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On the Role of Russian Church Museums in the Preservation and Popularization of the Material Movable Orthodox Cultural Heritage in the Context of Scientific and Methodological Assistance of the MAO (Last Quarter of the 19th – Beginning of the 20th Centuries)

The following groups wereusually distinguished: icons, crosses, vessels, vestments, books and manuscripts. However, the  storage conditions left much to be desired, although these museums had separate premises.  The basic directions of scientific research were the study of the museum collection through  their description, cataloguing, and publication. However, this work should not be exaggerated ue to the lack of trained personnel. The exposition idea was expressed in stationary  expositions and temporary exhibitions, primarily at archaeological congresses. However, it is  impossible to determine clear principles of exposition. For example, in one of the best  museums, Rostov, icons and crosses, church vessels and books were displayed in one display  case. The main function mentioned was cultural, educational and upbringing work, which  included a number of forms: visiting museums, publishing catalogues, guides, scientific articles.  To perform this function, it was especially important to publish good catalogues and guides,  which would facilitate the perception of the exhibits by various layers of the population.

Keywords: museum, preservation of monuments, scientific society, charter, social functions.  

Karapetyan L. A.

pp. 18-29

Modern Russian Idea: Conceptual Foundations and Criteria

The article examines the main approaches to defining the modern Russian idea as a form of Russian national self-awareness that have developed in the domestic scientific discourse. A classification of these approaches is carried out according to the concept of the national idea, which underlies the substantive analysis of the specific Russian national idea. Three main conceptual understandings of the national idea, based on the traditions of Russian philosophical self-awareness, are revealed. The first approach puts the socio-cultural and cultural-anthropological originality of the Russian civilization and the Russian people at the basis of the Russian idea. The second approach considers the Russian idea as a national ideology expressing the socio-political ideals and fundamental geopolitical interests of the Russian civilization. The third approach considers the Russian idea as God’s plan for the Russian civilization, realized in the empirical history of Russia. The division of modern concepts of the Russian idea according to the general ideological and epistemological orientations of researchers is also presented. Two types of orientations are distinguished: constructive-optimistic and critical-pessimistic. The problematic aspects of these orientations are considered. The conditions for organizing a productive national discourse of the modern Russian idea are discussed. The authors present a number of conceptual criteria for the effectiveness of the modern Russian idea. These criteria are considered as a balance between extremes in solving all the fundamental problems that make up the subject framework of the Russian national idea. The need for domestic thought to develop an effective form of national self-consciousness that can ensure the cohesion of society and the development of Russian civilization in the 21st century is substantiated.

Keywords: national idea, Russian civilization, Russian identity, Russian idea, traditional values.

Polomoshnov A.F., Efendiyev F.S., Efendiyev A.F.

pp. 30-45

Democratization of Access to Artificial Intelligence as a Vector of Development of Modern Culture: Problems, Trends and Prospects

This abstract explores the expanding role of Artificial Intelligence in contemporary culture and creative fields, examining how broader public access to AI transforms artistic production and cultural identity. Tracing AI’s evolution from its conceptual roots in the 1950s through the internet-driven expansion of the 1990s to today’s consumer-friendly applications, we see ordinary users now generating text, images, and music with unprecedented ease. Amid rising techno-fundamentalism and globalization, democratization fosters innovation, however, it also introduces pressing ethical and legal dilemmas, particularly concerning authorship, cultural representation, and intellectual property. Advanced neural networks can emulate established artistic styles, blurring the boundaries of originality and challenging traditional copyright frameworks. Many researchers advocate balancing open-source development with robust oversight to protect cultural diversity. They emphasize the importance of human moderation, transparent data governance, and adaptive legal frameworks. Implemented prudently, AI can enrich heritage preservation, spark new forms of creativity, and empower localized artistic expression. The future of an AI-driven cultural landscape hinges on responsible governance, inclusive policies, and mechanisms that safeguard both local cultural expressions and global creative diversity.

Pavlova O.A., Kurbanova A.O., Shvets O.N.

pp. 46-57

Trends in the Development of Stalingrad Book Graphics in 1943–1957

Immediately after the end of the Battle of Stalingrad, accelerated work began in the city to restore the work of libraries, the resumption of the work of the Stalingrad Book Publishing House in 1943 took place in the most difficult conditions of the post-war period. Despite this, the design of the publications of the Stalingrad Book Publishing House in the post-war period corresponded to the all-Russian level, the books of the publishing house participated in book exhibitions across the country. The purpose of the study is to identify trends in the development of book graphics in Stalingrad in the post–war period. The main method in the work is an art historical analysis. The design of books is analyzed from the point of view of the integrity of the book design, the preservation of the expressive language of the work and the manifestation of the illustrator’s artistic language. The research was conducted on the basis of archival documents and post-war publications from the collections of the Russian State Library and the Volgograd Regional Universal Scientific Library named after M. Gorky. Petinov was the art editor of the Stalingrad Book Publishing House from 1943 to 1961. Most of the fiction of the 1940s and 1950s was illustrated by Alekseev, Petrov and Smetannikov. The Stalingrad illustrators began to understand the integrity of the book body in the early 1950s. In the late 1940s, the title page in publications was made by a typesetter, without the involvement of an artist who designed the cover. Despite the small arsenal of expressive graphic tools, the editions turned out to be complete: black-and-white dashed or grayscale illustrations were easily combined into a single visual series. The author’s individuality of the artists was manifested not in the style of the image, but in the choice of technique of execution: Petinov, Alekseev, Smetannikov, Ostrovsky most often used a linear, dashed manner with a pen, Grechkin, Evdokimov. Rusin, Popov – tonal drawing with sauce or pencil. In general, the design of the publications of the Stalingrad Book Publishing House in the 1940s and 1950s did not differ from the typical design of fiction of the post-war period. The stylistic changes that took place in the book graphics of Stalingrad were due to both the general patterns of development of Russian book graphics and regional peculiarities – the lack of a publishing house’s own printing base, the harsh working conditions of artists.

Keywords: illustration, book, publication, book design, Stalingrad Book Publishing House.

Filimonova A.V.

pp. 57-64

Transformation of the Creative Method of the Kemerovo Artist A.V. Nasonov: From Figurativeness to Abstractionism

The article is devoted to the research of the transitional stage of the work of Kemerovo artist Alexander Viktorovich Nasonov. The author characterizes the creative works of A.V. Nasonov, performed in the period from 1986 to 2024. As a result of the study, it was concluded that there was a transformation of the artist’s creative method and a change in the range of themes and images. During the creative experiment, A.V. Nasonov consistently discarded the genre features of the landscape and undertook the study of abstractionism techniques. Genre features of the landscape, and then natural associations, manifested themselves in the artist’s work until 2019. The artist turned to the theme of ancient myths and prehistoric foundations of the world, he also embodied musical associations, his own cognitive processes and sensory experiences. The transformation of the creative method manifested itself in the search for new methods of the application of paint – using flat paint brushes, spatula, paint scrapers, brushes. A.V. Nasonov used automatic methods of applying paint, placing a canvas or a sheet of fiberboard vertically or horizontally. The result of A.V. Nasonov’s experiment was the achievement of new aesthetic qualities of the painting. The artist began to apply paint in transparent and dense layers, colliding contrasting colors or creating a complex scale on converging shades of color. He abandoned any genre features and built a composition, placing combinations of large and small abstract forms in a twodimensional or three-dimensional space. In the context of the development of the world and Russian non-figurativism, A.V. Nasonov is a representative of the Russian art school, inheriting the method of setting a formal task from Russian avant-gardists and artists of the late Soviet period.

Keywords: abstractionism, regional art, genre, artistic image, Siberian art.

Popova N. S.

pp. 64-72

School Theatres in the Socio-Cultural Sphere of Amateur Theatre Art

In the article, the authors take a culturological approach to the problem of including school theaters in the context of amateur theatrical art. Based on a review of a wide range of scientific sources, the authors see the relevance of the topic not only in the need for practical implementation of a number of regulatory documents on the development of school theaters, but above all in the theoretical understanding of this phenomenon in the socio-cultural sphere of amateur theatrical art. Using the method of cultural analysis, the authors consider school theaters in comparison with amateur theatrical art, its problems considered in the works of researchers in various fields of humanitarian knowledge. The relevance of the article is largely determined by the increased interest in school theater, both in the light of decisions taken by the Ministry of Education of the Russian Federation, and by the commitment to traditional values, patriotism, and moral ideals in Russian society. According to the authors, a special place in this process is occupied by amateur theater and the concept of theatricalization in all areas of its application. The scientific novelty of the work consists in the analysis of existing modern approaches to both school theaters and amateur theatrical art in theatrical culture, in the paradigm proposed by the authors of a holistic scientific understanding of the phenomenon of amateur theatrical art as a socio-cultural environment. This approach of the authors is able to actualize further cultural studies in this direction. The article is addressed to both cultural scientists and theater educators, as well as to a wide range of researchers and practitioners of amateur theater in general and school theater in particular.

Keywords: school theaters, amateur theater, amateur performance, methodology, theatrical culture.

Mikheeva S. V., Goncharova E.A., Naydenko E.A.

pp. 73-81

Theatre du Soleil under the Direction of Ariane Mnouchkine as a Theatrical Laboratory

The article considers the activities of Ariane Mnouchkine and the Thйвtre du Soleil as a theatrical laboratory for the first time. The aim of the study is to identify the characteristic signs of laboratory in the work of this famous French creative group. Theoretical reflection is based on the works of theatre scholars Patrice Pavis and Zbignew Osinski. Such productions as “1789” (1971), “Mephisto” (1980), “King Richard II” (1981), “L’Indiade” (1987), subtitled ‘the India of their dreams’, “Drums on the Dam” (1999), “Les Ephemeres” (2007) and others served as material to varying degrees. The article analyses the main stages of the rehearsal process, forms of interaction with staging space and spectators, the search for acting expressive means at the junction of Western and Asian theatrical traditions, and the semantic potential of performances. Previously unknown information is introduced into the Russian-speaking segment of theatre studies. The author concludes that the work of Thйвtre du Soleil has a strong experimental character and meets the key strategic and tactical principles of the theatre-laboratory. In this context, the performance is not a goal, but a means of cognition (for actors and viewers) of the inner workings and external structure of the world in the language of theatre. The results of Mnouchkine’s innovative work have had and continue to have a significant impact on the evolutionary development in the field of theatre directing and non-verbal language of stage action in general.

Keywords: Theatre du Soleil, Ariane Mnouchkine, theatrical laboratory, rehearsal process, staging space, synthesis of traditions, performances, theatre studies.

Alesenkova V. N.

pp. 81-90

Sound Images of A. Silaev’s Film Music From the Perspective of Minimalist Trends

The purpose of the article is based on the analysis of the feature films “Velga” (2024, directed by Anastasia Nechaeva based on the story by I. Bunin), “The Land of Elsa” (Russia, 2020, directed by Yulia Kolesnik, based on the theatrical play by Ya. Pulinovich) to identify the role of the musical component created by composer Anton Silaev in the technique of minimalism, in the reproduction of acoustic the atmosphere, genre specifics, emotional and psychological characteristics of the characters, the features of drama, the transmission of the holistic concept of films. The musical thematics of films, the role of leittimbres (cello, piano, bells) and themed noise effects (seagulls, birds chirping, wind noise, roar of waves) are considered. Their introduction is an important part of the sound image of the paintings, contributing to the poetization of nature as the main character and the characters who embody this nature. Different approaches to structuring sound compositions (monothematic in “Elsa’s Land” and leitmotific using quoted song material in “Velga”) work to create meditative drama with an emphasis on conveying psychological states and the atmosphericity of natural landscapes. The features of minimalism are manifested in the repeatability of textured and melodic cells, the variant transformation of thematic material and its free arrangement with the possibility of introducing and stopping music in accordance with the installation rhythm of the scene. A. Silaev’s music, with its minimalist basis and elements of sonoristics, gives the paintings modern features while embodying the legendary plot of “Velga” and rather traditional issues, prone to melodramatism, in “The Land of Elsa”. The originality and commonality of the means of expression in creating the sound canvas of films allows us to speak about the formation of the style of film music by A. Silaev, associated with the trends of minimalism and to place these tapes in the category of arthouse.

Keywords: minimalism, film music, A. Silaev, leitmematism, dramaturgy, climax, multifunctionality.

Shi Huitzu, Shak T.F.

pp. 90-99

The Artistic Concept of the Ballet “The Firebird” by I.F. Stravinsky in the Context of the Ornithological Code of Russian Culture

This article, for the first time in Russian musicology, examines the artistic concept of the ballet “The Firebird” by I.F. Stravinsky and its introduction into the musical drama of the work on two levels: in the aspect of felicitous poetics and the ornithological code of Russian culture, born of its mythopoetic foundations. The key image of the Firebird in ballet is interpreted ambiguously. To understand its symbolism, the author turns to certain aspects of the Russian ornithological code, imprinted in the archaic layers of East Slavic culture. Among the forest and waterfowl included in her folklore, the peahen (peacock female) is singled out. The semantics of the image in traditional Russian art, ritual practices (wedding ceremony) as the embodiment of femininity, beauty and special grace are indicated, which allows us to see in it the prototype of the fabulous Firebird. The wide prevalence of the “fire” bird in the art of the Russian Silver Age is characterized. In connection with the ballet “The Firebird”, the question of an innovative method of its creation was raised: the co-creation of choreographer M. Fokin and composer I. Stravinsky. In the concept of the image of the fabulous Firebird, the lyrical facet is emphasized as a reflection of its duality. In addition to the relevance of the traditional fairy-tale plots to the sphere of magic and lyrical principles, he embodies the symbol of Beauty as one of the highest values of existence. Thanks to her omnipotence and magical magic, the Firebird grants the hero of the ballet the attainment of happiness, triumphing over the world of Evil. The author’s observations from new perspectives for musicology allow for a deeper understanding of the «soil» foundations of I. Stravinsky’s compositional poetics.

Keywords: Firebird, I.F. Stravinsky, ballet, ornithological code, peacock, wedding ceremony, felicity concept.

Song Yijin

pp. 99-108

From the History of the Development of the Genre of Concert Symphony in Western European Musical Culture: From its Origins to the 20th Century

The article examines the genre of concert symphony in European musical culture from its origins to the twentieth century. The subject of the study is the variety of genre modifications of the concert symphony. The latter arise as a result of a change in aesthetic and stylistic paradigms. Along with J.B. Sammartini, in whose work the genre under study was formed, in Italian musical culture the ways of genre development were determined by: J. Martini, A. Brioschi, G. Pugnani, L. Boccherini. In Paris – it’s F. Gossek in Mannheim – I. Stamitz, F. Richter, I. Holzbauer, K. Kannabich. The main characteristics of the genre, such as virtuosity, playful logic, and fantasy, became its distinctive features already during this period. In the works of the Viennese classics, a Reasonable Person delves not only into theosophical problems – the world of God, but also into himself – the world of emotions and reflections. These are the Sinfonia concertante for oboe, bassoon, violin and cello. Haydn; Mozart’s Concertante Symphony for Violin, viola and Orchestra; Beethoven’s Grand Concerto Concertant. In the classical era, such a feature of the genre came to the fore, which would become very characteristic throughout later history - the originality of the composer’s solution of artistic tasks in each particular work. In the 19th century, the vector of development of the concert symphony was set by G. Berlioz: “Harold in Italy” – a symphony with a solo viola – refers to the vector of development of the programmatic variety of the genre with its emphasis on the personification of timbre. A common modification of the genre is the concert piece, which is addressed by K.M. Weber, F. Mendelssohn, F. Schubert, R. Schumann, S. Chaminade. This period is represented by many modifications of the genre under study: these are symphony concerts, symphony concerts, concert polonaises, etc. In the twentieth century, on the one hand, the concert symphony turned out to be akin to concerto grosso, as in P. Hindemith’s “Boston Symphony”. On the other hand, the term “concert symphony” began to be used to refer to large-scale orchestral compositions with solo instruments in the work of J. Jongen, W. Walton, K. Szymanowski, B. Martin, O. Messiaen, A. Casella, and others. As a result of the research, it is shown that the concert symphony in the course of historical development appeared as a cross-cutting genre with many modifications, while preserving the main parameter of the genre to be a type of symphonic composition based on timbre drama, including virtuosity as a method of thematic transformation of the material of its conceptual dominant. The concert symphony focuses on a Person playing and experiencing Existence.

Keywords: concert symphony, symphony concert, concert symphony, music for..., concert music, instrumental genres, concept.

Shmakova O. V., Mishchenko O. V.

pp. 108-117

The Role of the Ear Cups and the Articulatory-Resonant Apparatus in the Formation of the Academic and Jazz Sound Model when Playing the Saxophone

Constant improvement of the criteria, guided by which the “concert appearance of a saxophonist” (S. Kirillov) and the integral complex of professional skills are assessed, requires from the performer not only a filigree mastery of the technology of playing the instrument, but also a high level of mental and psychological preparedness for the awareness and perception of the features of the correlation of acoustic and physiological processes accompanying the embodiment of academic and jazz stylistic models. Despite the existence of a large layer of literature concerning saxophone performance, the noted range of issues has not been addressed in any of the studies to date. Such a state of modern scientific thought allows us to consider the topic of the selected article relevant, the object of which is the traditions of jazz and academic performance on the saxophone, and the subject – the features of the articulatory-resonant apparatus and embouchure in the embodiment of stylistic models. The analysis of physiological processes occurring in the musician’s body allowed us to draw conclusions regarding the acoustic result corrected by the specific work of the organs of the articulatory-resonant apparatus and the embouchure, predetermined by the characteristic traditions of the implemented stylistic models. The recreation of the “acoustic picture” (L. Bondarko) of the instrument’s sound due to the interdependence of the relationship between physiological and acoustic processes when imitating the phonemes selected for articulation, within the framework of the traditions of the sound of academic and jazz sound models, is different. Thus, the embodiment of the academic sound model is characterized by the use of phonemes that predetermine the configuration of the articulatory-resonant apparatus according to the imitated anterior (“t”, “d”) and posterior (“g”, “k”, “kh”) consonants in combination with the mid-labialized vowel (“o”), which affects the final result due to the formation of the necessary resonance conditions in the oral cavity and pharynx. The jazz model of sound, due to the specific articulation using vilar consonants (“l”, “n”), closed syllables (like “dadn”, “dap” or “dat”) and chains of phonemes (“du” – “bi” – “du” – “dat”), unlike the academic model, assumes a different acoustic result, determined by the position of the articulatory-resonating apparatus and the embouchure, responsible for recreating resonant frequencies in the oral cavity and pharynx.

Keywords: saxophone, sound model, academic sound model, jazz sound model.

Ponkina A.M.

pp. 117-127

Single-Movement Sonatas by St. Petersburg Composers I.E. Rogalev, E.E. Matveev, B.A. Arapov: Figurative, Dramatic and Compositional Aspects

The work analyzed single-part sonatas of St. Petersburg composers of the 21st century from the point of view of imaginative and dramatic features and compositional principles. The purpose of the article is a holistic analysis of one-part piano sonatas of modern St. Petersburg composers from the point of view of genre-style searches, the ratio of traditional and innovative features, as well as compositional features and figurative-semantic content. The subject of the study was the sonatas of B.А. Arapov (1905–1992), I.Е. Rogalev (b. 1948), E.Е. Matveev (b. 1971). The research methods were a holistic analysis of the musical language, thematism, composing methods and form of works, which helps to achieve the level of imaginative and semantic content of sonatas. The study is given novelty by a detailed consideration of the one-part piano sonatas of St. Petersburg composers of the 21st century in the context of genre-style changes in modern Russian music, which made it possible to find that the authors retained the most important principles of form, to determine the genre-style and compositional-technical features of compositions that characterize searches in the field of musical language, means of expression, writing methods and form formation, noticeably enriching the figurative-semantic content and conceptualism of compositions. The following conclusions are formulated in the article: the works of St. Petersburg composers testify to the enrichment of the emotional and substantive component of the piano sonata with modern imagery from a deep focus on internal experiences to a conflict clash of forces with a dramatic and tragic development of events; using the possibilities of the historical figurative-thematic contrast, conflict drama, active development of the material; expanding the timbre-coloristic palette of the piano and types of thematic sonata material through various systems of pitch organization and compositional techniques of the second half of the 20th century; emphasizing the high artistic and aesthetic purpose of the sonata by embodying serious themes and images, deep concepts and generally significant ideas in the works; subordination of the form of the work to the author’s artistic concept and, in this regard, the creation of various structures of a single-part sonata.

Keywords: piano sonata, St. Petersburg composers, musical language, style, genre, cycle, drama, composition, form.

Li Jinchang

pp. 127-145

Patriotic Themes in the Song Heritage of the Composer-Performer E.P. Parshina

In the context of modern realities – the time of socio-political challenges of the first quarter of the 21st century – the importance of song as a genre that influences the moral, civic, patriotic consciousness of people is growing. In this context, the work of the Kuban composer, singer-songwriter Elena Pavlovna Parshina is considered, most of whose legacy consists of vocal works on civic-patriotic themes, where patriotism is understood broadly, containing heroism, love for the “small homeland”, home. The purpose of the article is seen in familiarizing the professional community with the vocal work of patriotic themes of E.P. Parshina. With the help of interdisciplinary and biographical methods, the specifics of the formation of an artistic personality are revealed. In the process of studying the composer’s vocal works created in the period from 1998 to 2024, using the method of musicological analysis, as well as analysis of the poetic basis of the works, the author of the article reveals the features of the creative style, musical language, genre specifics of the composer’s works. Without receiving a specialized conservatory education, E.P. Parshina managed to create vocal works that meet high artistic requirements. Turning to the poetic lines of co-author poets, including I.F. Varavva, T.D. Golub, K.A. Oboyshchikov and other famous poets, the composer creates works that are deep in content and figurative structure, reflecting important semantic constants of our time, glorifying the moral and civic norms of national culture. The inclusion of many of the composer’s works in the repertoire of leading professional groups of Kuban became a high assessment of the song heritage of E.P. Parshina. The research field of the work analyzes songs of different years: “Ballad of untrut”, “Mother Russia, forgive”, “Our freemen are coming”, “My dear shirt”, “Mother”, “My land”, “Blossom, Kuban”, “Small Homeland” and others. It is revealed that in terms of genre, the composer’s songs synthesize features of Russian lyrical folk songs, specific expressive means of Cossack folklore, characteristic features of the “intonation dictionary” of academic music, stylistic melodicharmonic turns of Russian pop songs of the Soviet and post-Soviet periods. Thus, the song heritage of the Kuban composer-performer continues the best domestic traditions of the genre, contributes to the transfer of significant spiritual and moral values from generation to generation.

Keywords: composer-songwriter of Kuban, composer-performer, author’s song, patriotic themes in the song genre, E.P. Parshina.

Polischuk A. E.

pp. 145-153

Transformation of Approaches to the Interpretation of the Piano Sonata G-Moll op. 22 by N.K. Medtner

The study is devoted to the analysis of interpretations of the Sonata g-moll op. 22 by Nikolai Medtner performed by pianists of past and present. The work considers the influence of each performer’s individual style on the perception and interpretation of the work, as well as the transformation of approaches to the performance of the Sonata from 1938 to 2021. The main material of the article was recordings of the work performed by Emil Gilels, Maria Grinberg, Benno Moiseiwitsch, Hamish Milne, Marc-Andre Hamelin, Lucas Debargue, Alexander Malofeev. The g-moll sonata is seen as a prime example of Medtner’s piano work, combining the beauty of imagery, lyrical depth and dramatic intensity. Summing up the observations made during the comparison of Sonata recordings by musicians of different generations, the transformation of approaches to interpretation is vividly drawn: musicians of the past emphasize the dramatic beginning, while musicians of the present – the epic. On the records of the last century, one can clearly hear the desire to build a form, to unite. So the whole becomes a priority over the private. The main means of organizing the musical process is time. As a result, performers often move away from the letter of the author’s text, reading dynamic shades and characteristic remarks (risoluto) as agogic pointers. The musicians of our time were guided by approximately the following idea: “the composer has already done everything so that the work is perceived holistically, there is no need to force it”. Hence, quantitatively and qualitatively less agogic fluctuations, sharpening on the thorough desire to “sing” the texture, differentiate the musical fabric. At the same time, everyone notices and “highlights” their details. All this makes it possible to bring forward the intonational similarity and make it noticeable, including for the listener. The trend of the past is a fresco manner of performance, the main expressive means of which are agogy and dynamic nuance. The trend of today is to focus on detail, polyphonization; enthusiasm for the “present moment”, the continuity of the movement of the musical fabric. The transformation of performing approaches to the interpretation of the piano heritage of N.K. Metner demonstrates a conscious departure from the trends of the past, as from some kind of template. An impressive expressive potential is felt, since the resistance of musical inertia causes tension in the listener, which, in turn, activates attention and allows you to discover new beauties of Metner’s music.

Keywords: N.K. Medtner, sonata, analysis of interpretations, comparison of interpretations, trends in piano performance.

Zolnikov M. E., Sergienko N.A., Tomchenko E.S.

pp. 154-164

Internationalisation of Musical Culture and its Impact on Piano Performance in China

The study is devoted to the analysis of the process of internationalization of musical culture and its influence on piano performance in China. The author reveals the peculiarities of the mutual influence of Chinese musical culture and world music schools in the context of piano performance and explores the influence of international cultural exchanges on the transformation of Chinese piano performance. The work analyzes the processes of musical communication between China and other countries, and examines the transformations in the works of Chinese composers and the performance practice of Chinese pianists. By examining the key historical chronicles that influenced the development of Chinese piano performance in the 20th century, the author identifies the key trends that shaped the evolution of Chinese piano performance in the face of global cultural change. The main reasons that influenced the development of piano performance in China include: the activities of the Chinese musicians X. Youmei, H. Zi, S. Xinhai, C. Zhimin, D. Shande, C. Yuanjian, etc., who began to apply academic principles mastered abroad to improve China’s musical culture; the socio-economic reforms of the 20th century and China’s policy oriented toward interaction with foreign cultures; the pedagogical activities of Russian pianists B. S. Zakharov, A. N. Cherepnin, Italian conductor and pianist Mario Paci, Polish-American pianist L. Godowsky, etc.; and the development of Chinese piano performance in China. The results of the paper have implications for further scientific understanding of the processes occurring in world music culture and analyzing the impact of international cultural exchanges on Chinese piano practice.

Keywords: Internationalisation, Intercultural Exchange, Chinese Piano Performance, Music Culture, Composer, Pianists, China, Theory, Piano.

Wu Haokun

pp. 164-172

European Opera Vocal School in China: Origins and Formation

The article examines the origins and development of operatic vocal pedagogy in China – the system of teaching European bel canto vocal technique in connection with the Europeanization of Chinese opera theatre. The new opera theatre – both the repertoire and the works of Chinese composers in the new style – was formed quite recently, since the middle of the 20th century. This is completely new information material for the Russian reader – in Russia it is practically unknown that in China the national singing technique is fundamentally different. It differs in the method of sound formation, sound production from the European one, reflecting the properties and features of the Chinese language. The specificity of the verbal text in vocal genres reflects national themes that are far from European ones in both images and actions, and, naturally, emotional plans. But even in Chinese scientific literature the topic of mastering bel canto is reflected rather modestly; there are practically no comparative studies with national vocal technique; they are described separately. This article attempts to characterize the development of a new way of singing in the initial period of Europeanization – at first 20th century to 1949 (the year of the establishment of the PRC). The main positions of innovation, manifested in musical culture as a whole, are formulated. This era is illuminated from the perspective of the activities of the Shanghai Conservatory – the center of innovation in China. The main organizational and creative principles of its founder and first rector Xiao Yumei and the foreign specialists and Chinese teachers invited by him who received musical education abroad are revealed. In demonstrating the role of Russian teachers who emigrated to China, the activities of the graduate of the St. Petersburg Conservatory V.G. Shushlin (called Su Shilin by the Chinese), for more than three decades are analyzed in detail. His methodological principles are revealed – the implementation and application of traditional methods and techniques of the vocal school of Italy, namely the natural and organic comprehension of vocal technology in conjunction with the artistic school, which gave him the opportunity to grow many bright opera stars not only for the theaters of China, but also for the world opera theater. The basics of the methodology of his famous student Zhou Xiaoyan are described.

Keywords: Europeanization of Chinese culture, China Opera House, national vocal technique of China, bel canto.

Shi Wenxin

pp. 173-180

Cultural Interests of the Female Segment of the Russian Elite in the Processes of Recruitment and Rotation

In the context of the activities of modern elites, cultural interests are significant characteristics of career recruitment and rotation. Since advancement and functioning in the elite is expressed through these processes, the study of the participation of cultural interests in these processes contains the potential, on the one hand, to complement the theory of interests, on the other hand, it opens up new perspectives in the study of the female segment of the elite. This article analyzes the aspects of entering the circulation of elite, which constitute the essence of its female segment in Russia. Cultural interests manifested in mercy, empathy, attitude towards children and national history are not only the most in demand by modern Russian society, but also a condition for the entry and stability of its elite. The author notes that cultural interests characterize Russian powerful women not only through what is represented in them, but also through what is absent from them. Thus, modern Russian society poorly perceives non-traditional values that characterize the cultural interests of Western elites, which as well turns out to be a condition for the configuration of the female segment of the modern West. The main conclusion thus to be that the cultural interests of Russian women in power are their selective attitude to values and involvement in their functioning, which makes women sought-after leaders in contemporary Russia. Interests have a positive impact on recruitment and rotation, and also form a positive image of a Russian female elite representative not only within the country, but also on the world stage.

Keywords: women, elite, cultural interests, cultural conditioning, elite formation, recruitment, rotation, empathy.

Burtasenkov A. N.

pp. 181-186

Peculiarities of Gender Identity of Women of the Upper Classes of Russia in the Period from the Middle Ages to the Beginning of the Zoth Century

The article is devoted to the problems of Russian female gender identity. The subject of the study is the traditional Russian female gender identity of the upper classes and its characteristic features. The study was conducted within the framework of a systematic, structural-functional, integrated approach using the problem-chronological method.Women’s gender identity is considered based on the legal status of women in the upper class, as well as on the public perception of the position and role of women in society and the family. After analyzing the research materials, we can say that in pre-revolutionary Russia, the traditional archetype of the Russian woman developed, which was formed on the basis of leading social roles and parenting features. The legal limitation of a woman’s rights and her practical subordination to men actualized her gender identity through the institution of the family. A woman who was a hostess, a woman who was a mother, a woman who was a spouse, in the opinion of society, had to possess certain character traits: calmness, humility, submission, altruism, humility, meekness. The roles of women were related to their position in the family: She was supposed to be her husband’s assistant, take care of the household and raise the children. There was also a certain idea of the ideal appearance, which implied certain clothes, a choice of hairstyle and additional jewelry. At the same time, there is no indication of any biological, i.e. genetic ideal of women in society. This kind of female gender identity contained not so much a personal aspect as a functional one.

Keywords: social status, traditional culture, gender identity, traditional Russian female gender identity.

Krylova O.V.

pp. 187-188

Information About the Authors in Russian