Zharkova Vasilisa A.
The article gives a brief description of the genre of concert arias and discusses some of its traditions. Arias of W. A. Mozart are used as examples. His work is a model because in it the genre has reached the culminations.
Tchebourkina Marina N.
This article is the third one in the series of «Music Theory and practice of the French Baroque Organ». It is devoted to the analysis of French organ music forms used in the 18th century and based on the phenomenon of metric extrapolation.Revealing the deep relationship between the concepts of «song-form» («Liedform») and the French«Period», the author appeals to the term «periodical» forms. In their line he analyzes a «small» and «great» periods, «united periodical form», variations-form, rondo. The article contains the table of correspondences between French Baroque terms and contemporary Rus-sian terminology.
Kotov Vladimir A.
This article set a mission to draw attention to the most typical genre of Cuban professional popular music called son habanero. Clarifies a questions about its genre status, and also provides guidance on the important aspects of studying son habanero in the Cuban musicology.
Shevtsova Olga B.
The article is devoted to the initial stage of development of the church singing science. It tells about the first researchers of church music and their scientific views.
Ryzhinskiy Alexandr S.
The paper aims to explore one of the most important work of L. Berio, the leader of Italian composer school in the second half of the 20th century. The conclusion concerning the central idea as the conceptual basis of the composition is formulated through the analysis of poetical text, texture and timbre development in the composition. The composer’s choice of verbal texts and specificity of their presentation in music are determined by this idea.
Pavlova Polina V.
The article is devoted to the realization of the heroic epos olonkho traditions in the Yakut opera, to the formation of its national shape. The infl of principles olonkho on the opera Sakha is multidimensional, in this regard it is considered at the main levels of the opera's dramatic qualities: subject, scenary, musical and composite and musical and intonational ones.
Plotnikova Natalia Y.
The paper deals with the tradition of multi-version melody in partesny style (end of the 17th - first half of the 18th century). This tradition is manifested in two aspects: the diversity of single-voiced originals and the vast variety of their many-voiced arrangements. Having studied hundreds of partesny manuscripts, author offers research methods for studying multi-version melody in partes style.