Ganenko Nadezhda S.
The article is devoted to the textual criticism study of the manuscripts of unpublished Taneyev's cantata "The Apotheosis of an Artist" (1881). A detailed textual analysis of the two autographs of the cantata from the archives of GMZH (Klin), VMOMK (Moscow) was undertaken for the ﬁrst time. The history of the creation of the cantata, intended by the composer for the amateur magazine "Zaholustye" and dedicated to Taneev's friend - E.N. Savelov (pseudonym Iona Zinin) is given. The peculiarities of Taneyev's manuscript design are considered, author's remarks are revealed and analyzed in detail. A comparative analysis of the composer's remarks in manuscripts of cantata and other miniatures from "Zaholustye" is carried out. Special attention is paid to researching the features of Taneyev's creative process in creating the cantata "The Apotheosis of an Artist". The study of two manuscripts of the cantata allowed the following conclusion. The idea of the work was born immediately, even in the draft. This is evidenced by: the entire work recorded in the draft, the detailed design of the title, a small number of corrections made during the initial recording of the notation text. The whitecorder served as a gift.
Frolov Sergey V.
Noting in 2017 the 200th anniversary of M.I. Glinka to St. Petersburg, we are considering the cultural and historical context of Petersburg at that time, the address of his ﬁrst residence of the future composer in the house of one of the richest dignitaries of Russia. Engelhardt and those family relations that connect the tenants of this house, especially the role in these relations of Uncle Glinka I.A. Glinka. It is known that until the death of Engelhardt Ivan Andreevich served as the manager of his Smolensk estates and lived in his St. Petersburg home. However, even in his younger years, he married a woman who had survived until then with Engelhardt ﬁve children and, in turn, became the father of her next six children. At the same time, all of them treated each other with respect and formed some sort of a big family. As a fairly close associate in this seven, the young Mikhail Glinka who came from the Smolensk out-of-the-way was also received. Both the address and the most complex collisions of the family life of Engelhardtov-Glinok included the future great composer in the wonderful world of St. Petersburg's sociocultural myth, and warned of the peculiarities of his difﬁcult but also fruitful dialogue with this city.
Zaytceva Marina L., Budagyan Regina R.
The article summarizes the results of a study of the contemporary violin performing art. Substantiates the importance of maintaining ethno-regional traditions in the modern musical art and culture, and identiﬁed the stylistic features interpretations of folk music created by popular foreign violinists Sanya Kroitor (Israel), Lakshminarayana Shankari (India), MacMaster Buddy (Canada), Janos Sercul (Hungary), Vasyl Popadiuk (Ukraine), Vassar Clements (USA), summarized the distinctive features of individual styles of the musicians. The relevance of individual performers and musical groups, preserving the traditions of folk art, due to the fact that world music is sufﬁciently resistant to ideological inﬂuences. It is an effective means of national identiﬁcation, harmonization of human relations with the natural world and society. The rapid globalization of economic and social life exacerbated one of the Central problems of modern society - the problem of national identity. Folk art allows you to "back to basics", to the means and techniques of folk art, to anchor his artistic consciousness in the world of legends and traditions [1, 2]. Rich legacy of colorful, unique folklore provides endless possibilities for artists to open up creatively, however, the interpretation of folk music in modern conditions is a complex and extraordinary process. The advantage of the author's arrangements of folk music in the culture of the XXI century is that they contribute to the preservation of the national basis of the art, are attracted to the folk music mass audience. With the change of socio-cultural thinking human folklore is undergoing a number of changes and considerably distorted.
Karabanova Anastsiya A.
The paper considers competitions as a form of piano performance. The analysis of existing methods of musicians' evaluation is carried out, positive and negative aspects of the existing system of competitive selection are given. It is concluded that the current competitive system doesn’t allow to avoid the subjectivity of judging. A methodology of quantitative evaluation based on the system of indicators constituting the pianist’s skill is proposed in the paper.
Pereverzeva Mariva V.
Karlheinz Stockhausen appealed to statistical method of composition in the middle of the twentieth century, creatively responding to aleatoric ideas of John Cage, Earl Brown, Pierre Boulez, Iannis Xenakis, and the others artists. German composer put beginning of scientiﬁ c approach to aleatory, which was connected with information theory's positions, and developed precisely new compositional techniques and musical forms, based on indeterminacy. It causes a casuality of creative action and symbolises a relativity of existence. As it is known, many processes, taking place in the world, are characterised as statistical results, which are caused by chance as one of the rules of the being's development. Aleatoric action furthers to species' and structures' diversity in the micro- and macroworlds. Stockhausen longed for reﬂecting this and the other basic rules of universe in his creative works. He applied to work's structure not as pre-arranged, preconceived and pre-established phenomenon, but as individual project, so he invented a form's conception specially for each opus. Composer used the stable terms «invention» and «discovery» towards material and form, and his statistical method of composition helped to these processes as a kind of the aleatoric tecnique.
Capeu-Kokhanova Madina B.
The article deals with the origins of the violin folk performing art and the beginning of academic education on the violin in Kazakhstan. The role of poliinstrumentalizma from folk performers. Both techniques (folk and professional) are compared by Professor I. Kogan on the example of folk violin playing, dombra player, kobyz players Zhayau Musa. Indicated parallels the creative path of the ﬁrst Russian professional violinist I. Khandoshkin and pioneer, founder of music education in Kazakhstan, rector A. Zhubanov.