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From the Editor

Zengin S.S

pp. 7-17

Sociocultural determinants of preventing youth involvement in destructive and terrorist activities

The problem of youth involvement in destructive activities is a complex, multidimensional  phenomenon, the roots of which lie in a complex of socio-cultural determinants. Understanding  this multi-layered structure of determinants is the basis for building an effective prevention  system aimed not at combating the consequences, but at neutralizing the underlying causes.  Young people, who are in the stage of active development of their personality, searching  for identity and life guidelines, are the most vulnerable to the challenges of the time. The  new generation is being formed in conditions of constant confrontation with many destructive  phenomena: from global terrorism and local military conflicts to digital threats such as  cyberbullying, destructive subcultures, etc. In this regard, the only way to reduce the risks  of youth involvement in destructive activities is systematic work aimed at cultivating intellectual  and value mechanisms to protect the individual from such negative influences. Traditional  approaches to prevention based on prohibitions and isolation are not only ineffective in the  modern digital era, but can also lead to the opposite result – an exacerbation of the feeling  of protest. In this regard, the need for a fundamentally different approach is becoming urgent,  aimed not at protecting from information (which is technically impossible), but at developing  internal immunity to destructive influences in young people.  This approach requires a deep scientific understanding of socio-cultural determinants –  the root causes and factors that determine the process of youth involvement in destructive  practices. Identification and analysis of these determinants is the key to building an effective  prevention system, which determines the high relevance of this study.

Keywords: socio-cultural determinants, youth, destructive and terrorist activities, values.

Gorenkin V.A., Gasparyan L.S., Shvetsova A.V

pp. 17-27

The dynamics of changes in the Iranian family as a sociocultural institution: from antiquity to modern times

This article investigates cultural transformations within the Iranian family via a  comparative-historical analysis of three pivotal epochs: Ancient Iran, the era from the Islamic  conquest to the Revolution and the period of the Islamic Republic. It addresses a critical  scholarly gap by providing a comprehensive, longitudinal analysis of the family’s cultural  evolution. The research draws on a diverse corpus of sources–including historical chronicles,  religious texts (Avesta, Quran), sociological studies, and demographic data–to analyze  fundamental shifts in family structure, functions, and identity, driven by a complex interplay  of political, religious, and modernization forces. The ancient Zoroastrian-influenced family was  a core socio-religious unit for identity preservation. Islam’s advent introduced profound legal  and social reforms, redefining gender roles and marriage practices. Subsequent modernization,  particularly under the Pahlavis, accelerated change by integrating Western lifestyles and stateled legal frameworks. In contemporary Iran, the family navigates tensions between tradition  and modernity, evident in trends toward nuclearization, rising divorce rates, delayed marriage,  and declining fertility. It concludes that while the family remains a central institution, it is  undergoing a profound redefinition of its values and roles, caught between the powerful  influences of state-mandated religion, official policy, and global cultural flows.

Keywords: the Iranian family, cultural changes, dynamics, historical periods, social  transformation.

Mokhtari S.R.

pp. 27-36

Baroque garden as a reflection of modern philosophy

This article explores the relationship between the philosophy of the Modern Age and  the Baroque garden and park art of the 17 century, which was a unique period in European  history. It examines the main philosophical concepts of scholars such as F. Bacon,  R. Descartes, and T. Hobbes as well as the reflection of their ideas in the form, symbolism,  and semantics of Baroque gardens. Special attention is paid to how scientific discoveries and  the worldview of the New Age influenced the development of artistic techniques and design  technologies in the Baroque garden art, which also reflected the spirit of the absolutist era  and a new perception of the relationship between nature and humans. The article analyzes  the main features of Baroque in landscape architecture: dynamism, layers of meaning,  theatricality, and the use of signs and symbols that are connected into a unified compositional  system that represents a holistic picture of the world and reflects a model of knowledge.  The most notable examples of gardens of this period include: Villa Aldobrandini, and Villa  D’Este, the garden on Isolla Bella, the Hellbrunn Palace Park, and the “Sacred Garden”  in Bormazzo.  Garden art, like any other form of art, most fully reflects the development of culture  at each historical stage, using various artistic techniques such as composition, creation of  forms (fountains, grottoes, pergolas etc.) light, color, and other means. During this period,  the boundaries of knowledge expanded, leading to an understanding of the infinite nature of  knowledge and the unlimited possibilities for humanity’s further development. Philosophers took  a keen interest in nature, viewing it as the foundation of all existence. Architects inspired  by nature adopt the principles of harmonization and implement innovative ideas in the art  of creating gardens.  Technical development played a significant role in the creation of Baroque gardens: the  emergence of mechanisms and new construction technologies. The ingenious ideas and  creations that led to the flourishing of Baroque garden art were made possible by new  knowledge, social changes, and the development of a new scientific worldview.

Keywords: baroque gardens, philosophy of Modern times, landscape architecture.

Sharipova A.R.

pp. 36-44

Carnival as a form of cultural dialogue: the Italian tradition in the context of M.M. Bakhtin’s views

The article examines the phenomenon of the Italian carnival as one of the most  representative examples of European laughter culture in the context of the dialogical concept  of culture and ideas about folk laughter culture developed by M. M. Bakhtin. The problem  of the study is related to the fact that, despite the vastness of historical, cultural and  ethnographic studies of the Italian carnival, its analysis in the context of M.M. Bakhin’s  methodology has not yet received sufficient coverage.  The purpose of the study is to examine the phenomenon of the Italian carnival in the  context of the dialogical concept of culture and ideas about folk laughter culture developed  by M. M. Bakhtin. The Italian carnival as a form of cultural dialogue and folk laughter culture  is the subject of the study. The objectives include identifying key elements of the Italian  carnival that are consistent with M.M. Bakhtin’s model, interpreting the cultural function of  the mask and corporality; examining the Italian carnival as a form of cultural polyphony and  inversion. An interdisciplinary approach, including methods of cultural and philosophical analysis,  semiotics of culture and anthropology of ritual is the basis of this study, as well as  M.M. Bakhtin’s categories - laughter culture, carnivalization, dialogue, polyphony, chronotope.  The empirical base is made up of studies on the history and culture of the Italian carnival,  the author’s own observations and official resources of the largest carnivals in Italy.  The study shows that the Italian carnival appears as a complex system of cultural forms  and meanings, in which the mask and corporality perform the function of mediators of  dialogical identity.  In the context of M.M. Bakhtin’s concept, carnival is revealed as a form of cultural  polyphony, in which the principles of temporary abolition of hierarchies, laughter inversion  and symbolic redefinition of social reality are realized.  The theoretical significance of the article lies in the development of an approach to  the analysis of the Italian carnival as a form of cultural dialogue in the context of  M.M. Bakhtin’s views. The practical significance is determined by the possibility of applying  this analysis to contemporary forms of folklore reconstructions, street performances and digital  carnivalization practices.

Keywords: Italian carnival, carnivalization, M.M. Bakhtin, dialogue, and humorous culture.

Orlova E.M.

pp. 45-58

The postcard as a form of representation of the cultural heritage of the Kalmyks in the museum space of Russia

This research is devoted to a comprehensive examination of the representation of  Kalmyk cultural heritage through the phenomenon of the postcard in Russian museums. The  relevance of this work stems from the fact that, despite the significant number of Kalmykthemed postcards in museum collections, they remain a poorly understood historical source.  The chronological framework of the study spans the late 19th and early 20th centuries.  The aim of the study is to analyze the formation and display of Kalmyk postcard  collections in Moscow and regional museums, as well as to study the composition and content  of postcards with ritual and ceremonial themes. The scientific novelty is determined by the  comprehensive nature of the study, which for the first time combines analytical material from  museum collections (the State Hermitage, the Russian Ethnographic Museum, the Astrakhan  Museum-Reserve, etc.) with a scholarly description of the postcards in their sociocultural  and historical context.  The study included a detailed classification and systematization of the postcards,  identifying two main thematic areas: ethnographic and Buddhist. Particular attention was paid  to the visual representation of Kalmyk Buddhism, analyzing scenes depicting the clergy, khuruls,  prayer houses, and prayer practices. The author concludes that postcards served not only  as souvenirs but also as a tool for cultural representation, fostering interest in Kalmyk spiritual  practices within the imperial space. This study demonstrates the high potential of the postcard  as a valuable historical and ethnographic source for reconstructing lost elements of the Kalmyk  people’s cultural heritage.

Keywords: cultural heritage, Kalmyks, postcard, museum collections, visual representation,  Buddhism, historical source, ethnography, philocarty, Russian Empire.

Muchaeva I.I.

pp. 58-68

The Old Believers’ Copper-Cast Icon “The Joy to All the Sorrowful” from the Collection of the P.M. Dogadin Astrakhan State Art Gallery: Experience of Description and Attribution

The article is devoted to the study of the copper-cast icon “Joy of All the Sorrowful”  from the collection of the Astrakhan State Art Gallery (AGKG), which fills a gap in the  study of the regional cultural heritage of the Old Believers.  The research is based on a critical analysis of museum documentation and a  comprehensive study of the artifact itself. The methodology combines art historical and cultural  approaches, including iconographic, stylistic, and technological analysis.  The inventory description is recognized as professionally recording the object’s condition  (dust, traces of wear, enamel chips), but it lacks attribution data: date, place of creation,  manufacturing technique.  Iconographic analysis revealed that the composition belongs to the late version of “Joy  of All the Sorrowful”, which became widespread in the 19th century. It is distinguished by  its detail: the figure of the Mother of God with a scepter, symmetrical groups of the afflicted,  comforting angels, symbolic sun and moon against a background of floral ornament, signifying  Grace.  The stylistic and technological analysis is key, as it allowed for the attribution of the  icon. The high quality of casting, complex engraving, the use of blue-and-white vitreous  enamel, the presence of gilding on the reverse, and the characteristic floral ornament of the  frame indicate its origin from the Vygoresky Monastery – the leading spiritual and production  center of the Pomorian Old Believers. Its high artistic level distinguishes it from massproduced items.  Thus, the icon from the AGKG is attributed as a high-quality artistic example of 19thcentury copper casting, created in the traditions of the Vygoresky school. This attribution  introduces a new artifact into scholarly circulation and confirms the existence of close cultural  and economic ties between the Astrakhan Old Believer communities and the main centers  of Russian copper casting, deepening the understanding of regional history and the national  artistic heritage.

Keywords: Old Believer copper casting, attribution, iconography, Vygovskaya monastery,  description, artistic heritage.

Kanatyeva N.S.

pp. 69-80

Innovations in pastel art techniques

This article is devoted to a comprehensive study of innovations in the technique of pastel  painting, considered through the prism of the historical continuity of methods from the Old  Masters to contemporary artists. The research is based on a comparative analysis of the  working methods of prominent pastel artists from different eras, such as Edgar Degas, JeanЙtienne Liotard, Valentin Serov, and Mikhail Vrubel, as well as modern practitioners.  The work identifies and characterizes the cause-and-effect relationship between the rapid  development of art material science in the 21st century and the evolution of the artistic  language of pastel. The emergence of new types of pastels (oil, water-soluble, wax), specialized fixatives, and a wide range of textured papers and primers is analyzed as a key  catalyst for technological innovation. These advancements have directly influenced the  emergence of new artistic methods and expanded the expressive potential of the medium.  A systematic classification of modern pastel techniques is developed, which includes key  areas: the use of modern foundations and specialized primers; the synthesis of materials and  mixed media; the significant expansion of genre and stylistic range; and the influence of digital  technologies that imitate pastel texture. This classification serves as a foundational framework  for understanding the current technology of working with pastels.  The practical significance of the study lies in the systematization of valuable historical  and modern techniques, the results of which can be integrated into the contemporary artistic  context and modern art education methodologies. The conclusions confirm that the identified  innovations in pastel technique are firmly embedded in the context of its historical development,  demonstrating a continuous connection with the heritage of the Old Masters while being  enriched by the fundamentally new possibilities offered by modern materials and technologies.

Keywords: pastels, innovations, the technique of working with pastels, pastel base, methods  of fixing the color layer, texture, color.

Polevaya I.A.

pp. 81-88

Landscape painting by L.N. Kotelevskaya as an expression of the cultural code of Kuban

Understanding the importance of regional identity in the formation of contemporary  Russian civil society, the authors of the article discuss the role of painting in the regional  cultural code visualization. Within the context of this approach, the article examines the work  of Lyudmila Kotelevskaya, a renowned Krasnodar artist. The aim of the study is to  characterize the landscape genre in the artwork of L. Kotelevskaya in the context of the  Kuban painting traditions as an art representation of regional identity. The thematic justification  of this study is determined by the significant role of art, particularly landscape painting, in  the formation and reproduction of the cultural code of regional identity.  In this paper, for the first time L. Kotelevskaya’s artwork has become the subject of  the analysis in the context of art history. The scientific novelty lies in the introduction of  her biographical data and a comprehensive analysis of her landscapes through the prism of  art history, hermeneutics and phenomenology as an expression of the unique cultural identity  of the Krasnodar region.  L. Kotelevskaya’s artworks can be divided into the following key cycles: industrial  landscapes dedicated to the construction of the port in Novorossiysk; urban Krasnodar  landscapes; rural Kuban landscapes conveying a subtle lyrical perception of nature; and still  lifes evolving from simple compositions with wildflowers to complex artworks with cultural subtext. Her paintings conveying lyricism and love for her native land not only depict the  natural and urban areas but also present the regional values and optimistic emotions.  The conducted research allows the authors to conclude that L. Kotelevskaya’s landscape  painting is the artistic representation of the cultural code of Kuban. Her pictures are used  as a bright example to characterize the artistic style of Kuban landscape painting. The  painter’s creative work is a real striking phenomenon in the regional art culture and deserves  further in-depth study.

Keywords: landscape, still life, colour scheme, compositional solutions, artistic style.

Kudinova A.V., Puzina Yu.A.

pp. 88-98

Shaman Icon in the Art monuments of the Baikal region: enduring tradition

The purpose of this article is to analyze the shaman icon in the monuments of the Baikal  region in the context researching the creative succession between ancient tribes and the  Buryats of the 19th – early 20th centuries. The author’s goals are to study the origins of  proto-shamanic icons – archetypes; to consider the symbolism of the elements of the shaman  iconography and his connection with the emergence of metal; to conduct a comparative  analysis of images in the art works of the ancient tribes and Buryat blacksmiths. The subject  of the study was the features of the artistic solution of the shaman’s image in ancient rock  paintings and metalwork. The scientific novelty of the study lies in the summary of works  and interpretation of cultural monuments of the designated historical eras with a diachronic  approach in the research. The diachronic approach will allow to analyze the icon of the  shaman in the temporal dynamics of different historical eras. The main research methods  are iconographic, iconological and comparative. The author examines the ancient connections  between the appearance of sacred metal and the formation of the cult of shamans in this  territory, analyzes the shaman iconography from ancient images on the rocks of Lake Baikal,  and compares archaic masks on metal with shamanic masks of the Buryats. The author’s research has discovered that the ritual image of the Buryat shaman embodied the symbolic  structure of the mythological model of the Universe. Additionally, the article noted the  preservation and continuity of artistic traditions of ancient Siberian tribes in the work of  Buryat masters.

Keywords: shaman, archaeological site, blacksmith, metalworking, Buryat artistic culture,  tradition.

Batorova E.A.

pp. 98-105

The role of digitalization and multimedia technologies in preserving and popularizing Yuri Grigorovich’s ballet legacy

The article examines the creative work of Yuri Grigorovich as a cultural heritage of  Russian choreographic art. The purpose of the article is to analyze the use of digital and  multimedia technologies in the creation of new versions of ballet productions by Yuri  Grigorovich. The research is based on the methods of: system analysis when considering  choreography, music and performing tradition as a whole in Y. Grigorovich’s productions; cast  study when studying digital copies of ballet productions; semiotic analysis of ballet  performances by Y. Grigorovich, which are based on the principle of ballet drama; holistic  analysis of the individual stylistic and genre originality of Y. Grigorovich’s choreographic  compositions; the analysis of the influence of Y. Grigorovich’s work on further development  of Russian choreographic art. The research was based on Y. Grigorovich’s choreographic  works “The Nutcracker”, “Swan Lake”, “The Stone Flower”, “The Legend of Love”,  “Angara”, “Spartacus”, “The Flame of Paris”; and the first ballet using artificial intelligence  in Russia “Enlightenment”. The novelty of the work consists in the study of digital  technologies in the creation of ballet productions. Practical studies of scenic and dramatic  techniques were carried out when creating ballet performances using digital technologies and  artificial intelligence; the structure of choreographic movements was studied using a motion  capture system; the introduction of decorations from virtual models created according to the  templates and requests of the director was analyzed. The article concludes that digital copies  of Y. Grigorovich’s ballet productions have been created in order to preserve the  choreographic heritage. It is concluded that the use and implementation of digital and  multimedia technologies and artificial intelligence in the creation of ballet performances leads  to a qualitative improvement in choreography; the emergence of unique and modern  productions reflecting the realities of today’s world; to creation of visual elements of the  performance that make it more spectacular; and most importantly, it contributes to  preservation and promotion of the cultural heritage of our country.

Keywords: digitalization, Russian classical ballet, heritage, Yu.N. Grigorovich, Russian  choreographic art, ballet productions Y. Grigorovich’s ballet legacy.

Sinitsyna Yu.N., Kirillova A.A.

pp. 106-112

Mechanisms for dialogue between musical cultures in the multiethnic Volga-Caspian region

The mechanisms that determine the processes of intercultural interaction between various  ethnicities or ethnic groups are closely linked to the comparative study of musical folklore.  This involves identifying both individual characteristics and shared traits that emerged during  historical and cultural development. These mechanisms are especially relevant for so-called  “open” areas. This article examines the mechanisms of interaction between local ethnic groups,  whose origins are tied to the formation of Turkic populations in the multi-ethnic Volga-Caspian  region. Since the 16th century, the multi-ethnic nature of the Astrakhan region has attracted  travelers. Their descriptive works, archival materials, and historical accounts provide a  foundation for understanding the ethnocultural processes in which mutual influence is leading  today to the emergence of cultural dialogue. Cultural dialogue serves as a crucial aspect  of intercultural interaction, aimed both at revealing the unique features of each culture,  including in oral musical traditions, and at understanding the ethnocultural processes involving  the peoples of the Russian region. This article relies on methodological approaches from 20thcentury Russian historians and cultural theorists as foundational models for uncovering cultural  mechanisms. Based on these, the article attempts to outline the boundaries of both ethnic  and non-ethnic elements in the oral musical traditions of a specific region. Comparative analysis  and structural-typological methods lead to the conclusion that the Volga-Caspian region  represents a unified layer of oral musical tradition while preserving the self-identity of each  local group.

Keywords: mechanisms, interethnic interaction, musical parallels, Turkic ethnic groups, musical  assimilation, cultural dialogue, Volga-Caspian region, Astrakhan region, genre-stylistic features.

Usmanova A.R.

pp. 113-124

Shi Fu’s “First Xinjiang Suite”: Characteristics of Musical Expressive Means

This study focuses on the work of Shi Fu, a composer whose legacy can be seen as an  example of a close connection not only with the musical traditions of the Middle Kingdom but  also with European cultural values. One of the most representative works, the “First Xinjiang  Suite”, was chosen as the subject of the study, vividly illustrating the organic fusion of the  composer’s individual style and European achievements brought by the piano. The involvement of  Chinese culture in integrative processes is explained not only by the development of world art  but also by the ability of the Chinese mentality to “read” the “social codes” and ”social codes”  of other cultures. A retrospective analysis of the history of Chinese culture allowed us to better  understand the role of Shi Fu’s work. Among the objectives, the importance of arrangement as  a key tool for adapting European achievements in compositional techniques to Chinese national  culture is examined. The role of the Chinese mentality in transforming external influences, which  become “their own” while fully preserving national identity, is emphasized. The “First Xinjiang  Suite” draws parallels with impressionistic sonic coloring, although it does not directly influence  this artistic movement. The term “Chinese Impressionism” is viewed as a striving for painterly  quality, watercolor-like tones, and visual imagery, which already manifests itself in early piano  arrangements. Shi Fu’s work also prominently features the imitation of folk instrumental timbres  on the piano. It is emphasized that this is not a matter of imitating the sound of ethnic instruments,  which is inherently impossible, but rather of embodying their specific coloring and timbral  characteristics through the textural, register-like, and technical capabilities of the piano. The main  features of Shi Fu’s style, manifested in the “First Xinjiang Suite”, are in line with the evolution  of the Chinese piano school, which is following the path of “Europeanization” of piano art in the  plane of symbiosis of folklore and professional compositional creativity, as well as strengthening  the author’s principle.

Keywords: Shi Fu, Chinese piano art, arrangement, Xinjiang style, “Chinese impressionism”, timbre.

Pchelintsev A.V., Li Miao

pp. 124-133

New Facets of Eternal Meanings: On Nikolai Peiko’s Vocal Cycle “Broken Lines”

This article is dedicated to vocal cycle “Torn Lines” by Nikolai Ivanovich Peiko’s created  in 1951 to the verses of Chinese poets of the Middle Ages. Numbers 1–3, “White Herons”,  “Snowy Night”, “Waiting, but He Doesn’t Come” and number 6 “On the River”, are based  on the verses of Bo Juyi, translated by B.A. Vasiliev. Number 4, “Stream”, is based on the  verses of Wang Wei, and number 5, “By the Pond”, on the verses of Liu Yuxi (both translated by Yu.K. Shchutsky). All the poems that form the basis of the romances belong to the jueju  poetic form, an extremely complex and refined form in terms of both structural organization  and content.  The purpose of this article is to identify the musical language of Peiko’s “Torn Lines”  cycle in relation to the poetic features of the poems. The authors of this article are the  first to examine this cycle from this perspective. The relevance of this study is evidenced  by the significant number of scholarly publications in recent years devoted to Russian  composers’ interpretations of ancient Chinese poetry. The primary research method was a  holistic analysis of the musical text.  The article emphasizes that the phrase “torn lines” – the Russian translation of the term  jueju – is not synonymous with incompleteness and understatement. Jueju is a new type of  poetic structure that emerged during the Tang Dynasty, a poetic style that radically separated  this form from the preceding literary tradition. It is likely that the philosophical depth and  semantic multidimensionality of jueju motivated Peiko to reject the use of nationally  characteristic intonations and even the pentatonic scale.  The authors of the article, having analyzed the music of the romances, conclude that  the composer, having abandoned ethnographic references, employs expressive means  characteristic of various styles and eras. In this way, he emphasizes the timeless nature of  the meanings that have ensured medieval Chinese poetry such a significant place in world  culture.

Keywords: N.I. Peiko, “Torn Lines”, Chinese poetry, jue-ju, vocal cycle, romance.

Pan Shuang, Dolgushina M.G

pp. 133-141

The Folia in A. Corelli’s sonata, Op. 5, and F. List’s “Spanish Rhapsody” as an artistic instrumental model

The objectives of the article include: examining the causes of the emergence and  development of Folia, its genre characteristics; analyzing A. Corelli’s “La folia” and F. Liszt’s  “Spanish Rhapsody”; identifying the specific features of musical drama, meaning-forming, and  genre-based intonation complexes in the analyzed works; an assessment of the evolution of  Folia’s artistic interpretation from the perspective of authorial instrumental models in the  Western European musical tradition. The methodological framework is based on a comprehensive approach, which involves  studying Folia in two different perspectives of musical art: Corelli’s and Listov’s. The article  employs methods of comparative analysis, comprehensive musicological analysis, historical and  cultural analysis, and genre and stylistic analysis.  The author comes to the following conclusions. The Corelli model found its expression  in the sonata “La folia”. The virtuosic beginning allowed for the creation of a vivid image  of the Portuguese-Spanish dance. The “madness” of medieval Folia took on new genre and  stylistic nuances, incorporating elements of marching, singing, and dancing with a melancholic  and lamentable undertone.  Liszt’s model is realized in the “Spanish Rhapsody”. The composer synthesized the form  of variations and the principles of the sonata form, giving priority to the form of double  variations. The intonational solution of the themes is derived from the monothematic core  presented in the introduction. The romantic interpretation of Folia is vividly expressed through  the idea of Faustianism, enriched by the composer’s own statement.

Keywords: folia, variation, A. Corelli, F. Liszt, rhapsody, genre, drama, intonation, semantic  field of the work.

Predolyak A.A.

pp. 142-151

Transformation of the heroic theme in Russian opera of the XVIII – first half of the XIX century

Russian opera at the end of the XVIII – the first half of the XIX century looked very  eclectic, several foreign opera companies worked in the opera houses of the Russian capitals,  whose activities were very successful, but at the same time, the process of formation of  the national Russian opera was going on. A very significant role in this process belonged  to the heroic theme, which runs like a red line through many very popular Russian operas.  The image of the Russian hero, created by Mikhail Glinka in the opera “Ruslan and  Lyudmila”, is now perceived as almost the only possible version of his incarnation. However,  today it is obvious that the entire development of the Russian musical theater, which preceded  Glinkа’s works, led to it. This period has recently attracted more attention from researchers,  and this is what determines the relevance of addressing this issue.  The purpose of this short study is to track the historical processes that took place in  the musical and theatrical environment during the formation of the national school of  composition and were reflected in the specific refraction of the embodiment of the heroic  theme on the opera stage. For this purpose, the heroic theme is traced in several of the  most notable and important works for Russian opera, with an emphasis on the image of the  hero, his specifics and expressive means of his musical embodiment.  The first operas based on heroic subjects were solved in a comic way, these are the  works of E.I. Fomin, E. Vanzhura, V. Martin y Soler, based on the libretto of Empress  Catherine II, who sought to create a “national theater” in the form she understood it.  The next stage is the development of the Russian epic, understood as a national one,  as a reflection of history and the ancient “folk spirit”. Immediately after the publication of  the epics from Kirsha Danilov’s collection in 1804, operas based on the epic plots of K.A.  Kavos appeared, and the epic began to intersect with a fairy tale, with magical characters,  with evil witchcraft opposing the heroes. And even before A.S. Pushkin created his poem  “Ruslan and Lyudmila”, a type of magical heroic opera with specific characters had  established itself on the Russian stage.  “Grave of Askold” by A.N. Verstovsky, which immediately preceded Glinka’s works,  is also important for the mainline of the unfolding of heroic plots and at the same time for  the formation of Russian national serious opera.

Keywords: heroic plots in opera, formation of the national Russian opera, E.I. Fomin,  S.I. Davydov, K.A. Kavos, M.I. Glinka, A.N. Verstovsky.

Chen Li’an, Skaftymova L.A.

pp. 152-159

The singing tradition of Easter celebrations in the Old Believer parish of the Intercession Cathedral in Rostov-on-Don

The singing tradition of the Old Believer parish of the Holy Protection Cathedral in  Rostov-on-Don has been studied over several decades. The development of the main directions  of research into the Old Believer culture of the Don was part of the scientific work of the  head of the Laboratory of Folk Music, Doctor of Art History, Professor Tatyana Semenovna  Rudichenko. The study of Old Believer communities included both the recording and  transcription of examples of extra-liturgical tradition (spiritual poems and psalms) and the  exploration of liturgical singing. One important stage of this research was the study of the  singing component of Old Believer parish liturgical practice. The practice of performing chants  according to hooks and according to a “melody” was studied. The research was based on the results of the expeditionary work of T.S. Rudichenko, during which the main stages of  teaching the parish singing tradition were recorded (recording of an interview with the head  of the right choir - M.S. Sevastyanova), as well as the Christmas service (2003). Later, this  direction of expeditionary work was continued, and services for the feasts of the Meeting  of the Vladimir Icon of the Mother of God, Easter, the Baptism of the Lord, Trinity Day,  and the Nativity of Christ were recorde. A number of publications were also produced that  highlighted the features of the liturgical tradition of the Old Believer community. The  transcription of the chants of the main Christian holiday – Easter – represented the  preservation of the parish’s singing traditions. The analysis of the singing component of festive  services recorded in the first quarter of the 21st century represents an important stage in  the scientific work, the main directions of which were formed by T. S. Rudichenko.

Keywords: Easter service, singing traditions of the Old Believer parish of Rostov-on-Don.

Demina V.N.

pp. 159-167

The genre of the bayan suite in the stylistic palette of Donbass composers

The article is devoted to regional issues: the study of accordion music by Donbass  composers-performers, viewed through the prism of the suite genre. To realize the set goal  (analysis of multi-part cyclical compositions of representatives of the Donbass bayan school  of composers), tasks related to the identification of the range of cyclical compositions (suites,  partitas) in the style palette of composers-performers of Donbass are solved; determining  the place of these genres in the dynamics of the development of domestic narrative literature;  conducting a genre-style analysis of suites by Donetsk authors. The study of the suites by  A. Stashevsky “Ancient frescoes” (2005) and A. Nizhnyk “Heart of the dragon” (2014)  substantiates the gravitation in this genre to different types of programming (generalized,  concrete), which is manifested in the names of the parts of the suites; the influence of the  traditions of neo-folklorism and neo-Ochukism on the concept and musical language of the  works; the division of extended cycles into microcycles based on the principle of belonging  to a certain genre and/or image sphere; the dependence of the musical language and  composition of the works on the capabilities of the instrument and the performance style  of the authors, since these works were created by composers-performers. It is proved that  this genre in the creativity of musicians of Donbass is formed in parallel with the general  trends of the development of accordion art in Russia and becomes central in the range of  multi-part cyclical compositions (sonatas, concerts). A typical feature of a modern suite is  a more complete unification of the cycle due to figurative-dramatic and thematic connections  between the parts, the expansion of the figurative sphere. Representatives of Donbass occupy  leading positions in this genre niche.

Keywords: cyclic compositions, suite, accordion, musical style, A. Nizhnyk, A. Stashevsky,  composers of Donbass.

Miroshnichenko O.N., Shak T.F.

pp. 168-174

Reflection of national culture in Yin Qing’s opera “The Long March”

“The Long March” is an operatic musical epic that captures the spirit and historical  significance of the Red Army’s Long March. It became a significant event not only in opera  but also in China’s cultural life. “The Long March” tells the story of a difficult period in  Chinese history, when the Red Army, led by Mao Zedong, undertook a long and arduous  march to the north of the country during the Civil War. The opera’s plot highlights the heroic  deeds of the soldiers, their hardships, and their perseverance during the arduous journey. It  not only reflects important historical events but also instills patriotism and pride in the country.  The work received widespread recognition and became an important part of China’s cultural  heritage. The opera “The Long March” became not only a work of art but also a symbol  of the strength, endurance, and courage of the Chinese people. Its premiere was a true  cultural event, attracting widespread public attention and receiving high praise from both critics  and audiences. The aim of this study was to explore the principles of integrating traditional forms of Chinese national culture into the musical fabric of the opera “The Long March”.  The opera’s score served as the material. The research utilized a multidisciplinary approach  to the study of the synthetic opera genre, as well as methods of cultural studies and art  history (musical analysis, musical textual criticism) in examining the composer’s musical  language. The study notes that the composer’s creation of original versions of the folk themes  of China’s provinces, the use of rhythmic patterns from national cultural patterns, and the  use of the timbres of Chinese folk instruments allow him to create an authentic atmosphere  of the country’s regions. The study concludes that quotations from folklore serve as a unique  bridge between the past and the present, between tradition and modernity, lending Yin Qing’s  opera a unique character. In conclusion, the author notes that Yin Qing created numerous  musical themes in The Long March that reflect the national musical culture of China’s  provinces. He employed techniques such as quotation and stylization, demonstrating distinctive  approaches to interpreting national culture.

Keywords: The Long March, a historical opera by, the works of Yin Qing.

Shao Chunbo

pp. 175-176

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