Relevant bibliographies by topics / Russian music

Academic literature on the topic 'Russian music'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Russian music"

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Biasioli, Marco. "“We also can. We're not worse”: The Anglophone Wave in Russian indie music (Indi), 2008–2012." Popular Music 39, no. 2 (May 2020): 294–311. http://dx.doi.org/10.1017/s0261143019000254.

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AbstractThis article analyses the main cultural and political factors that contributed to the emergence of local Anglophone music in Russia between 2008 and 2012. While Russian indie groups had extensively sung in English before (with scarce public recognition), a conjunction of circumstances encouraged the appearance of a conspicuous Russian Anglophone music scene in the Medvedev years. These were a perceived political relaxation, internally and in East–West relations; Russian economic growth and the subsequent renovation of Moscow; and the connectivity and expansion of the independent music community. The article also argues that the success of local Anglophone bands, as well as the appearance of an ‘indie’ sound and an ‘indie’ music scene (indi), was the result of a concerted effort by Russian music participants to bring and incorporate the Other – the West – into Russia's everyday life. The English language, correspondingly, functioned as a ‘tool’ for this operation.
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Piotrowska, Anna. "The place of ‘Russian music’ on the multicultural map of Europe." Muzikologija, no. 21 (2016): 109–22. http://dx.doi.org/10.2298/muz1621109p.

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Both Russian and non-Russian composers and music critics willingly used the notion of Russian exoticism to differentiate the Russian musical legacy from the (western) European tradition, especially in the 19th century. At the same time, various Russian musical practices were considered to be exotic in Russia itself. In this article it is suggested that these two perceptions of Russian music influenced each other, having an impact on the formation of Russian national music. It is further claimed that Russian music served both as an internal and external tool for defining the country?s musical culture on the multicultural map of Europe.
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Seaman, Gerald. "On Russian Music." European Legacy 18, no. 4 (July 2013): 525–26. http://dx.doi.org/10.1080/10848770.2013.791459.

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Fanning, David, and Stuart Campbell. "Russians on Russian Music, 1830-1880: An Anthology." Musical Times 136, no. 1828 (June 1995): 307. http://dx.doi.org/10.2307/1004106.

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Christensen, Peter G., and Stuart Campbell. "Russians on Russian Music, 1830-1880: An Anthology." Slavic and East European Journal 40, no. 3 (1996): 577. http://dx.doi.org/10.2307/310163.

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Blackford, Lena. "Musical education in Russian secondary schools." British Journal of Music Education 14, no. 1 (March 1997): 57–67. http://dx.doi.org/10.1017/s0265051700003442.

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This paper reviews the traditions of teaching school music in Russia and focuses on the music curriculum for comprehensive schools elaborated by the Russian Academy of Pedagogical Sciences. New teaching methods continue to be developed and, despite economic difficulties in Russia, the number of institutes of higher music education remains high compared to that in other countries. As a result Russia has, perhaps, a greater number of highly-qualified musicians, teachers and performers than any other country in the world.
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Doroshenko, S. I. "MUSIC EDUCATION IN RUSSIA: RETROSPECTIVE AND FORECAST (ACCORDING TO THE MATERIAL OF THE SEVENTH SESSION OF THE SCIENTIFIC COUNCIL ON THE PROBLEMS OF THE HISTORY OF MUSIC EDUCATION)." Bulletin of Udmurt University. Series Philosophy. Psychology. Pedagogy 30, no. 1 (April 27, 2020): 63–68. http://dx.doi.org/10.35634/2412-9550-2020-30-1-63-68.

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The article analyzes the results of Russia's largest scientific and practical event dedicated to music education: the seventh session of the Scientific Council on the problems of the history of music education, held in Vologda on April 23-26, 2019. The program of the session included the international scientific conference “Preparing of a music teacher: Historical Experience, Problems, Prospects”, the Russian Scientific Seminar and the All-Russian Symposium. The results of the session, which brought together more than 70 leading researchers in the history of music education in Russia and the near abroad, are summarized in key areas. A retrospective analysis of the activities of music and pedagogical faculties of pedagogical universities, operating in the country since 1959 and practically eliminated at present, is considered as the leading theme. The results in other areas of the session are also generalized: the development of the history of music education as a field of historical, pedagogical and musicological knowledge; history of vocational and school music education. Crisis phenomena in music-pedagogical education are marked.
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Kazantseva, Liudmila P. "“Musical Rossica” as a Musicological Term." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (2022): 22–34. http://dx.doi.org/10.33779/2782-3598.2022.1.022-034.

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During the course of centuries in the music of composers from outside of Russia one can discern an entire category of works dedicated to Russia. The experience of certain spheres of knowledge – book studies, source studies, archival studies, map studies, collecting, history, literary studies, art studies, cinema studies – has stipulated the possibility of applying the concept of “Rossica,” well-known in scholarly use, to this segment of artistic expression. The article offers and substantiates the concept of “musical Rossica” as a sphere of musical creativity, demonstrating a vision of Russia (or, in the narrow sense, of Russianness) through the prism of other cultures. Considering the importance of mental-culturological distancing of the Russian from the non-Russian, it becomes a legitimate position to add to the musical Rossica the compositional legacy of Russian émigrés connected with their former homeland. A differentiation of the concept (“German musical Rossica,” “romance-song Rossica,” “folk music Rossica,” etc.) is accepted. The concept of “musical Rossica” discloses a number of possibilities: to attract attention to the lesser-known marginal field of the outstanding masters’ heritage (Georges Bizet, Charles Gounod, Gaetano Donizetti, Felix Mendelssohn-Bartholdy and Franz Schubert); to bring into the scholarly domain artefacts previously cast aside onto the periphery of the historical process; to find meaning not only with separate works, but with a serious artistic tendency; to indicate a problem field which would be productive for musicology. “Musical Rossica” makes it possible to build a more complete picture of the musical field outside of Russia, to form an objective evaluation of the significance of Russian music as a part of the world music process, to overestimate the role of the literary heritage of Russia (through its numerous musical interpretations) in foreign culture, and, thereby, to make a feasible contribution to the formation of the self-consciousness of Russians, as well as an objective international image of Russia.
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Piotrowska, Anna G. "Tsyganshchina (цыганщина) and Romani Musicians in Tsarist, Soviet and Post-Soviet Russia: Change and Continuity." European History Quarterly 52, no. 4 (September 28, 2022): 554–71. http://dx.doi.org/10.1177/02656914221097293.

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The main goal of this paper is to recognize and explain the specificity of the public presence of Romani musicians in Russia, predominantly in the long nineteenth century as well as in the new (Soviet and post-Soviet) political situation of the twentieth century. The article offers a historically oriented outline of the Romani musical traditions deeply embedded into the cultural, political and economic situation of the country. A special focus is placed on the phenomenon of the so-called ‘Gypsy choirs’ and their reception in Russia both by Russians and by foreigners, the latter being often surprised that while in Central and Western Europe Romani musicians were known for instrumental music, in Russia their vocal music (particularly so-called ‘Gypsy romances’) gained considerable popularity. The paper argues that Romani musicians from ‘Gypsy choirs’ identified and learnt to address the Russian aesthetics and thus managed to secure and sustain their unique position within the Russian culture.
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Ferenc, Anna. "Reclaiming Roslavets: The Troubled Life of a Russian Modernist." Tempo, no. 182 (September 1992): 6–9. http://dx.doi.org/10.1017/s0040298200016661.

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It is evident by now that swift political changes have had an impact on music scholarship in Russia. A radical shift from rejection to appreciation of the music of Russian early 20th-century modernists was announced on the pages of Sovetskaia Muzyka in January, 1991, where the following admission appeared: ‘By silencing the activities of the musicians of the Russian avantgarde for a prolonged period of time, we have in essence artificially narrowed the complex panorama of our music history.’ In the case of Nikolai Andreevich Roslavets, the process of historical revision has included recent publication and re-publication by Muzyka of some of his piano and chamber music. At a time when paper shortage is critical in Russia, such an effort demonstrates a sincere commitment to acknowledging his work. Certainly, another welcome result of this new attitude has been access, though apparently still limited, to the Roslavets archives in Moscow. The valuable information contained therein provides biographical details which finally allow for a substantiated and more definitive statement on the life of this composer who figured so prominently among the Russian modernists.
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Dissertations / Theses on the topic "Russian music"

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Shank, Ashley C. "Composers as Storytellers: The Inextricable Link Between Literature and Music in 19th Century Russia." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1290275047.

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Luo, Hung. "Selected late-Romantic Russian piano music." College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/9737.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2007.
Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Also available in paper. Audio available on compact disc;
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Zikanov, Kirill. "Listening to Russian Orchestral Music, 1850-1870." Thesis, Yale University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10957348.

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The following dissertation combines reception history and technical analysis in a revisionist account of Russian orchestral music from 1850 to 1870. Through close readings of a wide range of reception materials, I recover little-known historical perspectives on this repertory, focusing particularly on ways in which Russian musicians engaged with transnational musical trends. These historical perspectives inform my analyses of compositions by Mikhail Glinka, Mily Balakirev, Alexander Dargomyzhsky, and Anton Rubinstein. In these analyses, I elucidate formal, harmonic, and orchestrational features that nineteenth-century Russian listeners found notable, such as Balakirev's disintegrating recapitulations, Dargomyzhsky's ubiquitous augmented triads, and Glinka's timbrai crescendos. This analytical approach allows me to reimagine this repertory as a variegated network of musical works, where each new composition is a reaction to existing ones, to domestic reception, and to pan-European aesthetic currents.

Chapter 1, entitled "Glinka's Three Models of Instrumental Music," traces the organicist discourse surrounding Glinka's orchestral fantasias, links the origins of this discourse to the writings of Adolf Bernhard Marx, and articulates the musical features that distinguish the three fantasias. Chapter 2, "Formal Disintegration in Balakirev's Overtures," portrays Balakirev's attempts to distinguish himself from Glinka as well as from established formal conventions of the time, primarily through creative reinterpretations of formal strategies employed by Robert Schumann, Hector Berlioz, and Franz Liszt. Chapter 3, "Satire,

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Petersen, Katherine. "Russian Repertoire: Developmental Perspectives." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1439481939.

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Ealy, Gregory. "Medieval Russian chant and the contemporary church." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p015-0469.

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Kaminski, Jason. "Kolokol : spectres of the Russian bell." University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2006. http://hdl.handle.net/2100/421.

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Kolokol: Spectres of the Russian Bell, submitted by Jason Kaminski in fulfilment of the requirements of PhD (Humanities and Social Sciences) candidature at the University of Technology, Sydney, is an interpretative history of Russian bells (kolokola) and bell music (zvon). As a cultural object and sign, the Russian bell is associated with ideas of transcendence, and ideological and creative ‘vision.’ This interpretation of the signification of the kolokol as a sign arises directly from the perception that the bell is essentially a physical (anthropomorphic) body that is capable of ‘projecting’ or ‘transcending’ itself in the form of a spectrum. This essential ‘spectrality’ defines a history of the Russian bell as an instrument of magical, spiritual and religious ritual, as a cultural artefact associated with changing ideological movements (paganism, Christianity and communism) and as a sign represented synaesthetically in image, sound and text. Ethnographic and campanological studies observe that the kolokol ‘reflects Russian social history like a mirror’, representing the ‘voice of God’ or Logos as an aural or ‘singing’ icon, pointing to the primordial origins of language. This dissertation further investigates the idea that the kolokol acts as an ‘acoustical mirror’ and ‘ideological apparatus’: a medium or spectre through which Russian history and culture is interpellated and reflected. The various logical streams (storytelling, legend, script, text, song, cultural theory, philosophy and ethnography) that contribute to this dissertation form a textual ‘polyphony’ through which the essential meanings and ‘personae’ of the kolokol as a cultural object are interpreted. The bell is regarded as presenting an enigma of signification that must be resolved through investigation and definition. The thesis concludes that the kolokol acts as an iconic sign of the creative ‘Word’ (Logos) and as a symbolic sign that implies a ‘bridge’, copula or psychic ‘hook’, articulating the relationship between the cosmos and consciousness, the material and spiritual, the real and imaginary. Keywords: Russia, Russian History, Russian Arts, Russian Music, Russian Poetry, Russian Political History, Russian Orthodoxy, Russian Revolution, Bell-founding, Bell Music, Bell-ringing, Campanology, Iconology, Kolokol, Zvon. Word-count: 82,250 (excluding endnotes) 98,300 (including endnotes).
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Ritchie, Carolyn Cairns. "The Russian Court Chapel Choir : 1796-1917." Thesis, University of Glasgow, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263564.

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Thomas, Gareth James. "The impact of Russian music in England 1893-1929." Thesis, University of Birmingham, 2005. http://etheses.bham.ac.uk//id/eprint/260/.

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This thesis is an investigation into the reception of Russian music in England for the period 1893-1929 and the influence it had on English composers. Part I deals with the critical reception of Russian music in England in the cultural and political context of the period from the year of Tchaikovsky’s last successful visit to London in 1893 to the last season of Diaghilev’s Ballet russes in 1929. The broad theme examines how Russian music presented a challenge to the accepted aesthetic norms of the day and how this, combined with the contextual perceptions of Russia and Russian people, problematized the reception of Russian music, the result of which still informs some of our attitudes towards Russian composers today. Part II examines the influence that Russian music had on British composers of the period, specifically Stanford, Bantock, Vaughan Williams, Holst, Frank Bridge, Bax, Bliss and Walton. A combination of comparative examples and critical discussion of the music is used to illustrates how Russian music influenced these composers and, as a result, demonstrate the key role Russian music played in helping them to find their compositional voice.
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Roberts, Peter Deane. "Aspects of modernism in Russian piano music, 1910-1929." Thesis, Kingston University, 1988. http://eprints.kingston.ac.uk/20519/.

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The purpose of this thesis is to examine some of the techniques employed by Russian composers during the Modernist period from around 1910 to the imposition of State control of the Arts which began in 1929. Because many important musicians left Russia it has been necessary to include the works of some of those who lived abroad. It was decided to approach the subject of Modernism through the medium of piano music, partly to keep the project within manageable bounds and also because composers tended to use the piano for their more experimental works. The thesis offers a more detailed analytical approach to the music than is found in Leonid Sabaneyev's Modern Russian Composers published in 1927, which is the only major work on the period so far to have appeared in the English language. The study has not been restricted to the comparatively narrow limits of set-theory analysis, as has tended to be the case in recent years with articles on Russian music of this period written in the U.S.A. A variety of techniques have been employed with a view to placing this music in its Russian context as well as examining its relationship to developments in the West. The study progresses from detailed aspects of technique towards the consideration of large-scale structures and, so far as possible, from familiar points of style towards the more unfamiliar. It falls broadly into three sections. The first begins with two major figures - Scriabin and Prokofiev - and continues with other lesser-known Russian composers of the period. The second, Chapters 7-10, deals with tonality and the attempts made to find alternatives to tonality as a basis of structure. The third is concerned with constructional methods, both tonal and non-tonal, and concludes with a summing-up and general assessment.
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MILLER, KATHLEEN A. "Valery Gavrilin: A Theoretical and Historical Analysis of Select Works for Voice and Piano." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1201116646.

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Books on the topic "Russian music"

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On Russian music. Berkeley: University of California Press, 2009.

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Eighteenth-century Russian music. Aldershot, Hants, England: Ashgate Pub. Company, 2006.

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Music in Russian poetry. New York: Peter Lang, 1998.

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Performing Russia: Folk revival and Russian identity. New York, NY: RoutledgeCurzon, 2004.

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Historical dictionary of Russian music. Lanham: Scarecrow Press, 2012.

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Careva, Ekaterina. Iogannes Brams [in Russian]. Moscow, USSR: Muzyka (Moscow), 1986.

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Roberts, Peter Deane. Modernism in Russian piano music: Skriabin, Prokofiev, and their Russian contemporaries. Bloomington, Ind: Indiana University Press, 1992.

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Roberts, Peter Deane. Modernism in Russian piano music: Skriabin, Prokofiev, and their Russian contemporaries. Bloomington, Ind: Indiana University Press, 1992.

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Roberts, Peter Deane. Modernism in Russian piano music: Skriabin, Prokofiev, and their Russian contemporaries. Bloomington, Ind: Indiana University Press, 1993.

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Roberts, Peter Deane. Modernism in Russian piano music: Skriabin, Prokofiev, and their Russian contemporaries. Bloomington, Ind: Indiana University Press, 1993.

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Book chapters on the topic "Russian music"

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Assay, Michelle. "Shakespeare and Russian Music." In The Palgrave Encyclopedia of Global Shakespeare, 1–9. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-99378-2_169-1.

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"RUSSIAN MUSIC." In Nicolas Slonimsky: Writings on Music, 16–28. Routledge, 2003. http://dx.doi.org/10.4324/9780203970294-8.

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"RUSSIAN FOLK MUSIC." In Nicolas Slonimsky: Writings on Music, 29–31. Routledge, 2003. http://dx.doi.org/10.4324/9780203970294-9.

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Taruskin, Richard. "Is there a ‘Russia Abroad’ in Music?" In Russian Music since 1917. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266151.003.0014.

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Departing from an article by Arthur Lourié published in 1931 which posits a fundamental split between the music produced by Russian composers in the Soviet Union and that produced by Russian composers living abroad as émigrés—and asserts that the latter, not the former, are the ones producing the true Russian music of the day—this paper considers (in the light of Marc Raeff’s Russia Abroad and its treatment of émigré culture) what it takes to maintain a cultural community in diaspora, and whether expatriated Russian musicians have ever constituted such a community.
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Zavlunov, Daniil. "Glinka in Soviet and Post-Soviet Historiography: Myths, Realities and Ideologies." In Russian Music since 1917. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266151.003.0011.

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The advent of glasnost’ prompted a reassessment of many aspects of Russia’s musical past, especially in regard of key figures such as the composer Mikhail Glinka. The revisionism that swept Glinka scholarship in Russia itself thereafter promised much: new and better understanding of Glinka and his music, investigation of previously forbidden topics and reassessment of the sources. Although recent Russian studies have sought to re-contextualise and to reappraise the composer’s life and works in relation to the Western European musical tradition, problematically, this revisionist scholarship tends to fall victim to the clichés that it would seek to avoid: Glinka’s divergence from selected models is generally attributed not to his personal style, but to his Russianness, forcing us to perpetuate the myth of Glinka’s musical uniqueness vis-à-vis his nationality.
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"THE RUSSIAN SCHOOL." In History Of Music, 247–64. Routledge, 2013. http://dx.doi.org/10.4324/9780203040027-21.

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Frolova-Walker, Marina. "Soviet Music in Post-Soviet Musicology: The First Twenty Years and Beyond." In Russian Music since 1917. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266151.003.0005.

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The chapter is structured around several thorny issues that shape and define our conversation about Soviet music and contemporary Russian musical life across the East–West divide. Among these are the continuing exoticisation of Soviet music by the West and the persisting taboo areas in Russian musical research today. In conclusion, an attempt is made to suggest how these prejudices and blind spots can be overcome to further scholarship and to create the mutual understanding that is needed for effective dialogue between Russian and Western musicologists, especially in the light of renewed tensions between Russia and the West.
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Rakhmanova, Marina. "Russian Musicological Scholarship of the Last Two Decades: Achievements and Lacunae." In Russian Music since 1917. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266151.003.0002.

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In the last two decades, the discipline of Russian music studies in Russia has undergone a profound transformation. The lifting of restrictions on access to hitherto inaccessible archival materials has made a wealth of new information available, and, in conjunction with the accompanying relaxation of censorship and increased contact with the West, has had far-reaching implications for scholarship. Open discussion of many aspects of the country’s musical past which were hitherto erased from standard Soviet accounts became possible, enabling the distortions and mendacities of Soviet scholarship to be corrected. The present chapter details some of the most significant achievements of Russian musicology in recent years, as well as the problems created by the challenging material conditions in which research on Russian music has to take place.
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Taruskin, Richard. "When Serious Music Mattered." In On Russian Music, 299–321. University of California Press, 2008. http://dx.doi.org/10.1525/california/9780520249790.003.0028.

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Issiyeva, Adalyat. "Aryanism and Asianism in the Quest for Russian Identity." In Representing Russia's Orient, 91–126. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051365.003.0004.

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In the late nineteenth century, the growing popularity of the Aryanist and Asianist (Vostochnik) movements attracted many members of Russia’s political and educated elite. This chapter outlines Russian music theoretical discourse on cultural affiliation with the Aryan race and reveals that there was a widespread agreement that in Russia Aryan or Asian culture was far more influential than that of Europe. Some Russian music critics argued that the Russian connection to the East could be traced in the modal or pentatonic structure of folk melodies, while others believed that Russian musical instruments were proof of Russia’s Asian heritage. Because of growing nationalism and the Russo-Japanese War (1904–5), discourses of Russian cultural superiority proliferated at the turn of the century. Although music writings did not overtly claim Russia’s cultural preeminence, they suggested it through visual representations of Asian and Russian musicians, and discussion of the repertoire of Russian instruments.
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Conference papers on the topic "Russian music"

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Korepanova, V. V., N. V. Pokoev, and A. A. Danilova. "Labelling music. The influence of music on human behavior." In 2022 33th All-Russian Youth Exhibition of Innovations. Publishing House of Kalashnikov ISTU, 2022. http://dx.doi.org/10.22213/ie022127.

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The article examines the experimental statistics of scientists on the influence of various genres of music on human behavior. An accurate system of marking music by belonging to a person's activity with recommendations for listening is proposed and characterized. Based on the update of the streaming service for listening to music, it is proposed to develop and introduce the software of the created label with an explanation. The article shows how the chosen music affects the formation of character and mental abilities. The findings of this study can be used as a basis for further research that affects the field of technology, psychology, and music. This article was formed in several stages. The subject of the study and the topic of the article were formulated, the relevance was justified. Further, the goals and objectives of the study were determined. A search and study of scientific literature on this topic was carried out. General scientific and private research methods were applied in the article.
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Dzhumanova, Lola. "The melodic dictation in the traditions of Russian music education." In HEAd'16 - International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/head16.2016.2576.

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In Russia solfeggio became an academic subject at the time of foundation of Saint-Petersburg and Moscow conservatories. Coming from Western Europe, in Russia solfeggio gained its own traditions of teaching. There were established three main activities – vocal and intonation exercises, hearing analysis and dictation. They were defined by the scientist of the ХХth century – professor of Moscow Conservatory I.V. Sposobin.It is a melodic dictation that became a comprehensive model for the development of prospect musicians’ skills. The reason is in the combination of various tasks, such as the ability to hear, realize, memorize and record a relatively complete musical part based on a certain number of replays. Over the years of evolution in the Russian teaching school the dictation obtained logical representation, enabling to teach and perceive music, tonal and atonal. The same dictation significantly differs in the Russian tradition from its French analogue.The report describes the evolution in the three-level system of music education, comparing it to the traditions of other countries.Key words: solfeggio, a melodic dictation, a comprehensive task, multilevel musical thinking.
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"THE MUSIC OF THE RUSSIAN PROSE." In Advanced studies in science: Theory and practice. Global Partnership on Development of Scientific Cooperation LLC., 2015. http://dx.doi.org/10.17809/10(2015)-06.

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"The Influence of Russian Music Culture on Harbin Piano Music Culture." In 2019 International Conference on Arts, Management, Education and Innovation. Clausius Scientific Press, 2019. http://dx.doi.org/10.23977/icamei.2019.120.

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Samoylova, Nailya. "Instrumental Ensemble in Russian Music - Timbre Innovations." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.27.

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Kazantseva, Liudmila, and Polina Volkova. "The Connotations of “Russian” in Music of Foreign Composers on “a Russian Theme”." In 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200316.108.

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Wang, Qi. "The Promotion of Russian Music Culture on Harbin Music Education in the 20th Century." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.185.

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8

Wang, Fei. "Comparative Study of Sino-Russian Modern Wind Music Teaching." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.62.

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9

Bashirovna, Abdullaeva Elmira. "MODERN PRODUCTION PRACTICES TRADITIONAL MUSIC INSTRUMENTS IN DAGESTAN." In Folk arts and crafts of the Russian Federation. ALEF, 2019. http://dx.doi.org/10.33580/978-5-00128-340-9-2019-77-83.

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10

Gelichak, S. M., and I. I. Nikolaeva. "Music therapy as a way to correct negative emotional states school children at music lessons." In All-Russian scientific-practical conference of young scientists, graduate students and students. Технического института (ф) СВФУ, 2018. http://dx.doi.org/10.18411/a-2018-139.

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