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From editor

S.S. Zengin

pp. 7-13

Audiomorfing as a Sound Modeling Process: History, Technology, Practice

The article is devoted to an actual and in-demand phenomenon in the field of modern music – the method of morphing. The artistic and aesthetic processes of musical art of the second half of the twentieth century and the beginning of the twenty-first century inexorably led to the search for new technologies in the field of sound synthesis. The field of electronic music was initially considered as a form capable of replacing opera and concert halls that were supposed to be a thing of the past. However, the endless kaleidoscope of changing directions, trends, styles, compositional techniques started the reverse process. Today we are left with concert and opera halls, various compositions of orchestras, “live” voices. Electronic music has acquired the status of applied music. The desire to compose sound has changed the ideas in working with academic forms, genres, compositional techniques. Morphing allows you to create a new sound, find noise effects, synthesize frequencies, update the acoustic space, restore and truly recreate the playing of ancient musical instruments or the singing of the castrati culture. All of the above confirms the relevance of the issue under study. The purpose of the article is to identify the specifics of the morphing method when working in the field of sound synthesis. The creator of morphing is considered to be the acoustic engineer G. Dudley, who created the vocoder. By means of this device, it became possible to change the original voice of a person, which became similar to the voice of a robot. Over time, this device gained its popularity in the community of musicians working in the field of electronic music. The specifics of the work of audio surfing are connected with the techniques of interpolation and creation of a new sound, which is used in the entertainment industry, in movie soundtracks, advertising for television. The stages of working with sound in an audio morphing system include: signal interpolation, sinusoidal modeling, encoding audio with a low bitrate, converting singing or playing a musical instrument in real time. In the digital sphere of electronic music, morphing is implemented through the use of VST plug-ins, host programs or sequencers. Thus, the features of the work by the audiomorfing method are aimed at converting sound. This allows experimenting in the field of sound synthesis, applicable in the creative process of acoustic and electronic music. This sphere has become a field for creative searches of musicians and music sound engineers, which leads to new technologies for working with sound, creating its unusual timbres.

Keywords: morphing, vocoder, signal, addition, sample, timbre, emulation, musical instruments, vocals, sound synthesis.

Anna A. Predolyak

pp. 14-19

Classical European Violin and Chinese Folk Instrument Erhu as Representatives of East and West String Instruments

The penetration of European culture into the musical space of China made it necessary to adapt a number of classical works for performance on traditional national instruments. One of the first such experiments in the 20th century was with the erhu, which is similar in design to the European violin. Today, both of these stringed bowed instruments are bright “stars” of the Chinese and Western European music scenes, respectively. This article examines the relationship between erhu and violin from a comparative research point of view, using documentary analysis, the history of erhu and violin, their forms and basic playing techniques. The common and special features in the design of the erhu and the violin are revealed, a comparative analysis of these instruments, as well as the ways of playing them, is made. It is concluded that the erhu borrowed some violin playing techniques, severely limited due to its design. At the same time, having a high degree of expressiveness, both instruments have many differences in terms of style. However, this cannot be the reason for their further mutual influence on each other.

Keywords: violin, erhu, music of China, musical instrument construction, musical instrument playing technique.

Huijuan Liu, Sergey V. Anikienko

pp. 19-28

Polystylistics in Orchestral Music of North American Composers of the Early 20th Century

The highest examples of US musical art came in the work of 20th century composers S. Barber, L. Anderson, M. Gould, F. Grofe. They realized the potential of various traditions (folklore, jazz, neo-romantic) through the means of the modern musical language. They expanded the facets of North American art with the scale of ideas and concepts, gaining global recognition for their talent and professionalism of the national school. S. Barber in his work developed the traditions of American creativity, based on the appeal to the masses, identity and freedom of expression of thoughts. He was an innovator who brought performances of American music to the “fashion”. His own art is sincere and real, completely different from others. And that’s what makes him unlike other composers. Leroy Anderson is a composer whose style we defined as “neo-romantic”. The thematism of his piano concerto in C is built on romantic imagery, melodics, classical harmony. Meanwhile, the rhythmic features of the concert finale: a syncopated rhythm that acts as a generalization sign of the folk dance genre in a major pentatonic fret speaks ofthe composer’s principle of musical thinking – polystylistics.

Oxana N. Beznisko, Jesika A. Krbashyan

pp. 28-35

The Image of a Knight in the Piano Work of N.K. Medtner

The programming of the music of the Russian composer N.K. Metner is an integral part of his style. The purpose for programming is already manifested in the first opuses of the composer. There are fabulous characters – a mermaid, a dwarf – and certain emotionally characteristic titles – An excerpt from tragedy, Idyll. To the fullest extent, N.K. Metner’s penchant for programming is revealed in the fairy tale genre. The composer created them for thirty years. The circle of images in these plays is very wide - from bright lyrical paintings to the tragic experiences of the heroes. In some fairy tales there are epigraphs from the literary works of A.S. Pushkin, F.I. Tyutchev and W. Shakespeare, fantastic images – “The Magic Violin”, “Wood goblin”, the national color is especially heard in “Russian Fairy Tale” and in the Six Fairy Tales of op. 51 dedicated to Cinderella and Ivanushka the fool. A whole group of pieces can be attributed to fairy tales-portraits – “Song of Ophelia”, “Beggar”, “The Barrel-Organ-Player”. 

Keywords: programmability, the image of a knight, piano fairy tale, N.K. Medtner, counterpoint. 

Sofya N. Gerasimova

pp. 36-45

Ian Clarke’s Flute Music in the Context of Composing and Performing Styles

The article examines the work of the modern English composer Ian Clarke, outlines the features of his authorial and performing styles. The classification of his works according to several parameters is given, as well as the analysis of the interaction of new techniques of performing on the flute with the program design of his works is carried out. The importance of such a phenomenon as performance interpretation is characterized. The very creativity of I. Clarke, as an object of research, allowed us to determine the subject of the article – the composer and performing style of the author. The purpose of the article is to identify the features of the composer’s and performing style based on the study of his works, due to modern methods of writing and sound production on the flute. The novelty of the theme lies in the fact that the music of I. Clarke has not yet been widely studied in Russian musicology, nor have they been considered from a theoretical point of view in the context of the author’s style. The works of I. Clarke served as the material for analysis, in particular, the piece for solo flute “The Great train race” and the piece for flute and piano “Deep Blue”. Using the example of the composer’s creativity, his great potential, originality and uniqueness, influence on the modern repertoire and the development of flute performance in general are revealed. The competent use of modern techniques as a way to convey the composer’s idea gives a lot of space for further study of I. Clarke’s work in the context of its features and uniqueness among other works of the XX–XXI centuries.

Keywords: Ian Clarke, flute, modern techniques, performance interpretation, style.

Tatiana F. Shak, Tatiana P. Ivanenko,

pp. 45-58

Development of Amateur Fine Creativity in the Kuban Region in the 1950– 1970s

The article notes that amateur performance is not a stylistic concept, but a social one. In Soviet society, it acted as a special form of art being, having its own artistic specificity, different from professional and traditional folk art. Amateur activity, having gone through a number of stages in its development, received a clear centralized leadership and regular forms of functioning – district, city, regional, republican, all-Russian / all-Union competitions, festivals, olympiads, within which exhibitions of fine and decorative arts were held. In the Kuban region, as well as throughout the country, the amateur art movement goes through certain stages of development, takes shape organizationally, is supported by the state, supervised by cultural institutions, trade unions, and integrated into a system of art education specially created for amateurs. Amateur art activity developed in several forms – the sphere of organized amateur activity (circles, fine arts for amateur artists); creative associations, clubs of amateur artists. In the Krasnodar Territory, the Krasnodar Regional House of Folk Art carried out the organizational and methodological management of amateur artistic creativity. The methodological council and methodological sections of the House of Creativity ensured the holding of reviews, competitions, festivals, studied and analyzed the problems of the development of folk art, developed appropriate recommendations, trained leaders of amateur art circles, and more. 

Keywords: Soviet culture, Krasnodar Territory, shows/festivals/competitions of amateur performances, fine amateur art/fine amateur performances.

Natalya A. Gangur, Ekaterina A. Kabanok

pp. 59-72

The City and its Symbols in the Fine Art of Kuban (Basis on Material of Krasnodar)

The last decades have been marked by an increased interest in the study, preservation, and documentation of the historical and cultural heritage of the Krasnodar Territory in general and the city of Krasnodar in particular. The processes of urbanization, technization, globalization led to the transformation of the architectural appearance of the historical part of Krasnodar, the disappearance or “modernization” of its iconic objects and elements, which significantly influenced the concept of “image of the city” in fine arts. Krasnodar artists of different generations, schools, trends are actively involved in the process of creative reflection, reflection of the outgoing nature, they are looking for remarkable, original places, architectural monuments, characteristic corners in the city associated with personal memories, historical, literary, folklore texts. The objects of the image are panoramas, squares, streets, individual buildings and their fragments – metal and wooden decor, liminal elements, etc. As a result, we have an array of visual texts united by a commonality of ideas, concepts, problems that need to be analyzed, illuminated, interpreted. This determined the purpose of the article – the analysis of visual texts containing semiotically significant components of the urban environment that determine its figurative characteristics. The object of the study is visual images, the subject is the interpretation of architectural symbols and semiotically significant spaces of Krasnodar in the works of Krasnodar artists. From the standpoint of the semiotics of visual text, the images of sign-symbolic objects and elements of urban spaces in pictorial and graphic works are analyzed, their figurative and plastic characteristics, levels of symbolization of the text are revealed. Many artists depict semiotically significant fragments of the city text – the “visiting cards” of Krasnodar.

Keywords: fine art of Kuban, images-symbols of city, landscape, symbolic spaces and objects, public spaces.

Dmitry I. Gangur

pp. 73-81

Post-drama Theater: About a New Challenge to the National Theatrical Culture

In the study devoted to the current problems of Russian theatrical culture, the authors analyze fundamentally different theoretical and creative approaches to the cultural understanding of theatrical art. On the one hand, the modern domestic theater is focused on borrowing Western European theatrical culture, on the other hand, this situation creates a deep contradiction with the tradition of the national theater, its history, evolution and fundamental principles. The method of comparative critical analysis undertaken by the authors  makes it possible to determine that the Western European post-dramatic theater (as defined by H. Lehman) and the principles, ideas and paradigms professed by it are essentially different in their genesis from the entire process of formation of the domestic theater. Methodologically, these are incomparable and mutually exclusive ways of developing the theory and practice of theatrical culture, which the authors prove in their research on representative scientific and factual material. The scientific novelty of the research consists in determining the vector of development of the theory and practice of Russian theatrical culture, which, according to the authors, consists in its traditionally moral and axiological orientation and understanding of the communicative space between the stage and the audience, as a joint creative translation of the idea of a stage work. 

Keywords: post-dramatic theater, theatrical culture, the tradition of the national theater, postmodern.

Mikhail K. Naidenko, Svetlana V. Mikheeva, Elena A. Goncharova, Anna M. Kirsanova,

pp. 81-88

Museum Named After Ostrovsky: Traditions and Innovations in Modern Conditions

The article for the first time analyzes the introduction of new event-practices in the scientific and educational activities of the Museum named after N. Ostrovsky. Currently, patriotic education is a priority direction of the state policy of the Russian Federation. Sociocultural institutions, in particular museums, face the task of comprehensive spiritual, moral and intellectual development of the younger generation, fostering a sense of patriotism and citizenship, respect for the memory of defenders of the Fatherland, the older generation. The Museum named after N. Ostrovsky in Sochi leads active work in various areas of cultural, educational and entertainment activities: it is engaged in the development of events, united on a thematic basis into a systematic event-project for school audience. This area of work corresponds to the profile of the museum and its collections, introduces young visitors to Russian literature and folklore, traditions and rituals of the Russian people, the basics of Orthodox culture reflected in the monuments of literature, literary history of Sochi. Through the organization and holding of special events, the museum introduces the younger generation to cultural values and contributes to the formation of positive guidelines in the system of moral values. Based on the results of the research and generalization of many years of experience in organizing events of the Literary Memorial Museum named after N. Ostrovsky made conclusions about the influence of special events on the formation of the foundations of moral and patriotic education of the younger generation.

Keywords: Museum named after N. Ostrovsky, cultural heritage, preservation of historical heritage, historical memory, traditions, value orientations, event.

Nikolay G. Denisov, Valeriya V. Yakovleva

pp. 89-99

Current Fundamentals of Museum Accounting and Storage in Russian Federation

The purpose of this work is to determine the current principles of accounting and storage of objects in museums of the Russian Federation, contained in the Common Regulations for the organization of acquisition, accounting, storage and use of museum items and museum collections, as the main document regulating the work of museum funds. Based on the methods of analysis and comparison, work was carried out with two documents – the Instructions for the accounting and storage of museum valuables in the state museums of the USSR, adopted in 1985, and the foregoing Common Regulations. The study is relevant because of the entry into force of the new edition of the Common Regulations from September 1, 2022. In the course of the research, the documents were compared in size – the number of paragraphs, content and section titles. The formulations and fundamental principles of the funds’ work, approaches to solving the problems of storing museum items from various materials, and documentation standards were analyzed. As a result of the work done, the author identified the main changes in the field of acquisition, accounting, storage of museum items, formulated the main guidelines on which Russian museums can base to comply with their activities to current norms and requirements. The main innovations of modern legislation are: detailed regulation of aspects of museum work and keeping documentation; expanding the categories of museum objects – for example, the appearance of an experimental fund, the inclusion of media art (digital museum objects) in the museum fund; expanding the role of the expert fund-purchasing commission and the restoration council; separation of archaeological items into individual and mass; introduction of insurance copying and electronic document flows; introduction of new technical means; work in automatic museum systems.

Keywords: accounting and storage of museum items, documentation, legislation, museology, digitalization.

Alisa I. Evsyukova

pp. 99-114

Museums of a New Type in the Rostov Region: General and Special

The article analyzes the work of new museums opened in recent years in the Rostov region. They were created in accordance with different concepts and have different directions in their work. These are both the museums “Russia – My History” and “Sambek Heights” equipped with the latest technical means, as well as private museum formations – the Don Military History Museum and the historical and ethnographic complex “The Lost World”. Separately, the Museum of the History of Rostov-on-Don, which is in its infancy, is considered. The study was carried out using interviews given to the author by the leaders and organizers of new museum institutions in the Rostov region. Using the comparative method, the author defines the functions of these museums, as well as the forms and methods of working with visitors. The directions of research activities of these institutions are highlighted.

Keywords: Rostov region, historical and cultural heritage, museums, museumification.

Olga V. Semenova

pp. 114-120

The Mythological Image of Samruk in A. Abdinurov’s Musical Fairy Tale

Mythology, which symbolizes eternal themes and images, is constantly referred to in musical art. One of such images – the Samruk bird – is the subject of this article. The subject of the article is the implementation of this image in the musical fairy tale “The Magic Bird Samruk” by Kazakh composer A. Abdinurov. The aim of the article is to trace the way of transformation of the image of Samruk from mythological to musical. Studies of mythological images in the composers’ works are essential for comprehension of the modern music and understanding of the national cultural heritage. The study of the image of Samruk in the aspect of mythology has provided valuable information for understanding the image, which originates from the Iranian mythical creature “Simurg” – a giant magical eagle. Encountered in the culture of different peoples, Samruk has a common symbolic meaning – the magic bird of goodness and justice. 

Keywords: myth, mythological image, musical fairy tale, Samruk, Kazakh culture composer Alibi Abdinurov.

Gulnar T. Alpeisova, Dinara A. Nurgaliyeva

pp. 121-122

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