Sergeev Maxim V.
Russian musical audience of the early 19th century was seriously interested in choosing piano for concert performances. Interest in the ﬁrst place was closely connected with the formation of Russian pianism, foundation of which was laid by the founder of the English school M. Clementi and his pupil J. Field, supporters of the "English" pianoforte. At the same time, some Russian and foreign concert pianists were representatives of the German school and played the "Viennese" pianoforte. Comparisons of piano of different schools - Vienna, English and French, held with the audience participation - revealed the technical and acoustic superiority of Russian piano manufacturers and led to the successful development of domestic piano building in the second half of the XIX - early XX centuries.
Denisov Andrei V.
It is shown that among criteria of an intertextual interactions forms attribution essential position is held by a historical factor. It determines: 1) frequency of the appeal to these interactions during a speciﬁc era in general and their prevailing forms; 2) origin of the borrowed material and a context in which its use was allowed; 3) character of the borrowed material treatment. In this last position it is necessary to consider a level of safety / variability of the primary source text structural and semantic organization and also existence/absence of the dialogical relations in consciousness of the listener between the primary source of loan and intertextual element in the work. On examples from musical pieces of different eras and genres dynamics of changes in intertext interactions forms interpretation is shown, including quotation and loans.
Krom Anna E.
The article is devoted to the functioning of polyphonic methods of writing in repetitive technique that was formed in the early 1960s in the works of American minimalist composers. As a result of avantgarde experiments in the ﬁeld of tape-music, Terry Riley and Steve Reich came to the opening of repetitive principles of the organization of musical matter, the demonstration of which revealed their close relationship with the form of the canon. Relying on the most actual for that time original technical inventions ("time-lag accumulator", experiments with tape loops), musicians developed various types of canon with non-ﬁxed shift, realizing them in their electronic and acoustic compositions.
Nedospasova Anna P.
Relevance of the publication is caused by poor data about history of the Swedish music in Russian musicology. The studying of the Swedish sources undertaken by the author showed that in the XVII century music art endured intensive development that allowed creating the soil for formation of national composer’s school. This process went in interaction of various components: folk professional performers, church and military musicians, amateurs. Inﬂuence of the modern styles currents from Central Europe was promoted by activity of a court chapel under the leadership of several generations of a dynasty von Dueben. In each of components (instrumental, vocal music and various types of their interaction) were improved. Some lines of inﬂuence from the Western European centers (Italy and France) at the beginning of the XVIII century we can see in music manuscripts of a court chapel, military musicians, church organists and amateurs. Analysis of works by ﬁrst Swedish composer of the European scale J. H. Roman demonstrates the taken place synthesis of the Western European genres on the national soil. The main importances were Roman's efforts using Swedish language. His fruitful activity opened the following stage when music followed a way of sustainable development of new professional level.
Maklygina Anna A.
Edgar Varèse and Erik Satie - two prominent composer of the twentieth century, whose work has stimulated many discoveries in the music of Modern times. Their paths intersect both in biographical terms (composers belonged to one circle of friends and talked a lot, yet Varèse lived in France), and compositional and aesthetic. Each of them has formulated its own concepts, and they both have sharply rejected any form of inﬂuences, not to mention the unoriginality in the music. Hence the constant search for new compositional means and as a result - the creation of an original musical vocabulary. Both composers were out of his time, in connection with which received almost identical characteristics among his contemporaries; aware of "their alone way" (words by Stravinsky), whether it concerns their composite views or way of life.