DOI: 10.7256/2306-1618.2013.2.660

Abstract: As it is well known, the Era of Stagnation was marked with the revival of social studies after many years of them being prohibited. At the same time, peculiarities of the development of social studies back in those times were the ideological nature of social studies. Changes in the socio-political situation at the turn of 1960 - 70's led to increased control of over social studies by political parties. The author of the present article studies one of the brances of social studies in the Soviet culture - sociology of music. The author describes how that branch of social studies was functioning during the period of 'mature socialism' in the Soviet cultue and analyzes particular styles and genres of writing books in sociology of music from these points of view. Sociology of music was functioning as a tool of cultural policy and was aimed at creating the images of changing Soviet socity and Soviet music culture as it was approved by the Soviet government. 

DOI: 10.7256/2306-1618.2013.2.639

Abstract: In the XIX century the town signified a lot in the cultural integration and centrifugal process in the socio cultural life of the country as a whole. The article discusses the formation and development of town cultural space of the New Age and the Bourgeois epoch. As a multifunctional social organization, town in Russia fulfilled an important cultural function. The town culture, mainly creative, substantially defined the cultural potential of the society. The town space, which is realized as a set of architectural appearance and infrastructure of the municipal economy, socio-cultural environment – a social space of culture functioning, should be considered as one of the aspect of the national cultural heritage worthy of our historical memory.

DOI: 10.7256/2306-1618.2013.2.236

Abstract: The origins of the development of various areas of avant-garde art of the first decades of the twentieth century, largely due to the global activities of Vasiliy Kandinsky, David Burliuk, Vladimira .Izdebsky, T.Fraerman, A.mshey Nyurenberg, Michael .Boychuk. Important role in the artistic life of the region played Odessa Art School, many graduates who continued their education in the major artistic and educational centers in Russia and Europe. In search of creative artists of the early twentieth century, shows the influence of French Impressionism, Post-Impressionism, Fauvism, Cubism, German Expressionism, Italian and Russian Futurism. The variety of artistic styles in the Odessa painting beginning of the twentieth century due to the fact that many graduates of a drawing school continue their education in the Paris, Munich, Krakow, Vienna.The close relationship Odessa artists with Western art centers formed a special artistic atmosphere in which, along with realistic actively developed the latest artistic trends.

DOI: 10.7256/2306-1618.2013.2.576

Abstract: The purpose of the article is to define the role and meaning of images and art of the Russian North in continuing traditions of Russian national culture. The author of the article bases her research on the art work created by Viktor Vasnetsov and other artists of his circle. The author analyzes art work by Viktor Vasnetsov, Apollinary Vasnetsov, Konstantin Korovin, Mikhail Vrubel, Elena Polenova, Milyutin and some other artists. Images of the Russian North are especially important in Vasnetsov's art work. State by stage the author of the article describes how Vasnetsov's world view had been developing through his childhood, youth and maturity. The author also analyzes how the images of the North were expressed in Vasnetsov's painting, graphics, architectural projects and hand crafits (furniture). At the end of the article the author makes the following conclusions: 1. Viktor Vasnetsov and other artists he communicated with tried to understand the essence and nature of people's life. For this purpose they learnt and enriched images of the North. 2. Viktor Vasnetsov's art work presents a typical example of how the Russian North influenced the art work style. 3. The Northern land taught them a new artistic language which proves a peculiar role of the Russian North in revival of Russian national roots in art and culture at the turn of the XIX - XX centuries. 

DOI: 10.7256/2306-1618.2013.2.379

Abstract: The article is devoted to Aprelevsk Factory of Gramophone Disks as the central element of the Soviet sound-recording industry. The author of the present article does not claim to provide a full analysis of all aspects of creating a gramophone record of rock music. At the same time, the author of the article views the most typical features of gramophone recording under the conditions of socialism. he analyzes the main stages of development of Aprelevsk Factory and some other factors of the Melodia Company. Special attention is paid at informative, legal and socio-communicative peculiarities of recording pop- and rock music in the USSR.  The author of the article would like to acknowledge all authors (including unknown Internet users) who participated in the research and whose expressions or writings lie at the root of this article. The article contains references to all expressoins or writings and the author of the article does not claim to be the author of these quotations or studies. At the same time, he has reviewed, extended and developed these ideas. The present article does not cover all music bands, disks, compact disks or record labels. However, the author hopes that his article will be able to fill in the gaps and reveal a few secrets of gramophone recording. All the singers, names of their albums and compositions are first given in their native language and only then translated into Russian. Based on the results of his research the author of the article offers a hypothesis bout music recording being a unique tool of social communication.