DOI: 10.7256/2453-613X.2017.2.25011

Abstract: The article is devoted to the phenomenon of female love from the point of view of female images typical for the Russian literature of the 19th century. As a result of her analysis. Soboleva concludes that all these images have one common feature which is their tragic fate as a result of fatal love that enslaves women and brings them to death. The basis for such understanding of female nature is the stereotypes about women that still exist in many cultures. As an example, the author of the article analyzes the image of Katerina from The Thunderstorm by N. Ostrovsky, Anna Karenina in L. Tolstoy's novel, and Katerina from N. Leskov's Lady Macbeth of the Mtsensk District. The author pays special attention to the image of Katerina from the former novella as it combines not only stereotyped 'female features' but also their fatality, incompleteness and disharmony. The author underlines that the 20th century changed the attitude of the society towards women and their abilities and life goals. At the same time, the philosophy of female love was also reviewed which was expressed in the most famous interpretations of literary images in other arts such as cinematograph and music. The author analyzes how the image of the Lady Macbeth was interpreted in D. Shostakovich' opera 'Katerina Izmaylova'. By analysing changes in the plot and narration, free interpretation of male images in N. Leskov's novella, new messages that were created in the opera, Shostakovich' attitude to the heroine, the author evaluates the composer's contribution to the philosophy of female love and reveals the new depth of the composer's idea of the female beginning as a predetermined service to love that became the main meaning of the woman's life. 

DOI: 10.7256/2453-613X.2017.2.24995

Abstract: The subject of the research is the functional similarity between tone and tembre that is demonstrated based on the example of monody and electro-acoustic music. Monody is a style of composition where sound, usually of a certain tone, is the main element while music composed for an electronic media does not have sounds of particular tone at all and tones and noise play the same role. Nevertheless, the main feature of both styles is a long duration of a stable sound. Another similar feature is overtones confined to voice or instrument used in a composition. The author of the article also underlines different stability and non-stability of sound in both styles. The research methods included mathematical, structural and spectral analysis of Medieval one-voice music as well as compositions by L. Berio, K. Stockhausen and P. Boulez. The novelty of the research is caused by the fact that the author defines numerous similarities in functional relations and perception of monody and electro-acoustic music. The author refuses from the thematic analysis of the monody structure as in analysis of homophonic harmonic compositions and differentiates electro-acoustic music from sonorism that electro-acoustic music is often associated with due to its colorfulness. 

DOI: 10.7256/2453-613X.2017.2.24640

Abstract: The object of the research is the instrumenal one-man or one-woman performance, the genre that is attributable to post-modernism aesthetic and comprises the general system of performance genres. The author of the article examines aspects of the synthesis of arts that forms a ritual space of instrumental one-man performance, the balance of music and word, music and event, music and theatre with their decorations and stage requisites. This balance implies transformation of a single instrumental composition into a true theatre action that is based on the principles of theatre but not music. Nevertheless, this theatre effect does not reduce the importance of instrumental compositions such as in compositions by R. Erickson, F. Rzewski, L. Berio, K. Stockhausen and I. Sokolov. The researcher applies the integral approach to studying the matter and bases his research on the integral analysis of particular music-and-theatre works. The majority of compositions are analysed for the first time in the academic literature. The scientific novelty of the research is also caused by the fact that the author defines particular composers' styles and concepts. The main question of the research is why a composer uses theatre effects in his or her instrumental music. As his answer to this question, Petrov offers his theory that theatre effects with the theatralisation of the stage space used by composers (from the word to stage props) are typical for post-modernism composers whose creative work was closely connected with the idea of performance and who wanted to reveal the programming content that is usually hidden in music. 

DOI: 10.7256/2453-613X.2017.2.25002

Abstract: The author of the article analyzes time and space in the concept of a French specral school composer Gérard Grisey. The new music does not separate time and space and views time as the way to organize events in the acoustic space. In this regard, space-and-time paradigm is defined by the principle of multidimensionality that is, in its turn, based on the principle of organized unity from the micro- to the macro-space. In the course of her research Lavrova referred to the liminal-thresholod concept of time and space used in specralism and Gerard Grisey's special methodology that was based on natural physiological processes. In terms of the philosophy of those times, the author of the research analyzes Grisey's work 'Tempus ex machina' and defines the coordination axis there. For further analysis, the researcher appeals to the same-name composition of Gerard Grisey and describes relevant rhythmic patterns. The author draws parallels with Moll's information theory and Weber–Fechner law. The final conclusion of the research is that the concept of intra-sound space in spectralism creates a new sound concept that views sound as a life phenomenon. Switch from the 'internal sound' to external factors and transfer from microphonic to macrophonic space allow to present sound as a living creature that goes out of its non-existence and dies when it crosses the border of silence. This reveals Gerard Grisey's special philosophy of life in general. 

DOI: 10.7256/2453-613X.2017.2.25040

Abstract: In her article Ivanova analyzes one of the singing genre typical for Russian settlements of the Volga Delta of the Astrakhan Region, the round-the-clock song. The author analyzes specific features of the lyrical plot in the round-the-clock songs as the system of events and actions defining the dramaturgy of the round-the-clock action. Ivanova underlines that in folklore the plot reflects the collective conciousness that rules certain processes in life. As an example, the researcher analyzes materials recorded during her field researches in Volodarsky, Kamyzyasky and Limansky districts of the Astrakhan Region. The author of the article makes an attempt to carry out an integral analysis of this phenomenon based on the analysis of field research materials. These materials are analyzed for the first time in the academic literature which causes the novelty of the research. As a conclusion, the author defines the main genre features of the round-the-clock song in general and the round-the-clock songs with lyrical plots. These feature sinclude refrains, solo parts, step or dance movements when the song is being performed, and use of such songs in calendar rituals.