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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Цзо, Ч. "Chinese Culture in Russian Music." Музыкальное искусство Евразии. Традиции и современность, no. 3(12) (October 12, 2023): 14–26. http://dx.doi.org/10.26176/maetam.2023.12.3.001.
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Статья посвящена различным аспектам взаимодействия китайской и русской музыки. В исторической ретроспективе представлены произведения русских авторов на китайские темы, показаны фигуры русских композиторов, работавших в Китае и китайцев в России. Охарактеризованы средства, использованные для создания образов Китая в русской музыке, условия обращения к китайской теме мастеров, особенно внимательно относившихся к культуре этого дальневосточного народа. The article is devoted to various aspects of the interaction of Chinese and Russian music. Russian composers' works on Chinese themes are presented in the historical 12 Другие названия: пещеры Чианьфодонг, пещеры тысячи Будд. 26 retrospective, figures of Russian composers who worked in China and Chinese in Russia are shown. The means used to create images of China in Russian music are characterized, the conditions for addressing the Chinese theme of masters who were particularly attentive to the Chinese material.
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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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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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Yiqun, Jiang. "Influence of music of Soviet Russia on Chinese music culture." OOO "Zhurnal "Voprosy Istorii" 2023, no. 9-2 (September 1, 2023): 222–31. http://dx.doi.org/10.31166/voprosyistorii202309statyi24.
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Being an important component of world music, Russian musical art not only embodied the spirit and culture of the Russian nation, but at the same time influenced the development of musical culture in many neighboring countries, including China. Starting from the northeastern regions of the PRC, the musical culture of Soviet Russia subsequently spread throughout the country, found a response in the hearts of not only ordinary people, but also members of the government. Soviet music played a positive and stimulating role in the development of Chinese music, not only at the level of creativity, but also at the level of the development of ideological and aesthetic consciousness.
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Presnyakova, Inga A. "Russian musician Johann Leopold Fuchs (1783-1853): the view of a modern researcher." Contemporary Musicology, no. 1 (2019): 67–85. http://dx.doi.org/10.56620/2587-9731-2019-1-067-085.
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The article focuses on Johann Leopold Fuchs – a distinguished, but undeservedly forgotten Russian musician of the first half of the 19th century. A native of Germany, who spent more than 50 years in Russia, he considered it to be his second homeland and “wanted to be helpful mainly to Russian artists.” Fuchs proved himself as a talented teacher, composer and author of music theory manuals. He taught such outstanding musicians, composers and music educators as M. Glinka, F. Tolstoy, M. Rezvoy, Y. Arnold, and M. Vielgorsky. Fuchs is the author of the first composition guide “A Practical Guide to Music Composition” (1830). Published in Russia, the work, due to its Russian translation, was a great contribution to the development of Russian-language terminology of music theory. In Russia, life and career of J.L. Fuchs remain little studied. An illustrative example is the incorrect information about his date and place of birth found in the Encyclopedia of Music. Until recently, nothing was known about the musician’s life. However, a thorough investigation carried out by a German researcher Robert Weissmann has made a difference. The article is the first attempt to introduce the evidence found by Weissmann into the Russian-language academic discourse. Together with the materials obtained by the author of the article, it helps bring a new, broader focus on the personality of the outstanding musician, as well as to highlight the dramatic impact Fuchs made on Russian music culture of the first half of the 19th century.
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Хэ, Ю., and О. Р. Рякина. "Russian methods of teaching music as a means of training future music teachers in China." Bulletin of Pedagogical Sciences, no. 5 (May 17, 2024): 283–87. http://dx.doi.org/10.62257/2687-1661-2024-5-283-287.
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во всем мире ценится система российского музыкального образования, затрагивающая подготовку учителей музыки в общеобразовательных школах. В данной статье рассмотрен опыт влияния российского музыкально-педагогического образования на практики обучения музыке в Китае. Цель статьи – на основе трудов китайских и российских исследователей выявить общие и дифференциальные тенденции профессиональной подготовки будущих учителей музыки в Китае и в России и определить аспекты влияния российского музыкально-педагогического образования на музыкально-педагогическое образование в Китае. В статье используются такие методы исследования, как анализ педагогической и методической литературы, метод сравнительного анализа, аналитический метод, наблюдение. Результаты исследования показали, что всестороннее понимание принципов российского музыкально-педагогического образования и обращение к российской модели этого образования может помочь китайской системе подготовки учителей музыки обеспечить дальнейшее ее развитие и совершенствование. В статье делается вывод, что позитивный опыт России в создании педагогической концепции музыкального образования повысить уровень китайских студентов, выбравших профессию учителя музыки. the system of Russian music education, which affects the training of music teachers in secondary schools, is valued all over the world. In this article the experience of influence of the Russian music-pedagogical education on the practices of music teaching in China is considered. The aim of the article is to identify common and differential trends in the professional training of future music teachers in China and Russia on the basis of the works of Chinese and Russian researchers and to determine the aspects of the influence of Russian music-pedagogical education on music-pedagogical education in China. The article uses such research methods as analysis of pedagogical and methodological literature, method of comparative analysis, analytical method, and observation. The results of the study show that a comprehensive understanding of the principles of Russian music-pedagogical education and an appeal to the Russian model of this education can help the Chinese system of music teacher training to ensure its further development and improvement. The article concludes that the positive experience of Russia in creating a pedagogical concept of music education will improve the level of Chinese students who choose the profession of music teacher.
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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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Vandevert, John David. "Russian Hip Hop and the War in Ukraine." Journal of Popular Music Studies 36, no. 1 (March 1, 2024): 124–48. http://dx.doi.org/10.1525/jpms.2024.36.1.124.
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In response to the ongoing war between Ukraine and Russia, beginning as early as 2014 but reaching a critical apex in the early parts of 2022, hip hop in Russia has only further cemented its role as a “popular” vehicle for the promotion of cultural activism and sociopolitical critique. Born out of post-Soviet antagonism, imperial hegemony, neoliberal commercialism, and jingoist logic, “Russian” rap is a mouthpiece of contemporary conditions. A tangible vehicle for the rediscovery of post-Soviet optimism and the promise of financial prosperity, rap in Russia both upholds and challenges cultural norms and values. In February 2022, the Russo-Ukrainian conflict turned savage, and what it meant to be Russian and be a Russian rapper changed forever. While some rappers rejected Putin’s actions, others either endorsed Putin or stayed silent. Despite the foreignness of rap to the Russian nation, by studying Russian rap and its response to geopolitical unrest the Russian “popular” thought can be more accurately understood. To ascertain how the invasion was conceptualized and synthesized into rap by the Russian rap community, two Russian rap tracks (Oksimiron, Miron Yanovich Fyodorov, Oida and Husky, Dmitry Kuznetsov, God of War) were aesthetically and linguistically analyzed. Lying on divergent sides, they represent polar opposites of Russian rap, each encoding their worldview and position of Russian life in disparate ways, reflecting their respective political voice. While limited in scope, the study provides researchers one possible way to observe how Russian rappers internalize and then aestheticize their political beliefs into their musical style.
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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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Mezentseva, Svetlana V. "The Russian Far East — China: Ways and Prospects of Interaction in Academic Musical Culture." Observatory of Culture 18, no. 4 (October 11, 2021): 366–76. http://dx.doi.org/10.25281/2072-3156-2021-18-4-366-376.
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The article examines regional folklore as a field of interaction between academic musical culture in the Far East of Russia and China. The beginning of the systematic study of the academic musical culture of the Russian Far East is associated with the formation of the regional creative association of composers of the Far East (Union of Composers), which is succeeded today by the Far Eastern Branch of the Union of Composers of Russia. The article notes the multi-ethnicity of the region and the special role of the “dialogue of cultures” in the composers’ works. The author analyzes the culture of indigenous peoples and the East Slavic migratory culture of the Russian Far East, as well as the original culture of the countries of the Asia-Pacific region outside the Russian borders. There is highlighted the commonality of some features of the traditional Far Eastern folklore of Russia and China. The article considers the concept of “academic musical culture”, which includes the composers’ works successively connected with the foundations of Western European music formed in the period of the 17th—19th centuries, the composers’ works of the 20th century, including modern techniques, the musical performance, musical performance infrastructure, educational space and academic musicology.The paper highlights the composers of the region, the main focus of their work, the researchers of the academic musical culture of the region, whose works are significant in understanding the processes of development of modern national musical culture. The article covers the Chinese academic compositional works known in Russia, as well as the range of scientific interests of Russian researchers-orientalists and researchers of musical culture from China.There is recognized the need for cultural understanding of the stated problem through the study of academic music art, traditional music culture, music science, and music education. The author interprets the role of music and computer technologies in musical culture and education in the Far East of Russia and China as the most important component for interaction in the field of academic musical culture, focuses on the problems of informatization of modern music education.The article draws a conclusion about the unique experience of composing in China based on the traditional music of the Russian Far East. The pentatonic basis of Chinese music is especially distinguished as being close to the modal organization of the music of Far Eastern ethnic groups, which is also the basis of the folklore music of Russian Far Eastern composers. The author sees such a palatal proximity as a basis for the interaction of the cultures of the Far Eastern region. The article recognizes this aspect as important from the point of view of creating an integral multicultural space based on the principles of humanism.
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Zvereva, Svetlana. "Russian Dresden of the 1920s and 1930s: Profiles of musical, church and social life." Muzikologija, no. 30 (2021): 35–56. http://dx.doi.org/10.2298/muz2130035z.
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This article addresses the theme of Russian music in the German city of Dresden as it initially related to the virtuosi who had arrived from Russia. After the Revolution of 1917, the roles of Russian emigres, such as Issay Dobrowen, Sergei Rachmaninov, Sergei Jaroff with his Don Cossack Choir, Maria Chebotaryova-Vyrubova and others, grew in significance. On the strength of Russian emigre newspapers, archival documents, reference and research literature, individual events involving Russian music in this city during the inter-war years have been re-created and placed in a broad socio-cultural context.
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Wang, Yangyanru. "Discussing the Ethnicity of Tchaikovsky's 1812 Overture through the Professional Lens of Musicology." Highlights in Art and Design 5, no. 1 (February 22, 2024): 5–11. http://dx.doi.org/10.54097/hiaad.v5n1.02.
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The scope of my dissertation is: the sections of the 1812 Overture that are characterized by Russian folk music; the connection between the Russo-French War of 1812 and the 1812 Overture; and the composer Tchaikovsky's inspiration and compositional process for writing the 1812 Overture. The purpose of the research is: to discuss the embodiment of Russian musical style in the 1812 Overture through the knowledge and understanding of folk music. In the process of writing the article, the first step is to listen to the audio of the 1812 Overture, watch the video of the 1812 Overture, and find out the characteristic passages of Russian music and the use of characteristic instruments in the video of the 1812 Overture, and combine them with the same passages in the score of the 1812 Overture. Next, collect literature on the 1812 Overture, Tchaikovsky, Russian folk music, and definitions of folk music. And begin to organize the framework of the thesis and categories the literature. Finally write the paper, revise the final draft and submit the course paper. The result is a discussion and critical response to the reasons for the controversy of the Russian national music of the composer Tchaikovsky by the people of Russia itself by analyzing the national character of the 1812 Overture. The conclusion is that the 1812 Overture is a strong confirmation of the composer Tchaikovsky's expertise in using not only Western European symphonic music, but also Russian musical styles in his musical compositions.
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Haydarov, Azizbek. "A LOOK AT RUSSIAN MUSICAL CULTURE IN THE SECOND HALF OF THE XIX CENTURY." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 11 (November 1, 2021): 24–31. http://dx.doi.org/10.37547/pedagogics-crjp-02-11-08.
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This article tells about the activities of Russian composers in the second half of the XIX century, the creative life of Russian music, the work of composers of these years.In the first half of the 19th century, the role of the Russian classical school proved to be important in countries other than Russia.In the second half of the nineteenth century, Russian music became one of the most advanced forms of musical art that determined the further development of European musical art.
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Yiqun, Jiang. "Influence of music of Soviet Russia on Chinese music culture in the 20th century." OOO "Zhurnal "Voprosy Istorii" 2022, no. 3-2 (March 1, 2022): 229–38. http://dx.doi.org/10.31166/voprosyistorii202203statyi21.
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Being an important component of world music, Russian musical art not only embodied the spirit and culture of the Russian nation, but at the same time influenced the development of musical culture in many neighboring countries. After examining the development of modern Chinese musical culture, one can find that Soviet and Russian music, as an important component of Western musical culture, had a profound influence on Chinese musical education and the musical life of the broad masses of the population. Starting from the northeastern regions of the PRC, the musical culture of Soviet Russia subsequently spread throughout the country, found a response in the hearts of not only ordinary people, but also members of the government. Soviet music played a positive and stimulating role in the development of Chinese music, not only at the level of creativity and performances, but also at the level of the development of ideological and aesthetic consciousness.
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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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Ye, Yuan, and Ludmila A. Kruglova. "On The Issue of The Typology of Television Music Programs in Russia And China." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 30, no. 2 (2024): 46–58. http://dx.doi.org/10.15826/izv1.2024.30.2.025.
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The article examines modern Russian and Chinese television music programs and various approaches to their classification in Russia and China. The authors conclude that today in the domestic scientific discourse there is a problem of defining these programs and their classification, since existing classification approaches vary greatly. Based on the previously proposed typologies the authors try to classify Russian and Chinese television music programs.
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Nan, Wang. "The characteristics of Russian vocal music teaching in the 20th century from the perspective of music history." OOO "Zhurnal "Voprosy Istorii" 2023, no. 3-2 (March 1, 2023): 158–65. http://dx.doi.org/10.31166/voprosyistorii202303statyi44.
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Russian vocal music teaching in the 20th century is full of characteristics, which can provide inspiration for vocal music teaching in other countries from teaching methods. The characteristics of Russian vocal music teaching are inseparablefrom its own strong music culture. This article aims to explore Russian national specific music features and the characteristics of Russian vocal music teaching in the 20th century from the perspective of music history.
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Sargeant, Lynn M. "High Anxiety: New Venues, New Audiences, and the Fear of the Popular in Late Imperial Russian Musical Life." 19th-Century Music 35, no. 2 (2011): 93–114. http://dx.doi.org/10.1525/ncm.2011.35.2.93.
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Abstract Russia's social and economic transformation at the beginning of the twentieth century was accompanied by profound cultural and artistic transformation. In particular, Russian cultural elites struggled to control and contain what they saw as threats to Russia's national culture. At the same time, however, they sought ways to bring the working classes into a closer cultural accord with educated society. Although these efforts continued a long process of intelligentsia efforts to shape Russian society by controlling the development of “the people,” industrialization and urbanization had already begun to fundamentally restructure the relationship between the educated and popular classes. In musical life, the intelligentsia struggled with two somewhat contradictory impulses: first, to simultaneously protect musical and song traditions from the threat of contamination by new urban genres; and second, to develop “rational recreations” that would appeal to the peasantry and the urban working classes. To those ends, they created, among other activities, accessible (obshchedostupnyi) concerts, temperance choirs, and singing classes in a wide variety of locations across the Russian Empire. These musical projects were part of a much larger, somewhat utopian effort by educated society to create an ideal Russia by eliminating its supposed social, cultural, economic, and political backwardness relative to Western Europe. Nevertheless, the consequences for Russian musical life proved significant. Not only did these efforts lay the moral and intellectual foundation for Soviet-era interventionist and utopian cultural policies, but they also in the short term significantly diversified and democratized musical life in the last decades of tsarist rule.
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Taraskin, Ricard. "The birth of contemporary Russia out of the spirit of Russian music." Muzikologija, no. 6 (2006): 63–76. http://dx.doi.org/10.2298/muz0606063t.
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In this article, the author observes and discusses the effects of Russian history on Russian music in the second half of the XXth century. Forming part of author?s long-range persistent polemics against Russian exceptionalism and against the kind of romantic overvaluation of art, the article expresses sharp and provocative views of the main stylistic tendencies in Soviet and Russian music during and after the epoch of the Cold War, as well as after the Second Russian Revolution in 1991. Special attention is paid to the activity and works of the most prominent Russian composers of their time Andrey Volkonsky, Edison Denisov, Nikolai Keretnikov, Arvo P?rt, Elena Frisova, Sofia Gubaidulina and Alfred Schnittke.
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Steinholt, Yngvar B. "You can't rid a song of its words: notes on the hegemony of lyrics in Russian rock songs." Popular Music 22, no. 1 (January 2003): 89–108. http://dx.doi.org/10.1017/s0261143003003064.
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From the mid-1980s, rock music emerged as the leading musical culture in the major cities of the Soviet Union. In writings and research on this ‘Soundtrack of Perestroika’, attention has been primarily paid to the words rather than the sounds. Russian rock critics and academics, as well as those who participate in Russian rock culture, persistently emphasise the literary qualities of Russian rock music and most still prefer to approach rock as a form of musical poetry - ‘Rok poèziya’. This seems out of step with the growing emphasis on an interdisciplinary approach within popular music studies. The aim of this article is to investigate and discuss some of the core arguments that underpin notions of Russian rock music's literary qualities. This may help to uncover some specific national characteristics of rock in Russia, whilst at the same time questioning the need for, and value of, a literary approach to the study of Russian rock.
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Savenko, Svetlana Savenko. "Stravinsky and Russian Music of the 20th Century." Musicological Annual 43, no. 2 (December 1, 2007): 93–98. http://dx.doi.org/10.4312/mz.43.2.93-98.
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The discussion of this important question presupposes two different aspects: the first one is connected with the perception of Stravinsky’s music in his fatherland, the second with the influence of his music in the specific sense of the word. The most important stations of the perception of Stravinsky: 1. 1910–1920. Stravinsky’s works were regularly performed in Russia during this period. The reaction of the audience and the press was various and partly controversial. 2. End of the 30’s to the middle 1950’s. In this period Stravinsky’s music has almost disappeared from the USSR concert life. It became the target for most violent ideological criticism, which reached its zenith at the threshold of 1940’s 1950’s. 3. Stravinskys visit to the USSR (1962) had a crucial meaning for the expansion of his influence. The main factors of the influence: 1. After the 1920’s the direct influence of Stravinsky on the Russian music was at first rather obvious. At that time, one could observe it through a whole set of compositions by “leftist” composers from the circle of The Association Of Modern Music; they understood Stravinsky’s music as a renewed, contemporary musical tradition of Russia. 2. A revival of the influence of Stravinsky’s music began in the 1960’s, probably in connection with “the new folkloristic wave” in the national oriented works of young composers, who belonged to a large extent to “the Soviet avant-garde”. Resumé: Stravinsky’s work was ideal as a model for the development of the Russian music in the 20th century.
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Mstislavskaya, Elena Vasil’evna. "Music Education in Russia: Origins, Ideas, Peculiarities of Development." Pan-Art 3, no. 1 (January 10, 2023): 70–77. http://dx.doi.org/10.30853/pa20230007.
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The aim of the study is to substantiate that such features as the intensity of emergence of productive ideas in musical personality upbringing, the development of various types of musical activity (for example, the appearance of children’s theatres, the development of children’s musical creativity etc.), the focus on the creation of social institutions that provide an appropriate musical and educational level are indicative of the Russian musical and pedagogical school of the Soviet period. The paper clarifies the notion of “music school”; presents the trends in the formation of Russian music education in the state policy of Russia in the XVIII and XIX centuries; the domestic musical environment of the XVIII-XIX centuries and the formation of the domestic musical and pedagogical system in the Soviet period. The scientific novelty of the study lies in determining the focus of Russian music education on the identification and upbringing of gifted children. As a result, it has been concluded that the orientation of Russian families to music education of children is a stable Russian tradition that originates in the depths of national history and can be traced to the present time.
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Chuang, Ma. "Russian art songs in exploring the role of vocal music teaching in pedagogical universities in China." OOO "Zhurnal "Voprosy Istorii" 2023, no. 10-1 (October 1, 2023): 276–79. http://dx.doi.org/10.31166/voprosyistorii202310statyi14.
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In Europe, the study of Russian art song is very standardized and systematized, it is widely used in the field of vocal music teaching in universities, and its content is also very high. In China, with the realization of China's “One Belt, One Road” strategy and the increasing cultural exchange between Russia and China, Russian art songs gradually attract the attention of vocal music teachers in Chinese teacher training colleges and universities and are studied accordingly. Therefore, it is very important to recover the value of Russian art songs in terms of their structural proportions, aesthetics and other aspects of the original musical system, as well as their current status and application in vocal music teaching in Chinese teacher training colleges.
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FAIRCLOUGH, PAULINE. "The Russian Revolution and Music." Twentieth-Century Music 16, no. 1 (February 2019): 157–64. http://dx.doi.org/10.1017/s1478572219000148.
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Nearly thirty years since the collapse of the Soviet Union, we have got used to seeing the Bolshevik Revolution as the prelude to a failed political experiment, albeit one that lasted a remarkably long time. But why do we see it as a failure? After all, the Soviet Union was a vast empire regarded as the military equal of the United States, feared and hated by successive US presidents, whose influence extended far beyond Soviet borders to include regimes in Africa, South East Asia, Central and South America. Had Mikhail Gorbachev not been removed in 1991, and had the Soviet system been able to reform itself into something like the form of communism we see today in China, no one would regard those seventy-plus years of Soviet power as a failure at all. What is meant by failure, in truth, is not really military or economic failure so much as a failure to sustain and uphold the ideals of equality and social justice that originally drew so many to the communist cause. The haemorrhaging of members from the Communist Party of Great Britain (CPGB) in 1956, for instance, was a result of widespread feelings of shock and disgust after Nikita Khrushchev's revelations at the Twenty-First Party Conference that year, at which he delivered his so-called ‘secret speech’ condemning Stalin's regime. For those who left the CPGB, and other communist parties across Western Europe, it was painful to realize that what they had for decades dismissed as ‘anti-Soviet propaganda’ had in fact been accurate reportage. Most shocking of all was learning that the mass arrests and disappearances of the 1930s, and even the show trials of prominent Politburo and party members, were not proportionate, if regrettable, responses to plots to murder Stalin and overthrow Soviet power at all, but rather Stalinist crimes of epic and tragic proportions. Right up to the end of the Communist regime in Russia, reports of political and religious repression, the continued use of the Gulag system, confinement and forced treatment of dissidents in mental hospitals, literary and other cultural censorship continued to filter through the Iron Curtain.
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Brown, David, and Gordon D. McQuere. "Russian Theoretical Thought in Music." Music Analysis 5, no. 1 (March 1986): 103. http://dx.doi.org/10.2307/854344.
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Seaman, Gerald. "Music and the Russian revolution." History of European Ideas 11, no. 1-6 (January 1989): 197–202. http://dx.doi.org/10.1016/0191-6599(89)90208-8.
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Végh, Mónika. "Antecedents, and Development of the Sacred Choral Concerto in Russia." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 173–92. http://dx.doi.org/10.24193/subbmusica.2020.2.12.
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"Upon dealing with Russian religious choral music of the 18th century, one may clearly recognize the outlines of a unique genre, the duhovny kontsert, or in other words, the genre of the religious choral concerto. The subject is suppletory, since very few people in Hungary have dealt with pre-19th century Russian music, let alone with choral repertoire. In the present study, we may follow up the legalization and development of polyphony in church music – which was strictly monophonic up until the 1500s – and the different types of multivocal hymns. We will also get to know the Russian composers of the 17th and 18th centuries, who contributed to the genre with their own works. We will receive a detailed description about concertante techniques used in European vocal music, and about their appearance in the 18th century Russia, which was unique to a cappella choral concerto. We will also get to know more about the structure and characteristics of the duhovny kontsert, while taking a glance at the historical background. In the final part of the study, we will see how the genre influenced subsequent eras, and how the stylistic marks and techniques appear in the choral oeuvre of Rachmaninoff. Keywords: Russia, 18th century, church music, choral concerto, Bortniansky, Berezovsky"
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Giust, Anna. "Catherine II’s the early reign of Oleg: Sarti, Canobbio and Pashkevich working towards an ideal." Muzikologija, no. 20 (2016): 15–30. http://dx.doi.org/10.2298/muz1620015g.
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This paper focuses on Catherine II?s The Early Reign of Oleg (1790) as a demonstrative performance of the sovereign?s policy. In the context of Catherine?s early nationalistic pride and her ?Greek project?, the performance is understood as a synthesis embodying in music the vision of Russia as an Empire ready to receive the heritage of Byzantium, thanks to Sarti?s use of modes combined with the Russian folk elements introduced by Canobbio and Pashkevich. In this context, Nikolay L?vov represents the joining link, having theorized that Russian folk music originated from ancient Greek music.
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Quillen, William. "Winning and Losing in Russian New Music Today." Journal of the American Musicological Society 67, no. 2 (2014): 487–542. http://dx.doi.org/10.1525/jams.2014.67.2.487.
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This article examines some of the organizational changes shaping Russian new music from the collapse of the USSR in 1991 to the present and their consequences for composers active in Russia today. The Soviet collapse triggered significant transformations in how new music in Russia is funded, where and by whom it is performed, and how it is promoted and distributed. These developments have affected the opportunities available to contemporary Russian composers, their strategies for career success, and how they envision their place vis-à-vis other composers or within society at large. More significantly, such changes have shaped individual composers' creative practices: as composers moved into new collaborative networks after the Soviet collapse; as the resources at their disposal changed; and as they composed for new performers, markets, or patrons, so, too, did their styles change. In explaining musical developments from an organizational perspective, this article draws upon theories from the sociology of culture literature, in particular Howard Becker's idea of “art worlds” and the production-of-culture perspective developed by Richard Peterson and others. The article also considers factors other than organizational ones affecting Russian music today, including the generational shift presently underway as members of post-Soviet birth cohorts enter the professional ranks.
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ZELENSKY, NATALIE K. "Club Petroushka, Émigré Performance, and New York's Russian Nightclubs of the Roaring Twenties." Journal of the Society for American Music 14, no. 4 (November 2020): 480–509. http://dx.doi.org/10.1017/s1752196320000346.
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AbstractIn the midst of the Prohibition era, New York City proliferated with nightclubs that presented patrons with imagined worlds of music and entertainment. This essay explores the role of music in creating such imagined worlds, looking specifically at the Russian-themed nightclubs founded by and employing émigrés recently exiled from Bolshevik Russia. Examining Midtown's Club Petroushka as a prime example of such a space, this essay focuses on the so-called “Russian Gypsy” entertainment that caught the eye and ear of the club's patrons, whose ranks included Charlie Chaplin, Harpo Marx, and the Gershwin brothers. Based on an examination of archival material—including memoirs, compositions, and extant recordings of Club Petroushka's musicians and photographs detailing its interior—as well as on advertisements and reviews from Russian American and other newspapers and magazines, this essay contends that the “Russian Gypsy” music presented at Club Petroushka enabled a transformative experience for patrons while providing a performative space for its recently exiled musicians. I argue that two aspects of this music in particular enabled the transformative process as it was delineated in contemporary discourses: 1) heightened emotionality; and 2) playing with a sense of time (a musical attribute I call “achronality”). Examining the complex cultural entanglements at work in the performance of “Russian Gypsy” music and situating my analysis within a theoretical framework of night cultures proposed by Brian D. Palmer and mimesis proposed by Michael Taussig, this essay illuminates the multivalent role of this musical trope for the different constituencies comprising Club Petroushka, while it also documents the largely overlooked Russian-Romani musical tradition as it took shape in the anti-Bolshevik, first wave Russian diaspora.
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Ping, L., M. A. Yuyshin, and I. A. Arzumanov. "On the Protection of Intangible Heritage of Russian Folk Oral Music in the Context of Intercultural Communication (Hulunbuir, Inner Mongolia)." Concept: philosophy, religion, culture 5, no. 3 (September 28, 2021): 177–92. http://dx.doi.org/10.24833/2541-8831-2021-3-19-177-192.
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The article discusses the issues of preserving the genre of Russian folk oral musical creativity in the village of the Argun and the city of Hulunbuir, Inner Mongolia, located in the northern part of China. The issue is viewed in the context of intercultural communication between descendants of Russian immigrants and Chinese locals. The article considers the factors in the formation of the ethnic group of Chinese Russians in Hulunbuir, an area of Russian immigrants’ compact settlement, and the markers of their distinct ethnic identity. Chinese Russians are a specific ethnic group since over several generations they fused with the local ethnicities yet preserved their unique cultural background. One of the peculiar aspects of Russian culture observed within the community of Chinese Russians is chastushka, or ditty, a short witty song expressing an individual’s attitude to any happening. The authors give records of the texts of ditties on various subjects, such as love, daily life, politics, etc. The folk genre of chastushka indicates intercultural communication between China and Russia and the integration of ethnic Russians into Chinese society. The article reveals the problems of protection of the Russian chastushka in the region and possible measures of state provision of its protection as intangible cultural heritage. Both national and local authorities take steps to ensure the continuity of various identities within the national identity of China. Several proposals have been put forward for the protection of the local heritage of this genre of the city of Hulunbuir. Such measures may include further research of cultural materials, enhancing tourism in the region, and incorporating ditties into local festivities Based on the historical and cultural significance, the research points to the real impact of Russian folk oral musical creativity in the processes of Russian-Chinese intercultural communication. The authors underline the significance of the ditty as intangible cultural heritage and the need to include the ditty in the list of the cultural heritage of Chinese Russians. The need to create conditions and state-organizational support for various forms of popularization of this genre, especially for those studying the Russian language, to preserve the oral folk musical creativity of Chinese ethnic Russians is substantiated.
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Klujev, Alexander S. "Philosophy of Music in the Mirror of the Contemporary Age. Article 2." Russian Journal of Philosophical Sciences 64, no. 7 (July 15, 2021): 137–50. http://dx.doi.org/10.30727/0235-1188-2021-64-7-137-150.
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The article examines the processes taking place in contemporary musical culture, and the emphasis is placed on the situation that has developed today in the musical life of Russia. It is noted that many contemporary composers in Russia are breaking with the domestic artistic traditions, focusing on the creative initiatives of composers living in the West. Among the Russian composers, the SoMa group composers (Soprotivlenie Materiala – “Resistance of Material”) are distinguished by a special intransigence to the principles of artistic creativity that tradionally developed in Russia, they loudly declared: “Contemporary Russian music is us.” At the same time, it should be taken into account that Russian music is inextricably linked with the artistic traditions of Russia, which, first of all, is manifested in the reliance of the musical material on the songfulness that originates in the liturgical Orthodox singing. It is emphasized that today in Russia there are composers who maintain contact with the tradition, thereby preserving the achievements of Russian music. Among them, first of all, are the composers who are part of the MOST group (Muzykal’noe Ob’edinenie “Sovremennaya Traditsiya” – Musical Association of Contemporary Tradition). Moreover, the composers work in all cities of Russia – from Kaliningrad to Vladivostok – and increase the glory of Russia by their creativity. An interview is given with one of them – the Perm composer Nikita Shirokov. In conclusion, the author discusses the prospects for the development of the journal’s section – it is planned to publish materials and interviews related to the contemporary musical life in other countries.
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Semen, Natalia. "MODERN RUSSIAN MUSIC AS A TOOL FOR THE SPREAD OF PRO-RUSSIAN NARRATIVES: FEATURES AND WAYS OF COUNTERACTION FROM UKRAINE." Bulletin of Lviv Polytechnic National University: journalism 2, no. 8 (2024): 65–70. http://dx.doi.org/10.23939/sjs2024.02.065.
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Over the course of two years of full-scale war, numerous studies demonstrate that a portion of Ukraine’s population still maintains an interest in Russian-language musical products. This has a particularly negative impact on the consciousness of such citizens and supports the armed aggression of the Russian Federation. Through the monetization of music streaming on various platforms, funds flow into Russia’s budget, which it then uses to purchase weapons for its war against Ukraine. Music is enjoyed by different generations of people, regardless of age, status, or nationality. That is why it is one of the most effective means of spreading propaganda. It is unobtrusive, designed for easy perception and relaxation. This manipulation tactic of audience consciousness can be observed even during World War II. Most Russian songs predominantly celebrate everyday phenomena, various forms of leisure, or depict the grandeur of love and other emotions. However, in Russia, there are types of songs that propagate narratives such as the idealization and romanticization of Russian President V. Putin, calls for patriotism, reminders that everyone living in Russia and speaking Russian is part of the «great Russian people», emphasis on the greatness and power of Russia, and portraying the country as always victorious, urging participation in the military. Ukrainian media researchers need to regularly and carefully monitor the emergence of such compositions and the narratives they spread. They have a particularly negative impact on the consciousness of Ukrainian citizens, especially those residing in temporarily occupied territories of our country. The dissemination of propaganda through songs is a widespread and at the same time insidious method of influencing society. Russia actively uses it and unfortunately, quite successfully, as evidenced by numerous studies showing that Ukrainians still listen to Russian music on many online platforms.
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Yunusova, Violetta. "World Music Cultures in Russian Musical Education." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 9 (June 27, 2022): 103–8. http://dx.doi.org/10.30819/aemr.9-8.
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The article is devoted to the analysis of the history and the current state of the study of World Music Cultures in the Russian higher musical education. The article mainly took into account the experience of St. Petersburg and Moscow as the most indicative. The process of introducing World music in training courses in Moscow and St. Petersburg included four stages. Within the framework of the first stage, ethnomusicology, the history of music was coordinated. Some problems of World music were highlighted by Russian scientists MI Ivanov–Boretsky and B Asafiev. In the second stage, RI Gruber's multilateral activities stand out, whose course, History of World Musical Culture included extensive material on musical cultures of Ancient East, including Iran, India, China, as well as medieval Chinese and Arab cultures. The third stage is characterized by the separation of World Music Cultures into a separate area of research and training courses. This process is demonstrated with the example of the creative activity of the composer and scientist JK Mikhailov. He based his approach on the positions of musical cultural studies and combined with a training course with several scientific directions: the history of music, music Oriental studies, and ethnomusicology. The modern stage parameters of the course, of nonEuropean musical cultures, are indicated. The spread of the course in Russia and neighboring countries, the republics of the USSR, is shown. The author gives examples of the programs and the manuals for this course, and indicates the position of training in the field of postgraduate and doctoral studies. This direction is developing in four modern schools of Russian musical Oriental Studies: Moscow, St. Petersburg, Novosibirsk, and Far Eastern.
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Gordeeva, Tatyana. "THE ORIGINS OF RUSSIAN MUSIC THERAPY." Medicine and Art 1, no. 1 (April 19, 2023): 78–92. http://dx.doi.org/10.29039/2949-2165-2023-1-1-78-92.
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Music in the context of therapy poses a question to researchers: what is the scientific basis of music therapy? The scientific works of outstanding representatives of Russian medicine of the XIX - early XX centuries, including experimental research, laid the platform for music therapy as a scientific discipline based on a natural-scientific approach. The first series of experiments on the effects of music on humans was carried out by Professor I.M. Dogel of Kazan Imperial University and initiated further research by I.R. Tarkhanov and I.N. Spirtov in St. Petersburg. These studies were conducted under the supervision of Academician V.M. Bekhterev.
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Garden, Edward, and I. Petrov. "Russian Orchestral." Musical Times 128, no. 1728 (February 1987): 91. http://dx.doi.org/10.2307/964787.
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MacDonald, Hugh. "French, Russian." Musical Times 127, no. 1717 (March 1986): 155. http://dx.doi.org/10.2307/965501.
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Rye, Matthew. "Russian Rarities." Musical Times 130, no. 1760 (October 1989): 617. http://dx.doi.org/10.2307/965594.
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Roseberry, Eric, Prokofiev, and Shostakovich. "Russian Opera." Musical Times 132, no. 1786 (December 1991): 614. http://dx.doi.org/10.2307/965796.
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Garmash, O. A. "Sources of Russian Musical Management: Unexplored Pages." Observatory of Culture, no. 3 (June 28, 2015): 63–69. http://dx.doi.org/10.25281/2072-3156-2015-0-3-63-69.
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Sources of Russian Musical Management: Unexplored Pages (by Olga Garmash) considers the history of organization of musical life in Russia in the epoch «before management». The author views this theme through a prism of previous music experience based on some historical sources of the end of 19th - beginning of 20th century. The main line - a composer’s one - of the classic music promotion of that time has been examined.
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Hong, Sogu. "Ukrainian Cultural Resistance on Russia’s Invasion of Ukraine." East European and Balkan Institute 47, no. 1 (February 28, 2023): 39–73. http://dx.doi.org/10.19170/eebs.2023.47.1.39.
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This study explains that the Russia-Ukraine War is a culture war. The essay “On the historical relationship between Russians and Ukrainians” published by Putin on July 12, 2021 reflects Putin’s historical and cultural views, denying Ukraine’s independent historical, national, and cultural identity. Based on Putin's view of history, this study will discuss how the Russian military is carrying out 'erasing Ukrainian culture' and how Ukrainians are preserving their cultural heritage and identity. As a case study, I also introduce how the public and artists in various cultural spheres of Ukraine are culturally resisting the Russian invasion. Analyzing the cases of Ukrainian resistance in folk culture, street art, music and song, this study explains the impact of the Russian invasion on Ukrainian culture.
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Issiyeva, Adalyat. "Dialogues of Cultures." Revue musicale OICRM 3, no. 1 (June 6, 2019): 71–92. http://dx.doi.org/10.7202/1060122ar.
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The influence of the Saisons Russes, with its utterly Orientalist appeal in defining French modernism and Western avant-garde culture in general, is widely known and discussed by many researchers from multiple perspectives (Schaeffner 1953, Garafola 1989, Davis 2010, Bellow 2013). Less emphasised to date is the fact that Russian Orientalism emerged from European stimuli and, in many respects, its very existence is indebted to French Orientalism. As the famous Russian Orientalist Vasily Bartol’d complained, “The Orient’s neighbour, Russia, despite its geographical proximity, often preferred reading shoddy Western books on the Orient to a direct study of the Orient” (Bartol’d 1925, p. 295). 1 This occurred as a result of the nineteenth-century travels of many Russian literary men, painters, and linguists to Europe (notably to France and Germany) to study with famous Orientalists. This paper contextualizes French Orientalism within nineteenth-century Russian culture and considers how French musical Orientalism was negotiated in Russian writings from the period. Despite the critical views of Russian musicians toward French music with oriental subjects, the music nevertheless resonated with Russian compositional practices and some of its devices were used occasionally to depict not only the Orient, but Russia itself.
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Kudinov, S. I., O. B. Mikhailova, S. S. Kudinov, Jiawan Lin, and Honglei Xiao. "PSYCHOLOGICAL AND PEDAGOGICAL FOUNDATIONS OF PATRIOTIC EDUCATION IN MODERN MUSIC EDUCATION IN RUSSIA AND CHINA." Educational Psychology in Polycultural Space 64, no. 4 (2023): 97–106. http://dx.doi.org/10.24888/2073-8439-2023-64-4-97-106.
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Patriotic education is the basis for the spiritual and moral development of the individual. The relevance of the article lies in the consideration of the cross-cultural foundations of patriotic education in music education in Russia and China. The purpose of this scientific work is to justify and propose for the implementation the main directions of patriotic education in modern music education on the basis of theoretical and methodological analysis. The content also presents a theoretical analysis of the concepts of education, moral education, patriotic education, patriotism. Based on the analysis of modern scientific literature by Russian and Chinese authors, the main approaches to the formation and development of patriotism in music education in Russia and China are considered. The authors of the article substantiate and reveal through comparative analysis and comparison the leading psychological and pedagogical directions of patriotic education in modern music education: 1) development of psychological and pedagogical competencies in the field of patriotic education in a music teacher; 2) development and implementation of new technologies in musical education in using the potential of folk music and folk songs; 3) creation of new forms and methods in the study of musical works of national classical music created in various historical periods; 4) introduction of a modern repertoire of patriotic musical works into the practice of music education. In conclusion, promising trajectories for the development of technologies of patriotic education in music psychology and pedagogy in Russia and China are presented, along which further international research by Russian and Chinese scientists and practitioners of music education can develop.
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Насонов, Р. А. "Gifts from “Bibliorossika” (and What Should We Do with Them)." Научный вестник Московской консерватории 14, no. 4(55) (December 28, 2023): 798–805. http://dx.doi.org/10.26176/mosconsv.2023.55.4.07.
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Рецензия на книги: Буссе Бергер А. М. Средневековая музыка и искусство памяти / пер. с англ. М. Акимовой. СПб.: Academic Studies Press / Библиороссика, 2023. 426 с. (Серия «Современная европеистика» = «Contemporary European Studies»). Люттекен Л. Музыка Ренессанса. Одна культурная практика в мечтах и в реальности / пер. с нем. Г. Потаповой. СПб.: Academic Studies Press / Библиороссика, 2023. 324 с. (Серия «Современная европеистика» = «Contemporary European Studies»). Book Review: Busse Berger, Anna Maria. 2023. Medieval Music and the Art of Memory. Russian translation by Marina Akimova. St. Petersburg: Academic Studies Press; Bibliorossika. (In Russian). Lütteken, Laurenz. 2023. Musik der Renaissance. Imagination und Wirklichkeit einer kulturellen Praxis. Russian translation by Galina Potapova. St. Petersburg: Academic Studies Press; Bibliorossika. (In Russian).
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Krylovskaya, Izabella I. "Russian musical theatre traditions within the Russian emigration culture of the Far East." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 4 (2022): 10–26. http://dx.doi.org/10.35852/2588-0144-2022-4-10-26.
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The article focuses on the problem of preserving local music theatre traditions in the culture of the eastern branch of Russian emigration in China, which has not yet been researched enough in modern art history. The author reveals the uniqueness of local music theatre in the territory of a neighboring state, where the foreign non-European culture played the role of “storage,” which made it possible to preserve the traditions of the pre-revolutionary Russian musical theatre in an unchanged form. Based on the materials of the Harbin periodicals, the author identifies several directions within the activities of Far Eastern emigrants in the sphere of musical theatre. These activities aimed at preserving the traditions and achievements of national culture and art. Among them were maintaining connections with the compatriot colleagues abroad and in Soviet Russia, honoring the recognized authorities of national performing arts, criticizing the experience of the Soviet musical theatre, as well as cultivating the national repertoire. The Great Patriotic War helped Russian emigrants in China focus on the true aspects of the local music theatre traditions: the artistic heritage, the achievements of outstanding representatives of the performing arts, and bringing up young followers of the traditions.