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From the editor

2023 has been declared the Year of the Teacher and Mentor. It is the teacher who opens the way to knowledge, reveals talents, and forms a system of values. This is a difficult, but very important and interesting profession. The activity of a teacher in the field of culture and arts is particularly specific. One of the main
goals of creative universities is to identify gifted children at an early stage, support them and accompany
them throughout their studies. At KGIK, this task is solved within the framework of the existing multi-level system of art education.

S.S. Zengin

pp. 7-12

Cultural Transformations of the Phenomenon of the Game in the Postmodern Era

The authors of this article from the standpoint of cultural studies consider the transformation of the phenomenon of the game in the postmodern era. Paying attention to the fact that the classical interpretation and justification of this phenomenon does not satisfy the realities of scientific knowledge, the authors undertake a method of comparative analysis to consider the problem. This approach and a comprehensive review of the changes in the phenomenon of the game in the interpretation of modern domestic and foreign researchers determines the scientific novelty and relevance of the article. The appeal in the article to the modern attempts of Western culturologists to determine the interpretation of the cultural and historical situation (post-postmodern), is discursive, problematic in a wide field of scientific knowledge. The authors considered various conceptually contradictory interpretations of the phenomenon of the game in modern times, which allowed us to come to logical conclusions and conclude that the paradigms and definitions proposed today are essentially a desire for simple renaming. Here, the comparison of the opinions of domestic and foreign researchers on this problem seems convincing. The article is addressed to culturologists, as well as to a wide range of interested researchers of the phenomenon of play in modern culture. 

Keywords: phenomenon of the game, postmodern, meta-irony, new sincerity, metamodern.

Mikhail K. Naidenko, Elizaveta A. Naidenko, Tatiana V. Mishina

pp. 13-26

Musical Content of the Wedding Ritual in the Khutor Kubansky of the Belorechensky District of the Krasnodar Region

This article explores samples of the wedding musical folklore of the Kubansky khutor of Belorechensky district of the Krasnodar Region in a ritual context. The khutor is located in the transkuban region, which is characterized by a complex ethnic pattern. Kuban is one of the settlements representing the traditions of the Line Cossacks. Their Don metropolitan origins are obvious. The central part of the article represents a structured description of the wedding ceremony of the khutor, including fragments of ritual poetic texts. The description of the stages of the wedding ceremony and the corresponding musical genres of the Kubansky khutor makes it possible to note the features of the originality of the local wedding tradition. It is characterized by poly-genre (songs, choruses, lamentations, including against the background of a song), as well as the presence of rarely recorded samples of wedding folklore (chorus while breaking the pot on the second day of the wedding). Thus, knowledge about the composition and functioning of the wedding musical folklore of the Kuban is expanding. The study of the ritual structures of the Belorechensk wedding (poetic, musical-rhythmic, pitch) deepens the theoretical scientific understanding of their functioning in the late folk-singing tradition. Thus, the publication introduces new folklore and ethnographic material into scientific circulation, analyzed in line with the structural and semantic direction of Russian ethnomusicology. This makes it possible to replenish the database, on the basis of which the typology of the East Slavic wedding as a whole is specified. This determines the relevance and theoretical significance of the article.

Keywords: traditional folk culture, ritual, wedding ceremony, folklore, songs, lamentations, function, structure.

Svetlana A. Zhiganova, Alexandra A. Burgart

pp. 26-35

Monuments to V. Shukshin in the Context of Memorial Landscape

The article deals with the problem of interconnectedness of the memorial landscape and monuments to V. Shukshin in Altai. The relevance of the study is due to the significance of the personality of V. Shukshin, as well as the need to systematize knowledge about the history of creation, the installation of monuments to him. The purpose of the article is to study the artistic features of the monuments to V. Shukshin in the context of the memorial landscape. The objectives of the research are to analyze and interpret the works of sculptors, to assess the role of their creations in the cultural space of Altai. The author attempts to expand the idea of the figurative-plastic language of sculptors N. Zvonkov, V. Klykov, about their creative searches. The study of the interaction of monuments with the surrounding space allows us to comprehend the figurative and geographical realities, cultural landscapes of the region. The methodology of comparative stylistic and semiotic approaches opens up great prospects in the analysis of the symbolic form of sculpture. The understanding of monuments as works of art made it possible to distinguish different semantic layers of creations, which gives an answer to the questions of perception of the sculptors’ creativity. The analysis of the stylistic diversity of monuments, figurative and symbolic elements of characteristic plastic forms allows us to talk about the ambiguity of meanings contained in them, about their interdependence with the memorial landscape. The practical value of the article is seen in the possibility of using its results in research and museum practice, as well as in educational activities for the preservation of monuments.

Keywords: memorial landscape, pictorial and plastic language, sculpture, monument, V. Shukshin.

Irina V. Shestakova

pp. 35-41

China: Toward the Transformation of the Cultural Code

The subject of the study is the dialectics of tradition and innovation in the ideology and practice of China. The object of the study is the strategy of cultural continuity in China. Particular attention is paid to the analysis of the ideology and practice of stratagem thinking as a form and logic of game thinking, invented in China. Particular attention is paid to the strategy of implementation of the “Chinese Dream”, as well as methods of building socialism with Chinese specificity based on the use of the traditions of Chinese culture and Confucianism. The modern innovation trend in China is modeled on fashion as a spiritual and aesthetic practice deeply expressing the intensions of innovation. The main attention is paid to the modern stratagem policy of China, declared and implemented by Xi Jinping, is the “Chinese Dream”, complemented by the stratagem - “One People, One Way”. The main conclusions concern the assessment of ideology, which includes a number of such principles as - reliance on tradition, the use of world experience and socialism with Chinese specificity. The special novelty of the research is that the dynamism of Chinese society and skillful combination of tradition and innovation is modeled through the phenomenon of modern fashion in China, which concentrates in itself the answers to the questions about sociodynamics of China and the questions of basic social intensions. 

Keywords: culture, stratagems, “Chinese Dream”, dialectics of tradition and innovation.

Tatyana Yu. Danilchenko, Xin Yuifeng

pp. 41-49

The Influence of Chekhov’s Plays on Chinese Theatre Art in the 20th and 21st Century

There is a capacious notion of “Chekhov’s experience” in China, which describes the history of Chinese cultural figures’ interaction with the literary heritage of Russian authors and the influence on them of the creative appropriation of this heritage. A.P. Chekhov is one of the most famous Chinese writers, and his plays occupy a central place in the repertoire of the best Chinese theaters. This study focuses on the history of the integration of Chekhov’s plays into Chinese theater in the 20th and early 21st centuries. It examines in detail which Chekhov’s plays have been staged in Chinese theaters and how playwrights and directors have interpreted Chekhov’s ideas and characters at different stages of history. The methodology of the research can be represented as a complex of methods, which is developed in accordance with the stated problematics and meets the goals and objectives of the research. The stages refer to the 1920s-1940s, when the first innovative trends in Chekhov’s works appeared in the Chinese theater, and are highlighted.

Keywords: A.P. Chekhov, Chekhov’s dramaturgy, Russian culture, Chinese drama, Chinese theater of the 20th–21st centuries, innovation, interpretation.

Ma Zihan

pp. 50-57

The Inner Side of Culture: The German Trace in the Conceptual Theories of Romanticism and Neo-Romanticism

The purpose of this article can be considered the study, analysis and generalization of issues related to the shadow side of consciousness in European culture. In the pan-European cultural field, German culture stands out as initially inclined to analyze the inner side of being. Using the methods of systemic and typological approaches aimed at obtaining theoretical knowledge, the author shows that the attitude to the internal in culture within the framework of modern science is rooted in the specifics of the German linguistic consciousness, which, in turn, goes back to the German national culture. It was the attitude   to the internal aspects of German culture that became the key to the analysis of the unconscious, which determines the external manifestations of a person, primarily his behavior. The article says that the questions of the “internal” in the field of consciousness were raised, starting from the 19th century, in psychology, mainly by representatives of the Germanspeaking world, which once again confirms the thesis about the German trace in the study of the problems of the unconscious. In this regard, in the course of the study, for example,  the conceptual constructions of Novalis, R. Wagner, K.G. Jung, F. Nietzsche are considered  as bright representatives of the trend. Using these concepts as an example, it is concluded that the origins of German national culture contain symbolism, reflected in studies devoted to the study of internal processes that determine the external manifestations of human activity in the pan-European cultural field from the point of view of meaning formation as a whole.

Keywords: inner in culture, romanticism, neo-romanticism, mythology, irrational, unconscious, novalis, wagner, jung, Nietzsche.

Sergey V. Kudryashov

pp. 51-65

The Place of Regional Soviet Abstractionism in the History of World Non-Figurativism

The article deals with the development of regional abstractionism from the position of the characteristics of abstraction methods and the historical process of development of nonfigurativism in the art of the twentieth century. The author of the article presented the stages of the creative path of three Siberian artists N.D. Gritsyuk, T.N. Gritsyuk, A.V. Nasonov, placing them in the historical context of the development of abstract painting in Siberia. The author identifies the shortcomings of the existing synchronization of the creativity of regional abstract artists in comparison with the development of world abstractionism. The author suggests judging the art of regional artists from the position of coordinating the method of cognition of reality and the final abstract image in works of art. The article considers such methods of cognition of reality as phenomenology and structuralism. The author also turns to the practice of formalism, which manifested itself in the work of local abstract artists.

Keywords: regional art, abstract painting, Kuzbass art, post-Soviet painting.

Natalya S. Popova

pp. 65-71

Cultural Integration as a Trend in Contemporary Philosophy

Modern world philosophy is diverse and tends to be dialogical and intercultural. Modern China, on the one hand, seeks to build on the achievements of traditional culture, and on the other, seeks to borrow everything positive. Confucius spoke of this and Xi Jinping emphasizes it. Leading representatives of modern world philosophy also defend the idea of intercultural character of modern philosophy. The article examines the views of E. Demenchonk, R. Betancourt. The conclusion is made that modern philosophy does not tolerate hegemonism, but organically includes the principles developed by the reflexive effort of representatives of different cultures. One of the main cutting-edge trends in contemporary world philosophy is dialogism. The aspiration to universal dialogue is the basis for the development of harmonious social relations both of individual countries and of human civilization as a whole. Leading representatives of contemporary philosophy from different countries also advocate the idea of intercultural dialogue. The methodology of universal dialogue is developed in the works of domestic and foreign philosophers – M. Bakhtin, E. Ilyenkov, E. Dementionok, R. Betancourt, Dalmayer, F. Wimmer. The idea of universal dialogue and its methodology are discussed in the article. It is noted that universal dialogism also implies a new form of philosophizing – “dialogic intercultural philosophy”. The main method of consideration is a content analysis of the works of selected philosophers.

Keywords: philosophy, culture, intercultural dialogue, intercultural integration.

Vasiliy P. Gritsenko, Xin Yuifeng

pp. 71-80

Gao Ping and his Piano Sonata No. 1 “Flaving Shadows”

The problem raised in the article of the connection of musical creativity of artists with folk song origins and ethno-national traditions of art is relevant in the conditions of the growing processes of globalization of the spiritual life of mankind in the 21th century, postmodern trends in its culture. Although these issues are considered from various sides in modern art criticism, nevertheless, in the study of the specifics of Chinese musical art of the 21th century, they are still far from being resolved. Especially considering that the spiritual system of postmodernism invades the consciousness of peoples with views traditionally focused on the eternity of the cycle of being. The object of the analysis in the article is the piano creativity of Chinese composers of the 21th century in the genre of sonatas. The subject of the analysis is the study of specific postmodern features in the semantics of piano sonata No. 1 “Floating Shadows” by Gao Ping. 

Keywords: Gao Ping, the music of the 21th century, postmodernism, the semantics of sonatest, piano works by Chinese composers.

Jian Ai, Boris P. Borisov

pp. 80-88

The Music of the Animation Film Cinderella by Director I. Aksenchouk, Composer I. Tsvetkov: Features of Thematism and Timbric Characteristics of the Characters

The article is devoted to the analysis of the music of the Soviet hand-drawn cartoon “Cinderella”, created by director I. Aksenchuk and composer I. Tsvetkov. The relevance of the work is due not only to the unquenchable research interest in the embodiment of the “eternal” plot in various forms of art, but also to the lack of publications related to the comprehension of musical interpretations of the fairy tale in the genre of film adaptation. Despite the widespread popularity and popularity of the animated film “Cinderella”, no  attempts have been made to scientifically comprehend its musical component to date. In the course of the analysis, the musical characteristics of the characters are considered, the leitems present in the media text are      characterized, and the techniques of their variation are revealed.

Elena V. Babenko, Ekaterina Z. Niskoguz

pp. 88-96

Multifunctionality of Musical Materials Quotations in Media Genres

Since September 1, 2022, the national anthem has been played in Russian schools before the start of a new school week. This extremely important step determines the outlined course for the restoration of the system of patriotic education within the walls of state educational institutions. It is difficult to overestimate the role played by the anthem in the process of personality formation, national and civic identity, which determines the relevance of this article, including a retrospective review and analysis of the principles of functioning of the musical material of the Russian anthem in various media genres: feature and documentary cinema, cartoons and animation, computer games. When performing the analysis, the technique outlined in the monograph by T.F. Shak “Music in the structure of a media text”. Frequent reference to quotations as the basis of thematism in media compositions is explained by the increased associative memory of the quotation material, which allows it to activate and maintain the subtext functions of music in the polyphonicstructure of the media text, to bring, add and place semantic accents in the visual plot line of the text, provoking counterpoint of meanings. The anthem of the Russian Federation is a perfect example of this. The recognizable tune has been used in a variety of contexts, from official government functions to popular culture. At the same time, the range of functions and meanings of the quote is quite wide, starting with the characterization of characters and designating national identity and ending with a humorous, grotesque depiction of characters and reality. The anthem of the Russian Federation is a self-sufficient material for citation, which is associated with its semantic specificity, semantic and associative load, as well as recognition among the viewer. 

Keywords: mediatext, quotation, music functions, feature films, documentaries, cartoons, computer games, Russian anthem, USSR anthem.

A.S. Kremenenko

pp. 96-105

Features of the Formation of the System of Management of the Sphere of Culture in the Far East in 1920–1927

The article examines the process of centralization of the art and culture management system in the Russian Far East in 1920–1927. Indeed, throughout the 1920s, the young Soviet state was building its own cultural policy, which met the tasks of building a new socialist society. The analysis of this policy shows its inconsistent, and sometimes even chaotic nature, however, in the difficult conditions of the civil war, the Soviet state did not forget about the ideological role of art, therefore, it tried to carry out its systematic introduction into the consciousness of the masses with the help of propaganda types of art, the creation of clubs. The centralized nature of this process is evidenced by the activities of the Ministry of Public Education under the Government of the Far East, as well as the work of the Far Eastern Department of Public Education, established in 1922, namely their work to combat the private sector in the field of art and popularize the ideas of the Bolsheviks, within the framework of the new cultural institutions being created. 

Keywords: entreprise, provincial departments of public education, the Ministry of Education of the Far Eastern Republic, the Union of Scenic Figures, the People’s Commissariat of Education, the regional theater association.

Sofya Yu. Gamalei, Artem A. Gamalei

pp. 105-114

A Brief Overview of the History of Chinese Vocal Art

This article systematizes the information available in science on the history of Chinese vocal arts by presenting them in chronological order. The scientific novelty consists in presenting a complete historical picture of the development of the Chinese vocal art in Russian, which is very important from the theoretical and practical point of view. Only by understanding the past can the present be well understood and the future predicted. In addition, knowledge of the various aspects of the national art is essential for a comprehensive mastering of it. All this determines the relevance of our work. For the study we used classical methods: analysis, synthesis, generalization, as well as the descriptive method. We studied scientific articles, somehow covering the history of Chinese vocal for 2012-2022, as well as the author’s abstract of a PhD thesis on Chinese vocal music of the twentieth century (2023). We then compiled two tables in which we gave a brief description of each period in the history of the art of interest to us. 

Keywords: Chinese vocal art, history of Chinese vocal art, Chinese bel canto, Chinese new folk singing, Beijing Opera, Mao Zedong.

Ma Chao

pp. 114-121

The Chinese Compound of the Moscow Patriarchate in the Management of Orthodox Liturgical and Singing Activities

The article analyzes the activities of the Chinese Metochion of the Moscow Patriarchate, aimed, on the one hand, at preserving the canonical unity of the singing component and the verbal basis of modern Orthodox worship, and, on the other hand, at identifying the specifics of serving services in Chinese. Two opposite stylistic tendencies in the selection of chants are indicated. One is connected with the traditional poetics of Chinese vocal music-making, the other with the vowel melodies of the Russian Orthodox Church. The stylistic features of Chinese poetics, characteristic of Chinese folk songs, are distinguished – the pentatonic mode, special rhythmic figures – used by the authors of the liturgy in Chinese when creating original chants for worship. The organizing and guiding role of the media content of the Chinese Compound of the Moscow Patriarchate is considered, the materials of which are advisory in nature, however, due to the increasing spread of Orthodoxy in the Celestial Empire, associated with the expansion of political and cultural ties between the two countries, increased tourist flow, an increase in the Russian diaspora, a significant strengthening of trade relations hypothetically, we can assume an increasing demand for these materials. 

Keywords: Chinese compound of the Patriarch of Moscow and All Russia, Orthodox singing tradition in China, chants of the Chinese Liturgy, cross-cultural ties between China and Russia.

Zheng Yutsin

pp. 121-127

Features by Yin Chengzong Performance of Works for Piano by Chinese

The outstanding Chinese musician – composer and pianist Yin Chengzong (1941) is one of the most popular creative musical figures in modern China, however, his activity has not been the subject of a separate study, which seems to be a big gap in the theory of musicology, and therefore this article is of high relevance, as well as theoretical significance. The article discusses the features of Yin Chengzong’s performance of piano compositions by Chinese composers. The author of the article notes that the repertoire of the outstanding Chinese composer and performer Yin Chengzong contains works of different eras and styles. He brilliantly performs both European, Russian and national music of Chinese composers. Yin Chengzong’s performance features are largely based on the principles of the Russian pianistic school. First of all, because the Russian piano school was one of the strongest and largest performing schools of the 20th century and had a special influence on Chinese piano music. In addition, Yin Chengzong studied for a long time in the Soviet Union with Russian teachers. Yin Chengzong’s own performing baggage contains many works of various eras, styles and genres. He pays great attention to classical music. There is a lot in his arsenal of music by Mozart, Beethoven, Chopin, Liszt. In addition, a significant part of the repertoire is composed of works by Chinese composers. 

Keywords: Chinese piano school, Yin Chengzong, performing interpretation, musical form, virtuoso pianism, cantilena.

Zheng Jingyu

pp. 127-133

Neo-Folklore Tendencies in the Work of Chen Yi

The article examines non-folklore tendencies in the music of Chinese composers on the example of the work of Chen Yi. The author of the article notes that neo-folklorism is a special type of musical consciousness, the essence of which is to reproduce certain qualities inherent in folklore consciousness with the help of professional and academic compositional instruments. Many of the contemporary Chinese composers of the so-called “new wave” were great adherents of “neo-folklore” tendencies. The figure of the Chinese- American composer Chen Yi stands out especially, whose work has remained outside the attention of Russian musicologists, which confirms the relevance and practical significance of the study. The purpose of the article is to analyze the trends of neo-folklorism in the work of Chen Yi. Through the analysis of musical works, the author examines neo-folklore trends in the work of Chen Yi. 

Keywords: neo-folklorism, Chinese music, folklore, “new wave”, Chinese rhythms, Chen Yi.

Fu Yicheng

pp. 134-135

Information About the Authors in Russian