Mitina Assol O.
The paper is concerned with the flowering of orchestral song at the turn of the 20 t h century in Russia. The vocal-orchestral suite «Метогу» by A.S. Arensky demonstrates some characteristic features of the genre.
Kniazeva Zhanna V.
The activity of the famous organist and musicologist Jacques Handschin (1886-1955) in Petrograd in 1917 - 1918 is not studied well. The discovery of Handschin's legacy as historical and politcal texts dedicated to events taken place in Russia in 1917 had been of a great surprise. These texts allowed to suppose Handschin to be a historician thinking socially and politically.
Tchakhvadze Natella V.
In the paper the author reveals the uniqueness of the space-time systems, modeled in makam and typologically related to him the genres of oral tradition professional, and on this basis offers a new treatment option makam imagery.
Tchebourkina Marina N.
This article is the first one in the cycle devoted to the fundamental categories of French Baroque organ. It deals with analyse of the notions «rhetoric» and «passions» in French musical art as well as closely - related concepts. In the light of M. Mersenne's and D. Diderot's propositions the author shows evolution of French «affect's theory», from the first part of 17th to the end of 18th century, and reveals the essential features of French Baroque organ music.
The article deals with analysis of the heritage of Stephen Sondheim, a famous composer, in the field of musical theatre. Having written scores for 13 musicals, he showed himself as a great experimentalist and an author of a unique musical style. As a rule, the so called "superfluous" people, a gallery of whose portraits is presented in this article, were main heroes of his musical works. The article is published in two parts.
Fokin Anton V.
The paper is concerned with the problem of protest public opinion which caused a real phenomenon in Russian artistic culture at the turn of the 19 and 20 centuries - Russian rock music. Author examines the transformations of this protest during the existence of rock culture - from its origins to the present state, and its forms. Besides, the article examines the following problems: sub-culture as an environment of existence and development of rock-music; distinctive features of different rock movements; the protest in works of different metropolitan and provincial bands, interaction between rock and popular comercial culture, political reflection of Russian rock-music, etc.
Pylaev Mikhail E.
The article deals with the evolution of views, which belong to outstanding representatives of German music-theoretical thought of the 18t h - early 19th centuries. They are shown on the basis of books and articles of Carl Dahlhaus, one of the most prominent musicologists of second half of the 20 t h century. The principal problem here is the correlation between two most important paradigms of analysis of music: aesthetics of feelings and form theory. In opinion of Dahlhaus as a representative of so-called «new» musical hermeneutics, the unity of these two paradigms must be re-established on the new basis in contemporary musical aesthetics and musical theory.