Egorova Tatyana K.
In article attempt of the analysis of the directions the study of one of the most interesting and perspective problems of modern art, located in the buffer zone of the two arts: music and cinema. With the increased attention to this issue by scientists with different specializations in art, especially intensiﬁed with the beginning of the new century, in its review was able to identify interesting details associated with the presence of the points of intersection, and the distancing of the approaches to the study of the phenomenon of ﬁlm music. In General, it is possible to recognize that the development of the two deﬁning the scientiﬁ c status of the problem of European-American and Soviet-Russian schools to a certain extent reﬂects the real state and art, and social achievements of cinema, in which music plays an important role.
Shabalina Tatiana V.
The article is devoted to ﬁnding of a hitherto unknown printed text of the Abendmusik 1692 by Dieterich Buxtehude. The libretto was found at the Museum of a Book of the Russian State Library and in October 2016 was presented at the Meeting of the International Buxtehude-Society in Lübeck. The article demonstrates that the newly found source is the sole original printed libretto of Buxtehude's Abendmusik for ﬁve Sundays. Although its musical material did not survive, the study of the discovered text gives information about the composition of the Abendmusik, peculiarities of succession of its works, their forms, poetical language and content. It is shown that contrary to the modern conception of the Abendmusik by Buxtehude as «an oratorio in ﬁve parts with German texts on the Biblical subject» the libretto has another structure (and does not correspond to the oratorio genre), as well as contains a mixture of German and Latin texts taken from different books and chapters of the Bible. However the analysis of the text provides new insights into relation of different parts of the Abendmusik at the level of its general idea. Besides it is demonstrated that the libretto gives important information about a vocal and instrumental cast of the works and their performing means. At the conclusion of the research it is drawn that, being the sole existing copy, the newly found source adds one more Abendmusik with a number of unknown pieces to the list of works by the composer and enriches (in some aspects essentially changes) our knowledge of the unique genre elaborated by Dieterich Buxtehude with the diversity of its compositional ideas and forms.
Chernyaeva Alla L.
In the article the author considers the phenomenon of «the name» of a composition in the context of contemporary domestic music. The designated problem is localized and took up in connection with the chamber-instrumental opuses of a Moscow composer Yury Vorontsov. The compositions represented in the article were written in the end of the XX century and the ﬁrst decade of the XXI century and posses the common stylistic constant. Among them can be mentioned «Con amore», «Reincarnation», «Sirius», «Amulet», «Microcosmos», «Status quo». A speciﬁc author’s approach to the process titling of the chamber-instrumental opuses proves not only the domination of the idea of conceptualism, but intensiﬁcation of the process of musical sense-making. The multimentional symbolics of «the name», which is assigned to the new opus, causes the process of splitting of the sense-bearing ﬁeld of the composition and, respectively, a possibility of individualized interpretation of the author's conception. "The name» of a composition is a peculiar precompositional structure and becomes a starting point in the dialogue between a composer and their listener.
Nikiforov Sergey N.
In this article G. Ph. Telemann’s personality and his main aesthetic categories are discussed in context of the principal poetological ideas in the ﬁrst half of 18th centurу. These are connected with the cult of sense (poetics of Ch. Weise, Ch. F. Hunold), reﬂection about the nature (the opinions of J. G. Meister, Ch. Batteux), development of the concept of the shrewd intention and art-synthesis (poetics of B. H. Brockes). The idea of the shrewd intention is detected on the example of cantata "Der Schulmeister".
Yunusova Violetta N., Alpatova Angelina S.
Article is devoted to the analysis of scientiﬁc and pedagogical activity of Givani Konstantinovich Mikhaylov (1938-1995), who was the famous composer, musicologist, founder of the World musical cultures direction in Soviet and Russian musicology and musical education. His and his disciples and followers organizational work on foundation of cabinet, sector, laboratory, study group and World Musical Culture Department in the P.I. Tchaikovsky Moscow State Conservatory (1984-1995) is considered. The main scientiﬁc positions which were developed by G.K. Mikhailov and his followers were used as a basis of lectures courses "Music of the of Asian and African countries", "World Musical Cultures" and dissertations carried out under his leadership. Particular attention is paid to analysis of original concept by G.K. Mikhailov, which was developed in musical cultural and musical oriental studies. It was complex of the scientiﬁc methodology including regional-civilizational approach, regionalization of musical culture ("musical globe"), system methods for studying musical culture and the musical and cultural traditions. Article contains the statements of G.K. Mikhailov on traditional music and culture problems as well as his views on sound phenomenon in a context of ethnic music of different regions of the world.