DOI: 10.7256/2453-613X.2021.6.37395

Abstract: Chamber music attracts the audience with its wide range, diverse sounds, and rich expressiveness. Even if it is still the same chamber music, the influence of geography, ethnicity, and culture, styles and varieties of Chinese and Western chamber music are widely different. By comparing pieces of Chinese chamber music with the Western chamber music, one can find out that Chinese chamber music focuses on the expression of the artistic concept through the melody, while the Western chamber music gives more attention to logic and festive genres. Within the Chinese musical aesthetics, influenced by Laozi’s Tao Te Ching, there’s an idea that «music has in it neither grief nor joy», saying that music itself is not emotional, and is objective, it is just an incentive and an instrument of emotions. In Western countries, the art of music gives attention to the technique, and considers music as a real and important substance, and tends to a more «autonomous» point of view. The authors of this research give special attention to the analysis of aesthetic differences between Chinese and Western music, as well as creative differences caused by the influence of aesthetic differences. In view of these facts the authors formulate the conclusion that the music of China and the West should be compared based on the ideas about aesthetics and their detailed analysis. The authors consider the typical features and characteristics of the music aesthetics of the West and China, their diversity and influence on the creative work in chamber music, hold a comparative research, and offer new models and directions of development. The main theme of traditional Chinese chamber music is poetry, and the arrangement is more free, and focuses on conveying the artistic idea. The Western chamber music has a strict creative routine, and gives more attention to the characteristics of music itself.

DOI: 10.7256/2453-613X.2021.6.36655

Abstract: The article is devoted to the analysis of the theme of labor in the Soviet mass song of the 1930s. The purpose of the study is to reveal the poetics of mass song labor in the context of the Russian musical culture of the 30s of the twentieth century. The author points out that the mass song is one of the most interesting phenomena of Soviet culture. It is rightly noted that being a product of the socialist era, the mass song was designed to solve the tasks of mobilizing a significant number of people for labor feat, without which it was unthinkable to successfully build a new life in the young Soviet state in the first decades of its formation after the October Revolution of 1917. It is stated that the song of those past years reflected the typical features of song art aimed at developing an optimistic spirit, strong will and self-confidence among Soviet citizens. The article examines the characteristic features of the mass song of the 1930s, analyzes the goals of its dissemination, the main images popularized in the texts of this type of songs, as well as their influence on the consciousness of the Soviet people. The theoretical significance of the research is determined by his contribution to the development of the problems of pop music art as an integral part of Russian culture.

DOI: 10.7256/2453-613X.2021.6.37354

Abstract: As the world theatrical practice of the last decades shows, it is the legacy of A.P. Chekhov that is an inexhaustible source of inspiration for many directors and composers. There is a huge number of works devoted to the topic "Chekhov and music". The musicality of Chekhov's prose is one of the most frequent topics in philological and musicological studies. Plays, novels, and short stories by the author have more than once become an occasion for new creations in the opera house. In this article, the author examines the famous operas of composers of the turn of the XX-XXI centuries based on the prose of A. Chekhov. The works are arranged according to the principle of differences between the plot plot and the libretto of operas from the literary source. In foreign musicology, the genre transformation of opera, in which the literary component becomes the main factor of centralizing unity, has been called literary (the term of K. Dahlhaus). In the most general sense, this genre should be understood as a reliable musical version in accuracy or in the abbreviation of the literary source. In Russian musicology, literary opera is a little-studied area of music history, which allows us to speak about the scientific novelty of the presented material. Thus, in the article the author comes to the conclusion that operas based on A.P. Chekhov stand apart in the implementation of the genre of literary opera in the domestic theater of the selected period. Based on the analysis, the author identifies three types of literary opera, which allow to characterize the method of composers' work with the literary source.

DOI: 10.7256/2453-613X.2021.6.37000

Abstract: The article is devoted to the scientific heritage of the founder of the national ethnointrumology Alexander Sergeyevich Famintsyn. The purpose of the study is to analyze the intellectual environment in which Famintsyn was formed as a scientist and reflect the ideas, methods and achievements of the humanities of the XIX century in his works. The purpose of the proposed article is to consider the main works of the scientist "Deities of the ancient Slavs" and "Buffoons in Russia" in the context of scientific ideas of his time and as the basis of his later instrumental works. The relevance lies in the need to study the period of the beginning of the formation of national ethnoinstrumentology, its methodological foundations, which were laid in the works of Famintsyn. The article analyzes the features of A.S.Famintsyn's scientific method, which consists in the use of a comparative method formed in religious studies and literary studies, the presence of hermeneutical reading of sources. Methodology: the author applied source-based, comparative-historical, system-ethnophonic methods to the study of the topic. The prerequisites for the formation of a scientific picture of the scientist's world (gymnasium years), the influence on the concept of Famintsyn of the national school of literary studies (A. N. Veselovsky, I. I. Sreznevsky), the German comparative mythological school (M. Muller) are considered. The author comes to the conclusion about the fundamental novelty of the approach, which was present in the musicological (instrumental) works of A. S. Famintsyn – both by the choice of the object of research (song and instrumental layers of traditional culture), and by the methodology formed within the framework of the comparative method of linguistics and religious studies. The scientific novelty lies in the subject itself - the scientific heritage of A.S.Famintsyn, who has not been the object of a separate study until now. The author comes to the conclusion that the intellectual environment in which Famintsyn-scientist was formed had a direct impact on the specifics of his instrumental works, their methodology, orientation, and source base. An important role in this belonged to the related humanities - philology, history, religious studies, ethnography.

DOI: 10.7256/2453-613X.2021.6.35933

Abstract: The leading research topic in this article is the analysis of the specifics of the development of saxophone art in a symphony orchestra. The chosen problem requires the study of this direction from the perspective of a broader socio-historical context, within which it is possible to identify special signs of musical culture, both in the general context and in individual genres. In this vein, the study of saxophone music in a symphony orchestra allows us to outline, firstly, the origins of the origin of interest and the introduction of a special instrument into the cultural panorama, secondly, to trace the ways and impulses of its spread, and thirdly, to find out the problems of the saxophone as part of a symphony orchestra. In order to fully understand its special place in the cultural continuum of a certain place and epoch, music for the saxophone should be considered not just as a specific artifact that has been embodied in creativity, performance, education, but as a multi-level and three-dimensional concept in the musical art of the XIX-XXI centuries. The disclosure of the role of the saxophone as part of a symphony orchestra in the article is not just carried out through the prism of the representation of a certain number of facts, names, events, and can be traced as the correspondence of the development of the instrument to those historical, political, socio-economic and, above all, cultural and artistic processes that have formed a kind of creative reinterpretation of one of the most popular modern instruments. The purpose of the study is to substantiate the genesis, development trends and the current state of saxophone art in general, as well as, in particular, in the composition of a symphony orchestra. In the study, the author focuses on iconic performers and teachers, whose personal achievements in the field of concert, research and musical and social activities had a significant impact on the formation of the saxophone as part of a symphony orchestra.