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From the Editor

Zengin S.S.

pp. 7-15

Representation of the values of folk music tradition in the digital reality of modern society

The article is devoted to the analysis of the processes of representing the values of folk music tradition in the Russian modern digital space, as well as the key areas of transformation of folklore heritage during its transition to a virtual environment. Special attention is paid to the contradictions of digital representation – from the expansion of the accessibility of cultural traditions to risks, their distortions and desemantization, since digital reality simultaneously carries with it the threat of loss of the contextuality of folklore, and limitless opportunities to motivate the younger generation to an adequate perception of traditional national values.

The main vectors of the directions are highlighted in the materials of the article: digital preservation and archiving of authentic material, adaptation of traditional forms in new media and the emergence of hybrid neo-folklore practices. The first area characterizes the processes of digitization and cataloging of cultural heritage using new technologies, including 3D modeling of rare musical instruments and the use of artificial intelligence methods to analyze traditional music, which makes it possible to preserve not only the sound, but also the material texture of artifacts for accessibility to a wide audience and researchers. The second direction demonstrates the adaptation of tradition to the expectations of the digital audience, reveals the basic principles of successful representation: emotional-visual coding, genre hybridization, media-oriented promotion.

The authors conclude that digital representation contributes to the preservation of folklore heritage, allowing it to acquire new meanings, and at the same time actualizes its value-semantic core. The values of tradition – community, connection with the natural cycle, sincerity – are being digitalized, resonating with listeners who expect emotional stability and authenticity in the era of globalization.

Keywords: folk music tradition, digital reality, cultural axiology, authenticity, folklore.

Anufrieva N.I., Sinyavina N.V.

pp. 16-24

The Rationale for a Semiotic Approach within the Stanislavsky System

In this article, the authors explore the Russian tradition of theatrical semiology. Arguing for a special way of development of the Russian Theater School, the authors suggest that methodological approaches to the semiotics of theater in foreign studies are not always identical and acceptable for the semiology of the domestic theater.

 Citing the main problematic studies on theatrical semiotics in the article, the authors consider them from the point of view of K. S. Stanislavsky's system, considering it as the methodological basis of Russian theatrical culture and extrapolating the provisions of this system to the sphere of theater semiotics, which determines the scientific novelty of the research and its relevance.

 The article concludes that the existing contradictions in the essential understanding of the signs of theatrical utterance, their production and perception by the viewer can be traced when comparing the empirical judgments of K. S. Stanislavsky (however, as well as later figures of Russian theatrical culture) with the theoretical provisions of the works of foreign researchers of theatrical semiology. One of the ways to resolve this contradiction is seen by the authors as the need to turn to the semiotic analysis of the play as an integral work of theatrical art, and the methodological priority of semiotic research of the Russian school along with the fundamental works of prominent figures of the Russian theater.

 The article is addressed to researchers of theater semiotics, cultural scientists, as well as to a wide range of specialists in related fields of humanitarian scientific knowledge who address the applied problems of semiotics, the representation of artistic texts and the search for cultural and semiotic meanings.

Keywords: theatrical semiotics, theatrical discourse, non-verbal means, dramatic text, K.S. Stanislavsky's system.

Naidenko M.K., Naidenko E.A., Astankova N.V.

pp. 25-38

Theater's Transformation within the Creative Industries Ecosystem: Origins, Meanings, Trajectory

This article explores the axiological, semantic, and existential aspects of the transformation of contemporary theater. It identifies the specifics of the creative industries ecosystem and the characteristics of creative products; the modernist pursuits of Russian theater are characterized as a prototype for the transformation of contemporary theater; and the key processes occurring within it are systematized. It is demonstrated that the transformation of contemporary theater is driven by the interaction of three factors: a postmodern worldview, new technologies, and the creative industries ecosystem.

In analyzing the impact of digitalization and digital technologies on contemporary theater, two aspects of its transformation as an element of the creative ecosystem must be noted. The first relates to the functioning of a new theater format—online or offline broadcasting of a performance; the second relates to changes in theatrical scenography. Elements of virtual and augmented reality, avatars, 3D models and electronic projections, audio technology, LED technology, etc., are being introduced into the scenography of performances. Under the influence of the creative industries ecosystem, theater is beginning to function as a business project and a tool for branding and preserving regional identity. This is reflected in contemporary immersive practices, which are profitable due to their popularity with audiences and are actively used by private theaters. The popularity of immersive theater stems from the modern audience's perception of works of art through the lens of consumer society values.

However, the Russian creative industries model is based on the preservation of national cultural heritage, while the Russian performing arts model is dominated by the public sector. Therefore, the Russian Federation's regulatory framework for the functioning of creative industries places significant emphasis on engaging the book industry in collaboration with theater, as literature is not only the foundation of traditional theater but also one of the pillars of the country's national identity.

Keywords: new technologies, modernism, postmodernism, creative product, creative industries ecosystem

Pavlova O.A.

pp. 39-46

Carnivals in Italy: mental aspects

This article is devoted to the study of the Italian carnival as a form of expression of national mentality, manifested in ritual structures, masks, and scenarios. The relevance of this study is due to the insufficient consideration of carnival as a mental phenomenon: existing works focus on historical-ethnographic or folkloric aspects, while the role of carnival in the structure of cultural memory and collective representations has been studied only fragmentarily.

The subject of the study is the mental scenarios and symbolic codes of Italian carnival practices that express the national mentality in its regional forms. The aim of the article is to examine carnival as a mechanism of national mentality, with a particular emphasis on the functions of masks, rituals, archetypes, and laughter scenarios. The article examines masks and rituals as archetypal figures associated with the collective unconscious, considers social and gender mimicry, as well as the ‘dark sides’ of carnival and historically established mechanisms of control.

An interdisciplinary approach, including methods of cultural anthropology, semiotics, psychoanalysis, and historical hermeneutics, forms the methodological basis of the study. The empirical basis of the study consists of classical theoretical works, contemporary publications, regional descriptions of carnivals, including visual sources, as well as the author's own observations.

The novelty of the study lies in combining the approach of the history of mentalities and ritual-semiotic analysis, which allows interpreting carnival as a complex of stable mental scenarios that perform both cathartic and resocialising functions and contain possible risks requiring cultural regulation.

Keywords: carnival, Italy, mentality, masks, folk culture.

Orlova E.M.

pp. 47-55

Memory Culture and Commemorative Practices in the Preservation and Development of Military Memorial Heritage: A Case Study of Krasnodar region

The approaches to the digitalization and restoration of military‑memorial heritage presented in this work have significant scalability potential. They can be successfully applied in other regions of the Russian Federation with similarly rich military‑historical heritage, contributing to its preservation and popularization at the national level. Thus, this study serves not only as an analytical report but also as a practical guide capable of stimulating further development and improvement of the activities of all stakeholders in the field of cultural memory preservation. It offers concrete tools and ideas for more effective work aimed at fostering patriotism and respect for history among the younger generation. These findings are particularly relevant in the context of forming a unified all‑Russian cultural‑historical space, where the experience of the Krasnodar Region can serve as a model for replicating best practices. Implementing the proposed methodologies will not only help preserve the material heritage objects but also ensure a living, dynamic connection between generations, transmitting the values of patriotism and civic responsibility through meaningful engagement with history. Further research could focus on studying the long‑term impact of interactive formats on the formation of historical consciousness among young people and on developing universal models for assessing the effectiveness of regional programmers for the preservation of military‑memorial heritage.

This study focuses on examining the culture of memory and commemorative practices aimed at preserving and developing military memorial heritage, using the example of the Hero City of Novorossiysk. The choice of this case study is (justified) by its historical significance as a strategic outpost and the “shield of Southern Russia”, which has been the scene of numerous bloody battles in various historical periods (including the Caucasian War, World War I and the Great Patriotic War). This historical specificity has determined the central place of the memory of border defense in local identity and the formation of commemorative narratives. 

Keywords: culture of memory, commemorative practices, military memorial heritage, Krasnodar Krai, restoration.

Denisov N.G., Yarchuk M.V.

pp. 55-87

The Crisis of Museum Stewardship over the Digital Heritage of the Russian Diaspora in the United States

This research conceptualizes the transformation of museum responsibility amidst the digital mediatization of diasporic heritage. The Russian diaspora in the United States functions within a condition of chronic institutional deficit, where cultural assets remain fragmented across parishes, social organizations, private archives, and disparate digital initiatives lacking a stable preservation mandate. This context serves as a critical boundary case where digital mediatization challenges the epistemic foundations of museum knowledge. The study delineates a rigorous distinction between the “museum regime” and “memory regimes”, asserting that the former is defined by the systematic production of knowledge through selection, contextualization, and verification. Digitalization absent institutional accountability fails to replicate museum-grade knowledge, instead exacerbating the divergence between public accessibility and scholarly verification. Consequently, the concept of digital curatorial responsibility is advanced as a necessary minimum standard for operating under conditions of institutional absence.

In the digital environment, heritage often reverts to memory regimes characterized by affective engagement and the lack of professional gatekeeping. The research contends that the mere ontological transition of heritage objects into digital formats does not confer museum status. Bereft of professional attribution and provenance documentation, digital objects devolve into “homeless data”. To address this, the proposed model of a networked ecomuseum employs the “holon” as its primary analytical unit, ensuring the integrity of heritage assets across varying scales of observation. This scalar approach facilitates the integration of participatory data acquisition with stringent scientific protocols for description and verification. By shifting the focus from centralized repositories to distributed protocols of responsibility, the model secures the preservation of the “difficult” and dissonant meanings inherent in Russian overseas heritage. The resulting digital infrastructure serves as an experimental platform to validate museum quality criteria, metadata completeness, and security protocols within a decentralized preservation environment.

Keywords: museology, digital heritage, Russian diaspora, accountability, provenance, memory regimes, mediatization.

Molodin A.V.

pp. 68-74

The Piano's Imagery in Solo Performance: A Historical Overview

The piano, being a unique instrument in terms of design and universal in terms of timbre characteristics, has been attracting attention in the listening, performing, composing and research environment for a long time. Its ambivalent acoustic nature, synthesizing the qualities of “percussive” and “singable”, makes it possible to embody a large-scale range of images with a variety of timbre colors.

The multi-saturation timbre of the piano is organically connected, first of all, with performing practice: solo, ensemble, orchestral. The focus of this article is on the images embodied by this timbre in solo performance, namely in the sonata genre. In general, this work is part of a general study devoted to the generalization of scientific approaches and aimed at creating a theory of timbre through the prism of figurative characteristics of the piano.

Analyzing the solo piano sonatas of European composers of the XIX – XX centuries: L. van Beethoven, F. Chopin, F. Liszt; A.N. Scriabin, S.V. Rachmaninov, S.S. Prokofiev, D.D. Shostakovich, the authors of the article identify the main figurative spheres in the portrait of the instrument: Man, Nature, Art, Religion and Philosophy.

It is important to emphasize that currently the scientific theory of timbre is dispersed in a variety of scientific concepts. The range of research on this issue is focused on various aspects of this phenomenon, mainly in the field of musical acoustics, shaping, figurative and artistic systems.

The methodology of this research is based on an integrated approach and includes methods of historical musicology, aesthetics, cultural studies; as well as genre, stylistic, figurative and semantic types of analysis. Thus, this work correlates with the provisions of the theory of musical content.

Keywords: timbre characteristics of the piano, figurative spheres, sonata, solo performance.

Shmakova O.V., Mishchenko O.V.

pp. 75-84

A Model of Interaction between Accompanist and Vocalist in Preparing for a Concert Performance: Methodological Aspects

This article examines the role of creative collaboration between accompanist and performer in preparing a concert program. It explores the relationship between artistic imagery and pianistic and technical techniques in the search for the ideological and semantic meaning of a vocal piece. This requires the ability to perceive and convey the complex relationships between individual intonations and phrases that shape the overall sonic image.

The role of performer and accompanist in musical art plays a key role in the creation of a musical work. Comprehensive and thorough mastery of accompanist skills serves as the foundation for successful professional work. The first stage of interaction between performer and accompanist begins in solo and chamber singing classes, where the pianist actively participates in the artistic aspects of accompaniment. The accompanist's primary goal is to achieve an ensemble sound, which is only possible with the unity of creative intent between both participants—the soloist and the accompanist. Both parties must not only understand their role in conveying the concept of the work but also clearly divide responsibilities for realizing its artistic content.

The pianist's lack of skills in intoning the vocal text can hinder the accompanist in the early stages of his activity and understand the role and significance of the performed accompaniment music.

The accompanist and concertmaster must remember that, by their very nature, they are participants in a collective creative community, and in their activities they must always take into account the ethics of such a community.

Keywords: accompanist, concert repertoire, musical piece, technical work, musical intonation, interpretation.

Gavrilova O.A., Startseva D.V.

pp. 84-91

The Formation and Evolution of the Bel Canto Style in Italian Baroque Opera

This article examines the genesis and historical transformation of the bel canto vocal style within Italian opera from the late 16th to the mid-18th century. The aim is to identify the key stages of its formation, define its essential technical and aesthetic characteristics, and establish the causal relationships between Baroque aesthetics, operatic form evolution, and vocal pedagogy. The study employs an interdisciplinary methodology, combining historical-genetic, comparative-typological, and systems analysis, alongside source study of period treatises and scores. The research reveals that bel canto evolved through three distinct phases: the Florentine (late 16th – early 17th century), rooted in the stile rappresentativo and clear declamation; the Venetian (mid-17th century), which developed a "pathetic" (espressivo) style blending drama and cantilena; and the Neapolitan (late 17th – mid-18th century), where the style crystallized into a "bravura" (bravuro) form centered on the da capo aria, systematic conservatory training, and the singer-castrato phenomenon. The study concludes that bel canto emerged as a synthesis of cantilena and virtuosity, driven by the dialectic between dramatic expression and technical display, institutionalized through pedagogy, and shaped by socio-cultural conditions like public opera. Its practical significance lies in informing historical performance practice and vocal pedagogy, offering a nuanced understanding for interpreting Baroque repertoire. Therefore the bel canto is positioned as the quintessential vocal manifestation of Baroque aesthetics, characterized by contrast, theatricality, and affective intensity. It laid the indispensable foundation for the subsequent European academic singing tradition, influencing composers from Mozart to the early Romantics. The practical significance of the research lies in its application to modern historical performance practice and vocal pedagogy, providing performers and teachers with a nuanced, context-rich understanding of the style's principles, thereby informing more authentic and stylistically aware interpretations of the Baroque repertoire. Further research may trace its legacy in 19th-century national schools and modern teaching methods.

Keywords: bel canto, Italian opera, Baroque, vocal style, castrato singers, Neapolitan school, cantilena, coloratura, Alessandro Scarlatti, opera seria.

Alimova E.S.

pp. 91-101

The Legend of Layla and Majnun in 20th-Century Operas: On the Problem of Interpretation

This article, for the first time in Russian musicology, addresses the problem of interpreting the medieval legend of Leyli and Majnun, widely known in Eastern countries, in operas by 20th-century composers. The relevance of this topic is determined by the insufficient study of these works and the interest of scholars in the embodiment of “eternal themes” in art.

Three operas, composed by representatives of different national cultures, served as the material for the analysis: “Leyli and Majnun” by the Azerbaijani composer Uzeyir Hajibeyov (1908), “Leyli and Majnun” by R.M. Glière in collaboration with the Uzbek composer T.S. Sadykov (first version – 1940), and “The Song of Majnun” by the American composer of Chinese descent Bright Sheng (1992).

The authors of the article employ music-historical, music-analytical, and comparative research methods. The study revealed that the plots of 20th-century operas were based on literary adaptations of the legend: poems by Nizami Ganjavi, Alisher Navoi, and Muhammad Fuzuli. The authors note the high significance of Nizami's poem and the individual characteristics of the poems of his followers.

“Leyli and Majnun” by Hajibeyov is the first opera in the history of Islamic countries. It is a unique work. In it, the composer combined his own music with Azerbaijani mughams, which replaced the arias and recitatives of the characters.

“Leyli and Majnun” by Glière and Sadykov was created in the tradition of socialist realism and reflects the realities of “cultural construction” in the national republics of the Soviet Union. In accordance with official ideology, the image of the opera's protagonist is transformed: he becomes a progressive scholar, a defender of the rights of oppressed people. Bright Sheng's opera “The Song of Majnun” combines elements of various national cultures: the compositional influence of Persian miniatures, the intonations of Tibetan hua'er folk songs, the Chinese pentatonic scale, and European extended tonality.

In analyzing all the operas, the interpretation of the literary source and the connection of the musical themes with national folklore were examined. Similarities and differences in the interpretations of the legend's plot by different composers were identified.

It was concluded that the nature of interpretation is influenced by national traditions and the socio-political context, which predetermine the specific features of the operas' plots and the specifics of their musical themes.

Keywords: opera, Leili, Majnun, plot, interpretation, U. Hajibeyov, R.M. Glier, T.S. Sadykov, Bright Sheng.

Dolgushina M.G., Xu Dandan

pp. 101-110

Individual Authorial Strategies of the "New Simplicity" in the Works of Post-Soviet Composers

The relevance of the study is due to the need to understand the “new simplicity” as a key stylistic turn of the second half of the 20th century, which marked the abandonment of radical avant-garde and the return to tonality, melodism, and communication. As a multifaceted phenomenon, it requires an analysis of individual authorial practices.

The degree of scientific development. The problem has been studied in works devoted to the polystylistics of A. Schnittke (N.Gulyanitskaya, V.Kholopova), the philosophy of «quiet music» by V.Silvestrov (M.Nestyeva, S.Savenko), and metastylistics (M.Bonfeld).

The purpose of the study is to identify and compare individual composers' strategies for implementing the aesthetics of “new simplicity”. To achieve this, the study analyzes the types of simplification of the musical language, the mechanisms of working with past stylistic models, the semantics of genre archetypes, and the features of postludiality.

The scientific novelty lies in a comprehensive comparative analysis of the practices of these composers, as well as in a detailed examination of the little-studied aspects of their work.

The methodology is based on a comprehensive approach that includes stylistic, comparative-typological, intertextual, and semantic analysis.

Empirical base: sheet music of the cycle “Down the Tertians” by G.Pelecis, “Simple Music” by G.Kancheli, bagatelles, DSCH Postlude, Quartet № 1, and “Epitaphs” by V. Silvestrov, as well as author's comments.

Main conclusions:

1. G. Pelecis implements the strategy of anonymous construction from ready-made formulas, relying on the canon of the romantic miniature. His method is based on repetitiveness, combinatorics and the creation of genre-stylistic allusions, which leads to a “neo-romantic” reinterpretation of simplicity.

2. G. Kancheli in the cycle “Simple Music” models the nostalgic space of memory through stylistic stereotypes (romantic cantilena, minuet, march) and baroque rhetorical figures (lamento, cross motif).

3. V. Silvestrov develops the strategy of «quiet music» and postludiality. In his bagatelles, the classical form is combined with meditative statics, the subtlest dynamic and agogic nuances, creating the effect of “sound radiation”.

“New simplicity” is not presented as a single style, but rather as an individual creative strategy for each composer, aimed at finding transpersonal content through subjective perception and dialogue with the past.

Keywords: “new simplicity”, composer's creativity, musical poetics, and musical language.

Vorotyntseva L.A.

pp. 110-121

The Fairy Tales of Nikolai Medtner and Ivan Bilibin as a Phenomenon of Russian Modernism

Fairy tales occupy a central place in the works of Nikolai Medtner and Igor Bilibin. Both became prominent figures of their time – a time of searching for new forms and genres, with the goal of immersing themselves in a truly Russian world. It seems relevant to compare the fairy tales of these two «giants» of the russian modern era from the perspective of their synthesis of the arts – music and painting.

The purpose of this study is to identify features of russian modern in the fairy tales of N. Medtner and I. Bilibin, which necessitates solving a number of problems: determining the role of this genre for each of them; examining the types of ornamentation, the relationship between relief and background in musical fairy tales and illustrations to fairy tales. The subject is the modern properties of the studied fairy tales in the works of the composer and painter.

What is new in the study is the systemic analysis of musical and pictorial texts. The methodology is based on the search for a unified algorithm for analyzing modern texts with fairy-tale content.

The source material consists of biographical and epistolary publications on the lives and works of N.K. Medtner and I.Ya. Bilibin. The empirical basis of the work is Medtner's fairy tales, as well as Bilibin's illustrations for the tales and the covers of sheet music.

So, N. Medtner and I. Bilibin, being representatives of the modern style, in different ways, but fervently, with deep understanding, through a fairy tale, they recreated the world of the passing Rus'.

Keywords: N. Medtner, I. Bilibin, russian modern, musical fairy tale, illustration for a fairy tale, symbolism.

Smirnova A.I., Shmakova O.V.

pp. 121-127

Enrichment of Texture in the Choral Arrangements of A.M. Stepanova's interpretation of S.V. Rachmaninov's romances "Dream" and "It's Nice Here"

The issue of a performing group's repertoire remains relevant over the years. Russian musical culture has accumulated a substantial body of composers' works that invariably delight listeners and attract them to concerts. The music of one of the symbols of Russian art, Sergei Rachmaninoff, has consistently attracted and intrigued generations of listeners, performers, and researchers alike.

The composer's inspiration came from a variety of real-life sources, such as the beauty of nature and images from literature and painting. However, he strove not so much to directly reflect real-life phenomena through music or to depict them in sound, but rather to express his emotional reactions, feelings, and experiences arising from various external impressions.

S.V. Rachmaninoff's choral works are limited, although he wrote approximately 80 romances. His vibrant melody, combined with the rich, multi-layered, orchestral texture of the accompaniment, offers ample scope for choral arrangements. Two of Rachmaninoff's emotional romances, “Dream” and “It's Nice Here”, arranged by A.M. Stepanov, have already gained popularity in performance and teaching.

A comprehensive analysis of these choral arrangements allowed us to conclude that the scores' textural organization has been enriched. The use of timbre coloring techniques, the transfer of melodic lines from one choral part to another, and the use of varying sound densities significantly expand the expressive palette. The richness of the choral texture and the presence of voices with different textural functions make the sound more intense, rich in musical colors and nuances.

The musical reinterpretation of famous composers' masterpieces in choral arrangements significantly expands the choir's repertoire, adding new nuances of sound and allowing for a careful approach to great Russian classics, presenting them to listeners in a fresh new guise at concerts.

Keywords: choral music, textural organization, S.V. Rachmaninov, romance, means of musical expression.

Malatsay L.V.

pp. 128-138

M.L. Tarverdiev's Monologue Opera "Waiting (A Woman's Monologue)": Interpretations of Musical Text in Productions

The monoopera genre has been known in European musical theater since the 18th century. However, it gained popularity in the 20th century. Its popularity stems from the genre's core characteristic, the subjective experience of a single character. In the 20th century, the individual became the focus of attention in many disciplines, and in art, the individual and their subjective experience received greater attention. However, the monoopera genre has been understudied in the research literature.

M.L.Tariverdiev's monoopera “Expectation”, set to poetry by R.I. Rozhdestvensky, is a striking example of this subjective experience. This article analyzes seven productions of “Expectation”, which ran from 2009 to 2023 in Russian theaters and concert halls. Four performances were presented as theatrical productions, and three were presented as concert performances. The aim of this study is to identify the distinctive interpretations of the heroine's image and storyline in various productions of the monoopera. The analysis of the productions of the monoopera was conducted using a combination of methods: music-theoretical, comparative, contextual, and discursive. The empirical research methodology incorporated elements of contextual and discourse analysis. To compare the productions, four key concepts were identified and analyzed: performance, dramaturgy, the categories of “time” and “fatality”, and stage attributes.

An analysis of the productions of M.L.Tariverdiev's monoopera "Expectation" revealed common characteristics across all productions: the preservation of the monoopera's structure and the emotional intensity of the performance. The fundamental difference between the productions was the treatment of the heroine's emotional state: from painful emotions of fear and despair to life-affirming emotion. Different interpretations of the same musical text were created through variations in tempo, new interpretations of the solo part, and the use of stage attributes (sets, choreography). Each of the seven productions studied offers a unique perception of the same musical work, creating different types of reality through the work of art.

Keywords: mono-opera “Expectation” by M.L. Tariverdiev, productions, dramaturgy, categories of “time” and “fatality”, stage attributes.

Tishchenko N.V., Yaremenko A.A.

pp. 139-145

Andrei Eshpai's Piano Concerto No. 2 in the Context of the Author's Interpretation

The article is devoted to the study of the piano concert genre in the work of A.Ya. Eshpay, identifying the features of the performing style of the composer-pianist. The relevance of the chosen topic is explained by the lack of research on the work of Eshpay the pianist. The article examines the author's performance of the Second Piano Concerto.

For the first time, the composer turned to the concert genre in his graduate conservatory years. In 1954, the first piano concerto was written. The composer dedicated this concert to M. Ravel, his favorite composer.

The Second Piano Concerto was created in 1972. The author presented the premiere of the composition accompanied by the USSR State Symphony Orchestra conducted by E.F. Svetlanov. This performance was formed the basis of this study.

Researchers are unanimous in the opinion that in the Second Piano Concerto, the composer organically weaved together the traditions of academic music, folklore and jazz.

The form of the Second Piano Concerto, being one-movement, has features of the classical three-movement concerto form. The composer uses the principle of contrast, not confrontation of themes. The key role in slow episodes is played by the timbre color of the sound. In one of the themes, Eshpay introduced a genuine Mari melody.

It should be noted that in his performance the author of the concert drew attention to those moments that are important for him in terms of composer. Lapidary pronunciation of thematic material, clarity of sound in toccata episodes, extremely strong-willed rhythmic organization - this is the basis for the performance of A.Ya. Eshpay's own concert. In tandem with E.F. Svetlanov, the pianist created a monumental musical canvas, saturated with contrasting episodes, dramatic intensity and the most complex rhythmic combinations. The author's performance of the Second Piano Concerto by A.Ya. Eshpay remains exemplary today, without losing its relevance either compositionally or pianistically.

Keywords: A. Eshpay, Piano Concerto, author’s interpretation, Mari folklore, performing style.

Vakhitova D.I., Gerasimova S.N.

pp. 145-155

The Transformation of Pyotr I. Tchaikovsky's Piano Miniature Genre in Russian Animated Cinema

Tchaikovsky’s music occupies a distinctive position in world cinema; however, his piano miniatures – including short piano pieces, romances, and orchestral miniatures – are rarely employed. Animation, with its concise visual language, provides an ideal platform for the integration of such miniatures. This article examines the transformation of Tchaikovsky’s miniatures in animation, exploring the semantic and functional changes undergone by the music and its role in shaping the artistic image.

Existing research (e.g., P.G. Hwan) has primarily focused on the artistic features and performance interpretation of these miniatures. Nevertheless, their adaptation within cinematic contexts remains understudied. The utilization of Tchaikovsky’s miniatures in animation has not been comprehensively analyzed; current scholarship is fragmented and predominantly centered on large-scale musical forms. This study aims to address this gap in the literature.

The novelty of this research lies in its comprehensive analysis of Tchaikovsky’s miniatures in animation from semantic and functional perspectives. The methodology integrates comparative-typological and structural-functional analysis, content analysis of films, musicological analysis (harmony, melody, rhythm, timbre), and intertextual analysis to elucidate the connections between music and visual narrative.

The source base includes sheet music of the miniatures (e.g., The Children’s Album, The Seasons) and scholarly works on musicology (K.V. Zenkin, A.A. Nikolaev, S.A. Eisenstadt). The empirical foundation comprises four animated films: The Children’s Album (1976, dir. I. Kovalevskaya), The Seasons (1969, dir. I. Ivanov-Vano, Y. Norshtein), Tales of the Old Piano: PyotrIlyichTchaikovsky. Elegy (2011, dir. I. Maksimova), and Winter Fairy Tale (1945, dir. I. Ivanov-Vano).

The study demonstrates that:Changes in orchestration expand the semantic potential of the miniatures.Thematic material often acquires leitmotif functions, shaping the emotional fabric of the work.Synthesis with large-scale forms creates a multi-layered musical texture.Music becomes an active participant in visual storytelling, enhancing emotional impact.Despite their brevity, Tchaikovsky’s miniatures possess significant potential for animation, where music and visual elements interact as equals, collectively forming a cohesive artistic image.

Keywords: piano miniature, animated cinema, genre transformation, musical form, semantics.

BoshukG.A. , Tsitsishvili Yu.G.

pp. 156-162

The Work of Lu Heng in the Dynamic Process of Adopting European Classical Percussion Instruments in China

This article reviews Liu Heng's creative process and, in conjunction with an interview with composer Liu Heng, outlines his creative philosophy. In addition, this article discusses two Chinese percussionists and educators who have had a profound influence on Liu Heng's performance career - Liu Gang and Li Biao. The article explores Liu Heng's life and educational experience in depth, briefly introduces his two percussion teachers, and explores and analyzes Liu Heng's creative philosophy and style, as well as Liu Heng's understanding of traditional Chinese percussion and European perspectives and practices. When exploring and analyzing Liu Heng's creative philosophy and style, this article will combine specific works to deeply analyze his unique approach to rhythm, timbre, structure, etc. His profound understanding of traditional Chinese percussion and European perspectives and practices has enabled his works to retain the profound heritage of Chinese traditional culture while incorporating innovative elements of modern music. This unique fusion not only demonstrates his outstanding creative talent, but also opens up a new path for the development of Chinese percussion. In addition, this article also explores Liu Heng's fusion with European percussion. It reveals Liu Heng, one of the leading cultural relics and young composers and performers in the development of Chinese percussion instruments, and his contribution to the performance of Chinese percussion instruments and Chinese sounds on the world stage, as well as his influence in inspiring more percussion players to create music.

Keywords: Liu Heng, instrumental performance, percussion instruments, composer's creativity, Chinese musical culture.

Guo Dongrui

pp. 162-170

Zhou Guangren: The Path of a Pianist and Pedagogue in the Context of Sino-Russian Cultural Ties

The article is dedicated to exploring the artistic journey of the distinguished Chinese pianist and pedagogue Zhou Guangren, a key figure in the process of adapting the principles of the Russian piano school in China during the second half of the 20th century.

The author focuses on the mechanism of “influence → adaptation → institutionalization,” as exemplified through Zhou Guangren’s artistic development. The study is based on the analysis of archival materials, memoirs, and interviews, which enables a detailed reconstruction of the pedagogical process. Special attention is given to the role of Soviet pedagogue A.G. Tatulyan, a representative of the Moscow school of A.B. Goldenweiser, under whose guidance Zhou Guangren mastered the fundamental principles of “weight” technique, cantilena sound production, and tonal variety.

The author demonstrates that the assimilation of the Russian school was not a matter of simple copying. On the contrary, it became a creative process of adaptation to Chinese cultural and institutional conditions. Zhou Guangren did not only systematize the acquired knowledge into her own pedagogical framework (“technique — sound — text — stage”), but also actively integrated works by Chinese composers into the concert repertoire.

This article makes a significant contribution to the history of piano art, vividly illustrating how intercultural dialogue is carried out through individual artistic biographies and how lasting pedagogical traditions are formed.

Keywords: Zhou Guangren; A.G. Tatulyan; Russian piano school; influence; adaptation; institutionalization.

Hao Guanghui

pp. 171-173

Information About the Authors in Russian