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From the Editor

Zengin S.S.

pp. 7-15

Meanings and Values of Culture (Education versus Upbringing)

Human creation is the purposeful function of culture. Man “enters” the biological body in the form of universal knowledge and values dominating in culture in the process of comprehension of the correlation between the interaction of things in expedient acts of practical activity. In its essence, meaning is a coiled programme of integral practical action. However, the process of formation of a person needed by society faces methodological difficulties in distinguishing between gnoseological and axiological meanings, psychophysiological differences in the ways of comprehending knowledge and value. Education is traditionally regarded as a procedure of acquiring knowledge, while adequate comprehension of values occurs through their emotional experience. The dominance of rationalism in the modern education system leads to underestimation of the importance of the role of social emotions as instruments of value awareness formed by society and, accordingly, underestimation of the role of axiological education of social activity stimuli, underestimation of the regulatory function of socially significant feelings and exaggeration of the personal factor. Overcoming panrationalism in education is possible through the comprehensive development of the sensual foundations of the spiritual-practical, value consciousness of the individual with the help of aesthetic sign means. Nothing can be compared to such “aesthetic weapons” in terms of the power of influence on people’s activities, up to the destruction of the very foundations of their own existence, if it takes the appropriate aesthetic form.

Keywords: culture, man, education, upbringing, practical meanings, cognitive meanings, axiological meanings, aesthetic image.

Voevodin A.P.

pp. 17-24

The Problem of Identity and Multiculturalism in the Context of World Globalisation

Culture as a system of meanings, symbolic identifications, forms and social practices is the most important factor in the formation of identity in the broadest spectrum of this concept. On this basis, the analysis of the impact of globalisation on cultural identity, the preservation of the diversity of local cultures, is an urgent problem of modern humanitarian knowledge. The materials of our research include scientific works covering the problems of identity and diversity of cultures in the conditions of world globalisation, published results of questionnaires and surveys on the preservation of cultural traditions, perception of cultural diversity, data from media sources on the problem under study. The research methodology is based on an interdisciplinary approach that combines theoretical and empirical methods of analysis, including methods of philosophical, anthropological and cultural analysis. The application of hermeneutic, phenomenological, comparative research methods allowed us to study more fully cultural diversity and identity in the context of globalisation, to identify the main trends and mechanisms of these processes, to provide recommendations for the preservation of cultural diversity in a single cultural space. In the course of the research we found out that globalisation promotes both integration and diffusion of cultural elements, which is inevitably accompanied by the formation of new cultural forms. The processes of globalisation entail the loss of unique cultural traditions of authentic cultures, which is one of the characteristics of the general crisis of culture. The leading tendency of such crisis processes is consumerism – the replacement of authentic cultural products with new-fashioned samples; in this way, depersonalisation, massification of consciousness is carried out, which encourages people to follow predetermined behavioural tactics. As a result of the research we have come to the following conclusions. The processes of globalisation taking place in the modern world lead to changes in the parameters of cultural identity, which is characterised by a more complex structure, polycentric and interactive orientation. The modern socio-cultural situation requires harmonious coexistence of different cultures in a single common cultural space. Such a consensus can be achieved by universalising the practical forms of being culture, resolving the contradictions between the content of authentic cultures and globalised culture.

Keywords: culture, cultural space, globalisation, cultural identity, cultural tradition, polylogue of cultures.

Moskalyuk V.M.

pp. 24-33

The Problem of Human Identity in Ancient Philosophy

The subject of the study is the phenomenon of identity in Ancient philosophy and its embodiment in the concepts of ancient Greek thinkers. The relevance of the presented research is based on the need to solve the problems of the identity of a modern person, to identify the content of his value matrix. The article uses methods of historical and philosophical analysis and axiological assessment of identity. The motif of fate and freedom is characteristic of ancient mythology. Homeric heroes show their identity through the search for the meaning of life, the struggle for values and loyalty to ideals. In tragedies, the identity of a person is expressed through the physical death of a tragic hero in the struggle against an irresistible force, a demonstration of moral triumph, overcoming predestination and the inevitability of fate, preserving moral and spiritual integrity. According to Socrates, the identity of a person is realized through the search for truth and the pursuit of selfknowledge: true knowledge and wisdom define a person, shape her beliefs and behavior, and lead to harmony and happiness. For Plato, identity is associated with the search for the highest idea of goodness, love and perfection, based on an intelligent soul, which is constant and unchangeable in contrast to the physical body or emotional states. Aristotle argued that through our actions, values and connections with other people, a person himself is formed, and therefore his ideas about himself, that is, identity. It is concluded that in the era of antiquity, philosophers interpreted identity as a holistic awareness of a person’s spiritual certainty along with belonging to the cosmos, nature, and society.

Keywords: identity of a person, the problem of identity, interpretation of identity, ancient philosophy, history of the concept of identity, pre-Socratic philosophy, Socrates, Plato, Aristotle.

Emelyanova O.B., Maslova E.S.

pp. 33-43

The Phenomenon of Suicide in Context of the Transformation of the Romantic Myth

The article examines issues related to the emergence of a special form of suicide in romanticism, and defines its typological difference. The article specifies structural changes that occurred in the system-forming elements of European-type culture due to the emergence of romantic tendencies; it reveals the connection between structural changes in culture and generic features of suicide in romantic mythology. The article analyzes and generalizes the problems. Based on specific examples, the problem is considered as a whole. The relevance of research in this area for the analysis and study of typologically similar modern suicidal situations is indicated. The European-type culture is considered as a structured homeostatic system that undergoes changes in the 19th century due to the peculiarities of the romantic cultural movement. In this regard, the dynamics of romanticism, which has various aspects, is considered. It is said that romanticism creates its own quasi-religious sphere, in which the concepts of good and evil are blurred, and chaos becomes a full-fledged component of the world content. This pessimistic situation leads to a revaluation of values, to the emergence of mass nihilism and, as a consequence, to the emergence of a new type of suicide. That is, the typology of romantic suicide can be defined as a voluntary departure from life, determined by the parameters of structural changes in culture, which are associated with the violation of semantic orientations. The study of romantic suicide is important because some variants of suicide in modern times typologically go back to the romantic. Drawing parallels gives us the opportunity to compare, analyze and identify typologically similar elements of suicide for its prevention.

Keywords: romantic myth, suicide, culture, generic characteristics, system-forming elements of culture, aesthetic pessimism, homeostasis, structural changes in culture, nihilism.

Kudryashov S.V.

pp. 43-51

M. Matusovsky’s ‘Family Album’ in the Context of Memoirism

The work of M.L. Matusovsky, a native of Lugansk, one of the most famous songwriters of the last century, has been insufficiently studied, especially in the cultural aspect. For the first time the object of study was the writer’s prose in order to determine its genre features (diary, literary portrait, memoirs), to identify its particular features and significance as an object of cultural studies. The author conducts a cultural and literary analysis of the text of M. Matusovsky’s ‘Family Album’ and comes to the conclusion that the genre feature of the studied work is the embodiment in autobiographical fiction prose of real historical events, human characters, episodes of the author’s life, preserved in his memory as a meaning-forming element of his artistic world, which allows us to consider the work as a genre of memoirism, as well as to consider it an important object of scientific research in cultural studies.

Keywords: memoirism, memoirs, genre, diary, M. Matusovsky’s prose, memory

Pustovit V.Yu.

pp. 51-59

To be Fulfilled: Existential Aspects of the Phenomenology of Artistic Creation

The article attempts to analyze artistic creativity as an intentional experience that ensures the movement of the author’s creative consciousness from the constitution of an ideal image to its objective embodiment (aesthetic object) from the standpoint of phenomenological aesthetics. The subject of research interest is the creator with his special spiritual-value, spiritual organization, sensuality as the quintessence of artistic consciousness. The choice of a methodological position determines the research task of shifting from knowledge to understanding the phenomenon of creativity, namely that little-studied intention, which looks more like a state of creative aftereffect, to existential aspects of being with the already realized. The work consistently outlines the issues of the sacredness of the process and the tragedy of the result of creativity. The idea of the essence of an artistic work as a moving form-the rhythm of intersubjective interaction between the artist and the recipient is substantiated. Special attention is paid to the differentiation of the result of creativity as a product of sublimation, the reflection of one’s own empirical world in an aesthetic quasi-object and as a revelation of the author, the art of Being. The author comes to the conclusion that the fundamental existential experiences of being with the realized are the fundamental openness of the artist, the intersubjective openness of the author in his existence through involvement in the process of constant realization, interaction, formation and search. In the work of fiction, the author shows his own experience of experiencing involvement in being.

Keywords: artistic creation, art, artwork, process, result, intention, experience, experiences.

Mazanenko O.M.

pp. 60-71

The Transformation of the Policy of Memory of the Great Patriotic War in the 1960s and 1970s (Using the Example of the Yevpatoria Museum of Local Lore)

The period of L.I. Brezhnev’s reign was marked by the establishment of Victory Day as the main state holiday symbolizing the triumph of the USSR over fascism. The victory in the Great Patriotic War became a central element in the formation of the Soviet national identity. This situation has significantly strengthened the role of museums in the sociocultural space of the USSR. In the context of studying the impact of the new memorypolicy in Crimea, it is worth noting the increased role of the Yevpatoria Museum of Local Lore in the 1960s and 1970s as the most important actor in the socio-cultural life of not only Yevpatoria, but also the entire Crimea.

Keywords: Crimea, Yevpatoria Museum of Local Lore, developed socialism, politics of memory, the Great Patriotic War, cultural policy, memorial heritage, historical and cultural heritage.

Borunov S.S., Ivanov V.A., Mikitinets A.Y.

pp. 71-82

Complex Research at the Nizhny Arkhyz Ancient Settlement (2018–2024): Results and Prospects

The subject of this paper is the results of a seven-year phase of complex interdisciplinary research at the monument of federal importance – the ancient settlement of Nizhny Arkhyz (Zelenchuksky District, Republic of Karachay-Cherkessia). The settlement is located on the site of a medieval town – the capital of Western Alania, the only state in the North-West Caucasus that emerged in the Middle Ages. From the 10th century the town became the centre of the Alanian bishopric, then metropolitanate of the Patriarchate of Constantinople. In addition, the city was an important centre on one of the sections of the Great Silk Road that passed through the Marukh Pass. In addition to archaeological and architectural work, a comprehensive programme of interdisciplinary research is being carried out at the settlement, including the latest methods of Paleoanthropological (sex and age diagnostics, study ofpalaeopathologies, craniological morphology data, isotopic studies of lifetime mobility, palaeogenetics) and other natural science analyses (phytolithic, geochemical, chemical analyses of glass, metal, etc.). Such a research programme has been initiated for the first time to study this a key monument of medieval history and culture of the peoples of the North Caucasus and a unique site of early Christianity in the south of our country. Over the past years, the research team has solved stage tasks (first of all, the entire area of the Middle Zelenchuk temple, one of the three temples of the Lower Arkhyz, built by Byzantine masters in the 10th century and preserved up to the present day, was archaeologically investigated) and defined new goals for further research, which, of course, makes it relevant to summarise the results of the work done and the methodological approaches used.

Keywords: Lower Arkhyz, Western Alania, Byzantium, Middle Zelenchuk temple, archaeological excavations, paleoanthropology, natural science research.

Chkhaidze V.N., Druzhinina I.A., Druzhinina O.A., Mednikova M.B., Vinogradov A.Yu., Beletsky D.V., Aibazov A.Yu.

pp. 82-96

Structure of Cemetery Spaces of the Late 19th – Early 21st Centuries in Krasnodar Region

The article attempts to consider the cemetery space through the prism of systemic and constructive-morphological approaches. The cemetery as a historically conditioned multilevel social system has material components, manifested in the burial space, has functions, problems, is formed and functions in accordance with certain mechanisms, principles and factors of construction, is part of the culture of death. Consideration of its structure on the example of cemeteries of the late 19th century – early 21st century on the territory of Krasnodar region allows to distinguish its elements, to study them based on the objectives of the study and aspects of existence. Landscape, burials, graves, plots, grave and cemetery infrastructure are considered as its components. A distinction is made between the meanings of the concepts of burials, graves and burials. Graves have variations of structural features and can be united into plots according to several parameters. Cemeteries can be united in a network of satellite cemeteries, be the basis of necropolises of settlements. The change of forms and elements of grave structures depends on the political and economic conjuncture in the state. The interrelation and separation of cemetery and burial spaces of the cemetery is shown. The current cemetery space may not coincide with its cemetery-burial (underground)space, or may be absent in the presence of the second. The peculiarities of the funerary space of the region in its chronological and geographical aspects are pointed out.

Keywords: death culture, burial space, cemetery, burial, grave, monument, grave infrastructure, cemetery infrastructure.

Lopin K.B.

pp. 97-103

Special Types of Authentic Chinese Singing: Revival of Traditions and Preservation of Intangible Cultural Heritage

The article examines the specifics of special types of vocal sound production in China: Hoomei – throat singing, common in Inner Mongolia and exotic singing “with juggling teeth” created by vocal artists in Ninghai. These phenomena of traditional musical culture are vivid manifestations of the unique national intangible cultural heritage of China. The focus is on artistic expressiveness. The difficulties of mastering the art of these types of performance are described. Teeth juggling singing is a unique art created by vocal artists in Ninghai. It is also one of the manifestations of China’s unique national intangible cultural heritage. It is famous for its original performing skills and has earned high praise from audiences. According to the epic “The Story of Pingdiao in Ninghai”, when performing the opera “The Golden Lotus Kills Jiao”, the performers needed to portray the demonized character of the character “Li Jiao” (the legendary dragon who can control rain and floods), but they believed that If you use conventional vocal production techniques, it is difficult to achieve the desired effect. Thus, they invented the unique art of teeth juggling, allowing the actor playing Li Jiao to hold two huge (compared to human) teeth in his mouth, expressing the evil contained in the character’s heart. The whole performance process was rough but delicate, which always has a shocking effect on the audience. Of course, such exotic types of vocal sound production are designed to recreate a certain artistic effect and are used exclusively for the sound characteristics of negative and, most often, fantastic characters associated with the action of evil forces.

Keywords: the art of vocal performance in China, exotic types of singing, local singing styles, Khoomei, Ninghai singing.

Khvatova S.I., Ye Jiahui

pp. 103-114

L. Beethoven’s Music in the Author’s Animation: Principles of Functioning

The purpose of the article, using the example of L. Beethoven’s works, is to show different approaches to the introduction and functioning of borrowed material in animated films and is defined as the same musical work can build a different dramatic line and express the concept of a screen work. The following animation works are used as analytical material: “Listening to Beethoven” (2016, directed by G. Bardin, LLC Studio “Steyer”), “Christmas” (1996, directed by M. Aldashin, studios “PIDP Entertainment”, “Pilot”, “Mishka”), “Fantasy about a dead man” (dir. M. Litvinova, VGIK, workshop of V.M. Ugarov). It is noted that in the analyzed Allegretto films of L. Beethoven’s Symphony № 7, it functions differently in a synthetic text. So, in the paintings “Listening to Beethoven” and “Fantasy of a Dead Man”, a fragment of symphony № 7 is plot-wise and dramaturgically correlated with the mourning process, where in the first case it is the destruction of all living things, and in the latter, it is the episode of saying goodbye to a person. The interpretation of the hymn and celebrations is projected by animators with various compositions by L. Beethoven. M. Aldashin sees the hymn in Allegretto Symphony № 7, and G. Bardin in “Ode to Joy” symphony № 9. Cartoons by M. Aldashin and M. Litvinova are united by the principle of the functioning of quotations, where borrowing occurs at the level of exact reproduction, while G. Bardin sounds an arranged version performed by S. Anashkin. It is proved that quotations from popular classical works with well-established semantics can break stereotypes and, contrary to traditions, embody various applied and dramatic functions.

Keywords: L. Beethoven, G. Bardin, M. Aldashin, animated film, quote, borrowed musical material, film music, comparative analysis.

Tolpeeva N.I., Shak T.F.

pp. 114-124

Interpretativeness as a Principle of Formation of Modern Song Content

The relevance of the article is due to the fact that in modern mass music culture, the interpretation of a pop song becomes an important form of living of this genre along with the creation of new song content. For a long time, the phenomenon of pop music was not a priority in academic music because of the unjustified classification of it as a casual musical art. The article is aimed at substantiating interpretation as one of the important ways of forming a modern variety repertoire and on the analysis of concrete examples to show the forms and ways of interpretation within the framework of the popular pop song of the turn of the 20th – 21st centuries. The methodology is based on a comparative method aimed at examining the source and identifying similarities and differences between species and subspecies of its further interpretations. As an analytical material is taken the song “Call me with you” (music and poems of T. Snezhina) with the following versions of its performance (Alla Pugacheva, Polina Poloneychik, Anatoly Tsoy, Yuliya Legends, Ragda Haniev, Yegor Krit) and visual (series “Broken Lantern Street”, “Maintenance”) interpretations in arrangements of K. Meladze, Nesteroff, I. Kanaev, Y. Golotenko. The article proves that the same song, sung by different singers, acquires a different meaning, dramaturgy, and, sometimes, changes its genre basis. The performance level materializes in such forms of manifestation as a cover (a new version of a popular song in another performance), a crossover (a mixture of disparate musical material and the manner of singing in one work). The formation of a modern popular repertoire on the basis of a new reading of “old” songs is due to different levels of key trends of modernity: sociocultural, philosophical-aesthetic, technological, commercial. Their expression is realized in the predominance of visual origin, the focus of creativity on a wide audience, the development of technical means of sound production, leading to the dominance of arrangement processes over the creation of author’s musical material, formation of new compositions on the principle of intertextuality, compilation. This problem requires further implementation in scientific, creative, pedagogical aspects, since a new view of the songs written by professional composers and poets get a second life in modern society and become the basis of repertoire, creating new genre varieties.

Keywords: interpretation, pop song, genre, cover, crossover, performance, repertoire, content.

Novikova E.V.

pp. 125-133

Techniques of the Narrow-Technical Function of the Violinist in the Development and Character of a Musical Work

The article discusses the basic techniques of the narrow-technical function of the violinist and their influence on the nature of the musical work. Zootechnical techniquesinclude various elements of violin technique that directly affect the qualitative and quantitative characteristics of performance, the structural development of the work and the emotional perception of music. The analysis of such techniques as legato, staccato, pizzicato, double notes, flageolet, tremolo and others makes it possible to evaluate their contribution to the creation of the artistic image of the work. These techniques have been studied in the context of their use by modern musicians in the process of playing the violin. The research is based on the analysis of classical and modern musical compositions that require the use of a wide range of techniques. The interpretations of the leading violinists, known for their innovative approach to technique and expressiveness of performance, are also considered. To achieve this goal, the following methods are used in the article: analytical; historical; art criticism; comparative; empirical; psychological; pedagogical. At the beginning of the study, a review of the literature and existing works on violin techniques is conducted. Further, specific agrotechnical techniques such as legato, staccato, pizzicato, double notes, flageolets, tremolo and others are considered and analyzed. Each of the techniques is given special attention in terms of the technique of its execution, as well as its role in creating the artistic image of the work. The study confirms that narrow technical techniques significantly affect the qualitative and quantitative characteristics of performance. The correct and meaningful use of such techniques allows: to express the emotional content of a musical work; to enhance the dramatic or lyrical component due to dynamic and articulatory nuances; to enrich the sound palette of the work and increase its expressiveness. The final part of the article focuses on the importance of integrating traditional and innovative methods in teaching violin technique. This will allow young musicians to more deeply understand and master the mastery of technical techniques, which in turn contributes to the creation of harmonious and expressive interpretations of musical works.

Keywords: narrow technical function, violinist, musical composition, technique of performance, image of a musical composition, character of a musical composition.

Aliyeva Z.E.

pp. 133-140

Two Adaptations of the Novel by Arkady And Boris Strugatsky “It is Difficult to be a God”: To the Question of the Similarity and Difference of Signs of Literary and Visual Texts

The purpose of this study is to consider the adequacy of the semiotics of two types of art, literature and cinema, through their mutual involvement. Cinematography made it possible to read literary material by new means, but through the mediation of the director’s and actor’s vision. This scientific intelligence is updated by the number of projects being created that are aimed at visualizing literary fundamentals while expanding cinematic possibilities. The highlighted subject of research is aimed at the boundaries of creative permission for the director to change literary material, especially if it has already received a stable social landmark status. The objectives of the study are to show the similarities and differences between literary language and visual language using the example of the novel by Arkady Natanovich and Boris Natanovich Strugatsky “It’s hard to be God”; in comparing the signs of two film adaptations of this novel by Peter Fleischmann and Alexei Yurievich Herman; in determining the degree of responsibility of the director for the intrusion into the original literary material. The scientific novelty of the research lies in clarifying the boundaries of free-style director’s adaptation, which distorts the literary basis. The methods of the theoretical level – comparative, general logical (analysis and synthesis) – made it possible to compare a literary text and its cinematic embodiment in two versions, as well as to compare two film adaptations of the same primary text. The methods of analysis and synthesis made it possible, based on a detailed study of a literary text and two film texts, to identify their iconic features, and then determine their common characteristics. Empirical research materials are based on the development of problems of translating a written word into an image conveyed by the language of cinema. The ideas embedded in the literary text and the film texts presented through the director’s understanding do not coincide due to the difference in the language of different types of art. The adequacy of visual reading and literary prose causes polemical arguments about the boundaries of the director’s embodiment of the original source’s idea. The boundaries of subjective free reading of the literary version are dictated by the specifics of the screen format, which implies an open discussion of the semantic transfer of the literary source into visualization.

Keywords: visualization, literature, director’s vision, semantics, Strugatsky, subjectivism, film adaptation, screen format.

Paterykina V.V.

pp. 151-158

The Influence of S. Mikhoels on the Work of the Jewish Theaters of Birobidzhan

The article examines the life and work of the actor, director of the Moscow State Jewish Theater Solomon Mikhoels. The authors briefly cover his biography and analyze the roles played by S. Mikhoels on the stage of the Moscow theater, which speak of his unconditional talent as an actor. Presenting the facts of his biography, the authors of the article tell about his theater studio, which became a place not only for training Jewish actors in theatrical art, but also a creative center from which true innovators in love with their work graduated. It was the graduates of this studio who became actors of Jewishtheaters that existed in the Jewish Autonomous Region during the Soviet period. The first team, created in 1934 in the Jewish Autonomous Region as part of the implementation of the “Birobidzhan project” to resolve the Jewish question - the Jewish State Theater named after L. Kaganovich – embodied those theatrical techniques that S. Mikhoels used in his creative work. It was with the play “Mazltov” that the fruitful work of the Jewish theater group of the city of Birobidzhan began, which lasted until 1949. The second Jewish group on the territory of the Jewish Autonomous Region was created in the 1960s, and its director B. L. Shilman, a student of S. Mikhoels, also actively used her accumulated experience of working with this director in forming the repertoire policy of the Jewish folk theater, creating a unique play based on the play by A. Goldfaden “The Witch”. The authors come to the conclusion that the work of director S. Mikhoels had a significant influence on the activities of the Jewish theater groups existing in Birobidzhan, which contributed to the general development of not only the Jewish theater culture of Russia, but also the entire culture of the Soviet state.

Keywords: S. Mikhoels, B. Shilman, E. Genfald, “Tivier the Milkman”, “Mazletof”, Jewish Folk Theater, Birobidzhan State Ballet.

Gamalei S.Yu., Chepikovi E.V.

pp. 151-158

Forms of Interpretation of Works by A.S. Pushkin in Classical Ballet Theatre

The article is devoted to the problems of interpretation of literary works in classical ballet theater. It defines the place of classical literature as the basis of ballet drama. The author raises a number of problems that arise when the choreographer is working on a production based on a classic literary work. The mutual influence of ballet theater and classical literature in the course of their interaction is traced. The article examines the process of co-creation of a writer, composer and choreographer in the course of working together on a ballet performance based on a literary work. The roles of various expressive means for creating an artistic image and methods of its development are determined. The article substantiates the consistency of ballet art in its ability to reflect the poetics of a literary work through the plastic constructions of the human body. Examples of the interpretative activity of choreographers in the course of work on ballet productions are given. The issues of the relevance of the interaction of classical literature and ballet theater in a temporal context and the trends of their development are raised. The place of plot choreography is considered as the main means of dramatizing a classical ballet performance on the national stage. A ballet performance is considered as an independent work of art. The author provides examples of interpretation of A.S. Pushkin’s work by different choreographers. The analysis of the creative activity of the screenwriters to create an original scenario plan for ballet interpretation, which is based on the ideological component of the literary source and its storyline. As an example of a ballet interpretation of a literary work, A.S. Pushkin’s poem “The Caucasian Prisoner” is given. The author conducts a comparative analysis of the original production by R.I. Zakharov and M.L. Lavrovsky (1938). The actualization of the interpretation of a poetic work is proved by the cultural significance of ballet performances created on the basis of the classical heritage of world literature.

Keywords: interpretation, classical literature, ballet performance, R.I. Zakharov, A.S. Pushkin.

Smolyanin S.N.

pp. 158-168

String Quartets by B.I. Tishchenko in the Context of Classical Traditions of the Genre

The genre of string quartet is one of the main genres of classical music, which has undergone a long path of formation. Viennese classics made a significant contribution to the development of this genre and established its general artistic principles. Over time, manycomposers turned to the string quartet, bringing innovative ideas of their time and preserving the traditions of their predecessors. The second half of the 20th century was marked by the active development of the quartet genre by the Russian composer Boris Tishchenko. During his life, he wrote six string quartets, the last of which was created in the first decade of the 21st century (2008). Tishchenko is a bold innovator who not only maintains a connection with his predecessors, but also brings new elements to the genre. Like the Viennese classics, Tishchenko’s quartet work has absorbed such artistic principles as dynamism of development, depth of content, harmonious form, clarity of melodic lines. From Haydn, the idea of developing the sonata allegro and scherzo penetrates into Tishchenko’s quartets, from Mozart the special role of the rational principle and the symphonization of the genre, from Beethoven the special status of the development of the thematics, the role of virtuosity, etc. From the romantic tradition, Tishchenko inherited the ideas of Berlioz’s programmatic nature and the role of timbre, from Schubert and Mahler the song lyricism, etc. The quartet work of Boris Tishchenko undoubtedly demonstrates the bright influence of the composers of the 20th century, who had a significant impact on the development of this genre. The New Viennese, including Anton Webern, brought pointillistic tendencies and linearity to Tishchenko’s music. From Sergei Prokofiev, he adopted neoclassical ideas, but one cannot fail to mention Dmitry Shostakovich as one of the most significant predecessors of Boris Tishchenko. His quartets show a special type of melodiousness with a predominance of recitative-monologue syntax, strophicity and meditativeness. In addition, the significance of the moderate tempo Moderato for the initial parts of the cycle and the appearance of finales of the morendo type become noticeable features of Tishchenko’s quartet music. In conclusion, it should be noted that despite the clearly expressed connections with the musical traditions of the past, Tishchenko brings the genre to a new artistic level.

Keywords: B.I. Tishchenko, D.D. Shostakovich, chamber ensemble works, string quartets, classical traditions of the quartet genre.

Chekalin A.A.

pp. 169-170

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