Kuprinа Elena Y.
Learning problems co-creative musical performance as an artistic and dynamic system that combines a variety of specialties musicians, performed in musical performance, which is a part of musical art - the largest species of the area of culture. Theoretical score philosophical, psychological, synergetic, and musicological perspectives creative analysis allows us to represent a multidisciplinary interpretation of the studied material that meets modern post-nonclassical stage of development of scientific thought. The article discusses co-creative musical performance as an artistic and dynamic non-linear open self-organizing system. Its inherent instability is developing environment. The most important condition for the optimal functioning of the system of co- creation in an unstable stage performance is the maintenance of the brain activity of musicians during the performance of music. A clear understanding of co-creative activity as artistic and dynamic system helps to optimize musical performing process. Through simulation of the scientific method and the maximum concentration of information created sided model co-creative activity and its self-organization. With synergetics order parameters determined by the position - time, rhythm, intonation, breathing performing, performing the will - as a co-operation of interconnected components. The order parameters combine to form field of determined capacity, within which is formed by performing the interpretation of the concept, the product, and carried her objectification. The multi-level structure model co-creative activity reflects the process of formation of a professional musician, as well as improving its performance skills.
Sergeev Maxim V.
Studying of the «C. M. Schröder» Piano Company`s history discloses successful and competitive development of piano production in Russia during 1852-1889. The archival documents and materials of the periodical press highlight C. M. I. Schröder`s (1828-1889) efforts to serve the benefit of the Russian state by his art, indicate the attitude of musicians and society towards Schröder pianos sound quality, disprove the statement about foreign import dependence in domestic piano making. Creation of 15 new models of grand and upright pianos, which meet the requirements of a professional performers and growing demands of musical amateurs in the small grands and uprights, have led to the recognition of high-level «C. M. Schröder» pianos on the Russian and international exhibitions. Re-equipment, taking care of fire safety and needs of workers and craftsmen, allowed the company to produce about 10,000 pianos up to 1889. Revealed during the research variety of «C. M. Schröder`s» piano models allows to carry out their exact attribution and dating, to specify the historical and cultural value of exclusive pianos, to determine correct piano restoration methods and subsequent use of restored pianos in musical and museum activity.
Gucheva Andgela V., Abaeva Asiyat М., Abaeva Asuana М.
In given article expansion and a deepening of influence of mysticism of sounding in a combination to archaic colour of meditation through kamyl' in a context of religious practices of Circassians (adyghe) through their reconstruction-retrospection are considered. Sources and semantic connotation of soundings of the tool in a transcendental condition for dialogue with deities are defined. A number of complex and undeveloped problems of the theory of mysticism reveals and the analysis of poorly studied religious-mystical levels in a context of structure of a ceremony is spent: “subject” (folk tune) - “recipient” (the patron, a deity) - “object” (event).
Zaytseva Marina L., Gorbenko Anna A.
Understanding of the processes occurring in contemporary art practice, is extremely important, as it allows to reveal tendencies of development of the art, to determine the prospectivity of various creative ideas. In our time the word «art» is so often replaced with such notions as «art practice» or «conceptual practices» and extremely important is the understanding of the differences between these concepts. Study of the composers whose works have a conceptual basis that allows to identify the logic of the formation of the artistic image, as well as to understand the nature of genres and the stylistic transformations in contemporary art. The object of the study was the work of one of the most important Russian composers of conceptual I. R. Yusupova, and particularly the film«The Birds» (2009) (directed by I. Yusupova and A. Dolgin), her mystery «Dreams of a Fowler» (2015), which reflected the main features of the composer's artistic thinking. The article also discusses some aspects of creativity B. Tarnopolsky, P. Karmanov andA. Aigi, which help comprehend the phenomenon of Moscow conceptualism, a kind of musical system of artistic thinking, which became the subject of the study. The study aims at identifying the main trends in contemporary art music in the interpretation of traditional art genres and ways of extending the semantic field of the artwork with the help of numerous intertextual connections. Understanding of the logic of development of contemporary art allows to identify the fundamental continuity of artistic traditions and activities of Russian composers, conceptualists, to determine their contribution to the development of world culture.
Atabiev Igor K.
«Kafa» - Circassian noble's dance, the heritage of chivalrous times amazingly survived in the Circassian people's culture, the one among the relict phenomena of Circassian (Adyghe) choreography, has been considered. The social origin as well as the nature of performance of this culture milestone has been analyzed from the standpoints of using histrionic and choreographic means, creative adaptation, organization and presentation of artistic material.
Tsvetkova Polina Y.
The subject of this article is focused on the interpretation of voice in Alfred Schnittke’s stage composition «The Yellow Sound». It highlights the idea of the synthesis of arts, which occupied the minds of artists, poets, musicians and stage directors at the turn of XX century. V. Kandinsky, being one of those who represented such ideas and, in order to bring his artistic vision to life, created the script for «The Yellow Sound» and called it a stage composition. Like a paint colour in the work of art, the voice timber played one of the most important parts within the above phenomenon, resulting in the emergence of various multi-vocal choirs with the voices being used as a kind of musical instrument to «colour» the performance.The article tells the story of creation of Kandinsky’s work from the idea to its stage production. It also narrates the events which influenced Schnittke to notice and pick up «The Yellow Sound» script.The author examines how Schnittke is interpreting musical directions of the Kandinsky’s script. The article is mainly focused on the role of the leading soprano in Schnittke’s score. It is alleged the composer uses this timbre as a unique multi-colour painting instrument but in a musical sense. The voice highlights the climax parts in the dramatic narration of the composition. The composer is using the whole scale of various vocal techniques common in the music of the 20th century, thus telling the story without words.