DOI: 10.7256/2454-0625.2019.8.30315

Abstract: When it comes to modern performing art in Russia, researchers mostly recall modern mucisians. As for musicians who stand at the origins of modern artistic performance, they are mostly thought of as the 'older generation' whose work is not so important today. Their activity is viewed mostly as a compilation of achievements of the past. As a result, analysis of Russian musicians who founded the 'new' performing school is a topical issue for research. In this article Tokarev covers performing, teaching and social activity of Vadim Novikov, the leader and participant of the process of creation and development of modern trumpet playing of Moscow Conservatory. Tokarev also touches upon Vadim Novikov's innovations. The article is based on the principle of historicism as well as the methods of comparative and descriptive analysis. In addition, the researcher has also used historical chronological and problematic/chronological methods in order to successively analyze phenomena and each stage of historical development. At the present time, the personality of Vadim Novikov as the founder of solo trumpet performance at Moscow Conservatory has not been studied as fully as it should be. Available researches do not fully cover all sides of the musician's creativity. Surely, these researches contain valuable material but they either ignore special issues or are limited to particular chronological framework and this is why cannot be considered as a full research of Vadim Novikov's creative life. Tokarev describes the main contribution of Vadim Novikov into trumpet performance art and teaching performing art. 

DOI: 10.25136/2409-8744.2019.5.30156

Abstract: The author examines the periods of professional training in the art of playing the trumpet and activity of the pedagogues-trumpeters who worked in the Moscow Conservatory from 1930’s to 2005 – students and successors of M. I. Tabakov, differences in their methods, innovations, continuity of pedagogical and performing traditions, as well as their principles. The article contains the previously known records on pedagogical activity of G. A. Orvid, S. N. Yeremin, L. N. Volodin, Y. A. Usov, A. Maksimenko, V. Y. Yudin, E. Y, Fomin, and Y. E. Vlasenko, along with the new information obtained via conversations and interviews with their colleagues and students. The selected complex methodology combines the historical-chronological method, logical analysis, retrospective method, chronological method, systemic analysis, comparative and descriptive analysis, method of classification; analytical, historiographical and historical approaches towards studying documental materials, as well as technological approach. The scientific novelty consists in the fact that this article is first to provide a full-scale review of the work of M. I. Tabakov’s successors in the Moscow Conservatory, analyze their creative activity and pedagogical principles as a part of a peculiar and unique phenomenon of the Russian music culture and education, as well as a part of the world’s musical heritage.