Stogniy Irina S.
The article is devoted to concept duality of the world. The author deviates from the usual interpretation of this concept, associated with the conﬂict of the romantic ideal and reality. This concept is considered in a broader semantic context. In the music of the twentieth century, one of the forms of duality of the world was the dialogue of styles. In the article this is analyzed using the example of "dialogues with Bach" by P. Tchaikovsky, E. Denisov, V. Ryabov. The dynamics of these dialogues varies: Tchaikovsky used a quote from Bach's fugue, Denisov created a "commenting" text on Bach’s Partite, Ryabov wrote postludes for six preludes and fugues from the Well-Tempered Clavier, calling his cycle "Sketches of the Temple in a Parallel World". Immersion in the world of Bach gives the composer an opportunity to realize himself, to ﬁnd in this dialogue new points of contact and artistic intersections.
Chaban Svetlana N., Tischenkova Tatyana V.
The subject of research is the collection and study of folklore in the Orel region. The purpose of the article the generalization of theoretical and practical material on Orel folklore. The tasks include the consideration of genre composition, the ritual really a huge dose, of vocal speciﬁc features of execution of the local traditions. In the focus of the work, the problem of preservation of a regional musical heritage Orel tradition.
Alkon Elena M.
The author considers the possibility of simultaneous combination of several musical forms in the fugues of the Bach's WTC. The playing forms means the polyphony of structural principles that is deﬁned as a feature of Bach's fugue, its poetics. This complex phenomenon, involving «virtual layers of composition» (T.N. Dubravskaya), expects the highest degree of the architectonic hearing. The historical-stylistic approach is based on the peculiarities of Bach's talent, aesthetics and poetics of the Baroque style, as well the tendencies of the Bach time. The «equidistance principle» in Bach's fugue (A.G. Chugaev) is deﬁned as a main one, but the manifestation of other compositional principles is also possible. The composition of the fugue as a whole is realized as the original number, that can be represented as variants of addends (terms). The combinations of two, three and four plans of the composition are illustrated by three fugues: c-moll, g-moll from the ﬁrst volume WTC (respectively, for 2 and 3 plans), and the fugue c-moll from the second volume (for 4 plans). The issues of semiotics, semantics and numerical symbols are concerned as well.
Boldyreva Vera G.
The songs of exaltation and their role in the wedding ceremony are discussed in the article. The wedding ceremony was formed on the territory of the Middle Kama on the basis of the resettlement of the traditions of different regions of Russia. The rite has a number of features, one of them is domination of the songs of exaltation. The extinction of the initiation line and the extension of the communication function, which is expressed in the increased role of magniﬁcations, was the result of sociocultural processes.
Selitsky Alexander Ya.
Among favourite dramaturgic decisions of Tchaikovsky - sharp opposition of parties of the conﬂict is emphasized. The forces of counteraction (images of rock) are often introduced as a sharp, sudden turn, they seem to invade development. In instrumental works such intrusions invariably cause opera and theatrical associations, as, for example, at the beginning of development of Allegro non troppo of the Sixth symphony. The article draws attention to cases of another kind, when the fateful forces mature gradually, as it grows from within lyric images. As the material of the analysis, ballet adagios were chosen: ﬁ ve corresponding numbers from the «Sleeping Beauty», the famous Adagio from the «Nutcracker» and Elegy from the Orchestral Suite No. 3. The complex of means of expression, characteristic of images of fate (tembro-dynamic, rhythmomelodic and others) in these examples arises by consecutive accumulation of elements so to deﬁne the moment of replacement of a lyrical image, his transformations into the contrast it isn't possible. Particularly brightly studied principle is when the radical lyrical transformation is subjected to the title lyric theme. This is the fundamental difference of the analyzed works from the famous Andante cantabile of the Fifth Symphony, where both tragic climaxes were realized precisely as an invasion of a foreign origin.