Moiseev Grigory A.
In this paper some little-known facts from history of Moscow branch of the Russian Musical Society and the Moscow conservatory in which destiny in 1870
Savintseva Vera A.
The suggested paper is concerned with the problems of connection between «scolar» and «artistic» aspects in Mikhail Glinka's creative process, on the material of his scolar works with Z. Dehn, in aspects of Glinka's favorite word «zloba» (rage).
Zenaishvili Tatiana A.
The paper is concerned with Johann Pachelbel's clavier cycle, published in Nuremberg in 1699. Not only popular in Johann Pachelbel's compositions of late period, but also his foreword (translated in Russian) with composer's outlook and aesthetic views are evaluated. In addition structure analysis of «Hexachordum Apollinis» and variation technique features, exceptionally demonstrated in this Pachelbel's composition, are also reexamined.
Nagin Roman A.
This apaper belongs to the direction of Russian musicology devoted to Mikhail Glinka's works and its' correlations with European tradition. Author attempts to look for common properties and differences in the orchestration of operas by European composers, «Life for the Tzar» and «Ruslan and Ludmila» by Glinka.
This paper describes the process of creation of national music by Japanese composers and musicians after World War II, especially during the years 1950-1970. Special attention is given in the article to the historical fact, that at during that time period there were three Japanese composers who established contacts with Russian composers and musicians - namely, K. Yamada (1886-1965), Y. Akutagawa (1925-1985) and N. Terahara (1928-1998). Their musical activity and the influence of Russian music as a model for the creation of the Japanese national musical culture during the second half of 20
Guryanova Larisa V.
The paper is concernes with polyphony in the 16
Boulatova Olga G.
In the paper opinions of two contemporaries, Arnold Schцnberg and Ferruccio Busoni on principles of a musical composition of the beginning of the 20
Tarasova Olga V.
This paper deals with the problem of interaction of canon and the composer's style within the traditions of Russian sacred music.