Search

Introduction. The article examines films about cooperation that were part of the repertoire of cooperative film exhibitions for rural film distribution in Karelia. The relevance of the topic is determined by the visual turn in historical research and the lack of works on this topic. The purpose of the study is to study the content of rural distribution in Karelia with cooperative films that were at the disposal of the Karelian-Prioneyezhsky Union of Consumer Societies; to consider the plots and content of the films; to find out their ideological and artistic potential for conducting cooperative agitation and propaganda. Materials and Methods. The sources of the research are the documents from the National Archive of the Republic of Karelia, materials from the funds of regional cooperative unions, the Karelian Regional Committee of the RCP (b) – CPSU (b) and the People's Commissariat of Education of the AKSSR. Along with archival documents, published materials about films of the 1920s were used. The research is based on an interdisciplinary approach. When working on the material, both general methods of the humanities (analysis and synthesis) and specific historical methods (historical narrative, statistical) were used. Results and Discussion. The author of the article examined the works of cinema art created in the 1920s to indoctrinate cooperative ideas in rural society and shown in the villages of the Autonomous Karelian Soviet Socialist Republic. The article analyzes the repertoire of cooperative films for rural distribution; examines the plot and presents the content of films about cooperation in the 1920s. It also describes the work of cooperative film tours “to promote cinema in the village”, including in rural cooperatives with a diverse national composition; it reveals a positive attitude of the audience to cooperative cinema. The significance of cinema as an important means of visual representation of cooperative ideas for the incorporation of new members into cooperatives during the NEP period is determined. The study managed to find information confirming the influence of film propaganda with the help of cooperative films on the process of involving rural residents of Karelia in cooperation, which was manifested in the development of cooperative construction, expansion of cooperative work and an increase in the number of shareholders in consumer societies. Conclusion. At the end of the 1920s, feature films, documentaries and cartoons about cooperation made up almost half of the repertoire of film exhibitions of the Karelo-Prionezh Union of Consumer Societies. They demonstrated ways of organizing a village cooperative, reflected the participation of women in cooperation, and the importance of cooperative trade in the fight against private owners and shopkeepers. The author's conclusions contribute to the study of the development of cooperative cinematography in the 1920s as part of the general cultural and educational work of cooperative associations. The results of the study in general and the analysis of the cooperative repertoire of rural film tours in particular supplement the information on the history of culture and cinematography of Karelia and make possible the similar scientific research in other regions of the country. The practical significance of the study lies in establishing the continuity of the traditions of public organizations and the possibility of using historical experience in the socio-cultural activities of modern cooperative members in Russia.

Infection is inconceivable without T cells. T cells not only eliminate virus-infected cells and participate in the formation of immunological memory, but also indirectly modulate the humoral response through the selection and maintenance of specific B cells. The T-cell receptor (TCR) recognizes processed antigen presented on the surface of cells in the MHC of one of two classes. Thus, the formed TCR repertoire reflects the history of encountered antigens through the prism of the specific organism with a particular set of MHC. To investigate changes in the TCR repertoire in response to acute viral infection, we utilized a yellow fever vaccination model. The yellow fever vaccine has been a benchmark for both safety and efficacy for over half a century. The vaccine is based on a live attenuated virus, allowing the study of the immune response under conditions closely to the viral infection. The yellow fever-specific T-cell response to immunodominant peptides presented on HLA-A02 is well studied, but experiments with HLA-A02-negative donors are still lacking. The aim of this study was to examine the dynamics of changes in the T-cell repertoire structure that occur in response to yellow fever vaccination in a donor without the HLA-A02 allele. We found that the overall T-cell response dynamics were similar to that in HLA-A02-positive donors: vaccination led to rapid expansion of yellow fever-reactive clones by day 14. Despite the absence of a known immunodominant epitope for HLA I alleles in this donor, the immune response also shifted towards CD8⁺ T cells, with increasing of the CD8⁺ clones fraction by day 53. The amino acid sequences of CDR3 TCRb yellow fever specific clones formed a stable cluster by CD4⁺ T cells, further confirming the presence of novel immunogenic epitopes.

The article is devoted to the analysis of the activities of the ballet troupe of M.Jalil Tatar Academic State Opera and Ballet Theater in the Soviet and post-Soviet periods. It shows that after the premiere of the first ballet “Vain Precaution” by P.Hertel in 1939, the troupe continued to master the performances of the classical heritage “Giselle” by A.Adam (1945) and “Swan Lake” by P.Tchaikovsky (1947). At the same time, the troupe was working on creating a national ballet performance. Turning to the historical past and folklore, the authors of the libretto and choreographers immersed the viewer in the life and culture of the Tatar people, and the composers built the score based on centuries-old musical traditions. All this was expressed in the ballets “Shurale” by F.Yarullin (1945) and “Zyugra” by N.Zhiganov (1946). At this time, new productions appear in the repertoire, reflecting the current ideas of Soviet art at the time of creation. These are “Bakhchisarai Fountain” by B.Asafiev (1946) and “Laurencia” by A.Crane (1953). In the 2000s, a number of premieres took place produced for the Kazan ballet stage – “The Tale of Yusuf” (2001) by L.Lyubovskiy, choreography by N.Boyarchikov, G.Kovtun; “Peer Gynt” (2003) by E.Grieg, “The Golden Horde” (2013), R.Akhiyarova – choreography by G.Kovtun; “Сarmina Вurana, or the Wheel of Fortune” (2013) by K.Orff, choreography by A.Polubentsev. The author sets the task of identifying trends in the development of the repertoire in the post-Soviet period. His focus is on original ballet performances. The conclusion was that the result of the search for choreographers on the Kazan stage, expressed in the synthesis of genres, styles, and appeal to new subjects for the ballet theater, was the enrichment of the repertoire of M.Jalil Tatar Academic State Opera and Ballet Theater and entertainment culture in general.

The article highlights the features of different images created by Firangiz Akhmedova in the operas of Azerbaijani composers. The main goal of the article is to determine the features of the images created by F.Akhmedova in the opera works of Azerbaijani composers. Firangiz Akhmedova, one of the first performers of the Azerbaijani opera stage, perfectly synthesized national roots and Western European traditions. Her activity in the development of the Azerbaijani vocal school, which has deep historical roots, is associated with its inexhaustible talent and intensive creative activity. F.Akhmedova, who has a unique timbre of voice, a wide vocal range, a strong and pleasant voice, managed to create different images in the operas of Azerbaijani composers with the emotionality typical of an oriental woman. Being a soloist of the Azerbaijan State Opera and Ballet Theater, Firangiz Akhmedova had a rich repertoire and created a colorful gallery of images. The outstanding vocalist, who performed with various characters in operas by Azerbaijani composers, conveyed the figurative and emotional character of the images with unique professionalism. F. Akhmedova played an important role in the integration of Azerbaijani vocal art into the world opera scene. From this point of view, F. Akhmedova's work represents an important page in the development of the national vocal school. [ABSTRACT FROM AUTHOR]

The article is devoted to the representation of classical music concert in Hollywood cartoons of the 1930s — 1950s. A concert as a symbol of the academic musical culture was well-known to the American cinema audience. The author of the article studies how the cartoons creators rethought the main elements of a concert ceremony using both the general stereotypes related with the world of classical music and the familiar images of American life of the first half of the 20th century. Special attention is focused on the development of a typical concert repertoire in cartoons and its relation to the category of popular classical music. The article gives a detailed analysis of concert types, features of a concert space, the appearance and behaviour of soloists, orchestra players, and conductors, and the evolution of these elements during the Golden Age of Hollywood cartoons. The conclusion is made that a concert in cartoons becomes an ideal object of parody and carnival play which mirror the conflict between high and low art that exists in the mind of the audience and work as assimilation mechanisms for the artistic experience of the elite culture. The methods of history, art studies, and cultural studies are used in the research.

Copyright of Bylye Gody is the property of Cherkas Global University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The State Academic Chapel ”Doina” is the oldest and most significant performing choir in the Republic of Moldova. An important stage of development occurred during the Second World War: in 1942, the chapel was reorganized into the Doina Song and Dance Ensemble, which brought together musicians, singers and dancers from the Moldovan State Philharmonic. The author considers issues related to the life of the choir collective during the evacuation period and the implementation of concert activities in military field conditions. The geography of the ensemble’s tours is studied, the selection of the repertoire and the interaction of the administration with composers, poets, and heads of other organizations are analyzed. Particular attention is paid to the organization of everyday life and the life of the artists of the Doina Ensemble in wartime conditions. The author uses all available archival materials from the funds of the National Archives of the Republic of Moldova, memoirs of the artists of the ensemble, reminiscences of eyewitnesses, biographies of the artistic directors of the ensemble.

The aim of the article is to identify the institutionalisation level of the musical culture of Subcarpathian Ruthenia during the interwar period, to reveal the sociocultural functions of choral music in the region, and to determine the index of society's involvement in choral singing. Research results indicate an increase in the institutionalisation level of the region’s musical culture in the 1920s–1930s, involving broad segments of the population in choral performance. Active amateur and professional choral activities became indicators of growing national self-awareness and self-affirmation through various forms of civic and creative activities. Choral music became an effective means of patriotic education for the youth, the basis for the development of the region’s musical education, and a polylogue of ethnic musical traditions. The scientific novelty lies in defining the basic sociocultural functions of the choral art of Subcarpathian Ruthenia during the interwar period. The criteria for systematisation are the social and aesthetic needs of the region’s residents, the features of their national self-awareness, creative, and economic resources. Choral art is considered as an element of the general cultural process determined by social and historical events. Conclusions. The cultural life of Subcarpathian Ruthenia in the 1920s–1930s proves the multifunctionality of choral art. However, the sociocultural functions of choral music varied in intensity. The choir became a kind of sociocultural environment that served as a factor in attracting the population to spiritual and aesthetic values, fostering the creative realisation of individual moral potential, and representing the entire set of cultural activities of ethnic groups. Choral art emerged as a powerful ethno-creative force that used various forms of representing ethnic identity, demonstrating social aspirations, and preserving traditions.

Background. Being determined by economic, political and social factors, spiritual culture is a reflection of the socio-political state of society. In the context of this relationship, it is of considerable interest to study the conditions in which theatrical business developed at the initial stage of the Soviet theater formation. The tendency of directive management of the theater in order to turn it into a means of political enlightenment of the masses was combined with the requirements of artistry aimed at solving the problems of aesthetic education of the working spectator. The purpose of the article is to study the forms and methods of this work, to determine the degree of their effectiveness in solving the tasks set by the authorities, to assess the overall level of the provincial theater development in the 1920s and early 1930s. Materials and methods. The article is based on materials drawn from documents of the State Archive of the Russian Federation, the Russian State Archive of Socio-Political History and the State Archive of the Penza Region: minutes of the Art Workers Union Board meetings, the personnel book of the Penza Provincial branch of the Art Workers Trade Union, Repertoire commissions protocols, etc. The research methodology is based on the principles of historicism and objectivity, comparative and analytical methods, as well as the concept of social constructionism, which contributed to the productive study of the creative theatrical intelligentsia simultaneously in two kinds: on the one hand, as an object of state influence, on the other, as a subject forming a new cultural reality, free from obsolete forms and methods, and accumulating new, Soviet, cultural values. Results. The state policy on the theatrical business management in the country, the implementation of its ideas and principles at the provincial level, the general state of theatrical business are investigated. Conclusions. As a result of the study, the following conclusions were made. The development of theatrical business in the Penza province was in line with all-Russian trends, however, it encountered additional difficulties due, first of all, to the general economic condition of the region, its agrarian specifics. The scarcity of theater budgets did not allow for a long time to form a permanent theater troupe, and the social composition of the artistic environment (mainly noble-bourgeois-peasant) and the almost complete absence of a party stratum in the artistic environment hindered the introduction of a modern, revolutionary repertoire, which the authorities considered necessary for the political education of the masses. In the late 1920s – early 1930s the control over the theaters repertoire was carried out not only by the Glavrepertkom and repertoire commissions on the ground, but also by Artistic and Political Councils at theaters. Their role was not limited to censorship functions – the activity of the Soviets also had significant educational significance. As a result of the whole complex of measures to manage the theatrical business, by the mid – 1930s, the creative intelligentsia had fully adapted to the political line of the authorities in the field of theatrical creativity.

The emergence of bands in their modern format is due to the establishment of military orchestras in the Romanian space. In the 19th century, due to western cultural influences, band instruments entered the Romanian musical environment, both in the folk and military music ensembles. In the traditional context, a new type of ensemble appeared, consisting only of known fanfare instruments. Due to its sonority, but also the new technical and expressive possibilities, it became very popular, competing with the traditional ensemble. The repertoire, in addition to works of folk origin, starts to include academic music, entertainment works, responding to the requirements of an ethnically, culturally and socially heterogeneous audience. Nowadays, the marcing band holds an important place in the national culture, developing across three areas: the marching band, the urban marching band and the military marching band.

In order to understand the interpretive art of folklore violinists we must start from studying the interpretation manner reflected in their repertoire. Moldovan musical folklore, which contains a variety of genres and kinds, has, at all times, been a source of inspiration for musicians. Filip Todirașcu was a great folklore violinist from the central area of Moldova. His repertoire comprises a huge number of works (over 300). Each creation, when executed, was "wrapped", according to its kind, in certain decorative ornamental patterns corresponding to his spiritual, sentimental state. Studying the aspects of the execution manner, characteristic of Filip Todirașcu, will enable us to enhance the knowledge in this field and encourage young violinists who want to acquire the traditional style of interpretation.

Introduction. At present, people’s interest in the historical and ethnocultural heritage has increased, and the desire to preserve traditional values for future generations has grown stronger. Song recordings made in the 19th – 20th centuries are evidence of the developed musical and song tradition of the Bashkir people. Due to the collecting efforts of M. A. Burangulov, A. N. Kireev, S. A. Galin, N. D. Shunkarov and others, a whole layer of folk songs has been preserved. During expeditions that have been intensified since the beginning of the 21st century by the Institute of History, Language and Literature of the Ufa Scientific Center of the Russian Academy of Sciences, folklorists are working hard to multifacetedly cataloguize folk knowledge, on the basis of which one can judge the state of traditional modern folklore of the Bashkirs. In our understanding, ‘modern folklore’ is folklore that has existed since the middle of the 20th century to the present, regardless of the environment of existence. Goals. This work aims to consider the genres of traditional musical folklore of the Bashkirs that have survived today, to give a brief description of them, and also to analyze them from the viewpoint of assessing the modern spiritual state of the ethnos. Unlike other genres, musical genres are well preserved in the memory of the population. It is the song and takmaks that are the main genres of modern Bashkir oral and poetic creativity, which makes it possible to reveal the dynamics of the development of folklore. Materials and Methods. The research is based on the author’s expedition materials collected in the 21st century in different regions of the Republic of Bashkortostan and beyond, where the Bashkirs live compactly. They retain collective axiological attitudes and serve as a way of expressing shared emotions. These genres have a high level of demand among the population and therefore quantitatively prevail in expedition records. Folk songs are kept in the memory of people — bearers of folk musical culture, and are not recorded by them in writing. The transmission of musical and folklore works occurs orally. This means that any folk song is perceived and absorbed by each new generation by ear directly at the moment of sounding. Occasionally, songs can be recorded along with their stories and legends. The availability of songwriting histories is a characteristic feature of Bashkir folk songs. Many songs lose their names over time, but they do not completely disappear from the memory of the people, as evidenced by the comments of informants characterizing these works in expressions, such as ‘my mother’s song’, ‘this song was performed by my father’, etc. This phenomenon reflects the strong cultural connection between generations, when performers with special trepidation cherish the memory of their relatives and can reproduce the tune once performed by their father or mother. Along with drawling songs, short four-line songs without a title, drinking songs and takmaks are also common. Takmaks, in turn, are distributed not only orally but also in writing. Modern takmaks are distinguished by great mobility and efficiency, they instantly respond to urgent problems. In the light of recent events, takmaks have appeared on the topic of a pandemic, self-isolation, and online training. Results. A review of folklore materials collected in recent decades shows that the musical genres of Bashkir folklore continue to exist, which means that it is necessary to study not only the current state of the Bashkir song heritage but also its evolution. The folk song, folk singing traditions must be passed on to the younger generation, and only then the folk culture will develop and be preserved for future generations

Th e works of composers from the Republic of Moldova during the postwar period refl ect a tendency and interest in experimentation with sound and various techniques, in expanding the genre-space and in creatively approaching diff erent musical instruments, which belong to both academic and folk music. Among such instruments is the trumpet. Th e chamber works for this instrument occupy a special place in the trumpet repertoire. We intend to make an analysis of the songs Romance for trumpet and piano by Oleg Negruta and concert Rondo for trumpet and piano by Arcadii Luxemburg, in reference to capitalizing on and using the technical-expressive means of the trumpet, as well as their treatment in relation to the musical dramaturgy and conceptual content.

This article refers to the performing art and artistic activities of the vocalist soloists of the famous orchestra of popular music «Fluieraș» led by the renowned musician Sergei Lunchevici, People’s Artist of the USSR. Today, the National Philharmonic of the Republic of Moldova bears his name. The article is focused on four singers — Tamara Ciobanu, Gheorghe Esanu, Nicolae Sulac and Zinaida Julea — that brought an incontestable contribution to the spread of national musical culture and Bessarabian folklore on a worldwide scale.

Introduction. Bashkir wedding is one of the most striking forms of traditional culture. Over centuries of evolution, a complex set of ideological and functional related ritual songs, actions, myths and rituals has formed as an integral festive and theatrical performance. This surprisingly unique performance (drama) reflects the worldview of the people, their poetic and musical culture, including peculiarities of social, everyday and social development. The ideology of caring for the welfare of the family and happy family future has been developed and vividly captured in the wedding rituals. Genotypic plans for the continuation of life, creating a sustainable family in order to ensure continuity and fertility of the new family member ― sister–in–law ― is a major determining code of the Bashkir wedding manifested in the complicated mytho-ritual complex tui (wedding, feast). In it, a large role is given to verbal and song contests (Bash. әйтеш), lamentations (сеңләү), good wishes (теләк, алғыш), ‘yar-yar’ chants, magnificence and farewell songs (takmaks) which are organically woven into the course of the wedding to create a festive atmosphere, give special importance to everything that happens. These work of art have various and rather complex functions, since they not only accompany various moments of the wedding celebration, but also reflect ancient mythological ideas, belief in the power of words and actions. The verbal, song and action creative complex acts as a single syncretic whole with what is happening. Goals. The article examines the role of verbal and poetic works in various parts of the wedding ceremony. They are distinguished by a variety of texts and tunes dedicated to various moments of the wedding and ritual actions addressed to the bride and groom (mostly). Results. The ritual of good wishes goes back to the magic of a kind word, which in general in all types of rituals involves the structuring of events in the name of blessings and the consolidation of a happy future. The article traces the reflection of the emotional state of the bride in various poetic texts, which determines the importance of the moment of the girl’s transition to a qualitatively different state of marriage; the importance of the special semantic load of the songs of the Bashkir wedding for the future family life is noted. In all cultures, edification, parting words generalize the prescriptions and rules of behavior for young people. There are two main places of well-wishes in the wedding drama: in front of the wires from the father’s house (girdling) and in the groom’s house (opening the face). Good wishes and edifications, pronounced in the rites of transitional meaning, represent a kind of collection of etiquette, everyday life and traditions of the people. This is the poeticized wisdom and life experience of people who want the well-being of a girl who goes into a ‘foreign’ environment. In a Bashkir wedding, songs of a greatness, entertaining or humorous nature are performed, which are organically included in the drama of the wedding action and become an integral part of the ceremony as a whole.

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Педагогические принципы В. И. Слонима В статье рассматриваются фортепианно-педагогические принципы одного из выдающихся педагогов Новосибирской государственной консерватории им. М. И. Глинки, исполнителя-пианиста Виссариона Исааковича Слонима (1921-2005). Обучение в его классе позволило автору сделать выводы об основах его педагогики, представляющей стройную систему обучения фортепианному искусству. Биографические сведения включают период начального домашнего обучения у С. С. Ляховицкой, затем -в Группе одаренных детей при ЛОЛГК у О. К. Калантаровой. Учеба в консерватории совпала с периодом Великой Отечественной войны, годы эвакуации прошли в г. Ташкенте, затем - снова Ленинград и работа на кафедре специального фортепиано, исполнительская деятельность, защита кандидатской диссертации. Однако начавшаяся в стране борьба с космополитизмом вынудила его снова переехать в Ташкент, где он стал заведовать фортепианной кафедрой. В 1961 г. по приглашению ректора A. Н. Котляревского он возглавил кафедру специального фортепиано НГК им. М. И. Глинки, где преподавал до 1989 г. Отъезд в Иерусалим, где он проработал в должности профессора консерватории до конца своих дней, оказался существенной потерей для НГК, поскольку именно в Новосибирске широко развернулась его исполнительская деятельность, поездки по Западной и Восточной Сибири с концертами, лекциями и мастер-классами, с оказанием методической помощи педагогам и учащимся музыкальных колледжей. Если охватить всю его исполнительскую деятельность, то не окажется ни одного стиля и жанра, которого B. И. Слоним не коснулся. Его педагогика строилась на следующих принципах: точность передачи авторского текста, искренняя увлеченность и психологическая насыщенность исполнения, всесторонний анализ как важнейший путь к интерпретации, интонационно-речевая выразительность, свобода, звуковая и штриховая культура, техническая отточенность, изучение всего творчества исполняемого автора и исторической эпохи, в которой он жил, а также - постоянное культурное и личностное развитие каждого студента.

This article analyzes pages from the piano heritage of D. Kabalevsky, which is addressed to the children studying in children musical schools and art schools. The creative image of the musician is revealed through the prism of his multifaceted artistic and social activity, the assessment of which has undergone some revision nowadays. The article also discusses the reasons of why many previously popular works of famous Soviet composers have faded into the shadow. It is emphasized that Kabalevsky was a graduate of the Piano Faculty of the State Moscow Conservatory and has inherited the wonderful traditions of his teacher, A. B. Goldenweiser. The best traditions of the Moscow piano school are used by Kabalevsky as bases in his creative activity, which acquires specific value in the field of music. Today, when the method of young musicians training is going through innovative transformations, this aspect should be especially considered. The high artistic and instructive value of the composer’s piano heritage is noted. The pieces of the piano cycle “From the Pioneer Life,” op. 14, are methodologically analyzed. It is concluded that Kabalevsky’s cycles addressed to children have not lost their artistic and pedagogical value and therefore can be used in the modern pedagogical practice in their entirety. As for the cycles dedicated to the pioneers’ life, they could play an important educational role by raising the younger generation’s interest in one of the most captivating pages of the country’s past.

The article reveals pedagogical views on the works of foreign composers as a subject of training in the class of academic vocal in children’s music schools and art schools. The characteristic of representation in general educational programs of additional education is given examples of Western European vocal culture. It is noted: a clear preference for works of German composers; the lack of a common position to understanding, what stage of education to include them in the study repertoire and in what language to perform. The pedagogical usefulness of learning and performing such a repertoire in the original language is substantiated. The special attention is paid to the consideration of the difficulties encountered by young singers in working with verbal texts in samples of Italian and German musical culture, as well as the main types of preparing children for the performance of works by foreign composers in the original language: the formation of a positive emotional significant attitude to a foreign language, which is to learn vocal work; training the knowledge of the phonetic structure of a given language and the peculiarities of its implementation in speech and vocal intonation; the formation of abilities to correctly pronounce the verbal text of the work being learned; planning and gaining experience of musical and creative activities of students in preparing them for the performance of works in a foreign language.

Материал представляет собой перевод на русский язык статьи «Развитие репертуара для кларнета» британского исполнителя, преподавателя игры на кларнете, библиотекаря Общества кларнета и саксофона Великобритании Дж. Рис-Девис. Данная статья была опубликована в сборнике статей, посвященных кларнету, вышедшем в Кембриджском университете. Ранее ее работы на русский язык не переводились. Актуальность этой работы заключается в ценной информации об эволюции репертуара для кларнета. В ней раскрываются исторические факты создания произведений в течение нескольких столетий, комплексно рассматривается их жанровое и стилистическое развитие. Дж. Рис-Дэвис берет за основу книгу К. Ф. Уистлинга, изданную еще в XIX в. для подробного описания композиторов, сочинявших для кларнета, открывая тем самым новые имена зарубежных композиторов и малоизвестные произведения для отечественных музыковедов и исполнителей на кларнете. Текст статьи может послужить источником первичной информации для подробного научного рассмотрения зарубежной истории кларнетового исполнительства по разным странам и временным периодам. Автор перевода ставит перед собой важную задачу - сделать доступной систематизированную информацию о развитии репертуара для студентов и профессиональных исполнителей-кларнетистов

Theatrical art had a significant influence on the formation of social and cultural space of the city at all times. Currently Khabarovsk is one of the theatrical art centres in the Russian Far East. In this regional center theaters of different genres and periods exist. To study the Khabarovsk puppet theater is relevant because of growing interest of viewers of different ages to its activity, as well as the increasing role of the theater in the cultural and social development of the Far Eastern region. The puppet theater was created and later revived in the period of social modernization of the 1920s and 1990s. The paper attempts to identify the causes of the popularization of puppet theaters in certain historical periods. The peculiarities of a puppet genre can be explained by the Russian Far East situation at that time that created the appearance of the city puppeteers in the theatrical space whose work accumulated all the best traditions of Russian and the world puppet genre. Archive documentation analysis allowed creating a holistic view of the puppet theater major directions in the period of radical transformation of the 1990s.

In this article we intend to highlight some characteristic morphological features of the melodies for listening included in the repertoire of the fiddlers- violonists from the north of Moldova, referring, in particular, to the variety and trends of its evolution in the space of time from the second half of the 20th and the beginning of the 21st centuries. By applying this information in the scientific circuit we will contribute to valorizing and completing the image of the fiddler phenomenon at present. The establishment of this repertoire was favored by some socio-political and cultural events of the 20th century, which generated mutation processes, such as globalization, academic schooling, improving the instruments, freedom of communication with musicians from outside the country. As a result, in the investigated space some species are gradually removed from circulation, and others that entered it, are still ongoing a process of crystallization and claim the right to exist. The fiddlers-violinists of the younger generation, tempted by the trendy, increasingly prefer them, being executed at various occasions.

The article describes cultural life in Kielce at the threshold of independence. The local theatre played a prominent role at that time, since it was the only professional scene on which the Regency Council’s manifest was read. After this event the institution had its name changed into the Polish Theatre. The directors in those days were struggling with financial and logistical problems, lack of permanent crew, and even the outbreak of typhus. The history of the theater is described in the context of provincial, poor and clerical town, in which the intelligentsia accounted for a small percentage of the population. The audience wanted some entertainment both from the theatre and the expanding world of the cinema. Therefore, the creators were trying to meet those expectations through productions based on comedy and operetta. The local amateur theatre was the only group involved in politics, staging several patriotic plays. The conclusions of the article are based on the materials published in ”Gazeta Kielecka”, a local newspaper of that time, and collections available in the branch of National Archive in Kielce (unfortunately, no documents have been preserved in Żeromski Theater), as well as the research done by regional historians. Year 1918 turned out to be just a glimpse in the long process of changing the mentality of local community. It was just the first step to rebuild its national identity.

The present article approaches some aspects of teaching students whose major is light music and jazz instruments (percus­sion instruments) in the vibraphone class. The authors examine problems specific to studying the vibraphone by the percussion­ist that work in the field of light music and jazz such as setting the interpretative apparatus, forming the repertoire, overcoming some technical difficulties in the process of assimilating the instructive-didactic programme etc.

Oleg Negruţa’s composition repertoire for solo instruments with accompaniment, of which clarinet opuses are highlighted, is important for indigenous musical art. In a vast genre complex, it confirms the composer’s constant commitment to the idea of the Bessarabian professional school. In this sense, as relevant works can be considered the three pieces for clarinet and piano: Improvisation, Fantasy on a Theme by Paganini and Elegy. However, this article is meant to offer details in an analytical way about Negruţa’s specific language and, moreover, to emphasize the author’s mastery of combining folklore elements with others characteristic ofjazz, both being treated according to the canons of academic music.

Статья отражает опыт выстраивания репертуарной политики Хорового консорта ЛАБОРАТОРИИ НОВОЙ МУЗЫКИ Новосибирской консерватории, концертная деятельность которого осуществляется в рамках Международного фестиваля современной музыки «Сибирские сезоны». Различные аспекты традиционного и экспериментального в хоровом исполнительстве рассматриваются сквозь призму творческих и методологических задач хормейстера, составляющего репертуар коллектива из произведений современных авторов. Современное искусство - явление многостилевое и полижанровое, и этими своими качествами оно ставит перед хормейстерами и певцами ряд интереснейших задач. С одной стороны - это воссоздание художественных моделей прошлых эпох, их интеграция и актуализация в музыкальной современности. С другой - опробация экспериментальных подходов к хоровой композиции и исполнительству, которые реализуются, например, в сочетаниях хоровых тембров, в смешиваниях с инструментальными звучаниями и в звукоизобразительных опытах всевозможных подражаний. И все же в вопросах выбора репертуара, каким бы интересным и разнообразным он не был ныне, предпочтения склоняются к выбору исконных хоровых жанров - носителей идей духовного совершенствования, национального объединения. Хоровое искусство не должно утрачивать своего основного - «соборного» начала с присущей ему (обусловленного самой формой бытования) функцией коллективного сознания. Хоровая музыка всегда несла весомый ценностный пласт, и впредь должна выполнять нравственно-моделирующую, воспитательную, просветительскую роль.

Статья посвящена анализу роли информационных ресурсов, технологий и возможностей интернета в учебном процессе работы над музыкальным произведением в классе фортепиано, способствующих наиболее полному и разностороннему охвату материала и адекватному прочтению авторского текста студентами, педагогами и молодыми исполнителями. Отмечается усиление интереса к фортепианному наследию Дебюсси, исполнению и записи на диски ранее не столь популярных его произведений: Двенадцати этюдов и 13-го этюда, информация о котором стала доступна широкой аудитории в настоящее время благодаря развитию современных технологий. Отмечается также множественность интерпретаций, доступных в записи, и открывающиеся в этой связи возможности для развития творческой фантазии и аналитических способностей учащихся. Прослушивание записей пианистов, относящихся к разным исполнительским стилям, играющим одно и то же произведение, позволяет найти то общее, что характерно для интерпретации данной музыки. Приводится пример исследовательской работы музыковедов по анализу авторского исполнения Дебюсси, приведшей к корректировке печатного нотного текста и, как следствие, изменению традиции исполнения пианистами Прелюдии Дебюсси «Затонувший собор». В статье особо освещается, какому этапу работы над музыкальным произведением соответствуют какие возможности использования мультимедиа или библиотечных ресурсов.

In this article the first time given a detailed analysis of the Ukrainian theater performances made during 60-80 - years of the twentieth century, by five playwrights yesamy neighboring countries. The author shows how there was a process of enrichment of the repertoire Ukrainian food a foreign drama, which eventually led to the expansion of themes and issues of its work, the genre stilistychnoyi diversity and talents of actors and directors. This explains the relevance of this study. [ABSTRACT FROM AUTHOR]

The first records of the Karelian spirituals were made already in the 19th century. The current research is based on the publications and materials of Petrozavodsk archives, where most records are kept. The greater part of the collection represents the common Russian subjects, most of records are in the Russian language. The composition of subjects of Russian spirituals transferred to the Karelian folklore is analyzed, as well as the special features of Karelian manner of singing are studied. The most known subject is Aleksey -- a person of God, translated into the Karelian language. Traditionally, there were poor vagabonds among the Karelians, who sang spirituals. The fact of singing spirituals during funeral ceremonies was fixed. The apotropaic function of the spiritual was taken alongside with the text of the spiritual Dream of God's mother. The language of the Karelian spirituals is complicated, in some cases it is close to the language of lamentations. Translations into the Karelian language are not very precise, it means that most probably this genre was not very familiar to the Karelians. [ABSTRACT FROM AUTHOR]