp. 6. Tartu, 1973. S. 490-497.
8. Tsuker A. Osobennosti muzykal'nogo groteska // Tsuker A. Edinyy mir muzyki: Izbr. stat'i. Rostov-na-Donu,
2003. S. 14–26.
9. Parodies: An Anthology from Chaucer to Beerbohm. N. Y., 1960. 574 p.

Review: Polish music of the 1960th is well-known for the development of expiremental movements among which the most brightest achivement was sonorism. Special role in the development of the stylistics of this movement was played by Kazimierz Serocki whose piano compositions are being analyzed by the author of this article. The tendency of development of sonorism appeared to be stable and full of perspective while Serocki’s world of the sound with his own art issues and throbbing dramaturgy of emotions are stil topical. It is the sonorism basis which allows to enrich the modern musical language with other means of expression. Serocki’s new and colourful world o the sound has become a special event in moderm music. It showed the way to the development of a whole movement because eventually sonorism is not that innovative but emotional and rich sign of imagination and master skills.

Keywords: history of art, culture, art, Polish music, Serocki’s music, sonorism, aleotory, the world of sound, modern musical language, composer’s way of thinking.

References:
1. Chomiński J. M. Historia harmonii i kontrapunktu. T. 3. Kraków, 1990.
2. Chomiński J. M., Wilkowska-Chomińska K. Historia muzyki polskiej. Część II. Kraków, 1996.
3. Pociej B. Żródła aleatorismu. III. Gra // Ruch muzyczny. 1966. ¹ 20.
4. Zieliński T. A. «A piacere» Kazimierza Serockiego // Ruch muzyczny. 1963. ¹ 22.

References (transliteration):
1. Chomiński J. M. Historia harmonii i kontrapunktu. T. 3. Kraków, 1990.
2. Chomiński J. M., Wilkowska-Chomińska K. Historia muzyki polskiej. Część II. Kraków, 1996.
3. Pociej B. Żródła aleatorismu. III. Gra // Ruch muzyczny. 1966. ¹ 20.
4. Zieliński T. A. «A piacere» Kazimierza Serockiego // Ruch muzyczny. 1963. ¹ 22.

Review: Development of new technologies resulted in formation of a new artistic phenomenon in the art of the 20th century which was named ‘screen music theatre’. Considered peculiarities of culmination in different genres (screen opera, animated opera, musical comedy, concert and etc.) show a widely used practice of its occurrence at the point o the golden mean. However, besides parallel culmination there are also some examples of clear difference between audio and visual culminations. Possibilities of audio visual counter point, special effects method, variety of cutting rhythms in many ways transform stage musical plays on a screen. In a major piece of art culmination cannot be limited to a ‘point’, a bright but sole shot. It must be a zone where meanings, dynamics and expressive means are interwoven and interact.

Keywords: history of art, screen music theatre, point of the golden mean, audo-visual counter point, parallel culmination, difference between culminations, synthetic art, visual plan, audio track, animated video clip.

References:
1. Bokshitskaya E. Muzykovedcheskiy fil'm kak sredstvo esteticheskogo vospitaniya // Esteticheskie ocherki:
Izbrannoe. M.: Muzyka, 1980. S. 45–62.
2. Vasyutinskiy N. Zolotaya proportsiya. M.: Molodaya gvardiya, 1990. 253 s.
3. Kazantseva L. Osnovy teorii muzykal'nogo soderzhaniya. Astrakhan': IPTs «Fakel» OOO Astrakhan'gazprom,
2001. 368 s.
4. Lissa Z. Estetika kinomuzyki. M.: Muzyka, 1970. 495 s.
5. Lotman Yu. M. Semiotika kino i problemy kinoestetiki // Lotman Yu. M. Ob iskusstve. SPb.: Iskusstvo–
SPB, 1986. (1998) S. 288–372.
6. Lotman Yu. M. Struktura khudozhestvennogo teksta // Tam zhe. S. 14–285.
7. Mazel' L. Stroenie muzykal'nykh proizvedeniy: Ucheb. posobie. Izd. 3-e. M.: Muzyka, 1986. 528 s.
8. Mazel' L., Tsukkerman V. Analiz muzykal'nykh proizvedeniy: Elementy muzyki i metodika analiza malykh
form. M.: Muzyka, 1967. 752 s.
9. Musaeva F. Teleopera: problemy zhanra // Sov. muzyka. 1980. ¹ 1. S. 78–82.
10. Musaeva F. Estetiko-teoreticheskie problemy sovetskoy teleopery: Avtoref. dis. … kand. iskusstvovedeniya.
M., 1984. 22 s.
11. Nogaybaeva-Brytmen E. Opera na ekrane. Printsipy voploshcheniya: Avtoref. dis. … kand. iskusstvovedeniya.
Magnitogorsk, 1998. 23 s.
12. Pavi P. Slovar' teatra / Per. s frants.; Pod red. K. Razlogova. M.: Progress, 1991. 504 s.
13. Petrushanskaya E. O problemakh opery na televidenii // Muzykal'nyy teatr: sobytiya, problemy. M.: Muzyka,
1990. S. 121–140.
14. Sevast'yanova S. Osobennosti voploshcheniya kul'minatsii v proizvedeniyakh ekrannogo muzykal'nogo teatra
// M. A. Etinger: uchenyy i pedagog: Sb. statey / Red.-sost. L. V. Savvina. Rostov n/D.: Foliant, 2004. S. 98–108.
15. Frid E. Muzyka v sovetskom kino. L.: Muzyka, 1967. 200 s.
16. Shak T. Muzyka v strukture mediateksta. Krasnodar: Krasnodarsk. gos. un-t kul'tury i iskusstv, 2010. 326 s.
17. Yarustovskiy B. Dramaturgiya russkoy opernoy klassiki. M.: Muzgiz, 1953. 400 s.

References (transliteration):
1. Bokshitskaya E. Muzykovedcheskiy fil'm kak sredstvo esteticheskogo vospitaniya // Esteticheskie ocherki:
Izbrannoe. M.: Muzyka, 1980. S. 45–62.
2. Vasyutinskiy N. Zolotaya proportsiya. M.: Molodaya gvardiya, 1990. 253 s.
3. Kazantseva L. Osnovy teorii muzykal'nogo soderzhaniya. Astrakhan': IPTs «Fakel» OOO Astrakhan'gazprom,
2001. 368 s.
4. Lissa Z. Estetika kinomuzyki. M.: Muzyka, 1970. 495 s.
5. Lotman Yu. M. Semiotika kino i problemy kinoestetiki // Lotman Yu. M. Ob iskusstve. SPb.: Iskusstvo–
SPB, 1986. (1998) S. 288–372.
6. Lotman Yu. M. Struktura khudozhestvennogo teksta // Tam zhe. S. 14–285.
7. Mazel' L. Stroenie muzykal'nykh proizvedeniy: Ucheb. posobie. Izd. 3-e. M.: Muzyka, 1986. 528 s.
8. Mazel' L., Tsukkerman V. Analiz muzykal'nykh proizvedeniy: Elementy muzyki i metodika analiza malykh
form. M.: Muzyka, 1967. 752 s.
9. Musaeva F. Teleopera: problemy zhanra // Sov. muzyka. 1980. ¹ 1. S. 78–82.
10. Musaeva F. Estetiko-teoreticheskie problemy sovetskoy teleopery: Avtoref. dis. … kand. iskusstvovedeniya.
M., 1984. 22 s.
11. Nogaybaeva-Brytmen E. Opera na ekrane. Printsipy voploshcheniya: Avtoref. dis. … kand. iskusstvovedeniya.
Magnitogorsk, 1998. 23 s.
12. Pavi P. Slovar' teatra / Per. s frants.; Pod red. K. Razlogova. M.: Progress, 1991. 504 s.
13. Petrushanskaya E. O problemakh opery na televidenii // Muzykal'nyy teatr: sobytiya, problemy. M.: Muzyka,
1990. S. 121–140.
14. Sevast'yanova S. Osobennosti voploshcheniya kul'minatsii v proizvedeniyakh ekrannogo muzykal'nogo teatra
// M. A. Etinger: uchenyy i pedagog: Sb. statey / Red.-sost. L. V. Savvina. Rostov n/D.: Foliant, 2004. S. 98–108.
15. Frid E. Muzyka v sovetskom kino. L.: Muzyka, 1967. 200 s.
16. Shak T. Muzyka v strukture mediateksta. Krasnodar: Krasnodarsk. gos. un-t kul'tury i iskusstv, 2010. 326 s.
17. Yarustovskiy B. Dramaturgiya russkoy opernoy klassiki. M.: Muzgiz, 1953. 400 s.

Review: This article is an attempt to understand some challenges of the music biography film. To which extent this genre can be viewed as a documentary? What are the criteria for selecting music for such a film? How the time format influences the corresponding coordinate of the film? The phenomenon concerned is viewed in a genre space of a music film.

Keywords: history of art, film art, musical biography film, genre hybrids, music scores, orchestrating, keynote ideas, banknotes, in-screen music, off-screen music.

References:
1. Barna I. Esli by Gendel' vel dnevnik. Budapesht: Korvina, 1972.
2. Bakhtin M. M. Literaturno-kriticheskie stat'i. M.: Khud. literatura, 1986.
3. Bakhtin M. M. Problemy estetiki Dostoevskogo. M.: Sov. pisatel', 1963.
4. Berni Ch. Muzykal'nye puteshestviya. M.-L.: Muzgiz, 1961.
5. Mazel' L. A., Tsukkerman V. A. Analiz muzykal'nykh proizvedeniy: Elementy muzyki i metodika analiza
malykh form. M.: Muzyka, 1967.
6. Muzykal'naya entsiklopediya: V 6-tt. M., 1974.
7. Nechay O. F. Osnovy kinoiskusstva. M.: Prosveshchenie, 1989.
8. Propp V. Poetika fol'klora. M.: Labirint, 1998.
9. Freylikh S. I. Teoriya kino: Ot Eyzenshteyna do Tarkovskogo. M.: Iskusstvo, 1992.
10. Shostakovich D. Eshche raz o kinomuzyke // Iskusstvo kino, 1954, ¹ 1.

References (transliteration):
1. Barna I. Esli by Gendel' vel dnevnik. Budapesht: Korvina, 1972.
2. Bakhtin M. M. Literaturno-kriticheskie stat'i. M.: Khud. literatura, 1986.
3. Bakhtin M. M. Problemy estetiki Dostoevskogo. M.: Sov. pisatel', 1963.
4. Berni Ch. Muzykal'nye puteshestviya. M.-L.: Muzgiz, 1961.
5. Mazel' L. A., Tsukkerman V. A. Analiz muzykal'nykh proizvedeniy: Elementy muzyki i metodika analiza
malykh form. M.: Muzyka, 1967.
6. Muzykal'naya entsiklopediya: V 6-tt. M., 1974.
7. Nechay O. F. Osnovy kinoiskusstva. M.: Prosveshchenie, 1989.
8. Propp V. Poetika fol'klora. M.: Labirint, 1998.
9. Freylikh S. I. Teoriya kino: Ot Eyzenshteyna do Tarkovskogo. M.: Iskusstvo, 1992.
10. Shostakovich D. Eshche raz o kinomuzyke // Iskusstvo kino, 1954, ¹ 1.

Review: The article is devoted to the phenomena of space music which became a bright event in music during the second half of the 20th century. Space music means individualized, original disposition of music instruments on a stage involving acoustic experiments. The author analyzes music by Luciano Berio, George Brecht, Karlheinz Stockhausen, Iannis Xenakis, Brown, Toru Takemitsu, Rodion Shchedrin, John Corigliano, Tan Dun and specifi c features of their stage performance.

Keywords: art history, music, disposition, instruments, acoustics, space, experimentation, avant-garde, Karlheinz Stockhausen, Iannis Xenakis.

References:
1. Bazanov V. V. Tekhnika i tekhnologiya stseny: Ucheb. posobie dlya vuzov i sred. ucheb. zavedeniy iskusstv i kul'tury.
– L.: Iskusstvo, 1976.
2. Bakshi L.S. Drugoe prostranstvo // Znamya: literaturno-khudozhestvennyy i obshchestvenno-politicheskiy
zhurnal. – M.: Znamya, 2005. ¹ 4. S. 193–202.
3. Barsova I.A.Simfonii Gustava Malera. – M.: Sovetskiy kompozitor, 1975.
4. Galeev B.M. Prostranstvennaya muzyka // Elektronnyy resurs: http://prometheus.kai.ru/pr-mys.htm
5. Grize Zh. Strukturirovanie tembrov v instrumental'noy muzyke // Kompozitory o sovremennoy notatsii:
Khrestomatiya / Sost. T. S. Kyuregyan, V. S. Tsenova. – M.: Nauchno-izdatel'skiy tsentr «Moskovskaya konservatoriya»,
2009. S. 311–344.
6. Kirillina L. V. Lyuchano Berio // XX vek. Zarubezhnaya muzyka: Ocherki i dokumenty. Vyp. 2. / Pod red.
M. Aranovskogo i A. Baevoy. – M.: Muzyka, 1995. S. 74–109.
7. Nazaykinskiy E. V. Prostranstvennaya muzyka // Teoriya sovremennoy kompozitsii: Uchebnoe posobie. /
Otv. red. V. S. Tsenova. – M.: Muzyka, 2007. S. 450–464.
8. Nono L. Fragmenty interv'yu // Kompozitory o sovremennoy notatsii: Khrestomatiya / Sost. T. S. Kyuregyan,
V. S. Tsenova. – M.: Nauchno-izdatel'skiy tsentr «Moskovskaya konservatoriya», 2009.
9. Pereverzeva M. V. Erl Braun // Muzykal'naya kul'tura SShA KhKh veka: Ucheb. posobie dlya pedagogov i studentov
vuzov, obuchayushchikhsya po spetsial'nosti «Muzykovedenie» / Otv. red. M. V. Pereverzeva. – M.: Mosk. gos.
konservatoriya im. P. I. Chaykovskogo, 2007. S. 286–301.
10. Savenko S. I. Muzykal'nye idei i muzykal'naya deyatel'nost' Karlnkhayntsa Shtokkhauzena // Teoriya i praktika
sovremennoy burzhuaznoy kul'tury: problemy kritiki: Sbornik trudov. Vyp. 94 / Otv. red. L. S. D'yachkova.
– M: GMPI im. Gnesinykh, 1987. S. 82–121.
11. Tup D. Iskusstvo zvuka, ili navyazchivaya pogoda. – M.: AST: Adaptek, 2010.
12. Kholopov Yu. N. Prostranstvennaya muzyka // Muzyka. Bol'shoy entsiklopedicheskiy slovar' / Gl. red.
G. V. Keldysh. – M.: NI «Bol'shaya Rossiyskaya entsiklopediya», 1998.
13. Kholopova V. N. Put' po tsentru. Kompozitor Rodion Shchedrin. – M.: Kompozitor, 2000.
14. Khrust N. Yu. «Prospettiva inversa col piano e forte» // Elektronnyy resurs:
http://www.iscm.ru/index.php?page=composers&composer=hrust&work=perspectiva
15. Shtokkhauzen K. Chetyre kriteriya elektronnoy muzyki // Kompozitory o sovremennoy notatsii: Khrestomatiya.
– M.: Nauchno-izdatel'skiy tsentr «Moskovskaya konservatoriya», 2009. S. 213–229.

References (transliteration):
1. Bazanov V. V. Tekhnika i tekhnologiya stseny: Ucheb. posobie dlya vuzov i sred. ucheb. zavedeniy iskusstv i kul'tury.
– L.: Iskusstvo, 1976.
2. Bakshi L.S. Drugoe prostranstvo // Znamya: literaturno-khudozhestvennyy i obshchestvenno-politicheskiy
zhurnal. – M.: Znamya, 2005. ¹ 4. S. 193–202.
3. Barsova I.A.Simfonii Gustava Malera. – M.: Sovetskiy kompozitor, 1975.
4. Galeev B.M. Prostranstvennaya muzyka // Elektronnyy resurs: http://prometheus.kai.ru/pr-mys.htm
5. Grize Zh. Strukturirovanie tembrov v instrumental'noy muzyke // Kompozitory o sovremennoy notatsii:
Khrestomatiya / Sost. T. S. Kyuregyan, V. S. Tsenova. – M.: Nauchno-izdatel'skiy tsentr «Moskovskaya konservatoriya»,
2009. S. 311–344.
6. Kirillina L. V. Lyuchano Berio // XX vek. Zarubezhnaya muzyka: Ocherki i dokumenty. Vyp. 2. / Pod red.
M. Aranovskogo i A. Baevoy. – M.: Muzyka, 1995. S. 74–109.
7. Nazaykinskiy E. V. Prostranstvennaya muzyka // Teoriya sovremennoy kompozitsii: Uchebnoe posobie. /
Otv. red. V. S. Tsenova. – M.: Muzyka, 2007. S. 450–464.
8. Nono L. Fragmenty interv'yu // Kompozitory o sovremennoy notatsii: Khrestomatiya / Sost. T. S. Kyuregyan,
V. S. Tsenova. – M.: Nauchno-izdatel'skiy tsentr «Moskovskaya konservatoriya», 2009.
9. Pereverzeva M. V. Erl Braun // Muzykal'naya kul'tura SShA KhKh veka: Ucheb. posobie dlya pedagogov i studentov
vuzov, obuchayushchikhsya po spetsial'nosti «Muzykovedenie» / Otv. red. M. V. Pereverzeva. – M.: Mosk. gos.
konservatoriya im. P. I. Chaykovskogo, 2007. S. 286–301.
10. Savenko S. I. Muzykal'nye idei i muzykal'naya deyatel'nost' Karlnkhayntsa Shtokkhauzena // Teoriya i praktika
sovremennoy burzhuaznoy kul'tury: problemy kritiki: Sbornik trudov. Vyp. 94 / Otv. red. L. S. D'yachkova.
– M: GMPI im. Gnesinykh, 1987. S. 82–121.
11. Tup D. Iskusstvo zvuka, ili navyazchivaya pogoda. – M.: AST: Adaptek, 2010.
12. Kholopov Yu. N. Prostranstvennaya muzyka // Muzyka. Bol'shoy entsiklopedicheskiy slovar' / Gl. red.
G. V. Keldysh. – M.: NI «Bol'shaya Rossiyskaya entsiklopediya», 1998.
13. Kholopova V. N. Put' po tsentru. Kompozitor Rodion Shchedrin. – M.: Kompozitor, 2000.
14. Khrust N. Yu. «Prospettiva inversa col piano e forte» // Elektronnyy resurs:
http://www.iscm.ru/index.php?page=composers&composer=hrust&work=perspectiva
15. Shtokkhauzen K. Chetyre kriteriya elektronnoy muzyki // Kompozitory o sovremennoy notatsii: Khrestomatiya.
– M.: Nauchno-izdatel'skiy tsentr «Moskovskaya konservatoriya», 2009. S. 213–229.

Review: Instrumental composition with words is one of new genres of music which formed its genre features only in the second half of the 20th century. This article considers functions of a text from the point of view of a music form (introduction, integrative addition, integrative dominance, generalization, autocracy), their relations with music and inß uence on the content of a music piece. As an example the author describes V. Ekimovsky’s, R. Erickson’s, F. Rzhevsky’s, S. Zagnia’s, S. Gubaidulina, K. Huber’s, D. Ligeti’s, D. Macintosh’, E. Williams’ and D. Howard’s works.

Keywords: art studies, art history, music, synthesis, form, content, text, function, post-modernism, 20th century, art.

References:
1. Al'pert, D. Bunt slepykh: Ispoved' // Sel'skaya molodezh', 1982, ¹ 5.
2. Goykhman O. Ya., Nadeina T. M. Rechevaya kommunikatsiya: Uchebnik / Pod red. O. Ya. Goykhmana. M.: INFRA-M, 2001.
3. Dzhalagoniya L. A. Vzaimosvyaz' rechi i muzyki kak form chelovecheskogo obshcheniya // Voprosy psikhologii,
2001, ¹ 1.
4. Dmitriev L. B. Osnovy vokal'noy metodiki. M.: Muzyka, 2004.
5. Zis' A. Sovremennyy sintez iskusstv // Vidy iskusstva v sotsialisticheskoy khudozhestvennoy kul'ture.
M.: Iskusstvo, 1984.
6. Krasnov G. V. Memuary kak istochnik izucheniya psikhologii tvorchestva // Psikhologiya protsessov khudozhe-
stvennogo tvorchestva: Sb. st. / Otv. red. B. S. Meylakh i N. A. Khrenov. L.: Nauka, 1980.
7. Krylova L. Nekotorye priemy vyrazheniya avtorskogo otnosheniya v muzyke // Muzykal'noe iskusstvo i nauka:
Sb. st. Vyp. 3 / Red.-sost. E.V. Nazaykinskiy. M.: Muzyka, 1978.
8. Ruch'evskaya E. A. Slovo i muzyka // Analiz vokal'nykh proizvedeniy: Ucheb. posobie. L.: Muzyka, 1988.
9. Silant'eva I. I. Problema perevoploshcheniya ispolnitelya v vokal'no-stsenicheskom iskusstve: Avtoref. diss.
…dokt. isk. M., 2007.
10. Tomashevskiy B. V. Teoriya literatury. Poetika: Ucheb. posobie. M.: Aspekt Press, 2001.
11. Kholopova V. N. Formy muzykal'nykh proizvedeniy: Uchebnoe posobie. 2-e izd., ispr. SPb.: Lan', 2001.
12. Kholopova V. N., Restan'o E. Sofiya Gubaydulina. M.: Kompozitor, 1996.
13. Shul'gin D., Shevchenko T. Tvorchestvo-zhizn' Viktora Ekimovskogo. Monograficheskie besedy. M.: Gosudar-
stvennyy muzykal'no-pedagogicheskiy institut im. M. M. Ippolitova-Ivanova, 2003.
14. Duke Cason A. A performer’s guide to theatrical elements in selected trombone literature. Louisiana State
University, 2001.
15. Fanany R. The musicality of language. An Application of Musical Analysis to Speech and Writing // JMM: The
Journal of Music and Meaning. – Fall/Winter 2008, section 4.
16. Huber K. Des Dichters Pß ug // Elektronnyy resurs: http://www.klaushuber.com/index_ww_det.php?lg=en

References (transliteration):
1. Al'pert, D. Bunt slepykh: Ispoved' // Sel'skaya molodezh', 1982, ¹ 5.
2. Goykhman O. Ya., Nadeina T. M. Rechevaya kommunikatsiya: Uchebnik / Pod red. O. Ya. Goykhmana. M.: INFRA-M, 2001.
3. Dzhalagoniya L. A. Vzaimosvyaz' rechi i muzyki kak form chelovecheskogo obshcheniya // Voprosy psikhologii,
2001, ¹ 1.
4. Dmitriev L. B. Osnovy vokal'noy metodiki. M.: Muzyka, 2004.
5. Zis' A. Sovremennyy sintez iskusstv // Vidy iskusstva v sotsialisticheskoy khudozhestvennoy kul'ture.
M.: Iskusstvo, 1984.
6. Krasnov G. V. Memuary kak istochnik izucheniya psikhologii tvorchestva // Psikhologiya protsessov khudozhe-
stvennogo tvorchestva: Sb. st. / Otv. red. B. S. Meylakh i N. A. Khrenov. L.: Nauka, 1980.
7. Krylova L. Nekotorye priemy vyrazheniya avtorskogo otnosheniya v muzyke // Muzykal'noe iskusstvo i nauka:
Sb. st. Vyp. 3 / Red.-sost. E.V. Nazaykinskiy. M.: Muzyka, 1978.
8. Ruch'evskaya E. A. Slovo i muzyka // Analiz vokal'nykh proizvedeniy: Ucheb. posobie. L.: Muzyka, 1988.
9. Silant'eva I. I. Problema perevoploshcheniya ispolnitelya v vokal'no-stsenicheskom iskusstve: Avtoref. diss.
…dokt. isk. M., 2007.
10. Tomashevskiy B. V. Teoriya literatury. Poetika: Ucheb. posobie. M.: Aspekt Press, 2001.
11. Kholopova V. N. Formy muzykal'nykh proizvedeniy: Uchebnoe posobie. 2-e izd., ispr. SPb.: Lan', 2001.
12. Kholopova V. N., Restan'o E. Sofiya Gubaydulina. M.: Kompozitor, 1996.
13. Shul'gin D., Shevchenko T. Tvorchestvo-zhizn' Viktora Ekimovskogo. Monograficheskie besedy. M.: Gosudar-
stvennyy muzykal'no-pedagogicheskiy institut im. M. M. Ippolitova-Ivanova, 2003.
14. Duke Cason A. A performer’s guide to theatrical elements in selected trombone literature. Louisiana State
University, 2001.
15. Fanany R. The musicality of language. An Application of Musical Analysis to Speech and Writing // JMM: The
Journal of Music and Meaning. – Fall/Winter 2008, section 4.
16. Huber K. Des Dichters Pß ug // Elektronnyy resurs: http://www.klaushuber.com/index_ww_det.php?lg=en

Review: The article is devoted to a unique genre in music during the 20th century, -instrumental word composition, the phenomenon which hasn’t been fully studied in art history yet. Even though composers use a variety of concepts within the framework of this genre, all of them render a tragic content of their music pieces. The purpose of this article is both to view peculiarities of using literary texts in tragic instrumental compositions and to defi ne the constant of their relationship with the music material.

Keywords: art history, genre, advance guard, 20th century, word, music, interpretation, tragedy, drama, synthesis.

Contact information: Petrov Vladislav Olegovich, petrovagk@yandex.ru