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From the Editor

Zengin S.S.

pp. 7-18

Sociocultural Dynamics in the Context of Globalization

The article examines sociocultural dynamics and globalization as an objective process that creates unprecedented opportunities for influencing the transformation of culture and society. The purpose of the article is to provide a theoretical analysis of the processes of sociocultural dynamics in the context of globalization. To achieve this goal, the following objectives have been set: to characterize the impact of globalization on the dynamics of sociocultural processes; to identify the structural differences between cultures and metacultures; and to explore the trends of sociocultural dynamics in modern society. The subject of the study is the factors and mechanisms determining sociocultural dynamics in the process of globalization. The scientific novelty lies in the clarification of modern trends in the dynamics of socio-cultural processes. The study revealed a structural difference between cultures and metacultures. Globalization appears to be a logical continuation of a long-term historical trend towards expanding the space of human interaction. The key difference between the current integration and previous attempts to create universal empires is its network-based rather than hierarchical nature, which makes it more sustainable and adaptable. It has been established that globalization is a multi-vector process of cultural hybridization that creates new synthetic forms that are not reducible to their original elements. The phenomenon of cultural convergence is gaining special importance while preserving the diversity of civilizations, which creates the preconditions for developing universal approaches to solving universal problems while respecting national characteristics and traditions. This is the paradoxical nature of modern globalization - unity not through unification, but through the complementarity of sociocultural differences.

Keywords: culture, dynamics, cultural dynamics, sociocultural dynamics, transformation, globalization, exchange, space.

Petrova S.I.

pp. 18-28

An Integrative Approach to Assessing the Effectiveness of the Creative Ecosystem: A Comparative Analysis of Creative Industries Models

Creative industries are becoming an important component of the economic and cultural development of countries. In this context, the relevance of research dedicated to the analysis of creative industries in Russia is increasing. This work aims to develop and substantiate a new methodology called “Cultural-Economic Synthesis”, which allows for a comprehensive assessment of creative industries as a dynamic ecosystem that integrates cultural, economic, and legal aspects.

The article investigates key relationships between cultural capital and economic value, as well as the impact of the institutional environment on the development of creative industries. The subject of the study includes the mechanisms of functioning and development of creative industries in Russia, along with their characteristics compared to foreign models. The research draws on numerous scientific publications, legislative acts, including federal laws, and data from Rosstat regarding the contribution of creative industries to GDP.

The work introduces new metrics for assessing the cultural and economic potential of creative industries into scientific discourse for the first time, allowing for a more accurate evaluation of their contribution to the economy. It has been proven that the proposed methodology facilitates a deeper understanding of the specifics of Russian creative industries and identifies their limitations and opportunities for further development.

The authors argue that the developed typology of creative industries, based on cultural-economic synthesis, can serve as a foundation for forming effective public policy in this area. The article also presents the authors' recommendations for supporting creative industries, which can promote their sustainable development and integration into the global economy.

The novelty of the research lies in the integration of cultural and economic aspects, opening new horizons for future research and practical recommendations for developing support strategies for creative industries in Russia. Thus, the work makes a significant contribution to the development of the theory and practice of creative industries, emphasizing their importance for modern society and the economy.

Keywords: creative industries, intellectual property, methodology, economics, creativity, culture, analysis, law.

Ivanov G.V., Tokareva A.A.

pp. 28-39

Digital Ecosystem of the Cultural Sphere of the Republic of Crimea

The relevance of this research is determined by the transformation of social practices toward a new digital ecosystem. The effectiveness of digital ecosystems in the cultural sphere is determined by their ability to integrate modern technologies into the activities of cultural institutions and, consequently, to increase the total audience using these technologies. This direction is fully aligned with the strategic course of the Russian Federation towards creating a unified digital space in the socio-cultural sphere. In this context, the digital ecosystem of the cultural sphere of the Republic of Crimea, being an integral element of the national digital ecosystem, is of particular scientific interest, as it is characterised by cultural diversity.

Based on an analysis of the digital presence of institutions under the jurisdiction of the Ministry of Culture of the Republic of Crimea, the structure of the regional digital ecosystem is identified, its platform diversity is assessed, and the scale of audience engagement is determined.

To understand the vector and instruments of digital transformation at the federal level, an analysis of the regulatory framework was conducted, which sets the standards and priorities for development at the regional level. The empirical base of the study consisted of monitoring data from the official websites and social media accounts (VKontakte, Odnoklassniki, Telegram, Rutube, VK Video, Dzen) of 34 state cultural institutions of the Republic of Crimea, grouped into six types. Data processing included the analysis of digital platforms (presence of official representations), statistical analysis of the number of subscribers, and the calculation of an estimated indicator of the unique audience. It was revealed that the digital ecosystem of the cultural sphere of the Republic of Crimea demonstrates a stable basis and high activity of key actors.

Keywords: digital ecosystem, digital transformation, technologies, culture, Ministry of Culture of the Republic of Crimea.

Gorenkin V.A., Maslyukov A.Yu.

pp. 39-50

Sociocultural Integration of Crimea into the Russian Space after the Annexation of 1783: Key Vectors

The issue of Crimea's incorporation into Russia, both in the first case (1783) and the second (2014), remains a subject of debate not only in historical scholarship. There is a lack of consensus for various reasons. This applies not only to the specific aspects of the issue and the approaches to its examination, but also to the process of annexation itself. In the early 18th century, Crimea, which was part of the Ottoman Empire, which had exerted its influence on the peninsula since the early 16th century, was not considered as a constituent part of the Russian Empire. The annexation of Crimea in 1783 was carried out in the interests of Russia's security. The political steps taken by Prince Grigory Potemkin played a crucial role, as they aimed to establish a peaceful and friendly relationship between the troops and the local population, as well as to provide them with social, economic, and political support.

The purpose of this scientific article is to analyze the socio-cultural integration of Crimea into the Russian space after its annexation to Russia in 1783. The methodology is determined by the research problem, its purpose, and objectives. The interdisciplinary nature of this work (cultural studies, history, political science, economics, and local history) justifies the use of a range of different approaches in the context of the methodological framework, where the cultural, historical, and sociological vectors are the main ones. The study is based on the analysis of historical events related to the stated topic. The annexation of Crimea to the Russian Empire was the result of a prolonged war between the two countries, which began in 1768. During this war, Russia began to actively intervene in the affairs of Crimea, which at the time enjoyed a certain degree of autonomy within the Ottoman Empire.

In the context of the conclusions, it should be noted that the annexation of Crimea in 1783 and the subsequent socio-cultural integration of the peninsula into the general imperial space were the result of a symbiosis of military, political, economic, and cultural factors, where both Russia's strategic interests and a deliberate policy of peaceful interaction with the local population played a crucial role.

Keywords: Crimea, Russian Empire, annexation, social sphere, culture, society.

Shendrikova S.P., Gluzman A.V.

pp. 50-60

The Transformation of Stage Speech Culture in Contemporary Theatre

In this study, the authors analyze, from the point of view of cultural studies, the main transformations of the culture of stage speech in modern theater. The authors reveal the organic interrelation of the culture of stage speech with social changes in language itself – understood as a typological phenomenon of social consciousness – and with the transformation of its semantic structures. The concept of "stage speech" is interpreted by the authors in a broad sense, including not only speech in the theater, but also in the media, in all spheres of the media space. The article analyzes the main contradictions between the traditional values of the theory and practice of Russian theater in the culture of speech and relatively new forms of modern theatrical art. In addition to this comparison, the article examines the socio-cultural risks of transformations in the field of dramatic text and its transmission to society. This is the scientific novelty of the work. Based on representative scientific material, the authors conclude that the culture of stage speech is a value standard primarily for its bearers – actors, journalists, directors, teachers of theater schools, etc. It is the transmission of this culture in all its manifestations to society that can preserve and enhance not only the traditional values of Russian literary speech, but also actively resist the negative trends of speech communication in the holistic process of social communication.

Keywords: culture of stage speech, post-drama, verbatim, verbal action, dramatic text.

Mikheeva S.V., Goncharova E.A., Kirsanova A.M.

pp. 60-66

The Rock Band as a Unit of Biographical Research

The article substantiates the possibility of researching the creative path of a rock band within the framework of the biographical method. This research approach is determined by the idea of a rock band as a special type of creative team, whose common features dominate over personal characteristics. The aim of the article is to substantiate the possibility of applying the biographical method in relation to a rock band as a single undifferentiated creative entity. The research approach associated with the stable nature of a rock band as an indivisible phenomenon is revealed through thematic blocks related to lifestyle, value system, and a special type of identity peculiar to rock culture. The specificity of the lifestyle is expressed in the special democratic nature of the relationships that develop in the rock band, as well as in the carnivalization of the creative process, that is, in the mutual absorption of creative and recreational practices. The unity of the collective is enhanced on the basis of a special value system of rock culture, which includes the dialectical interaction of radical individualism and collectivism. Such an axiological situation generates an identification situation that can be called individual collectivism. This situation creates an attitude toward the permanent unity of the individual with the group, and the possibility of realizing creative ambitions only within its framework. Among other things, the collective becomes an identification space for each participant, as the identity inherent in rock culture loses its objective meanings, replacing them with the concept of rock, fixed by the subject within a limited environment of like-minded people. These features of rock culture form a special type of unity, which allows us to consider a rock band as a monolithic entity, inseparable in terms of cultural description. 

Keywords: biographic method, rock culture, style of life, axiosphere, identity.

Dyukin S.G.

pp. 67-76

Traditional Metalworking Crafts of Dagestan and Their Transformation during the First Decades of the Soviet Era (mid 19th – first half of the 20th centuries)

The article is devoted to the characteristics of the historical traditions of metalworking in Dagestan (blacksmithing, weaponsmithing, jewelry-making, and coppersmithing). The history of the development of these crafts spans a long period and is largely associated with Dagestan's accession to Russia. The needs of the population's economic and daily life, as well as the formation of the aesthetic space of their everyday and festive culture, played a significant role in their development. Each of these crafts reached its peak in the second half of the 19th century and early 20th century. Later, during the wars (the Civil War of 1918–1922 and the Great Patriotic War of 1941–1945) and in the post-war period, their development was severely disrupted. In the early decades of the Soviet era, the government made efforts to revive the fading traditions of craftsmanship and establish artel groups in well-known centers of folk art. However, in the 1930s and later, there was a noticeable trend towards a decline in the creation of traditional women's jewelry.This was due to the realities of the time, such as the decline in everyday culture (clothing and jewelry), the disregard of the new intelligentsia and bureaucrats for traditional clothing and accessories, and the increasing influence of urban industrial culture on rural life. The creative practice of the best craftsmen of those years was characterized by the search for new forms of products using a wide range of traditions of Dagestani folk life. These areas of creative exploration defined the face of Dagestan's jewelry crafts for a long time.

Keywords: blacksmithing, jewelry making, coppersmithing, folk craftsman, traditional art of Dagestan.

Magomedov A.Dzh., Yusupov Kh.A.

pp. 77-85

Lev Lvovich Christiansen – Collector and Researcher of Ural Musical Folklore

This article analyzes the work of L.L. Christiansen as a pioneer in the scholarly understanding of Ural musical folklore. Drawing on expedition materials from the 1940s–1960s, the article analyzes the specific features of regional performance and examines the key theoretical concepts identified by the researcher during his fieldwork. The author explores the concepts of “caesura-sighs” and “thin voice” prevalent in the Ural tradition, revealing their artistic and expressive role in Ural polyphony. Particular attention is paid to L.L. Christiansen's theoretical views on the preservation of local singing traditions and authentic intonation in folk choirs.

The relevance of this study is determined by the decline of the folklore environment and the loss of regional singing traditions. L.L. Christiansen's expedition notes (approximately two thousand samples) document the Ural tradition during a period of its stylistic stability. The purpose of this work is to reveal the significance of the scholar's collecting activities and the concepts he described for the preservation of the authentic Ural singing tradition. The scholarly novelty lies in clarifying the substantive meaning of the “thin voice” and “caesura-sighs” in relation to Ural material, elucidating their role in local polyphony, and analyzing L.L. Christiansen's expedition archive as a source of authentic performance experience.

In conclusion, the author states that the range of issues identified by L.L. Christiansen remains relevant today. The scholar's expedition notes remain a “golden fund” of Russian folklore studies and a living source of creative continuity for new generations of researchers and performers.

Keywords: L.L. Christiansen, Ural musical folklore, ethnomusicology, expeditionary work, polyphony, “thin voice”, local singing tradition.

Demidova P.V., Konyakhina O.G.

pp. 85-94

Mythological and Symbolic Interpretation of A.P. Borodin’s Opera “Prince Igor” in the Context of the Chronicle Tradition

A.P. Borodin's opera “Prince Igor” represents a completely original formation of the Russian national style of the post-Glinka era. The article examines what attracted Borodin to the chronicle source, what formed the basis of the opera's concept, how chronicle specifics are reflected in it, to what extent Glinka's traditions helped him, and whether there were other sources of influence on Borodin's operatic style. All these issues constitute a multifaceted research problem, thereby determining the article's purpose.

Using a mythological and symbolic approach, it is possible to reveal the deep meanings of the musical interpretation of the “Word” by the Christian composer Borodin. It was the embodiment in sound of the indigenous, innermost, fundamental principles of the nation's life that made it possible not only to "adapt" the chronicle "events" of the 12th century to operatic specifics, but also to "expand" the revelations of the ancient Russian songwriter into the realm of the spiritual and moral quests of his time.

Thus, the story of the proud prince from the time of the pre-Mongol invasion acquired the status of Dostoevsky's spiritual and moral conflict of crime and punishment. In connection with the above, the spatial and temporal structure of the opera becomes more complicated, mysteriously “spreading apart” “down” (captivity, “space of sin”) and “sorrow” (cosmic “top”: from the “omen” of the Prologue to Yaroslavna's Lament). Observing the chronicle principles of "double being", Borodin (following Glinka) is guided by the primacy in the musical operatic structure of the mythological intonation-semantic complex Vesti (= Co-Vesti), which "builds" the operatic action in accordance with the conciliar "I = We". The central mythoconcept of the Path in the opera mysteriously unfolds according to the mythology of the “fall” (wrong moral choice), further marking the right Choice with a ritual ascent from darkness to light, from death to life. This is how Borodin implements Glinka's concept of Transformation with its overcoming of the profane by the sacred.

Keywords: chronicle, tradition of ancient Russian religious mystery, tradition of M.I. Glinka, Russian national style.

Beketova N.V.

pp. 94-102

The Figurative Characteristics of the Piano in Orchestral Practice: A Historical Perspective

The piano, as a universal instrument, has been of interest to listeners, performers and music researchers for three hundred years. One of the key features of this instrument, which resonates with modern trends, is its special sound – a timbral image that is formed through performance practice: solo, ensemble, and orchestral.

The timbre of the piano, capable of embodying the concept of Man and the World, is considered in this article from different angles: culturological, aesthetic, and immanently musical.

Based on an analysis of works by European composers of the 19th–20th centuries, the main part of which consists of symphonic works with piano, the authors identify the main figurative spheres in which this timbre manifests itself: Man, Nature, Art, Religion, and Philosophy.

Of particular importance in this perspective is the variability of the figurative characteristics of piano sound in instrumental genres, as well as in instrumental numbers of operas and ballets, and in some stage situations.

It is important to emphasize that there is currently no solid theory of timbre in musicology. At the same time, a sufficient number of studies are devoted to the physico-acoustic, textured, coloristic, figurative and artistic aspects of this phenomenon.

The authors, using an integrated approach that includes methods of historical science, aesthetics, and cultural studies, as well as genre, stylistic, and semantic analysis, attempt to summarize scientific research in the field of timbre theory, which makes it possible to create a portrait of the piano through the prism of its figurative characteristics.

Keywords: figurative characteristics of piano timbre, grand piano, symphonic music, timbre, figurative spheres in music.

Shmakova O.V., Mishchenko O.V.

pp. 102-109

Beethoven’s “Appassionata” in Interpretations by Russian Pianists (Based on Recordings by S.T. Richter, N.L. Lugansky, P.R. Laul)

Piano Sonata op. 57 f-moll (No. 23) is one of the most frequently performed sonatas by L. van Beethoven. Over time, attitudes toward the text of Beethoven's sonatas have changed, but have remained vibrantly alive among musicians of all ages.

The purpose of this article is to identify features of the interpretations of the sonata op. 57 f-moll (“Appassionata”) by L. van Beethoven with domestic pianists of different centuries and directions. This research is based on recordings available in the classical music online archive. The recordings used are those by S.T. Richter, N.L. Lugansky, and P.R. Laul. Sonata op. 57 f-moll (23) was written in 1804–1805. The interpretation of the piano in "Appassionata" reflects high technical demands on the performer. The performer of "Appassionata" faces a number of artistic problems. Richter's performance, which has become a classic reference, is distinguished by the monumental nature of its artistic concept. The architecture of the cycle is structured according to the tragic idea of disaster in the outer movements. Lugansky continues the academic tradition: in the cycle, both lyrical and dramatic features are fully combined. Laul’s interpretation shows an intellectual analytical approach: the performer derives new ideas directly from the text of the composition, its genre and compositional features. The scientific novelty of the research consists in identifying unique solutions in the interpretation of "Appassionata", in attempting to trace how the attitude of Russian pianists of different generations and schools changed toward one of the most popular and sought-after Beethoven sonatas – Sonata op. 57 f-moll. In this regard, the performances of Richter, Lugansky, and Laul are most representative – they give an idea of the evolution of performance practice.

Keywords: “Appassionata” L. van Beethoven, piano, interpretation, S.T. Richter, N. L. Lugansky, P. R. Laul.

Mironyuk V.A., Timofeev M.S.

pp. 109-118

Imagery in the Late Works of J. Brahms (On the Example of the Cycle “Four Serious Songs” Arranged for Cello and Piano by D.B. Shafran)

When studying the work of the composer J. Brahms (1833–1897) in the context of the Romantic era, the special role of his legacy for contemporaries and followers in the field of musical art becomes obvious. The aesthetics of Brahms' work was based more on the foundations of the musical discoveries of past eras than on the prerequisites for future innovations. However, some of his works were the forerunners of creative discoveries by the composers of the Second Viennese School. Having achieved perfection in composition, Brahms was able to express images in his opuses that find a lively response in many people, touching on topics significant to every listener, as well as questions of eternal values, trying to find answers to existential questions through his work. Following the philosophy of the Romantic era, within which the works were created, the composer came to the idea of the inevitability of moral duty, which is the core of human existence.

The relevance of this topic is confirmed by the inexhaustible interest in the works of J. Brahms among researchers and performers, since the composer's legacy has become the standard of musical art of the 19th century, containing the foundations of the classical era and discoveries characteristic of the Romantic style, while his music also possesses a special depth of content and emotionality.

This article examines the cycle “Four Strict Melodies” (Op. 121). A detailed study of the imagery in the composer's late works shows that he frequently chose such imagery, which became quite characteristic of his late period. A careful study of works from this particular period of Brahms' career (1891–1897) reveals an abundance of energy and an excess of feeling expressed in the sounds. At the same time, his compositions are distinguished by the clarity of their forms and the subtle choice of the necessary means of musical expression. The methods and techniques that the composer used to build his system of images during this period of his work are of particular interest to the researcher. The subject of the study was the work “Four Strict Melodies” from the point of view of figurative content, as well as its embodiment in transcription for cello and piano, created by D.B. Shafran.

Keywords: Figurative, melody, romanticism, I. Brahms, arrangement, cello, D.B. Shafran.

Provotar V.V., Ushakova S.A.

pp. 118-127

Timbral Mix as a Sign of Cultural Memory

In contemporary musicology, timbre is being reconsidered: from an auxiliary means of expression, it is becoming a central category of compositional thinking, serving as a bearer of meaning. This article explores timbre not as an acoustic phenomenon, but as a multilayered symbolic system representing local tradition and universal meanings.

The aim of this work is to identify the mechanisms of timbre semiotization and the role of timbre mixes as bearers of cultural memory, using the example of the combination of domra and a cappella choir in the works of K. Bodrov and E. Nizamov. The methodological basis is a semiotic approach (Yu. Lotman) and the concepts of “timbre genetic memory” (S. Gutova) and “timbre form” (A. Alyabyeva). The scientific novelty lies in the fact that the timbre mix “domra and choir” is examined for the first time as a space for dialogue of cultural memory: the domra serves as a symbol of national identity and archetypal timbre-intonational memory, while the a cappella choir represents a universal academic (European) tradition. An analysis of K. Bodrov's Concerto and E. Nizamov's poem “The River of Time” reveals different strategies for the interaction of timbres. K. Bodrov's dialogue is horizontal (the domra's folkloric genesis is integrated into pan-European genre and stylistic models; in retrospect, different eras are connected), while E. Nizamov's is vertical (a layering of cultural codes occurs: classical Russian poetry, neo-romantic musical style, archaic elements, and the universal timbre of the choir form a multilayered semantic vertical). The timbre mix becomes a means of philosophical cognition, allowing the “local voice” to integrate into the universal “music of the world,” while preserving its archetypal essence.

Keywords: timbre, timbre mix, semiotics, cultural memory, domra, a cappella choir, K. Bodrov, E. Nizamov.

Krivoseev M.B.

pp. 127-138

Features of the Piano Cycle “Memories of the Homeland” Op. 49 by Xiao Tajran

The article "Features of the Piano Cycle 'Memories of Home' (Op. 49) by Tyzen Hsiao" explores the piano legacy of one of the most prominent representatives of contemporary musical art – composer Tyzen Hsiao. His works, which synthesize Western European compositional techniques and Taiwanese folk music, are diverse and encompass piano pieces, Taiwanese art songs, string compositions, brass works, and large-scale symphonic works. One of the reasons for the lack of in-depth research into Tyzen Hsiao`s work is the limited availability of his sheet music.

This article analyzes one of the composer's signature works – the piano cycle “Memories of Home” (Op. 49). Written during Tyzen Hsiao`s stay in the United States (1987), it was dedicated to his piano teacher, Professor Dr. Milton Stern, with whom the composer studied at the University of California. The work dates back to the composer's period of creative maturity; a longing for childhood memories inspired him to write “Memories of Home”. The work consists of six piano pieces: I “Prelude”, II “Memories”, III “Playground”, IV “Taiwanese Qingming Old Melody” (Qingming is a traditional festival in China), V “Elegy”, and VI “Carnival."

The article is divided into several sections, which explain the relevance of the topic, highlight the development of the theme, present a detailed analysis of the work itself, and summarize the compositional features of this work.

The article repeatedly emphasizes the polystylistic nature of the composer's work. In the suite “Memories of Home”, this trait is expressed through romantic language, impressionistic techniques, and an appeal to Taiwanese folk music. The latter is manifested not only in the direct citation of Chinese folk melodies but also in the imitation of performance techniques and the timbres of traditional Chinese instruments. The use of folk music elements embodies the composer's love and longing for his homeland. The interpenetration of various styles demonstrated in the suite is consistent with the main developmental direction of the Chinese piano school. In the process of cultural synthesis, the question of preserving the distinctiveness of national musical culture remains key.

The article concludes by summarizing the results of the study of the creative style of "Memories of Home" and its national characteristics, which are a key aspect of this work. This study, offering a detailed analysis of the compositional techniques and style of “Memories of Home”, is intended to serve as a reference example for future work in this area.

Keywords: Chinese musical culture, Taiwanese piano music, the works of Tyzen Hsiao.

Wang Qiyue

pp. 138-150

The Musical Component of the “Nine Emperors’ Fast” Ritual on Mount Taishan: Towards the Study of Sacred Mass Actions in China

This article explores the musical elements of the “Nine Emperors Fast” (Jiu Huang Zhai) ritual of Mount Tai. Mount Tai is not only a renowned Taoist mountain but also served as a central site for ancient Chinese state sacrifices. The Taoist musical tradition here has been passed down for over 1,500 years. This tradition preserves the fundamental characteristics of ceremonial music while incorporating elements from Shandong folk opera, local folk music, and the instrumental style of “Jiangnan Sizhu.” (silk and bamboo music from the Jiangnan region). In 2008, Taishan Taoist music was included in China’s second batch of the National List of Intangible Cultural Heritage. This paper focuses on the large-scale “Nine Emperors’ Fast” ritual, placing musical elements back within the full ritual context to examine their roles in different phases of the ceremony and the artistic characteristics they exhibit.

The “Nine Emperors Fast,” also known as the “Nine Emperors Festival,” originates from the Daoist belief in the Big Dipper and is closely intertwined with the Mount Tai religious tradition. Since the Han Dynasty, Mount Tai has upheld the tradition of “Mount Tai governing the spirits,” with the Great Emperor of the Eastern Peak revered as the supreme deity of the underworld. The fusion of Big Dipper worship and Mount Tai veneration has made this ritual a unique and significant annual ceremony within Mount Tai Daoism. The entire ceremony begins on the first day of the ninth lunar month and lasts for ten days to celebrate the birthdays of the Nine Emperors and the Daoist Mother Yuanjun. During this period, Taoist priests and devotees jointly perform a series of rituals: opening the altar, observing fasting and abstinence, offering sacrifices, collecting holy water, purifying the kitchen, cleaning the venue, raising banners and hanging proclamations, conducting birthday celebration rites, and performing celebratory rituals.

Music permeates every stage of the "Nine Emperors Fast". According to existing records, there are over five hundred pieces of Mount Tai Taoist music, of which the "Jade Sound and Immortal Model" (Yuyin Xianfan) collection housed at the Dai Temple alone contains more than one hundred pieces. This music combines the solemnity of Taoist "Ten Directions Tunes" with local Shandong characteristics – it is a product of the fusion of ancient imperial fengshan ceremonial music and folk religious music. By analyzing five pieces frequently used in the ritual – "Buyu Yun" (Pacing the Void Tune), "Ju Tianzun" (Invoking the Heavenly Worthy), "Sanbao Xiang" (Incense of the Three Treasures), "Fenhua Zan" (Incense Burning Praise), and "Man Chengqing" (Slow Clarification) – this article explains the specific use and musical structure of each piece.

Musical analysis reveals that the ritual music of Mount Tai generally features a free rhythm, with frequent use of free tempo, dotted notes, and syncopation, which affords the Taoist priests considerable room for improvisation. The overall tempo tends to be slow, and the phrases are often irregular and asymmetrical. The melodies primarily develop through stepwise motion, though repetition and variation also play significant roles. The overall style is simple, solemn, and grand – a fitting reflection of Mount Tai’s status as a nationally revered sacred mountain.

Research indicates that in the “Nine Emperors Fast” ritual, music serves more than a decorative function. It is a vital means of communicating with deities, constructing a sacred space-time, and guiding collective participation. As a National Intangible Cultural Heritage, Taishan Taoist music not only preserves the core of the Taoist musical tradition but also integrates elements of ancient Fengshan ritual music and Shandong folk music, providing a vivid example for studying the interactive relationship between Chinese religious ritual music and the national sacrificial system. Through the integrated use of music, the “Nine Emperors Fast” ritual activities have sustained cultural transmission, strengthened public identity, and provided a viable path for the continued development of Taoist ritual music in today’s multicultural environment.

Keywords: Ritual Music, Taoist Music, The “Nine Emperors Fast” Ritual.

Li Runhua

pp. 150-158

Integration of Cultural and Artistic Traditions in Contemporary Urban Design

The article “Integration of Cultural Artistic Traditions into Contemporary Urban Environment Design” examines the influence of cultural artistic traditions on modern architectural environment design. The study identifies the specific expressive means of ethnic culture used in contemporary urban design, illustrated through examples of Russian architecture.

The novelty of the research lies in demonstrating that the integration of expressive elements of artistic ethnic traditions into the modern urban environment is evident and contributes to preserving cultural identity in an updated contemporary form. The relevance of this study is determined by the fact that the loss of uniqueness, national color, and expressive features of traditional culture leads to depersonalization and creates a problem of national self-identification.

The interaction between contemporary design and cultural artistic tradition is one of the pressing issues of modern culture and art. Based on an art history analysis of contemporary architectural objects in the urban environment, the author concludes that features of traditional culture are frequently used in modern architectural design. The integration of artistic traditions into urban design supports the revival and preservation of cultural identity.

The artistic features of traditional folk culture, becoming a powerful stylistic factor, serve as a source of originality in contemporary urban environment design. Traditional folk elements are actively used in modern architecture to create national color, ensure sustainability (adaptation to local climate), and maintain cultural identity. This is achieved by integrating traditional forms, materials, and structural solutions with modern technologies and aesthetics.

Keywords: Cultural artistic traditions, architectural environment design, archetype, stylization, shaping, ornament.

Tereshchenko G.F.

pp. 158-166

The National Film Distribution System of the 20th Century as a Factor in the Development of Diverse Film Languages

The article examines the international film distribution system in the USSR from the 1920s to the 60s, which is a relevant experience of the past. The system of exporting Soviet films abroad and importing foreign films to the USSR is analyzed. It covers a wide range of activities promoting Soviet cinema abroad and foreign cinema in the USSR: advertising, film studies, dubbing, and the film festival movement in the post-war world. The purpose of the article is to characterize the system of film distribution of foreign films in the USSR, which influenced, among other things, the formation of the cinematic language of Russian cinema. The novelty of the research lies in the fact that the history of the film distribution system of the 20th century has been insufficiently studied. Methodology and research method. A qualitative approach has been chosen as the methodology — the methods focus on the interpretation of meanings and contexts.

Since the history of film distribution has not been fundamentally described, it is necessary to form a single cultural field in which the history of cinema, the history of film distribution, and world history would exist within a single semantic system. The source base of the research includes scientific works (Tanis K.A., "Trophy Cinema in the USSR in the 1940s and 1950s..."; Kosinova M.I., "Soviet Film Diplomacy..."; V. Fomin, "Friendship of Sworn Enemies. Letters from Hollywood"), as well as correspondence between the representative of the Film Committee in the USA, M.K. Kalatozov, and the head of the Committee on Cinematography, I.G. Bolshakov, and the memoirs of the TASS correspondent in Sweden, N. Vukolov. After the signing of the Warsaw Pact in 1955 – the document that established the military alliance of European socialist states – the world was divided into two camps not only politically but also culturally. This also affected the film distribution system. The countries of the socialist camp, whose cinema began to actively develop precisely in the post-war period – often forming a unique authorial film language (V. Chytilová, O. Lipský, M. Jancsó, I. Szabó, Z. Fábri, etc.) – had the opportunity to distribute their films in a significant part of the world, including the USSR. Such a diverse picture of film distribution formed an amazing variety of national film languages, which were of interest to the world cinema of the 20th century.

Keywords: film distribution, Sovexportfilm, Iron Curtain, dubbing.

Trusevich E.S.

pp. 167-176

Historical Context and Prerequisites for the Emergence of Suprematism

This paper explores the historical context and preconditions for the emergence of K.S. Malevich's Suprematism in the 1910s. The research objectives include: to elucidate the evolutionary trajectory of non-objective art within the development of Western modernism; analyzing the intellectual trends in early 20th-century Russia that influenced Malevich's artistic creation; tracing the evolution of K.S. Malevich's early artistic style; and finally analyzing and summarizing the historical context of Suprematism's emergence, as well as the preconditions that gave rise to it within this context. The research materials primarily consist of articles and works by Russian and foreign art historians, with empirical evidence based on non-objective modern artworks and K.S. Malevich's early works. The research methodology is based on the principles of historicity, objectivity, and systematicity, employing methods such as art historical interpretation, systematic analysis, and image analysis. The paper's novelty lies in exploring the historical context and preconditions for Suprematism from three perspectives: the development of Western modernist art, the early 20th-century Russian cultural environment, and the artist's personal artistic practice. The conclusion is that the development of non-objective art forms in the early 20th century, the overall landscape of Russian cultural thought, and K.S. Malevich's early artistic explorations collectively constituted the formal source, ideological premise, and practical foundation for the birth of Suprematism.

Keywords: Suprematism, avant-garde, non-objective art, modernism, Cubo-Futurism.

Wen Cong

pp. 177-178

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