Budaeva Tuyana B.
Today Beijing Opera, or Jingju (京剧, «capital performance») become the most famous Chinese theatrical genre which is well-known all over the world. In Beijing it is possible to listen to Jingju not only in high-tech modern theaters, but also in little old venues which were famous one-two hundred years ago and now they are getting back their audience providing speciﬁc atmosphere, traditional architecture style and natural voices without using microphones. These places are situated in formerly so-called Qianmen-wai district of Beijing. They do not belong to the imperial palace ensembles, but all of them are located in four Qing period guild halls as soon as only they are remained in the whole capital. In the following article the two of them, Zhengyici Temple Theater and Huguang Guild Hall Theater (now it is also a Beijing Peking Opera Museum), will be described as the present-day theaters with regular Jingju and Kunqu performances.
Rumyantseva Margarita A.
The article is devoted to the evolution of dissonance in the period from XIII to the beginning of XV centuries. On the example of various historical stages, presented by the anonymous motets of the XIII century, the works of F. de Vitry, G. de Mashchio, F. Landini, J. Ciconia and other composers, the methods of applying dissonances and their gradual change are considered. Based on observations, the originality of the music of this historical stage is revealed.
Glivinsky Valery V.
The article is dedicated to the memory of Ivan Sergeyevich Fedoseyev, Senior Doctor of Musicology and professor at the St. Petersburg State Conservatory named after N.A. Rimsky-Korsakov, who died prematurely on August 20, 2017. With the death of Ivan Sergeyevich, Russian musicology has lost an outstanding researcher and the largest domestic connoisseur of the works of Handel. His departure has also proved to be an irreparable loss for the St. Petersburg State Conservatory, where, since 1978, he taught the history of foreign music from origin to the Vienna Classic School to musicologists and performers. Without Ivan Sergeyevich, orphaned is the stage of the concert hall of the St. Petersburg Academic Capella named after M.I. Glinka, where he continued the tradition of the philharmonic performances of Sollertinsky and for many years addressed the audience with introductory words - genuine masterpieces of the oratory art. As a true St. Petersburgian, Ivan Sergeyevich was distinguished by aphoristic brevity and the true depth of his judgments on various issues of history and modern life. Artistry as the essence of Ivan Sergeyevich's nature left an imprint on all spheres of his creative self-realization: musicology, pedagogy, lecture activity, collegiate and personal communication. The memory of Ivan Sergeyevich Fedoseyev will forever remain in the hearts of all those who knew and loved him.
Nurieva Irina M.
In the article the monograph by S.V. Kosyreva "Ethnic music of Vyatka’s Mari. Bases of Style" published in Petrozavodsk in 2016 is reviewed. The main attention in reviews is directed to the description and assessment of the new method used by the author in the analysis of the polyphonic invoice of the Mari traditional tunes.
Gumerova Aysylu T.
The author examines particularities of the scale and melodic patterns in the Orthodox singing tradition of the Tatar-Kryashens living in the Kukmor region of the Republic of Tatarstan. The locale is one of the areas populated by a sub-group of the Kryashen ethnic community. The samples were collected by the author for this particular study in the Kryashen settlements of the northwestern part of the Kukmor region in 2007-2008. Particularities of the scale pattern of the pious songs are analyzed via such components as the scale, functional mode and intonation, each of them being, to one extent or another, inﬂuential on the folk singing tradition. One of the main modiﬁcations of the lyrics of these songs has to do with the performers’ inclination towards anhemitonic scale type of thinking. The analysis results in highlighting particular pitch characteristics, which, in turn, allow concluding that the spiritual singing tradition of the Kukmor Kryashens is a unique stylistic musical phenomenon.
The article deals with the special style of the Chinese traditional drama chuichui-qiang. Chuichui-qiang spread in the minority areas in the Yunnan Province of southern China where the people of Bai live and at the end of the Ming Dynasty, which is still preserved in this place. The author analyzes the peculiarities of the origin and development of the national form of the musical drama chuichui-qiang, examines speciﬁc musical examples that clearly illustrate the originality and musical-stylistic characteristics of the drama Chuichui-qiang.