DOI: 10.7256/2453-613X.2017.4.25544

Abstract: The object of this article is the research of sociology of music  made by the famous German philosopher and musical expert Theodor Adorno. The article considers the views of the scientist on the phenomenon of music and its division into two types (two forms) - the mass and the elite one. According to Adorno, the said division lies at the heart of all music, which affects the genre, language and content conceptions of each individual piece of music. The article traces the statements and theories of Adorno; a typology of kinds of music is produced. The main method used in the article is a method of complex analysis that allows the author to encompass Adorno’s works and studies of different years within the scope of one work in order to trace the evolution of his views. The novelty of the work lies in the fact that specificity of music classification introduced by Adorno has not been adequately covered in musicology yet. And, despite its remoteness in time, the classification of the scientist is still highly relevant and requires more generalization and application in science.

DOI: 10.7256/2453-613X.2017.4.25119

Abstract: The object of the study is the Theory of Interpretation in musical art. The subject of the study is the cognitive model of interpretation in musical art.  Particular attention is paid to the interpretation research of musical text from the standpoint of cognitive scientific paradigms, which implies knowledge of the laws and ways of evolution of musical culture, understanding of the functions, structure, content and language of musical art, analysis of the mechanisms of musical thinking. Expansion of the opportunities to learn about musical art is accompanied by a process of cognitive immersion into the nature of musical knowledge itself.  The methodological basis of the work is a cognitive approach that allows considering interpretation in musical art as a phenomenon connected with processes of musical thinking, consciousness, memory, and cognitive activity in general.  The novelty of the study is as follows:  the author developed and proposed a method of cognitive analysis of a musical text that allows covering the phenomenon under study as an artistic integrity in broad interrelations with the knowing subject, his/her intellect, experience, level of mental activity, as well as with the surrounding world. Main conclusions of the study: The cognitive model of interpretation in musical art is a methodological tool in the focus of which the facets (associated with assimilation of special knowledge, with methods of their mental organization, with formation of artistic ideas and their embodiment in acoustic, verbal and nonverbal forms) of musical conception of the cognitive process of the subject are manifested . Methodological foundations of the cognitive approach allow us tohighlight some new key points indicating the significant perspectives in understanding the semantic structure of interpretation in musical art in its multiple links with the knowing subject, his/her intellect, experience, and level of mental activity.

DOI: 10.7256/2453-613X.2017.4.25530

Abstract: The article focuses on the figure of Dmitry Shostakovich, the greatest composer of the twentieth century. The author explores contradictions of his creative heritage of the 1930s, when the composer was forced to make the so-called musicology compromises. These compromises were connected, first of all, with the desire to write the music and work in the genres that corresponded to emotionality of the composer. On the other hand, Shostakovich had to write "superficial" music to please the current political regime which followed every creative step of the composer. From a historical perspective the article considers the most controversial works of the 1930s, which were created in theatrical genres - the opera "Lady Macbeth of the Mtsensk District" and the ballet "the Limpid Stream". The historical approach required the use of sources of that time - fragments of articles from newspapers and magazines in which Shostakovich's name is mentioned from one or another perspective. This approach gives novelty to the topic under consideration. It is stated that music by Shostakovich will always be relevant regardless of the era in which mankind exists, and it will be a true testimony of the history of the twentieth century for the future generations.

DOI: 10.7256/2453-613X.2017.4.25177

Abstract: This article explores the pedagogical activity of Manuel Patricio Rodríguez García, analyses and substantiates the difference between the versions of edition of the work "The Complete Treatise on the Art of Singing" of 1840-1847 and 1856, which has raised questions among singers and vocal pedagogues over a long period of time. Despite the fact that the work "The Complete Treatise on the Art of Singing" has been repeatedly published in Russian, the disputes about its principles continue unabated up to now even in the media. The theoretical and methodological basis of this study is as follows:  analysis of musical and pedagogical problems, cultural and historical analysis, comparative analysis. This article clarifies the author's recommendation on the use of various types of breathing stated in the treatise of 1840-1847 and 1856. In the middle of the XIX century vocal pedagogy developed in accordance with the performance practice of the era of Romanticism and new aesthetic intentions, that's why Manuel Garcia Junior, the author of the treatise, improved his treatise and recommended singers to use chest-diaphragmatic breathing instead of small (clavicular) one.

DOI: 10.7256/2453-613X.2017.4.25419

Abstract: Publications on musical folklore of the Turkic ethnic groups in the contact zone of the Astrakhan region (Tatars, Nogay Karagashs, Turkmen, Kazakhs) available at the moment are inconsiderable in number. The musical folklore of the Turkic groups of the Lower Volga region is stratified on the basis of expedition materials, historical, bibliographic sources by means of identification of dialectal, supradialectal and region-wide layers of traditions, as well as of active common Turkic regional layer of music of oral tradition. Preserving the identity of culture of the Turkic ethnic groups, the article considers musical genre parallels and exchanges that lead to the enrichment of cultural heritage of these traditions and identification of the polyethnic cultural space of the Lower Volga region. Live processes in the oral music tradition are continuing at this time, which proves the relevance and prospects of the subject matter of the article. Exploration of these folklore traditions in a comparative aspect gives grounds for more accurate interpretations of modern issues related to identification and self-identification of the Turkic ethnic groups of the Astrakhan region.