Abstract: The subject of this research is the period of Russian symphonic music of the 1960s – a new generation of composers, the “Sixtiers”, who brought remarkable artistic achievements and modern musical language. The author dwells on several key symphonic works by R. Shchedrin, S. Slonimsky, E. Denisov, Y. Falik, A. Schnittke, N. Karetnikov, and L. Prigozhin, who made an immense contribution to the revival of the Russian music culture. Special attention is given to Boris Tishchenko’s Symphony No.3, which encompasses the key trends of modern music into its stylistic orbit and opened new musical horizons. The scientific novelty lies in the fact that this article is first to examine the outstanding composition Symphony No.3 by B. Tishchenko in the context of stylistic and linguistic novelties of the 1960s. Detailed analysis is conducted on the role and place of the youngest out of the “Sixtiers” – the prominent Russian symphonist of the XX century Boris Ivanovich Tishchenko (1939–2010) – in the struggle for “new music”. The conclusion is made that Tishchenko became one of the leaders in the revival of the Russian symphonic style of the late XX century, and his Symphony No.3 fully reflected the rigorous pursuits of the entire generation of Soviet composers.

Keywords: Music of the XX century, The Sixties, renewal, ballet, symphony orchestra, Soviet composers, symphony, Boris Tishchenko, dodecaphony music, Musical Avant-garde

Abstract: The aim of the research is to determine the meaning of metaphor for identifying the metaphysical foundations of aesthetics, to analyze how the ways of this definition are drawn in the philosophy of Kant, Husserl, Heidegger, Derrida, Mamardashvili. Their works help to understand how a metaphysical metaphor is constructed, its aesthetic matrix. Since ancient times, aesthetic thought has considered the concept of the language of metaphor with its double ambiguity, various metaphorical figures as structures internally connected with categorical reflection on the system of art, and the metaphor itself was conceived as a form of semantic perception and the creation of an artistic landscape. Revealing the place of aesthetics in the structure of metaphysics, the author examines the aesthetic role of the metaphorical within metaphysics, the complexity of the relationship between the concept of metaphor and the fundamental metaphysical category of being In the world scientific literature, there is an infinite number of works in which metaphor is considered as a rhetorical figure. But studies of metaphysical metaphor are rare. For the first time in the Russian-language literature, the article outlines approaches to the aesthetic understanding of metaphysical metaphor, as they developed mainly in the philosophy of Heidegger and Derrida. In their concepts, the intuition of the metaphor itself as metaphysics is revealed, the idea of the metaphysical metaphor of light is revealed, the understanding of the transcendental ego as a metaphor is revealed, and the concept of the substance of the metaphor itself is clarified. Special attention is paid to the aesthetic and metaphysical interpretations of metaphor in modern Russian philosophy.--

Keywords: Mamardashvili, Derrida, Heidegger, Husserl, Kant, analogy, metaphor, art, aesthetics, metaphysics

Abstract: This article is dedicated to the analysis of Plato's work “The Republic” in the context of the genesis of project mentality  and project activity as the anthropological outcome that goes back to the early cultural states and primary personality-oriented ancient practices. The author shifts to the plane of historical-cultural retrospective of the origin of the phenomenon of project mentality with the objective vicissitudes of its genesis. An attempt is made to reflect on this process, examine and clarify certain moments associated with the prelude and dynamics of the development of project approach towards organizing modern reality. The author substantiates the original perspective on interpretation of Plato's “Republic” as the early typical example of proto-project mentality formed in the depths of ancient cultural practices. Project mentality is a promising vector of the existence of culture, the so-called matrix of personal fulfillment of a significant part of our contemporaries. The author believes that Plato's work “The Republic” should be recognized as one of the very first examples of proto-project due to the presence of a wide range of typological attributes of design. The conclusion is made that in accordance to most parameters, Plato's work “The Republic” falls under the concept of “project activity”, as it features majority of the aspects of sociocultural design.

Keywords: genesis, an object, subject, human, project thinking, project, design, antiquity, socium, Plato

Abstract: The object of this research is the concept of evolutionary development of the universe of P. Teilhard de Chardin and the concept of “liquid” reality” of Z. Bauman. The subject is the methodology of P. Teilhard de Chardin and his idea of the future of social development, as well as Z. Bauman’s description of the key characteristics of globalization. Emphasis is placed on the methodology of P. Teilhard de Chardin (interaction of tangential and radial energies), as within the framework his concept, the social, biological and physical phenomena do not have fundamental differences and abide the general universal laws. In broad outlines, the article reconstructs the idea of P. Teilhard de Chardin on social development and the theses of Z. Bauman about the key characteristics of modern globalization. The novelty of the research lies in the attempt to present the methodology of P. Teilhard de Chardin as acceptable for modern science and highlight its predictive power; as well as in comparative analysis of the ideas of Z. Bauman and P. Teilhard de Chardin on the processes of global social integration. The following conclusions are made: both scholars advance the idea on the progressing polarization of society; 2) globalization in their works correlates with the process of individualization of social actors, and defense of own identity.

Keywords: methodology, falsifiability, teilhardisme, social polarization, globalization, Zygmunt Bauman, Teilhard de Chardin, society, tangential energy, radial energy

Abstract: The subject of this research is certain manifestations of the impact of Western European music culture upon the works of Sergei Rachmaninoff. The object of this research is the piano, piano-orchestral and symphonic music of S. Rachmaninoff. Analysis is conducted on the particular manifestations of the impact of rhythmics that is characteristic to the Western European music and originated from it, certain melodic formulas, such as Dies Irae. Special attention is given to examination of the impact of rhythmic formulas that crystallized in Baroque period, such as “eighth with a dot, sixteenth and eighth", polyphonic rhythmics (with its specific manner of “ligation” of notes and syncopation), as well as the rhythm texture inherent to preludes and toccatas. The novelty of this article lies in the attempt to reveal the little-studied aspects of the impact of European music upon the musical language of Sergei Rachmaninoff. The conclusion is made that the music of Sergei Rachmaninoff reflects a strong influence of the European music, even his signature rhythmics, which at first glance is quite unexpected. The origins of Rachmaninoff's “rhythm formula” can be traced in the Western European polyphonic music. Other aspects of cultural interaction can also be easily identified. The acquired results can be applied in the pedagogical practice, as well as be valuable for musicologists, musicians, and anyone interested in Sergei Rachmaninoff’s music.

Keywords: influence, romanticism, baroque, rhythm object, european music, russian music, Rachmaninoff, allusions, Corelli, Paganini