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From editor

S.S. Zengin

pp. 7-15

Historical Background for the Appearance of Two Principles of a Symphony Orchestra Seating Arrangement: To the Statement of the Question

In the 20th century, two main seating arrangements for a symphony orchestra became
standardized. One of them, called the old German seating arrangement in the Englishlanguage
literature, began its formation in the era of classicism. In the 1920s, Leopold
Stokowski proposed a fundamentally different solution for the location of the orchestra on
the stage (the American seating arrangement). However, the available domestic and foreign
literature does not provide a complete understanding of how the two options appeared. The
novelty of the work lies in the fact that, based on the analysis of various sources, including
treatises on music and engravings of the 17th–18th centuries, as well as the works of H.
Berlioz, D. Rogal-Levitsky, L. Stokowski, and others, for the first time in Russian musicology,
an attempt is made to recreate the processes of formation of the principles of the
arrangement of the orchestra on the stage. The conclusion is that the historical prerequisites
for this were the long evolution of both musical art itself and the symphony orchestra as
one of its components. Each era put forward new creative and artistic tasks, gradually
crystallizing the composition of the orchestra. At the same time, the formation and acoustic
improvement of concert halls and the search for the most optimal sound of musical
instruments, taking into account the peculiarities of their sound production, took place. As
a result, the German seating arrangement appeared due to artistic and aesthetic reasons,
while the American one had a purely acoustic origin and made it possible to achieve a
certain balance of the sound of a symphony orchestra in modern concert halls.

Keywords: symphony orchestra, German seating, American seating, Hector Berlioz, Leopold 
Stokowski

Sergey V. Anikienko, Tatyana N. Alexandrova, Ilyas V. Ponasenko

pp. 16-25

Ludwig van Beethoven as the Founder of the Lied Genre in Chamber Vocal Art

The aim of the article is to identify the role of the German composer Ludwig van
Beethoven in the formation and development of chamber vocal music. Studying the issue of
the origin and formation of the Lied genre, the authors used various sources: this problem
was touched upon by such researchers, writers and musicians as A. Alshvang,
A. Koenigsberg, R. Rolland, Yu. Kremlev, V. Vasina-Grossman, R. Gruber, I. Sollertinsky,
H. Betcher, A. Khokhlovkina, Yu. Khokhlov, S. Tarasov, and others. In the course of the
study, Beethoven’s chamber-vocal works as a representative of the Viennese classics were
studied and compared with the chamber-vocal works of Franz Schubert as a representative
of Romanticism. The authors listened to Lieder written by Beethoven and Schubert in
various performances, studied the musical material of the songs of Beethoven and Schubert,
analyzed the stylistic features characterizing the handwriting of these two composers.
Beethoven, starting with writing songs in the traditional couplet form, only on two musical
staffs, where the vocal part duplicated the line of the upper voice of the right hand, went
through the path of evolution and laid the foundation for the creation of individualized vocal
forms. The authors have found close links between the early opuses of Beethoven’s vocal
works (Op. 48, Six Songs by Gellert), then his full-fledged cycle To the Distant Beloved,
and Schubert’s immortal cycles The Beautiful Miller’s Wife and The Winter Journey; the
relationship of the aesthetic principles of the late Beethoven and romantic composers. The
authors came to the conclusion that Beethoven’s vocal and chamber work became a new
model, a new form of the Lied for subsequent romantic composers.

Keywords: Lied, Beethoven, Schubert, vocal cycles, chamber vocal genre.

Galina A. Boshuk, Irina V. Kulchinskaya

pp. 25-35

Zhao Yuanren: The Choral Ballad “Sea Rhyme” as a Symbolic Image of New Times

The article analyzes the works of Zhao Yuanren, a great Chinese innovator, composer,
mathematician and linguist. The author’s attention is focused on his ballad “Sea Rhyme”,
a landmark work for Chinese musicology. The ballad was able to embody a symbolic image
of the era of change (1920s) and become a point of reference for China’s new choral
music of the 20th century. Written in 1927 to words by the poet Xu Zhimo, the ballad
demonstrates a bold and innovative spirit both in its choice of subject matter and in its
exploration of the national style of music. Reacting sharply to the social and political
transformations in the country in the 1920s, Zhao succeeds in creating a work that seems
clearly intended to reflect the idea of the new age: liberation from the shackles of feudalism.
Among other things, the ballad is notable for its incorporation of the means of musical
expression common to Chinese traditional musicianship, and its use of a variety of modern
choral writing techniques serves as a “springboard” for the exploration of new compositional
techniques in the works of successor composers. Intending to adapt key aspects of Chinese
musical culture according to a new model that entailed combining Western compositional
techniques with the original Chinese folk melos (folk songs and Chinese drama), Zhao
showed himself to be a composer advocating the modernization of Chinese musicology,
which allowed Chinese composers to come closer than ever to the cantata-oratorio genre.
The article also provides a vocal and choral analysis of the ballad “Sea Rhyme” and
focuses on the fact that through the symbolic image of a “girl who wants to free herself
from the shackles of the mediocre world”, the composer was able to convey the romantic
spirit characteristic of Chinese youth of the 20th century. The author concludes that the
choral ballad “Sea Rhyme” is the composer’s skillful attempt to bring new developments in
the musicology of China and to symbolically reflect the contemporary social and political
processes.

Keywords: Zhao Yuarhen, ballad “Sea Rhyme”, symbolism, subtext, formation of cantataoratorio
genre, musical stylistics, Chinese choral music.

Xu Yanping

pp. 35-43

Popular Music in China in the Context of Contemporary Sociocultural Processes

Based on the milestones of China’s historical development and the sociocultural processes
of the 20th and 21st centuries, the author of the article outlines the ways of the formation
of Chinese popular music and gives a general description of the three periods of its
development. The first one (1917 – the end of the 1940s) developed from school songs,
which became the starting point for the development of musical and aesthetic culture in
modern musical China and were composed by borrowing Western or Japanese melodies
with the addition of Chinese text, to the jazz entertainment industry, leading to an increase
in consumer demand for popular music available in cinemas, theaters and dance halls, and
combining foreign music with folk tradition. The second period (1949–1980) saw the foundation
of the People’s Republic of China, when politics and culture merged together, which led to
the decline of the cultural industry, and the praise in the songs of the motherland and
political leaders. The pop music of this period in mainland China was politicized and developed
slowly. Taiwan and Hong Kong became the main regions for the development of Chinese
pop music. The third period, from the 1980s, is associated with reforms, openness, rapid
economic development and a gradual liberation of consciousness, which contributed to the
rise of pop music in China, with its reliance on European and American influences of disco,
R&B, rock styles. Chinese pop music has gone from imitating songs from Hong Kong and
Taiwan to absorbing European and American traditions. The author proves that the trends
of globalization required the spread of a large amount of European and American music,
which led to the loss of the national identity of pop music in China and its entry into an
era of diversified development aimed at meeting the needs of the audience and involving
the combination of economic and aesthetic practices. These processes, characteristic of the
music of Europe and America, can rightfully be attributed to the popular music of China.

Keywords: popular music, school songs, Chinese opera, jazz and dance music styles, ethnic
style, globalization, diversification.

Lin Zhefu

pp. 43-50

Graphic Sign as an Expressive Image in the Traditional Ornamental Art of Kabardino-Balkaria

This article discusses the artistic canons of iconic components in the traditional
ornamental art of Kabardino-Balkaria. The author focuses on the semiotic specifics of the
samples of decorative and applied works of the Kabardians and the Balkars. The
characteristic features of ornamental signs, their role and originality in the traditional practices
of ethnic folk craft creativity are highlighted and described. Based on the analysis of
artistic preferences of folk craft practices, as well as the identification of the main iconic
complexes in the traditional ornamental culture of Kabardino-Balkaria, a pattern of interaction
between the experience of ethnic ornamental and graphic symbols and modern design
activities is established. The theoretical and methodological basis of the study was the
historical-typological and cultural-historical approaches to the study of the traditional culture
of Kabardino-Balkaria. The development of ethnic historical and cultural problems of iconic
symbols in the traditional ornamental culture of Kabardino-Balkaria required turning to various
scientific sources: ethnographic studies by B.Kh. Malbakhov, M.N. Gubzhokov, Kh.Kh.
Bidzhiev, N.G. Lovpache; artistic and semiotic research by T.V. Lazutina, K.M. Korolev;
historical and cultural works by G.D. Bazieva, M.D. Karaketova, G.Kh. Mambetova. The
aim of the study is to establish the main iconic images in the traditional ornamental art of
Kabardino-Balkaria. The object of the study is a symbolic and graphic sign in the traditional
ornamental works of Kabardino-Balkaria, and the focus is the symbolic and graphic features
and originality of ornamental signs in the traditional handicraft works of Kabardino-Balkaria.
The analysis reveals typological and semiotic ideas about the communicative and informational
nature of ornamental signs in the traditional craft culture of Kabardino-Balkaria.

Keywords: ornamental art, graphic sign, ethnoculture, symbolic image, Kabardino-Balkaria,
folk crafts, tamgas.

Nailya V. Galimova

pp. 50-58

Philosophical Aspects of the Designing Design Methodology of Moderm Costume

The relevance of the study is due to the need to systematize knowledge and structure the system of designing design based on the philosophy of the conceptual approach. The aim of the work is to identify, characterize and structure the conceptual structure when creating a design project in the context of design philosophy. The research employed the philosopher L.A. Zelenov’s principles that unite and systematize all the particular qualities of designer products, and are the key to designing harmonious products. Based on these principles, the designer’s designing thinking structure was developed, which includes sociological, engineering, ergonomic, economic, ecological, and aesthetic principles, and variety and exclusivity of collection solutions. Based on the study, designing thinking in design can be characterized by the following features: it is based on the needs of society that arise in specific societies in fairly short periods of time; it is implemented in the near future (with the exception of some conceptual projects and design utopias); its result can be not only a material product; the proposed forms of the product are based on the specific needs of society; it is based on imagination, abstract and concrete thinking. The deeply conscious qualities of the thinking of the designer as a creator, their tools are included in the “I-concept” and enhance the clarity and effectiveness of design activities. The latter is the interaction of a wide variety of knowledge, from researching the needs of the consumer audience to studying the properties of materials or features of new technologies. The concept is characterized by: the unity of the design concept and ways of its implementation; establishment of a logical connection between the elements of the project; concretization of ideology, value and worldview attitudes; determination of the applications of the main idea of the project; determination of the sequence of stages of project implementation; originality of obtaining an author’s product that can develop and change. Design as a system includes a number of elements that are present in it with varying degrees of obligation: the customer formulating the task; the investor; a designer or a group of designers; project and its implementation; a critic evaluating the design product, selection of models; product presentation; the consumer. Philosophical aspects of designing in design give rise to a conscious action to create concepts, prompting the work of a mental and creative nature aimed at comprehending the project being created, assessing its impact on the consumer’s future lifestyle, its socio-functional and object-spatial environment.

Keywords: philosophy, methodology, costume design, design, project concept, shaping concept, design concept.

Olga A. Zimina, Maya B. Pokhlebaeva

pp. 59-65

Optimizing of the Methodology of Teaching Students Costume Design Through the Fashion Industry

The year 2022 has been declared the Year of Cultural Heritage in the Russian Federation, and it is very important to draw the attention of the scholarly community engaged in the field of decorative and applied arts and design to the problems related to the methodology of forming culture, especially the culture of costume design, among students of higher art universities. The article aims to consider the need for operational optimization of educational programs and training courses in the specialty Costume Design, and for the active inclusion of innovative technological and practical developments in forming students’ professional competencies in the fashion industry. The author brings Fundamentals of Theory and Methodology of Design in Costume Design, the course to be transformed, in line with general methodological approaches to teaching students and creating new samples and objects of costume design as part of integrated courses. The practically proven system of integrated courses using variable training allows the fullest use of the capabilities of the Higher Education Federal State Education Standard of the Third Generation to increase the level of professional competencies of students that are future fashion designers. The author suggests that the task of developing professional competencies and creative thinking among students of the Costume Design specialty is directly related to changes in technological, search and implementation solutions that depend on the constant updating of the variable approach in the methodology and practice of teaching. The author concludes that the integration of subjects and courses of study in the Costume Design profile requires an active introduction of innovative technological solutions in the field of clothing design and the use of the possibilities of variable learning.

Keywords: costume design, technology, innovation, media technology, digitalization, integration, interactive solutions, fashion industry. 

Marina V. Galkina

pp. 65-72

On the Interrelation of Colorist Constructions in Painting and Graphics

The article presents an analysis of the principles, methods and techniques of constructing color in a graphic work that made up the object of the study. The scientific and methodological literature on the role of “color” in painting and graphics has been studied and analyzed, which gives an understanding of its unique significance as a factor influencing the development of a harmonious visual and coloristic vision. The methodological interrelation of coloristic constructions in graphics and painting is substantiated. A new argumentation of the correlation of the concepts “color system”, “color”, and recommendations for the harmonization of the color composition of a graphic image is given. When creating paintings, it is necessary to strive to convey lighting, shadows, reflexes, nuances, shades, semitones, etc. more reliably. All work with color is based on the law of additional colors. Knowledge of these fundamentals “Теория и история искусства” 7 2 “Культурная жизнь Юга России” № 2 (85), 2022 of color science in the creation of a painting makes it possible to scientifically substantiate various techniques used by artists, as well as to find methods of teaching these techniques. The color scheme is harmoniously interconnected shades of color that are used in the process of creating works of art. The color scheme allows you to solve the issue of the first impression made by the work: depending on the color scheme, the viewer will stop at the picture or pass by. Thus, the concept of color scheme refers to all the relations of the colors of the product in terms of the number and variety of shades, strength and intensity of color, harmonious combinations. Coloristic culture is a set of specific achievements of society and science, which reflect the diversity of the role of color and its impact on the human environment. Coloristic culture is a component of the aesthetic culture of society. This research forms a system of perception of “color and light”. The author draws attention to the fact that each work has a “connecting color”, thanks to which contrast and saturation of the image are created; investigates the significance of light in the work: in order to highlight a significant object, the artist directs the viewer’s look with the help of a shadow on a light object. Thus, the final conclusion is made: the closer the graphic image is to the realistic one, the closer its relationship with coloristic constructions in painting should be.

Keywords: fine arts, graphics, engraving, painting, color structure, coloring

Svetlana V. Burmistrova

pp. 73-85

Sociocultural Aspects of Modeling Reality in the Works of Aristarkh Lentulov

This article discusses the mechanisms and the essence of modeling social reality in painting on the example of the works of Aristarkh Lentulov, a famous Russian artist of the first half of the twentieth century. The features of his career and life path, passing through radical cultural and political shifts in society, acquire a specific color and extreme importance for research in relation to the reflection of today’s fundamental geopolitical shocks. The variety of genres, styles, techniques and themes of the artist’s works is conducive to a representative cultural and socio-philosophical observation, an abstraction from specific manifestations of the artist’s activity that are insignificant in the context of the chosen topic, a comparison of various aspects of the existence of avant-garde art in domestic realities with European examples, and an inducing of large-scale conclusions on a number of key problems for the considered scientific discipline. The article covers the key points of Lentulov’s biography, understanding his pictorial experience as a processing and demonstration of the world surrounding the artist, a professional interpretation of the social conditions that constitute him as a person and creator. On the whole, the conducted research does not just impart volume to the facts of the artist’s biography and his creative way, but reveals in a multilateral analysis the fundamental aspects of relationships between an individual and society, an individual and individuality, a creator and his offspring in fundamentally changing objective historical circumstances, partly similar to modern ones.

Keywords: philosophy of art, cubism, Cezannism, Russian avant-garde, socialist realism, Knave of Diamonds, Lentulov. 

Pyotr V. Nazaretyan

pp. 86-93

Similarities and Differences in the Protection and Reuse of Industrial Architectural Heritage in Europe, USA, China and Russia: A Culturological Analysis

The article discusses the problem of preserving and reusing industrial architectural heritage as a public space, not only as an opportunity for the rational use of funds, but as a condition for improving the quality of life, ennobling it, saturating it with new – cultural, historical, cognitive, aesthetic – meanings. In the conditions of the ever-increasing architectural, routine and psychological oversaturation of urban agglomerations, such studies are of particular relevance and require a cultural generalization of expert results. The definitions of “public spaces” in Russian and foreign research discourses are given. The history of conceptualization and institutionalization of the problem of conservation and reuse of industrial architectural heritage is considered; similarities and differences in the approaches of Europe, the USA, China and Russia are revealed. The article shows that in industrialized countries the subjects of the preservation and revitalization of industrial heritage are still divided into state and public ones with a different share of the prevalence of participants in different regions. Many objects of industrial architectural heritage around the world turn out to be a field of interaction between representatives of government, business, science, education, culture, art, and the media. In modern foreign and Russian practice, industrial architectural heritage is reused to accommodate art zones, art quarters, museums, campuses, recreational facilities, innovation and data centers, rehearsal points, recording studios, coffee houses, theaters, dance studios and music stages. This is possible due to the comprehensively designed renovation and humanization of the industrial architectural heritage.

Keywords: industrial architecture, renovation, revitalization, public space. 

Mao Xiang, Vardan G. Torosyan

pp. 93-100

Protection of Intangible Cultural Heritage in China and Russia: A Comparative Analysis

China and Russia have a centuries-old history, and during the millennial historical development, a unique national culture has been formed in each of them, both countries have a magnificent intangible cultural heritage. The aim of the study is to show the legislative framework on the basis of which the preservation of intangible cultural heritage in Russia and China is based, to compare it with the UNESCO Convention adopted in 2003. There are differences in the classification with the international document. Based on the experience of its predecessors, the reason for Russia’s non-accession to this document and the creation of its own registry is substantiated. In their history, Russia and China have implemented a number of positive and useful practices, accumulated some experience in preserving intangible cultural heritage. Among these methods, the activity of states on the identification, accounting and archiving of heritage, the creation of a single electronic catalog in each country is noted. Using general research methods of analysis and comparison, the author examines the existing classifications of heritage objects, the activities of civil organizations and specific initiatives for the protection of intangible cultural heritage in the two countries. The active practical role of the State Russian House of Folk Art named after V.D. Polenov, the Russian Folklore Union, the Chinese Center for the Protection of Intangible Cultural Heritage, and the Chinese Association for the Protection of Intangible Cultural Heritage in this area is shown. The article examines the problems faced by the state and society in the field of heritage protection.

Keywords: intangible cultural heritage, classification, civil society organizations, safeguarding initiatives, challenges and insights.

Chen Lilong

pp. 109-119

The Sacred Aspect of Teirism in the Religious Practices of the Balkars, the Karachays and the Tuvans

The cultures of the Turkic-speaking peoples that are part of the Russian Federation and live both in the North Caucasus (the Balkars, the Karachaуs) and in the South of Siberia (the Tuvans) have much in common, which, according to the author, may be traced in the cult and ritual practices of the studied peoples. Without an understanding of the common and the peculiar in the self-identification of each ethnic group, it is impossible to conduct a reasonable cultural policy, in which knowledge of ethno-confessional specifics is one of the fundamental requirements. A comparative analysis of the sacred aspect of teirism in cult and ritual practices among such Turkic-speaking peoples as the Balkars, the Karachays and the Tuvans has not been previously conducted. This comparative analysis was carried out for the first time. There are many similar studies separately in the works of domestic Caucasian scholars (L.I. Lavrov, A.Ya. Kuznetsova, Kh.Kh. Malkonduev, Kh.Kh. Bidzhiev, Z.B. Botasheva, L.K. Tekeeva) and Tuvinologists (V.P. Dyakonova, V.V. Radlov, V.A. Kisel, Z.V. Anayban, M.Kh. Mannaу-ool, E.B. Mizhit, N.O. Tovuu). The studies of these domestic researchers became the basis for this analysis. The aim of this work is to search for and substantiate the common and the peculiar in the cult and ritual practices of the Balkars, the Karachays and the Tuvans as descendants of the ancient Turks. The study considers teirism as a culture-forming basis that defines these peoples. The object of the study is the sacred aspect of teirism in cult and ritual practices (a complex of the cult of ancestors with funeral and ritual rites). In this paper, the author identifies the Turkic component in the ethnogenesis of the Balkars, the Karachays and the Tuvans, which formed the Tengrian worldview; analyzes the sacred aspect of teirism in the cult and ritual practices of traditional cultures of the studied ethnic groups; compares the studied features; reveals the common and the peculiar; indicates the variability of religious views in the post-Teirist period. The methodological basis of the study was a comparative method and the method of studying the symbolic life of society by William Lloyd Warner, who considered the supernatural context as one of the sacred aspects of culture – the interconnecting influence of the spiritual (faith) and the material (cult and ritual practices: the cult of ancestors, funeral and ritual rites). The author concludes that the sacred aspect of the teirism of cult and ritual practices, which has survived to this day in the analyzed cultures, is the characteristic basic element that forms the space for cultural interactions on an equal basis, that is, in an interreligious dialogue form. 

Keywords: ancestor cult, funeral and ritual rites, Tengrianism, Islam, Shamanism, Tibetan Buddhism. 

Galina V. Semina

pp. 121-127

The Nine Muses Museum as an Effective Cultural and Educational Space of Krasnodar State Institute of Culture

The article for the first time considers the cultural and educational potential of the Nine Muses Museum of Krasnodar State Institute of Culture . The main activities, traditional and innovative forms of work are shown, including lessons of courage, patriotic quests, museum lessons, musical and poetry nights, art exhibitions, creative meetings, master classes, and excursions. The material and technical capabilities of the museum are described in detail. Based on the data of an online survey, the following conclusions were drawn. The Nine Muses Museum, being, first, an educational museum, fully solves the problem of ensuring the visibility and objectivity of the learning process. The integrity of the architectonics of the museum premises allows filling the visual layer of information provided to the student with maximum content. This confirms students’ desire to have classes in the museum (77.7% of the respondents). Thanks to the use of interactive technologies in the preparation of quests, excursions, museum lessons and other events, the museum space contributes to the students’ active emotional and value-related involvement in studies of general cultural information, mastering of professional competencies. 

Keywords: Nine Muses Museum, Krasnodar State Institute of Culture, cultural and educational space of university.

Lyudmila A. Zhdanova

pp. 128-134

Development of Opera in China: On the Influence of Regional Traditional Forms

The article models the processes of diversification underlying the formation of Chinese opera. It shows how the cultural characteristics of different regions of China – ancient legends and myths, religious practices, folk rituals and other forms of artistic culture – influenced the development of Chinese opera. The aim of the study is to establish the continuity and interconnection of specific traditions in the development of opera art in China. The methodological basis is complex, systematic approaches; historical-stylistic, cultural approaches; methods of hermeneutics and semantic analysis. The study proves that the integration of various including ancient ritual musical and theatrical practices has formed the modern cultural heritage of Peking Opera, which represents the intangible spiritual heritage of China. As a result of the study, it was confirmed that the wide development of regional opera practices contributed, on the one hand, to the qualitative selection of musical material, on the other hand, to the integration of the most striking artistic effects, determined by comparing cultural, linguistic (dialect) differences and differences in the methods of both vocal and instrumental performance. A study of the impact of modern theater productions on the development of opera in China showed that the most relevant topic of Chinese opera art is Man and his interaction with the world, which contributed to the dramatization and psychologization of the plots of opera productions, which was also significantly influenced by modern Chinese artistic prose and the development of cinema. 

Keywords: genre of opera, history of opera development, musical culture, Peking opera, regional opera performances.

Meng Yaoyu

pp. 135-136

Information About the Authors (in Russian)