Abstract: This article is the first in Russian India studies to examine the system of musical culture of Northern India and define the category up-shastriya, or "semi-classical", which occupies a special position in it. This musical stratum is the most extensive and multi-tiered and occupies most of the sound "field" of Indian culture today. The author also considers a leading genre of up-shastriya, the vocal thumri, in the context of the related genres of dadra, tappa and traditional regional Hindustani music. Methodologically the article is based on the principles of an integrated approach, which is almost inevitable for the study of such a uniquely multi-faceted cultural phenomenon as the "semi-classic". In general, up-shastriya represents a phenomenal synthesis of massive layers of culture formed over many centuries – the classical (shastriya-sangeet) and the traditional (lok-sangeet). The essence of the process of interaction between the two categories lies in the concept of up-shastriya: this music, which is saturated with the scent of "high" classical, has moved further and further away from its traditional roots. Currently up-shastriya forms the main part of the sound space in the two musical systems of northern and southern India, becoming the stylistic and structural basis of a large number of genres of "light" music and the most important component of such varied artistic phenomena as theater and dance performances, film and pop music. All regional genres, raised to the level of "semi-classical", have taken to the concert stage and become popular not only in the Indian states but also abroad. It can be argued that up-shastriya has become a cultural trademark of the South Asian subcontinent.

Keywords: tappa, raag, thumri, khayal, dhrupad, northern India, sangeet, up-shastriya, dadra, bhajan

Abstract: This article attempts to identify some of the key features of the development of music for the dramatic theater in Kazakhstan and its role in the development of the national school of composition over the period 1920–1990. The theater was one of the centers of national musical culture not only for Kazakhs, but also for Uighurs, Koreans and other nationality groups. Despite this diversity of ethnic-national traditions, in the Kazakh dramatic theater there was clearly a desire for cultural community and mutual understanding among different peoples. The historical interaction of drama and musical theater in Kazakhstan, in the author’s view, played a decisive role in the country in opening a fairly large number of musical and musical drama theaters (16 of the 53 currently existing professional theaters).The article’s methodological basis is an integral approach to the musical and archival documentary sources on the basis of the principle of historicism, which involves a comprehensive review of the subject under examination.The author draws the following conclusions: the emergence of a school of composition in Kazakhstan was closely associated with the dramatic theater, which became a kind of "cradle" for the formation of European genres in Kazakh musical art. The interaction of drama and musical theater that had developed at an early stage in Kazakhstan (the 1930s–1940s) became typical of the subsequent years as well. Many composers continued to write music for plays, and then proceeded to compose operas based on these works. But there were also other examples in which operas were preceded by music for plays.

Keywords: D. Matsutsin, Korean theater, Uighur theater, European genres, music for the drama, actor, dramatic theater, L. Hamidi, A. Zhubanov, G. Zhubanova, N. Sats