DOI: 10.25136/2409-8744.2017.4.23755

Abstract: The article is devoted to the education of professional musical ear for intonation and style based on the solfege classes. The subject of study is stylistic education hearing as the ability to perceive musical style on the basis of the manifestations of his signs, assessment of compliance with the stylistic elements and understand the content of a musical work in the style context. Music represents a hierarchical system comprising many components, acts at different levels of aggregation, characterized by the multidimensional nature of its existence and can be known through the study of its determinants-determinants of specific historical manifestations, persisted in his categorical system.Methodological basis are the works in the field of theoretical musicology B. V. Asafyev, V. N. Kholopova, V. E. Nazaikinskii, M. K. Mikhailov, in the study of musical-auditory perception and methods of teaching solfeggio – work L. A. Ostrovsky, L. Maslenkova, Z. I. Glideskina, Z. Lissa.The author gives a list of aspects of auditory perception necessary for the formation of stylistic relationship to the musical material, based on the study of historical, national and author's styles. The proposed methods are intonation and stylistic comprehension of music are supposed to provide the concept of different layers of musical culture, revealing the traditions and innovation of composers, compositions, forms, methods and the formation of a holistic perception of the whole musical tissue that contributes to the enrichment intonation and auditory experience of the musician.

DOI: 10.25136/2409-8744.2017.4.23771

Abstract: The focal point of the article is the phenomenon of continuity within the framework of Chinese culture. The subject of the study is the influence of the culture of Ancient China (5000 BC - 220 AD) on the culture of Chinese modernity. The object of the research are jade artifacts, fortune-telling bones, as well as folklore language expressions which are popular with modern Chinese. The basic methodology of work is a systematic and analytical approaches to culture, where the analysis of specific objects contributes to the understanding of the whole; the next method is the description of objects with the elements of interpretation and comparison. Exploring objects that reflect the evolution of Chinese civilization from ancient times, the author concludes that the consciousness of the modern Chinese contains a huge layer of powerful meanings, rooted in Neolithic antiquity. The most important results of the work are cultural interpretations of the functional orientation of Neolithic artifacts and their reflections in the folklore layer of the Chinese language, the data of which the author analyzed with the help of the on-line corpus of the modern Chinese language. In the course of the research, the author appeals both to the classical works of G.W.F. Hegel, N.Y. Danilevskii, E. Husserl, and to the relatively recently published works of J. Alexander, V.D. Leleko, T.I. Lavrenova, R.J. Klein, B.E. Ensor, Bai Yui. The results of the research are applicable to any branch of cultural production, as they contribute to the penetration into the depths of Chinese sense, the understanding of which is of the greatest importance for the contemporary cultural space.

DOI: 10.25136/2409-8744.2017.4.24010

Abstract: The object of the study is the artistic life of the city of Krasnoyarsk during the First World War. As a subject of the study, the role of foreign artists-prisoners of war in the creative processes of the Siberian province (1914-1920) is studied. The activities of the prisoners, influencing the regional history of art has not been studied, although it is clear that the long stay of foreign masters in the Siberian camps, manifested in the artistic process of the Russian periphery, affect the creative search of local artists, significantly affected the Siberian culture. Using an interdisciplinary approach and methods of synthesis and analogy, isolated and little-known information together in holistic subjects and recreate the artistic processes of the city. In historical reconstructions, the role of prisoners of war becomes apparent and is associated with the introduction of various artistic traditions, the influence on local art education, the activation of the exposition process. In general, during the First World War it was the enrichment of the local creative gene pool, allowing the artistic life of the city to avoid stagnation and dynamic development not only in the period in question, but also refined at the subsequent stages of history.

DOI: 10.25136/2409-8744.2017.4.23811

Abstract: The subject of this study is the cultural-educational societies of Yeniseisk Province as a local form of self-organizing social processes. The object is the musical life of the cities of Yeniseisk Province of the late XIX – early XX centuries. The goal of this article consists in analysis of the activities of a number of cultural-educational societies of Krasnoyarsk Krai (music admirers, care for elementary education, volunteer firefighters, sobriety), as well as understanding of its impact upon the establishment of the region’s musical platform. Leaning on the wide range of unpublished scientific works (archive documents, pre-revolutionary printed publication), the article gives characteristic to the cultural-educational societies are described as a phenomenon of the Russian history of pre-Soviet period, briefly reviews its genesis, notes the regional Siberian specificity, outlines the organizational structure and functions, and reveals the previously unknown aspects pf the musical artistic activity of the educational societies in Yeniseisk Province.  The scientific novelty of the study lies in the following conclusions: 1) The development of musical life in the Yeniseisk Province (alongside many other peripheral territories of the country), not being a part of direct interest of the local authorities, was extensively supported by the public initiative, thus, the cultural-educational non-state unions as the centers of social self-organization manifested as the crucial and dominant catalyst of its dynamics, while in county cities – practically singular; 2) Yeniseisk Province, unlike many neighboring Siberian territories, was not able to establish the essential conditions for sustainable and long-term functioning of the art admirers unions, which are an intrinsic part of the local musical life; the lack was partially compensated by the non-musical educational societies that conducted an extensive cultural work.

DOI: 10.25136/2409-8744.2017.4.23894

Abstract:     The subject of this research is the poetic style of the spectacle “Othello” created by Vladimir Magar in 2011 in the Sevastopol Academic Russian Dramatic A. Lunacharsky Theatre. The article analyzes the main peculiarities of the theatre director’s artistic manner: creation of the atmosphere of a game and romantic two-worldness; use of multicomponent literary-dramaturgical basis of performance; mounting composition and music structure; combination of various ways of actor’s existence, leitmotif system, etc. The author examines the role of scenography, music, and other components of a dramatic act. The work applies the comparative-historical method, personal spectator’s experience of the author and analysis of print media dedicated to the spectacle. Works of the Sevastopol theatre director Vladimir Magar are absolutely unstudied, and this article manifests as a continuation of research of the poetic style of his spectacles. The analysis of poetic style of the spectacle “Othello” is essential for comprehending the key principles of Magar’s directing activity. The research of his directing manner helps restoring the obscured pages in the history of Russian theatre.    

DOI: 10.25136/2409-8744.2017.4.24147

Abstract: This article examines the gradual realization of the need for preserving the relics of ancient times among the secular expert and representatives of the Orthodox clergy, as well as the steps made by the state and Russian Orthodox Church (as a part of government) regarding the conservation of ancient church monuments in the XIX – early XX centuries. The analysis of literary sources allows drawing a conclusion about the creation of a unified system of historic preservation, which was previously impeded by the Russian revolutionary events of 1917. The article names the causes that hindered the establishment of the national system of historic preservation. The scientific novelty is characterized by the analysis of the indicated sources and literature: from the periodical press of the XIX century until the contemporary research. The author introduces into the academic discourse the fact about the activity of unrenowned personalities of clerical hierarchy.  

DOI: 10.25136/2409-8744.2017.4.23447

Abstract: The subject of this study is the evolution of discourse of the ancient visual and literary heritage in the visual arts of the XIX – first half of the XX centuries. Representatives of the Cimmerian Art School of different generations are united by zest in the artistic image of Crimea, as well as historical heritage of the peninsula. One of the most relevant topics in visual arts of the "Cimmerians" throughout the XIX – early XX centuries lies in the cultural heritage of antiquity. The object of the study is a change in reciting of visual text of ancient culture in the Cimmerian Art School. The article applies a method of semiotic analysis of oeuvres of the artists of Cimmerian Art School; description of visual images; and analysis of the literary and narrative sources. The main results of the research consist in disclosure of the cultural basis of ancient and archaic theme in art; identification of the key directions of reciting the images of antiquity in the legacy of artists of different generations in the Cimmerian Art School. Author’s special contribution into the study is the coverage of creative path of a Crimean artist Stephan Mamchich (1924-1974).The scientific novelty consists in examination of the dynamics of visual text of a historical landscape in the Cimmerian Art School of the beginning and middle of the XX century.

DOI: 10.25136/2409-8744.2017.4.23804

Abstract: The object of this research is the traditional Buryat costume, peculiarities of its current existence as an identity system in modern space of the global worldview and transnational cultures. The subject of this study is the specificity of using the unique features of Buryat costume as a source of autochthonous characteristics of the "place" in creating the souvenir gifts. The thoroughly examine such aspects, as color and ornament in the national Buryat costume, and their role in revealing the authenticity Buryat culture. Particular attention is paid to the analysis of regional souvenir products in the context of researching the problems of cultural identity, images of ancestral ethnic costume, which are used for creating the image souvenir products of Buryatia, reflecting the actual specifics of the "place", rather than “imaginary identities”. Methods of comparative-historical, ethnographic analysis and marketing research applied during the course of this research allow collecting the extensive ethnic material, review a diverse assortment of products presented in the souvenir market of Ulan-Ude and the republic, as well as compare the original models of traditional clothes and samples of souvenirs depicting the national costume elements and/or ethnic images. The scientific novelty consists in the highlighted ethnonational features of the costume, color systems and the specifics of ornamental decoration, most popular elements Buryat clothing, tranlated as the identifying codes, as well as their interpretation in souvenir products. An important role is also played by the tribal differences of a costume as a distinct “identifier” that allows distinguishing the ethnic images, including in souvenir products. Using the individual characteristics of Buryat costume in manufacturing souvenir products will provide opportunity to expand the assortment of souvenirs, separate Buryat motifs from the similar Mongolian, as well as achieve deeper “association” with the culture of this region, turning souvenirs into the image products of the “place”.