DOI: 10.7256/2454-0625.2018.5.26199

Abstract: This is the review of a monograph written by a Soviet Kazakhstan academic writer and Doctor of Arts Saule Utegalieva 'The World of Sound of Turk Music: Theory, History, and Practice' (the Case Study of Instrumental Music Traditions of the Central Asia' pulished in Moscow by the Composer Publishing. In her review Sokolova underlines the importance of this 30-year research that covered a major layer of instrumental music cultures of Central Asian Turk nations and revealed in-depth features of instrumental sound. From inside the culture, the author of the monograph explains conceptual and axiological meanings of Turk sound timbres and demonstrates the integrity of Turk world of sound both horizontally (in relation to different Turk nations), vertically (using the same principles of making sound by different musical instruments) and diagonally (construction of a musical form of an instrumental music composition). To write the review, Sokolova has applied the method of critical analysis and principles of hermeneutics to interpret the origin of particular ideas represented by the author of the monograph. The monograph was published in Moscow in 2013 but has not been presented to the general Russian reader. This review is intended not only to attract attention to a serious research of Saule Utegalieva but also outline the most nettlesome problems of modern instrumental music research. In addition, taking into account the new cultural policy of Kazakhstan and adoption of Latin alphabet by Kazakhs Russian-Kazakhstan research communication has very little chance. Saule Utegalieva's research is one of the recent fundamental researches devoted to traditional music that has been published in Russia.  

Keywords: kobyz, dombra, chordophones, music of Central Asia, instrumental music, Turks, Utegalieva, phenomenon of sound, Saule, properties of musical sound

DOI: 10.7256/2454-0625.2018.12.28145

Abstract: The subject of this research is the monograph written by Vydas Siliunas and named 'Mysteries of the Spanish Theatre Stage Language' (published in Moscow by the publishing house Navona). In her research Morozova carries out analysis of the preceding literature on the history of the Spanish theatre of the XVIIth century and demonstrates the role that Vydas Siliunas' monograph played in the history of the literature about history. The researcher focuses on Vydas Siliunas' innovative approach. Siliunas studies Spanish festivals as a proto-type theatre and views plays of Spanish playwrights from the point of view life and theatre and general expression that it makes but not from the philological point of view only as it used to be in theatre studies before. Morozova applies the method of analysis to analyze a new monograph in relation to the history of theatre studies. She also gives a comparison of the reconstruction levels of the Golden century Spanish theatre in the researches by Vydas Siliunas' precedents and his compositions. She compares conclusions and approaches made by Vydas Siliunas and a number of foreign Spanish theatre researchers. The main result of the research is Morozova's conclusion that Vydas Siliunas made a great contribution to the research of the history of the Spanish theatre and Spanish culture. By using examples, Morozova illustrates the ambiguous integrated nature of the Golden Century Spanish culture that is built on the combination of the tragic and comic, brutal and noble, folk and aristocratic. The new approach to the Spanish theatre research reveals completely new opportunities for Spanish studies and analysis of the Spanish culture. 

Keywords: comedy, drama, auto, Lope de Vega, Calderon, Corpus Cristi, Siliunas Vydas, Golden Age of Spain, Spanish theatre, Spanish Culture

DOI: 10.7256/2454-0625.2017.4.22321

Abstract: The subject of the study is Zaur Tutov's book "Melodies of My Destiny" published in the author's edition in Moscow in 2016. It has 7 sections (Childhood, Adolescence, Youth, Becoming, Hopes for Restructuring, Troubled Nineties, Work in the Government of the CBD, Friends in Life and Afterword). The book is supplemented with dozens of photos, reprints of interviews and speeches of the famous singer, reviews of people who know him, Internet links to sites where you can listen to music in his performance. The reviewer has used the method of analytical dissection of the author's text through the prism of his creative and public-state work. She gives an assessment of his attitude towards friends and colleagues, characterizes the civic position of the artist, his attitude to titles and awards, the role of the singer in the development of Soviet and Russian pop music. One of the first responses to the book of Zaur Tutov can make others be interested in the book and at the same time make the reader think about the history of the Russian stage which is not limited to a small number of names constantly "flashing" on the blue screens. Zaur Tutov's book is a confession of his soul, an indicator of the fate of an ordinary rural boy who rose to the musical Olympus because of his talent and diligence. At the same time, the book reveals the nature of the Adygeyan man, proud, fair, for whom ethnic values are in the forefront, but patriotic moods are also strong. He is Adyg and citizen of Russia, and he is proud of this as an artist and as a person.

Keywords: Kabardian, patriotism, Biographical book, baritone, Russian stage music, music, monography, Zaur Tutov, Ethnic values, Russian art