Chaban Svetlana N., Tischenkova Tatyana V.
One of the modern industries of folklore is the collecting and studying folklore history. The first time of consideration is genre composition, content of ritual, vocal performance peculiarities of local traditions.
Krom Anna E.
The article is devoted to the reception of creativity of Eric Satie of American composers, experimentalists the middle and second half of the twentieth century. Revaluation of heritage Satie is related to the activities of John Сage, who had formed a relationship with the French musician as a genius visionary, anticipating important discoveries of the twentieth century (including «figurative» notation, static composition, repetitive technique, the concept of applied music and other ideas). The article traces the peculiarities of perception and interpretation of key works of Satie in the USA, and discusses musical aesthetic parallels between his writings and compositions of American minimalism and postminimalism. Satie and the minimalists bring together the experimental nature of creativity, interest to the East and jazz, the simplicity of musical language, modality, reference to quantitative rhythmic, repetitive principles of organization of texture, work in the field of film music.
Karabanov Aleksey A.
The article is an attempt to trace the main trends in the ideological struggle in the pre-war Soviet Union that had led to the birth and development of the national anthem as a genre. The political modification of the proletarian internationalism ideology to the ideology of the state (soviet) patriotism followed by the ensuing state ideological order. The work comprises both archival material and contemporary works, as well as numerous publications on the Internet. On the basis of this research we conclude there had been a predetermined choice of the governmental commission and the circumstances accompanying it.
Tarakanova Ekaterina M.
The article is devoted to phonosphere concept put forward 30 years ago by outstanding Russian musicologist, Doctor in Arts Mikhail Evgen’evich Tarakanov. Scientist considered the phonosphere as an organic part of the noosphere, and pointed to the special role of music in the sound environment of the human habitat. The background radio emission of the Earth has increased substantially in recent decades. A significant part of these emissions is “encoded” music. With the help of modern electronic sound recording and reproducing technical means it can be translated into real sounds in any part of the planet. The world is surrounded by a new geosphere - phonosphere. Human influences on it, and the phonosphere effects on human and humanity in general. In this connection the question arises about the musical ecology. This article contains one of the earliest texts preceding Tarakanov’s article «Folklore and "phonosphere"», published in May 1986 in the “UNESCO Courier” magazine.
Kazmina Elena О.
The article provides an overview of the activities of the Choral Society of the Tambov region since the Organization (1957) till transforming into musical society (1987). Characterizing such massive forms of work, as musical lectures, holidays songs, competitions and festivals of national creativity, decade of choral songs, an atypical event - vocal column of 1,000 man - is noted. The main result of the activities of the Choral Society was the creation of choirs in different years - mixed choir, women's choir, chamber choir. Their musical-educational activities, repertoire are presented. The society has provided practical assistance to managers of choirs of district Culture homes. One of the priorities was the work with children, youth.
Kuznetsov Nikolay I.
The article covers problems of actualization of F.I. Shalyapin’s theoretical heritage in the 21st century. In the second part of the 20th century professor B.A. Pokrovsky, the famous Russian opera stage director and teacher, in his epochal article «While Reading Shalyapin’s Books» (the journal of «The Soviet Music» No. 12, 1968) found out the theoretical heritage of the great Russian opera actor F.I. Shalyapin directed to music theatrical art. B.A. Pokrovsky marked that Shalyapin «has discovered and affirmed the principles of opera acting and formulated his creative searches and achievements in definite terms». But at the end of the 20th and the beginning of the 21st centuries there appeared some problems concerning the actualization of F.I. Shalyapin’s theoretical heritage. The article contains the arguments for the topicality of using Shalyapin’s «working stage terms» for training conservatoire students on the skills of opera actor and for making good use of those at practice in the process of creating of the operatic stage role. With a view to improve the quality of training conservatoire students the author substantiates the necessity of amplifying the educational program o the actor’s skills with Shalyapin’s working stage terms in addition to «Stanislavsky’s system».