Articoli di riviste: "Russian program music"

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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, n. 1 (27 aprile 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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Rapatskaya, Ludmila A., e Svetlana A. Poronok. "Musical Enlightenment as a Way of Preserving the Cultural Identity of Students Foreign Russian Universities". Musical Art and Education 7, n. 2 (2019): 9–23. http://dx.doi.org/10.31862/2309-1428-2019-7-2-9-23.

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The concept of the research is based on the idea of a high educational mission of universities in the Russian Diaspora, using the example of the Pridnestrovian State University named after T. G. Shevchenko, which is the bearer of the spiritual values of Russian culture, including Russian musical classics. The article highlights the problem of preserving the cultural identity of students of foreign Russian-speaking universities in the post-Soviet space in the context of educational science. The authors consider the historical origins of music education in the Russian Diaspora and analyze the typical features of educational activities that are closely related to the traditions of Russian culture and the cultural and typological foundations of Russian musical art as a phenomenon of the centuries-old Orthodox civilization. The article substantiates the relevance of the formation of the cultural environment of foreign Russian-language universities by means of musical enlightenment, analyzes the maintenance of Russian students’ identity based on the development of musical and educational projects tested on the basis of Pridnestrovian State University named after T. G. Shevchenko, shows the importance of including classical heritage of Russian music in the training program for music students. The authors proceed from the idea of creating a pedagogical system of musical and educational work in an overseas Russian-language university, operating according to the educational standards of the Russian Federation. The article describes the levels of gradual professional training of music students for musical education activities that can ensure the effective development of multi-ethnic student contingent of cultural typological dominants of Russian music and Russian culture; a complex of special methods is presented that initiates the motivation of future music teachers to various forms of enlightenment, activating their intellectual and creative resources, promoting the mastering of the technology of organizing and implementing musical educational projects.

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Irina Isaevna, Bass, e Kolpashchikova Liubov Vladimirovna. "Forming a positive image of Russia based on the experience of SPbGIK". Vestnik of Saint Petersburg State University of Culture, n. 2 (51) (2022): 19–27. http://dx.doi.org/10.30725/2619-0303-2022-2-19-27.

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The article is devoted to the problem of creating a positive image of Russia in Japan and a positive educational impact on students that is the result of their active participation in various activities aimed at achieving this goal. The conclusions of the article are underpinned by the results of three-week seminar «Russian language and Russian culture» that has been held at SPbGIK for Japanese students from Meiji Gakuin University and Jochi Daigaku (Sophia University) for 15 years already, as well as meetings of SPbGIK students with students at Nihon University, Japan. The program of the seminar in addition to the lessons of the Russian language and sightseeing tours around St. Petersburg and its suburban municipalities included lectures on Russian culture, history and music. The Japanese and Russian students visited the house of the station superintendent in the village of Vyra, Veliky Novgorod and the museum of ancient wooden architecture in the village of Vitoslavlitsy, participated together with folklore groups in old Russian folk games, round dances, etc. The value of this work is multifaceted. On the one hand, because of the immersion in Russian culture, communication with students and teachers of SPbGIK the Japanese students acknowledged to have created an objective and a more complete positive image of Russia. On the other hand, the Russian young people involved in this work deepened their sense of responsibility for the image of Russia, growing aware of the need to make a personal contribution to its creation, understanding that those impressions about Russia that the Japanese take home depend on everyone. It is necessary to search for new forms of work in this direction, to attract the youth to it, to accumulate, to generalize and exchange experience.

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Krasnikova, T. N., e M. A. Stepanova. "DEDICATED TO THE ANNIVERSARY". Arts education and science 1, n. 30 (2022): 197–200. http://dx.doi.org/10.36871/hon.202201023.

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The article is devoted to the 65th birthday and 40th anniversary of the creative work of the composer, Honoured Artist of Russia, Laureate of Moscow Prize, Professor Victor Stepanovich Ulyanich. To celebrate this event, a concert was held at the Concert Hall of the Gnesins Russian Academy of Music on November 27, 2021. The concert program included works of a wide genre and stylistic range. In the first part there were compositions for various instrumental ensembles with the harp — the instrument the composer preferred throughout his life. Two symphonies were performed in the second part: the concert symphony for clarinet, harp and chamber orchestra "Bells of the Soul", previously presented on the CD with music by Victor Ulyanich, and the pastoral symphony "Sounds of Wind, Rain and Rainbow" for 12 flutes, harp and percussion quartet, from 2021, which was performed for the first time.

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Krasovskaya, Elena P. "Pedagogical Manual of the Process of Training the Piano Composition by S. V. Rachmaninov by Students of People’s Republic of China". Musical Art and Education 7, n. 2 (2019): 109–24. http://dx.doi.org/10.31862/2309-1428-2019-7-2-109-124.

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The article deals with the problems of training the composition by S. V. Rachmaninov by Chinese pianist students. It is shown that these problems are due to an insufficient level of knowledge about the traditional spiritual content of Russian culture, that are the fundamental basis of the composer’s music, the characteristics and key themes of his work, and the focus of Chinese pedagogy on the technological side of learning. According to the author, an important step on the path of Chinese students to understanding and professional interpretation of Rachmaninov’s music can be the training of the composer’s music. The features of the refraction of the program of the phenomenon in piano compositions by S. V. Rachmaninov are considered. It was concluded that study of program could be an important impetus in the work on identifying the “invisible subtext” of the composer’s non-programmed piano opuses. Approaches to teaching Chinese students based on identifying the concept of non- programmed Rachmaninov’s piano music are proposed. The characteristics of pedagogy are characterized depending on the orientation towards the disclosure of programmed, non-programmed and conceptual in the compositions.

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Varlamova, A. V. "THE SOUND PALETTE OF NIKOLAY BERESTOV'S PIANO WORK". Arts education and science 1, n. 2 (2021): 129–35. http://dx.doi.org/10.36871/hon.202102016.

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The article is devoted to the piano works of Nikolay Savelyevich Berestov, one of the most famous composers of Yakutia, Honoured Artist of the Russian Federation and Yakutia, whose compositional heritage is performed outside of Yakutia and Russia. He is the author of numerous works in different genres of vocal and instrumental music, innovatively implementing in his compositions the traditions of national folklore. The article reveals characteristic features of the composer's style — the interaction of intonation vocabulary of national folklore and European writing technique, the adherence to the program, the consistent definition of technical and figurative- emotional tasks of plots and dramaturgy. The most striking works from various cycles — pieces, fugues as well as the "Northern Landscapes" triptych — are examined in more detail.

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Bilaniuk, Laada. "Cultural Politics on Ukrainian Television: Language Choice and Code Switching on “Khoroshou”". Canadian-American Slavic Studies 44, n. 1-2 (2010): 200–216. http://dx.doi.org/10.1163/221023910x512868.

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AbstractThis article examines language politics in Ukraine through the analysis of interactional dynamics on a televised music-centered talk show. The episode analyzed here, which aired in the summer of 2002, provides an example of the non-accommodating bilingualism that had become widespread in both the media and everyday practice. The Russian language clearly dominated, but the continuous presence of Ukrainian language asserted the distinct Ukrainianness of the program in various ways.

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Morozov, Sergey A. "“Musical Informatics”. Program of the Discipline for Visually Impaired Students". ICONI, n. 4 (2020): 120–34. http://dx.doi.org/10.33779/2658-4824.2020.4.120-134.

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Thereunder is a publication the program of the discipline of “Musical Informatics” devoted to the theory and methodology of teaching student musicians with strong visual impairments. The methodological and content-rich components of study of this discipline in the federal state-run professional educational institution “Kursk Music Residential College for the Blind” of the Ministry of Labor and Social Protection of the Russian Federation are presented. The author of the article describes the special conditions for realizing the adapted program of the discipline of “Musical Informatics,” the thematic plan of the discipline, the methodological recommendations for teachers who implement the educational process within the walls of the college, the hardware-software, educational methodological and informational support for the realization of the educational process in specialized institutions the activities of which are directed at education, upbringing, rehabilitation and social adaptation of visually impaired invalids.

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Gorbunova, Irina B., e Svetlana V. Mezentseva. "Sound Design as an Educational Trend of Higher Education: Issues and Perspectives". Problemy Muzykal'noj Nauki / Music Scholarship, n. 3 (2022): 184–95. http://dx.doi.org/10.56620/2782-3598.2022.3.184-195.

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This work researches the issues of instruction of the specialist sound designer in the sphere of work with sound who is endowed with present-day competence. Sound design is examined as a special type of artistic activity and as an educational direction in Russian higher education. Creation of sound by means of digital design already possesses its own history, theory and sphere of practice in the domain of education. The authors illuminate the new profile of the Master’s program “Information Technologies in Music and Sound Design” available at the Herzen State Pedagogical University of Russia. The quality of the process of education must provide the necessity of instruction of high-level specialists on demand. Sonar design requires specific skills and complex attainments from the specialist. Offered for discussion are the professional competencies which are necessary for the sound designer to master as a specialist capable of applying the attained knowledge in various present-day spheres of professional activity. Characterization is provided for the complex of required disciplines of the examined educational program within the frameworks of the educational program within the frameworks of instruction of “Informational Systems and Technologies.” The experience of work of the tutorial methodological laboratory “Musical Computer Technologies” of the Herzen State Pedagogical University of Russia in this field are disclosed. The prospects of the development of the new educational direction are determined.

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Rapatskaya, Lyudmila A. "Spirituality as a Category of Musical Art and Education". Musical Art and Education 8, n. 2 (2020): 34–53. http://dx.doi.org/10.31862//2309-1428-2020-8-2-34-53.

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Postmodern methodology, which influenced the development of the human sciences of the XXI century, teaches researchers to freely use any concepts and definitions outside of the original semantic context. The author of the article, opposing this practice, defends the traditional methodological foundations of the national pedagogy of music education, identifying the problem of ambiguity and inconsistency of understanding the category of spirituality in modern music and pedagogical research. Identification of the original meanings and clarification of the categorical specifics of spirituality is impossible outside of theological sources that capture the “mechanisms” of centuries-old experience of spiritual knowledge of the world and man. Recognizing the spirituality as the highest reality of human existence, it is suggested that in the pedagogy of music education this category is the basis for a dialogue of scientific and religious knowledge. Scientific interpretation of the category of spirituality in musical art and education is impossible without the correct “translation” of theological pedagogical attitudes into the language of music and musical creativity. Historical and cultural analysis of spirituality as a “super-understanding” of the existence of music is revealed using a comparison of religious meanings with the real sound “analogs”. The appeal to the Russian musical heritage allowed us to identify significant trends between “spiritual” and “artistic”. The first trend is the dominance of spirituality in temple music. It is confirmed by the birth of the artistic Canon of Orthodox temple singing, which emphasizes the semantic depth and grace of prayer texts. The article highlights the norms of the embodiment of spirituality in music, born in the bowels of the theory of its “inspired” origin, as well as the time cycle of the revival of the spiritual dominant in the phenomenon of the “Orthodox musical Renaissance”. Another trend is related to the development of spirituality in secular musical genres. The article notes the ambiguity of the contact between “spiritual” and “artistic” in secular music, the semantic diversity in the implementation of spirituality by Russian composers from its Evangelical understanding to mystical “author’s” interpretations. The transformation of the content components of spirituality into morality in the public consciousness of Russia and their further interaction contributed to the formation of the now widespread, but clearly insufficiently researched concepts of “spiritual and moral education” and “spiritual and moral culture”. In the content of modern music and pedagogical education, the moral component outside of its spiritual context is taken into account to a greater extent. All the above points to the need to develop a new master’s degree program that takes into account the following interrelated factors: the centuries-old experience of embodying spirituality in the musical art, the secular nature of the training of future music teachers.

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Nikolaeva, Elena V. "Prerequisites for Formation and the Main Stages of Development Eduard Borisovich Abdullin’s Scientific School". Musical Art and Education 8, n. 3 (2020): 9–49. http://dx.doi.org/10.31862/2309-1428-2020-8-3-9-49.

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The article gives a very concise description of Eduard Borisovich Abdullin’s activity as a recognized leader of the Russian musical and pedagogical community, who considered the main task of his life to improve the system of musical and pedagogical as well as general education in Russia at all levels, without exception. It is shown, that Eduard Borisovich’s path to the pedagogy of music education was like Fate itself. As confirmation, the main historical milestones in his life that contributed to his formation as a musician, teacher, scientist, and founder of the scientific school “Methodology of pedagogy of music education” are revealed. The process of its origin, becoming, formation and further development is traced. It is emphasized that it meets all the criteria that can be attributed to genuine scientific school. Special attention is paid to identifying the specifics of Eduard Borisovich’s scientific school, which consists of: a) a unified research program for improving the methodological training of musicians-teachers in higher educational institutions of the country, b) the implementation of methodological analysis as a scientific tool for research activities of musicians-teachers; c) its three-tier orientation: to perform scientific and educational functions of educating scientists; on creative and constructive activity conducive to the development of the national system of general and music-pedagogical education; on the development of a fundamentally new scientific direction in the pedagogy of music education, which has not only a national but an international character. The data testifying to its international recognition are given.

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Ямамото, Акихиса. "Music Enlightenment of the Proletkult: Ideological Programs and Daily Practices". Музыкальная академия, n. 2(778) (30 giugno 2022): 202–17. http://dx.doi.org/10.34690/244.

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Статья посвящена деятельности Пролеткульта, в частности просвещению пролетарских масс как определяющему направлению работы его музыкального отдела. Значение Пролеткульта в истории русской культуры недооценено. С помощью архивных источников автор пытается реконструировать картину музыкальной жизни Пролеткульта. В статье анализируются программа и манифесты идеологов этого движения, а также их реализация в образовательных и исполнительских практиках музыкальных отделов Центрального, Московского и Петроградского пролеткультов. Делается вывод о том, что главным направлением работы было внедрение в педагогический и концертный репертуар классической и народной музыки. Этот вывод противоречит исторически сложившейся репутации Пролеткульта как нигилистического по отношению к прошлому движения. Более того, Пролеткульт стал преемником дореволюционных народных консерваторий: лишь суженный социальный состав учащихся (но не педагогов) и идеологическая программа отличали его просветительскую деятельность от формата и практик народных консерваторий. The article is devoted to the activities of the Proletkult in the field of music, in particular the programs of “music enlightenment” of the masses as the defining activity of the Musical Department (MUZO) of this organization. The importance of the Proletkult in the history of Russian and Soviet music is underestimated. We attempt to reconstruct a picture of its musical life with archival sources. The article analyses the ideological programs, manifestos of ideologues of the Proletkult, and their refraction in the educational and performing practices of MUZOs of the Central, Moscow, and Petrograd Proletkult. We conclude that both emphasized the introduction of classical and folk music into the pedagogical and concert repertoires to educate the broad proletarian masses, which contradicts the generally accepted historical reputation of the Proletkult as a nihilistic movement concerning the past. Moreover, Proletkult became the successor of the pre-revolutionary People's Conservatories: only the narrowed social composition of students (but not the pedagogical staff) and the ideological program distinguished its educational activities from those forms and practices which had been adopted by the People's Conservatories in their activities aimed at enlightening the broad mass.

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Cheremnykh, Galina Aleksandrovna. "Ilya Heifetz’s violin concerto: revisiting the issue of the Jewish national identity". PHILHARMONICA. International Music Journal, n. 2 (febbraio 2021): 20–28. http://dx.doi.org/10.7256/2453-613x.2021.2.35203.

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The article considers the instrumental creative work of a modern Russian-Israely composer Ilya Heifetz. His life and creative experience has two definite stages: Russian (before 1991) and Israely, and each of them is marked with the problem of reconsidering national roots in life and work. One of the examples of addressing this problem in Heifetz’s compositions of the Soviet period is his violin concerto. The author of the research considers the composer’s combination of the patterns of the academic genre and the intonational and structural peculiarities of Jewish folklore as an attempt to comprehend his national identity. The intonation and thematic analysis of the concerto compared with the composer’s statements distilled from his personal letters allows concluding about the presence of a concealed program revealing the problem of the history of the Jewish people and national character and reflecting the peculiarities of comprehension of their national identity by the subethnic group of Russian Jews. Since the main characteristic of this subethnic group is the Russian language and Russian culture perceived through it, the author of the research focuses on the way the peculiarities of the Russian composing school manifest themselves in this piece of music based on the Jewish intonations and genres.   

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Lobzakova, Elena Eduardovna. "Znamenny Chant as a Constant of the Artistic World of Yuri Butsko: Chamber Music". PHILHARMONICA. International Music Journal, n. 5 (maggio 2022): 19–26. http://dx.doi.org/10.7256/2453-613x.2022.5.38957.

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The article is devoted to the chamber-instrumental works of one of the brightest representatives of the Russian school of composition of the second half of the twentieth century, Yuri Butsko, in which his religious and musical philosophy is multidimensional and vividly embodied. The focus is made on the discovery of the author's approach to the "reintoning" of the cult chant in the fabric of secular composition and its role in the processes of meaning and text formation of the artistic whole. The works created by the composer mainly in the early period (1960 – 1970s) in chamber genres are considered as a kind of creative laboratory in which the principles of dialogical poetics of religious and secular principles are formed, manifesting itself both at the conceptual level and at the level of textual relations. As a result of the analysis, the author comes to the conclusion that the church monody in the works of Yuri Butsko manifests itself as a dynamic construct, the musical vocabulary and semantic field of which, on the one hand, are amenable to reinterpretation in the process of creating new artistic samples based on it, on the other – have a transformative force that has a significant impact on the content, compositional-dramaturgical, intonation-thematic structure of the work. Both at the conceptual level, realized in the process of interactions of such structures as the symbolic invariant formula of the plot of Golgotha, the external program, the "plot" of the quoted chant, and at the level of textual relations, a multilevel original system of conjugation of Old Russian chant and individual author's poetics is formed in the chamber opuses of Yuri Butsko, which has no analogues in Russian music culture.

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Kerimova, Rovshana. "Soltan Hajibeyov’s “Caravan” Symphonic Poem". Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, n. 1 (4 giugno 2021): 116–29. http://dx.doi.org/10.31866/2616-7581.4.1.2021.233343.

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The article considers some features of the symphonic poem “Caravan” by the outstanding Azerbaijani composer Sultan Hajibeyov, studied the style of the work, the principles of symphonic development, methods used in orchestration. In the symphonic poem “Caravan”, a connection with national origins is clearly manifested. The improvisational principle inherent in mugham, the organic combination of melodic developmental techniques with symphonic development, the use of variable and variational development, as well as the creative use of national frets – all this arises from national music. The article deals with some features of the symphonic poem “Caravan” by the outstanding Azerbaijani composer Soltan Hajibeyov as a program work, examines the style of the work, the principles of symphonic development, and the methods used in orchestration. The purpose of the research is to study a number of features of the composer’s individual creative style in S. Hajibeyov’s symphonic poem “Caravan”. The disclosure of programming in the work, the consistent provision of epic drama in the genre of a single-part symphonic sketch, the disclosure of the connection of this feature with the mugham genre are the main points of the research. The research is based on the disclosure of the Eastern nature image through its manifestation mainly in a calm lyrical aspect and at the same time in an internal movement. The research methodology is based on a comprehensive generalization of the research of Azerbaijani and Russian musicologists in the genre of symphonic sketch based on musical-analytical, theoretical and historical analysis. Scientific novelty of the research. For the first time in the framework of Azerbaijani music science, the figurative content and orchestral features of S. Hajibeyov’s symphonic poem “Caravan” were considered from the perspective of oriental art. At the same time, based on the analysis, certain comparisons were made with the symphonic poem “In the Steppes of Central Asia” by the Russian composer A. Borodin, and the “Caravan” composition was studied in details. Conclusions. The symphonic poem genre is important in Azerbaijani music, and many interesting examples have been created in this area. The emergence and development of the symphonic poem genre in Azerbaijani music was associated with the emergence of interest and need for samples of a single genre. Thus, in Azerbaijani music, the symphonic poem genre prevails among one-act works, and this genre originated even earlier than the genre of the national symphony. Even though the symphonic poem genre in Azerbaijani music continues the traditions of the Russian School of composition, it is based on national musical intonations. Thus, the rhythmic structure of works, artistic content, and textured form is determined by national characteristics. From this point of view, S. Hajibeyov’s “Caravan” symphonic poem is the most striking example of this genre in Azerbaijani music. At the same time, the unique orchestration, texture, and use of sound timbres of instruments opened a new page in the field of National Symphony music. In particular, the use of intonations of mugham, the Azerbaijani oral traditional musical genre, brought originality to this work.

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Wanqi, Luo, e Elena L. Bolotova. "Assessment of future teachers' satisfaction with the conditions for the implementation of Russian-Chinese joint educational programs". Perspectives of Science and Education 53, n. 5 (1 novembre 2021): 110–24. http://dx.doi.org/10.32744/pse.2021.5.8.

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The relevance of the research is due to the need to increase the competitiveness of joint educational programs of pedagogical orientation in the system of Russian-Chinese relations in the field of higher education. The student satisfaction indicator not only indicates the attractiveness/unattractiveness of the educational program, but also allows you to identify the most vulnerable places in the organization of the educational process. The purpose of the study is to identify ways to improve the conditions for the implementation of Russian-Chinese joint educational programs of pedagogical orientation. Materials and methods. The study applied a descriptive method to conducting a survey of students studying under the bachelor's degree majors "Preschool Education", "Music Education", "Fine Arts" at the Moscow Institute of Arts of the Weinan Pedagogical University (Province Shanxi). 198 graduates participated in the questionnaire, accounting for 77% of the total number of graduates from the Moscow Institute of Arts. The study was conducted using the author's questionnaire, compiled taking into account the practice of assessing student satisfaction at Moscow Pedagogical State University and the recommendations of the Ministry of Education of the People's Republic of China on the evaluation of joint Chinese-foreign educational programs. Results. In the study, the assessment of students' satisfaction with learning was carried out in five directions: satisfaction with the quality and content of training, satisfaction with the organization of the educational process, satisfaction with the material and technical support of the educational process, satisfaction with the organization of research activities, satisfaction with the socio-psychological climate at the institute. The study found that students' satisfaction with the organization of the educational process (68.2%) and its material and technical support (66.92%) was the highest, compared with their publishing activities in research work (60.4%). Despite the impossibility of implementing programs under the "3+1" scheme, due to the COVID-19 pandemic, the internal motivation of students during online training in the "4+0" mode did not decrease, which led to the preservation of the contingent of students throughout the entire period of program implementation. Discussion and conclusion. The research results have practical significance for managers, employees and teachers of pedagogical universities participating in the implementation of Chinese-foreign joint educational programs, as well as for representatives of the scientific community dealing with the problems of ensuring the quality of such programs. Further research of students' satisfaction with studying under Russian-Chinese joint educational programs for teacher training can be aimed at analyzing the quality of implementation of such programs at the level of academic degrees of students of pedagogical universities.

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Rovner, Anton А. "The Transformation of a Music Festival in St. Petersburg “The World of Art. Contrasts”". ICONI, n. 2 (2019): 159–71. http://dx.doi.org/10.33779/2658-4824.2019.2.159-171.

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The article presents the history of an extraordinary music festival organized in St. Petersburg by two composers Igor Rogalev and Igor Vorobyev. The festival was fi rst called “From the Avant-garde to the Present Day,” subsequently “From the Avant-garde to the Present Day. Continuation,” and during the last three years — “The World of Art. Contrasts.” This festival was founded in 1992, and its aim was to create a venue for performance of music by contemporary composers and representatives of the “forgotten generation” of the early 20th century Russian avant-garde movement, such as Nikolai Roslavetz, Alexander Mosolov, Arthur Lourie, etc. Many premieres of these and other composers were performed at this festival, as well as well-known works by such early 20th century established masters as Arnold Schoenberg, Alexander von Zemlinsky, Igor Stravinsky, Bela Bartok, etc. Some of the leading contemporary composers of the late 20th and early 21st century were invited to participate in the festival, as were numerous outstanding performances, ensembles and orchestras up to the St. Petersburg Mariinsky Theater, artists, poets and writers. At the present time the artistic goal of the festival is to connect the strata of music by contemporary composers with the masterpieces of the great classics of the previous centuries — from the Renaissance era to the 19th century. Each year the festival has a certain particularthemes, such as, for instance, Italian music or Japanese music, around which the program is built endowed with a broad stylistic and genre-related pallette.

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Radzetskaya, Olga Vladimirovna. ""Four Pieces on Lute Music Themes of the XVI and XVII Centuries" by S.N. Vasilenko: in the Context of Art". Development of education, n. 4 (10) (20 dicembre 2020): 63–68. http://dx.doi.org/10.31483/r-96705.

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The relevance of the article is related to the process of studying ensemble disciplines, because students due to this process need to create a three-dimensional representation of the work of the studied composer. The purpose of the article is an acquaintance with a number of compositions to create a convincing artistic interpretation of the work. Methods – description, observation, representation. The article presents an overview of the heritage of one of the prominent figures of Russian musical art in the first half of the XX century – Sergey Nikiforovich Vasilenko, who had a well-deserved respect among admirers of the academic style and traditions of the Moscow school of composition. The focus is on the review of chamber and ensemble music by S.N. Vasilenko, which reflects the specifics of the composer's creative thinking: a colorful sound palette, an appeal to the folklore heritage of Eastern peoples, original instrumental compositions, and ancient music of Western European composers. Results: substantiation of the author's idea in creating an exquisite program suite "Four pieces on themes of lute music of the XVI–XVII centuries" for cello (or viola) and piano (1918). This is one of the first works for viola written by S.V. Vasilenko in the post-October period of art, rarely performed and practically not found in educational practice. Conclusion: this cycle is the basis for further study of chamber literature for viola in historical dynamics and perspective.

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Kozyriatskyi, Mykhailo. "COMPOSITIONAL-DRAMATIC FEATURES OF THE SONATA FOR OBOE AND PIANO BY F. POULENC". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, n. 58 (10 marzo 2021): 37–52. http://dx.doi.org/10.34064/khnum1-58.03.

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Backround. Chamber instrumental music by F. Poulenс is a bright, original and important part of the composer’s creative heritage. The sonata genre, represented by ten works for different instruments, occupies a special place in it. F. Poulenc’s appealed to it throughout his career, so studying samples of this genre belonging to different periods helps to trace the evolution of F. Poulenc’s compositional style. However, despite the widespread popularity of performers, chamber and instrumental works by F. Poulenс are not sufficiently covered in music studies. The purpose of the article is to reveal the compositional and dramatic features of the Sonata for oboe and piano by F. Poulenс. Results. Some specific techniques characteristic of S. Prokofiev’s works as a sign of respect for the Russian composer are used in the Sonata for the oboe and piano by F. Poulenc. This work has a genre and narrative-psychological program, as evidenced by the names of the movements: “Elegy”, “Scherzo”, and “Sorrow”. The title of the first movement – “Elegy” – means “mourning song” in Greek. This genre is quite common in the works of Russian composers. It seems legitimate that, in devoting his sonata to S. Prokofiev, F. Poulenc gave the first movement a title related to Russian culture. Songful, clear in structure melody is harmonized with the involvement of transitions to the distant keys. The second movement of the Sonata – “Scherzo” – contrasts sharply to Elegy. Exquisite harmonies and complex polyphonic combinations are replaced by monophony. If in the first movement the text of the piano part indicated the use of a soft deep carcass, the second movement applied a sharp, sometimes too rough, martellato. Elegy’s sophisticated agogics are destroyed by “iron” metricity, precision, and regular Scherzo’s accents. The Scherzo genre is interpreted here in a sharp grotesque way. The introduction begins in the dynamics of f and has a rigid rhythm. The parts of both instruments are completely equal. The endsections of Scherzo are steeped with “hypnotic” rhythmic movement. The middle section of the second movement is lyrical. The thematicism of the Scherzo middle section refers to the lyrical pages of S. Prokofiev’s work. The semantic center of the entire sonata for the oboe and piano by F. Poulenс is the third movement – “Sorrow”, which is a kind of musical epitaph. Created shortly before the composer’s death, the sonata can be considered one of thefinal results of his career. Perhaps this is not only a tribute to S. Prokofiev, but also a musical monument to himself. The textual presentation of the third movement is reminiscent of the choral. The melodic basis of the sonata finale is a set of intonations that are associated with spiritual singing of the Orthodox tradition. The main theme is exhibited in piano solo and has a mournful character, almost completely surreal. Conclusions. F. Poulenc’s Oboe and Piano Sonata is a three-movement cycle that has a genre and psychological program, as evidenced by the names of the movements. None of them uses the sonata form itself. All movements have a threesectionreprise structure. This, along with the program, points to the influence of suite logic, which fits into the tendency for the genre to be renewed in the 20th century, including combining the sonata genre with others. Working with different genre models and their hybrids is also a reflection of the neoclassical trends of 20th-century music that have always been inherent in F. Poulenc’s work. Signs of influence of Russian composers – S. Prokofiev, I. Stravinsky, M. Mussorgsky – are manifested not only at the level of thematicism, quotations, intonational allusions, types of texture presentation, but also at the level of dramaturgy. Thus, the interaction of lyrical and grotesque musical images in the second part is reminiscent of the conflict of love and enmity in S. Prokofiev’s ballet “Romeo and Juliet”.

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Ledenev, Alexander V., e Alexey A. Kholikov. "“In the depths of Russia”: A survey of provincial life in the literary and artistic context of Petrograd weekly “Our Days” (1915)". Philological Sciences. Scientific Essays of Higher Education, n. 1 (gennaio 2023): 51–61. http://dx.doi.org/10.20339/phs.1-23.051.

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For the first time, the article specifically analyzes the Petrograd weekly “Our Days” (1915), which belongs to the “forgotten” publications of World War I. Based on emigre periodicals and archival materials, the life and career of G. Polonsky, the editor of this socio-political, literary, artistic and economic journal, is reconstructed. The characteristics of the publication are given: the place among other weeklies of the early 20th century is determined, the editorial program and the position taken on a number of acute social topics are considered. Despite the fact that the journal aspired to the status of a publication that stands above the well-known literary movements, the materials it publishes reveal a consistent view of humanistic values as common to Russian and Western cultures. Metatext links between the materials of the weekly are illustrated by the example of the column “In the depths of Russia”. The socio-psychological content and aesthetic originality of the essays that compiled the column allow us to explore them as one of the forms of interaction between Russian literature and journalism characteristic of the Silver Age. The range of assessments in the depiction of the province on the pages of “Our Days” turned out to be no less wide than the coverage of the phenomena and events of modern life undertaken by the magazine. The authors of the article demonstrate this by the scale of the literary and artistic agenda of the weekly, which, despite the transience of its existence (four March issues), managed to touch upon the topics of higher education, philosophy, literature, music, art, theater. As an appendix, a list of the contents of “Our Days” is given.

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Kharchuk, Roxana. "Shevchenko’s Grateful Readers from Dnieper Ukraine: Volodymyr Antonovych and Mykola Lysenko". Академічний журнал "Слово і Час", n. 3 (30 marzo 2019): 33–41. http://dx.doi.org/10.33608/0236-1477.2019.03.33-41.

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This paper outlines the portrait of Shevchenko’s reader from the Dnieper Ukraine in the first half of the 19th century based on the example of two prominent figures of Kyiv (Old) “Hromada” Volodymyr Antonovych and Mykola Lysenko. The first one represented the intellectuals from the Right Bank Ukraine, the second one ‒ from the Left Bank part. Under the influence of the Ukrainian national renaissance Volodymyr Antonovych became de-Polonized. He was the first political Ukrainian who understood the significance of Shevchenko’s poetry for the formation of Ukrainian national identity (this is evidenced by his memoirs and promoting Shevchenko’s works). According to M. Starytskyi, Mykola Lysenko perceived “Kobzar” passionately. Not only did he become de-Russificated under the influence of Shevchenko’s poetry, but also made the music to “Kobzar” a matter of his life. The author of the paper emphasizes that Shevchenko’s works urged the intellectuals from the Right and Left Bank Ukraine, disconnected after the Truce of Andrusovo, to unite in “Hromada” movement. At the same time the Left Bank intellectuals dominated in “Hromada”. On the researcher’s opinion, this fact may be explained by the high level of education in the Cossak Hetmanate Ukraine. “Kobzar” was a cornerstone for the educational program of Ukrainian ‘narodnyks’ and this whole intellectual movement was based on it. Shevchenko’s works essentially contributed to spreading the Ukrainian idea in Galicia. There is an opinion, that it was the Galician people who separated the Ukrainian national identity from Russian, while in the Left Bank Ukraine both of these identities coexisted. The author of the paper believes that the intellectuals in both parts of Ukraine in 1860s-1870s had an indistinct national identity. Unlike the Galicians the intellectuals from Ukraine under Russian rule, in particular Volodymyr Antonovych, could not speak openly about Ukrainian self-sufficiency. However Shevchenko (born in the Right Bank Ukraine) was first among Ukrainian intellectuals to voice a thesis about the separation of Ukrainians from Russians, about the distinctive Ukrainian history, language and literature that differ from the Russian ones.

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Nagorni-Petrov, Nataša. "Review of the harmony textbooks for secondary music school by Mirjana Živković". Artefact 6, n. 1 (2020): 49–63. http://dx.doi.org/10.5937/artefact6-28613.

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Perennial active engagement of Mirjana Živković in teaching process of subject Harmony, for secondary music school and higher education (University), participating in reforming processes, and teaching plan and program shaping, were being built into the making and shaping of the Harmony textbooks. By publishing the united Harmony textbook Harmony for II, III and IV class of secondary music school (1990), and updated, two-parted textbook Harmony for II class of musical high school and Harmony for III and IV class of musical high school (2001), teaching of subject Harmony got quality with teaching plan and program in tuned basic medium during the process of mastering the theoretical knowledges and so in the practical skills. The path from conceptualizing to shaping of the textbook in Harmony by Mirjana Živković has included the perception of realistic needs in practical work, so as inovating in teaching of theoretical subjects, respecting the professional and practical advices of colleagues, consulting with French and Russian literature. Guided with an enthusiasm, author Mirjana Živković has collected in the process of shaping her textbook and its updated edition all the knowledge, acquired experience, needs of the new time and vision of the teaching subject that could wake up the desire for creativity and creative impulse among the users and readers. Structure perception to details and also the perception of the content of united and updated textbook Harmony for secondary music schools by Mirjana Živković included the analysis of basic text, updated text, and specific shapes of didactic aparature, customised to the character of the subject. By analytical access to the Harmony textbooks by Mirjana Živković, was confirmed already expressed advice of an experienced educator in subject Harmony: clear exposure of theoretical construction followed by didactic note examples and assignments, insisting on the sound performances and permanent sounding (singing and playing) of own written harmonization. Special attention of author Mirjana Živković was directed to carefully designed and chosen note examples and assignments customised to the transfer of theoretical knowledge to the process of acquisition and developing some practical skills - written harmonization of assigned melodies, practical harmonization on instrument, analysis of fragments or the whole compositions, and finally, developing the harmonical hearing. Author Mirjana Živković doesn't give up emphasising the importance of understanding of Harmony, as a live component of music, not as a dry theoretical discipline.

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Bovsunivska, N. "EDUCATIONAL POTENTIAL OF MUSIC ART OF ESTATES OF POLISH COMMONWEALTH (XVI-XVIII CENTURIES)". Zhytomyr Ivan Franko state university journal. Рedagogical sciences, n. 3 (106) (31 ottobre 2021): 20–32. http://dx.doi.org/10.35433/pedagogy.3(106).2021.20-32.

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The changes taking place in the education system of Ukraine recently have a purpose to educate an intelligent, competent, creative person. To solve this task, it is urgently necessary to study the creative achievements of the past. Today, the artistic traditions of a powerful state – the Polish-Lithuanian Commonwealth are covered insufficiently and incompletely. This is a territory with rich educational traditions of numerous ethnic minorities, in whose cross-cultural relations there were often various artistic trends that were both mutually enriched and polarized. Insufficient study of their heritage, coupled with biased ideological assessments, requires revision and possibly rethinking. Therefore, it becomes clear that it is too early to "collect wisdom from all planets", as the UNESCO program calls for, when you do not know your own history. The development of estate musical art was already the subject of special scientific analysis, but it was in the Polish history of pedagogy and during the XVIII century. For various reasons, the Ukrainian musicological discourse completely lacks generalizing works devoted to the analysis of the bicentennial musical culture at the courts of magnates. This topic has repeatedly fallen into the focus of musicologists' attention, but it was limited to only a few topics. These are the chapels of Polish kings, the serf chapels of Lords (and this is already the XIX century) and the position of musicians at the courts of the Russian tsars. One of the characteristic features of the so-called Lithuanian-Polish era of Russian history (with the exception of the last 50-70 years) is its impersonality. One can search for a long time for the causes of this phenomenon, but the fact remains: from the middle of the XIV to the middle of the XV century. We have only a gallery of portraits (sometimes quite sketchy) of Lithuanian princes, and in the history of the next century, as M. Hrushevsky noted, the names of only a few Ukrainians were engraved, who "played a significant role in public life, road, service to the state" [1: 4]. The Lithuanian-Polish era is three centuries full of mysteries and paradoxes. They seemed to have fallen out of the memory of society. It seems that between the invasion of Khan Batu and the liquidation of the Zaporozhian Sich in the history of the state was a deaf cultural intermission (even despite the presence of the Golden Age of the Cossacks in history). However, the events that took place in a limited society of princely or count's estates lacked neither historical grandeur nor drama.

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Kalnitskaya, Elena Ya. "The Exhibition “30 Paintings from the Life of Peter the Great”: Memories of the Future". Vestnik of Saint Petersburg University. Arts 12, n. 1 (2022): 123–46. http://dx.doi.org/10.21638/spbu15.2022.106.

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This article discusses the history of the project “30 Pictures from Peter the Great’s Life” on the Field of Mars based on the idea of reconstructing the historical exhibition of 1872, dedicated to bicentenary of Peter I. A systematic analysis of formatting collective memory of the Russian society related to his personality is carried out — from the death of the tsar-reformer to the reign of Emperor Alexander II. Having presented society with a mission of a new understanding of the personality and activities of Peter the Great, the Emperor involved into its fulfillment the leading figures of culture and art and personally took part in organization of the exhibition of historical pictures. The exhibition turned out to be the most important highlight of the holiday, against the backdrop of a real urban environment, and had an enlightening significance. At the same time, it remained neither a part of history of Russian painting, nor of the history of festive culture of Petersburg. The development of the idea of restoration of historical exposition timed to celebration of the 350th anniversary of Peter the Great’s birth is based on revealing fourteen historical canvases in the State Russian Museum depository. Sixteen lost paintings on the subjects specified by the program of this historical project were created by the graduates of St. Petersburg Academy of Arts. Replicating the design of historical expositional pavilions, the authors of the project completed them with modern multimedia effects, which brings the project to a new qualitative level. The project helps to comprehend the development of the festive culture of Petersburg and provides hopes that findings and discoveries of the future will make it possible to represent in art the history of Emperor Peter the Great’s reforms.

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Yunyu, Kang. "Methodical Expediency of Enrichment of Repertoire of the Beginning Pianist in Educational Institutions of the People’s Republic of China". Musical Art and Education 7, n. 3 (2019): 126–37. http://dx.doi.org/10.31862/2309-1428-2019-7-3-126-137.

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The article deals with the activity of the teacher-musician on the choice of educational piano repertoire. Currently, in China, this practice is based almost exclusively on the empirical experience of teachers and is largely random, does not have sufficient methodical support. They use rather standard, so-called basic musical repertoire, especially at the initial level of piano training in the genre of a program play. At the same time, the individuality of the student, his personal qualities, promising musical development, genre and style diversity of works, certain methodological indications for study, motivational readiness are not adequately taken into account. There is an urgent need to expand the children’s piano repertoire in China, primarily through the musical works of composers from other countries, for example, the easy plays of Russian composers of the Soviet and post-Soviet periods. The article shows a specific example of the educational repertoire in children’s educational programs with effective performance of young musicians at concerts. Actions of the teacher-musician at the choice of this or that musical work inevitably actualize personal-creative and reflexive qualities, skills of the methodological analysis. The introduction of young musicians to the performance of music from other eras and national schools, familiarity with different compositional techniques and directions, painstaking individual selection of each play has a pronounced methodological, educational and motivational effect.

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Ivanova, Elena A. "“Rumyantsev Readings — 2021”: Traditional Directions of Research and Search for the New Forms of Library Activity". Bibliotekovedenie [Russian Journal of Library Science] 70, n. 4 (10 settembre 2021): 409–23. http://dx.doi.org/10.25281/0869-608x-2021-70-4-409-423.

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On April 21—23, 2021, the Russian State Library (RSL) hosted the International scientific and practical conference “Rumyantsev Readings”, which is one of the largest annual library events. The conference traditionally raises issues of preserving and studying the world cultural heritage, promotes intercultural interaction. In 2021, it covered a wide range of issues of theory and practice of library science, bibliography science, and bibliology. The participants are specialists of libraries of all levels, from federal to municipal, and various departmental subordination, museums, archives, higher educational institutions and research institutes from 19 regions of Russia, as well as from the Republic of Belarus, the Republic of Kazakhstan, the Kyrgyz Republic, the Republic of Lithuania and the Republic of Uzbekistan. Broadcasting of the meetings, as well as holding a number of sections and round tables both in face-to-face and zoom-conference format, significantly increased the audience coverage. The Rumyantsev Readings attracted the highest number of remote participants (2,427 connections), that determined the relevance of the conference in modern conditions. Three hundred and one participants attended the conference personally.The rich program included a plenary session, 13 round tables, seminars, and sections. The following sections were organised at the Rumyantsev Readings: “Library in the modern world: accessibility in the period of restrictions”; “Information and bibliographic activity: theory and practice”; “Collectors, researchers, curators. Libraries and museums in the context of history”; “Art Publications in the collections of libraries. Creation, existence, study”; “Specialized collections (printed music and maps) in the library holdings”; “Manuscript sources in the collections of libraries”; “Rare books and book monuments”; “Theory and practice of library science”; “Library classification systems”. As part of the pre-session meeting of the 32nd Section on Library Management and Marketing of the Russian Library Association, there was a round table “Social networking activity of libraries: how to record and report (methodological approaches and solutions)”. There were also the following events: a round table a “The Register of book monuments: government database of recording and registration and scientific research resource”, an expert session “Actual problems of formation of digital competencies of learners in the library and information sphere” and a scientific and practical seminar “Actual heritage” devoted to the 150th birth anniversary of L.B. Khavkina. The publishing house of the Russian State Library “Pashkov Dom” has released the conference proceedings.

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Лобкова, Г. В. "To the Reader". OPERA MUSICOLOGICA, n. 2022 (18 febbraio 2022): 6–9. http://dx.doi.org/10.26156/om.2022.14.1.001.

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В специальном выпуске журнала раскрываются актуальные проблемы современной отечественной и зарубежной этномузыкологии. Настоящее издание включено в программу мероприятий Санкт-Петербургской государственной консерватории имени Н. А. Римского-Корсакова, посвященных Году культурного наследия народов России. В журнале представлены результаты исследований сотрудников, преподавателей, аспирантов, выпускников Московской и Санкт-Петербургской консерваторий, Российской академии музыки имени Гнесиных, Воронежского института искусств, Университета святых Кирилла и Мефодия (Скопье). На протяжении десятилетий в этих образовательных организациях ведется интенсивная деятельность в сфере собирания и изучения музыкального фольклора силами таких структур, как Научный центр народной музыки имени К. В. Квитки, Фольклорно-этнографический центр имени А. М. Мехнецова, Музыкально-этнографический центр имени Е. В. Гиппиуса, Институт фольклора имени Марко Цепенкова. В фондах этих подразделений сосредоточены многие тысячи уникальных экспедиционных аудио- и видеозаписей народных песен, инструментальной музыки, жанров устной словесности, хореографии, которые составляют «золотой запас» нематериального культурного наследия различных народов. В последние годы угроза утраты традиций народной культуры становится все более острой. В связи с этим исследователи столкнулись с необходимостью разработки алгоритмов доступа к документальным источникам, цифровизации фольклорно-этнографических материалов, их включения в сеть Интернет, создания общедоступных порталов, специализированных на различных аспектах актуализации фольклорного наследия. Формы и опыт такой работы в зарубежных странах (Норвегии, Италии, Македонии) представлены в статьях А. Остапенко, И. Тепловой, Р. Величковской. Не менее важной является задача обработки и введения в научный оборот документальных данных, полученных в ходе фольклорных экспедиций разных лет. Такая работа базируется на тщательном изучении каждого образца, требует системного подхода, применения методов типологического исследования, картографирования, историко-стилевой оценки. Конечные цели связаны с созданием фольклорно-этнографического атласа России, с одной стороны, и восстановлением очагов бытования ярких самобытных явлений народной культуры, с другой. В статье И. Никитиной характеризуются мужские певческие традиции Русского Севера; Л. Белогурова и Ю. Журавлева раскрывают особенности свадебных напевов Рязанской области; Г. Сысоева обобщает информацию о весенних песнях южнорусской традиции; исследование А. Косых связано с религиозными песнопениями духоборцев, в основе которых обнаруживаются тексты русских духовных стихов. Тема «фольклор и композитор» представлена в журнале исследованием М. Иоанну и И. Поповой: в статье впервые публикуются подлинные мелодии, которые были использованы Н. Скалкотасом в сюите «36 греческих танцев». В разделе журнала «Документы» перед читателем раскрываются картины истории этномузыкологии. Стенограмма доклада Ф. А. Рубцова, содержание которого затрагивает одну из краеугольных, до сих пор нерешенных научных проблем, позволяет «услышать» живую речь выдающегося ученого. Еще более выразительными по своей эмоциональной достоверности оказываются письма В. И. Харькова и К. В. Квитки, касающиеся чрезвычайно сложных ситуаций их жизни. Публикация документов предваряется статьями Е. Редьковой и Е. Битеряковой, подготовивших рукописи к изданию. A special issue of the magazine reveals current problems of the modern domestic and foreign ethnomusicology. This publication is included in the program of events of the Saint Petersburg Rimsky-Korsakov State Conservatory dedicated to the Year of Cultural Heritage of the Peoples of Russia. The magazine presents the results of the research by employees, teachers, graduate students, graduates of the Moscow and St. Petersburg Conservatories, the Gnesin Russian Academy of Music, the Voronezh Institute of Arts, and the University of Saints Cyril and Methodius (Skopje). These educational organizations have been conducting intensive activity in the field of collecting and studying music folklore for decades, engaging such structures as the Klyment Kvitka Folk Music Research Center, the Anatoliy Mekhnetsov Folklore and Ethnographic Center, the Yevgeniy Gippius Music and Ethnographic Center, and the Marco Tsepenkov Institute of Folklore. The archives of these units contain many thousands of unique expeditionary audio and video recordings of folk songs, instrumental music, genres of oral literature and choreography, which constitute the “golden reserve” of the intangible cultural heritage of various peoples. The threat of loss of traditions of folk culture has become more acute in recent years, which compels researchers to develop algorithms for accessing documentary sources, provide digitalization of folklore and ethnographic materials placing them in the Internet, create public portals specializing in various aspects of actualization of folklore heritage. The forms and experience of such work in foreign countries (Norway, Italy, Macedonia) are presented in articles by A. Ostapenko, I. Teplova, R. Velichkovska. The task of processing and introducing the documentary data obtained during folklore expeditions of different years into scientific circulation is also important. Such work is based on a thorough study of each sample and requires a systematic approach, use of typological research methods, mapping, historical and style assessment. The goal is not only to create a folklore-ethnographic atlas of Russia, but also to restore the forms of existence of original phenomena of the folk culture. Male singing traditions of the Russian North are characterized in the article by I. Nikitina; L. Belogurova and Yu. Zhuravleva describe the features of wedding singing in the Ryazan region; G. Sysoeva summarizes information about spring songs of the South Russian tradition; A. Kosykh studies religious chants of the Dukhobors based on the texts of Russian spiritual verses. The theme “folklore and composer” is presented in the article by M. Ioannou and I. Popova, the genuine melodies used by N. Skalkottas in the suite “36 Greek Dances” being published for the first time. The stages of the history of ethnomusicology are disclosed to the reader in the section “Documents”. The transcript of the report of F. Rubtsov, which covers one of the fundamental, though still unresolved scientific problems, allows you to “hear” a live speech of the outstanding scientist. Even more expressive in their emotional veracity are the letters of V. Khar’kov and K. Kvitka regarding extremely difficult situations of their lives. The section opens with articles by E. Redkova and E. Biteryakova, who prepared manuscripts for publication.

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SAVCHENKO, S., e Ya DEMUS. "TRAINING INSTITUTIONS FOR TEACHERS OF PRIMARY CLASSES OF POLTAVA REGION OF THE END OF XIX EARLY XX CENTURIES". Pedagogical Sciences, n. 75-76 (12 dicembre 2020): 131–34. http://dx.doi.org/10.33989/2524-2474.2020.75-76.226409.

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The article deals with the activity of teacher training institutions of Poltava region, features of their activity and foundation, characterizes the organization of the educational process. Emphasis is placed on the role of zemstvos in the activities of these educational institutions. In the second half of the 19th century, much attention was paid to the training of public school teachers. Public organizations (zemstvos, societies) and, in contrast to the previous time, the Ministry of Public Education played an important role. Thus, in 1865 in each educational district (except Kyiv) “at one of the county schools…, at the discretion of the trustee,… before the establishment in the future… special teacher’s seminaries” were established pedagogical courses. A year later their number doubled Kyiv educational district since 1862 at the University of St. Vladimir there was a “pedagogical school for the training of teachers of folk schools in the south-western provinces”). Teachers’ seminaries are secondary pedagogical educational institutions for the training of teachers of public primary schools. They had a 3- and 4-year course of study.Young people at least 16 years old of all classes and religions were admitted after passing the entrance exams according to the program of two-grade primary schools. Preparatory classes were opened for entrants. Maintained at the expense of state and zemstvo funds. Taught: the law of God, Russian and Church Slavonic languages, arithmetic, geometry, Russian and general history and geography, science, drawing, calligraphy, basics of pedagogy, gymnastics, singing, music, pedagogical practical classes, handicrafts. Extracurricular activities were practiced. Teachers were graduates of universities, teachers’ institutes, gymnasiums.

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Mchedlov-Petrossyan, Nikolay. "Preface". Pure and Applied Chemistry 80, n. 7 (1 gennaio 2008): iv. http://dx.doi.org/10.1351/pac20088007iv.

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This issue of Pure and Applied Chemistry is based on plenary lectures delivered at the International Conference on Modern Physical Chemistry for Advanced Materials (MPC '07), which took place 26-30 June 2007 in Kharkiv, Ukraine.The Conference was sponsored by IUPAC and the European Association for Chemical and Molecular Sciences, and organized by V. N. Karazin Kharkiv National University in cooperation with L. M. Litvinenko Institute of Physical Organic Chemistry and Coal Chemistry of the National Academy of Sciences of Ukraine (Donetsk, Ukraine) and the Physical Chemistry Department of the Ukrainian Chemical Society. Christian Amatore (Academy of Sciences of France) and Anatoliy Popov (National Academy of Sciences of Ukraine) were Chairmen of the International Scientific Committee and the International Organizing Committee, respectively. Professors Yuriy Kholin and Valentin Lebed (Kharkiv National University) headed the Local Organizing Committee and the Program Committee.The aim of the Conference was to review the physicochemical foundations of modern materials science and technology. At the same time, the event offered opportunities for Ukrainian physical chemists to strengthen international ties and collaboration, and to evaluate the status of modern physical chemistry in Ukraine against global criteria. A total of 170 active delegates from 23 countries participated in the scientific program, which provided a showcase for the achievements, both of internationally recognized experts and enthusiastic young researchers, all of whom contributed constructively to lively scientific discussions.The Conference was dedicated to the centenary of the birth of the outstanding physicochemist Prof. Nikolai Izmailov (1907-1961). On 26 June, just before the opening of the Conference, the book Scientific Heritage of N. A. Izmailov and Topical Problems of Physical Chemistry was ceremonially presented to the academic community and the media in the Kharkiv National University Museum.The majority of the 19 plenary lectures were devoted to nanoscience, supramolecular chemistry, self-assembled systems, and organized solutions. The papers collected in this issue are arranged in order of their presentation during the scientific proceedings; lectures on chromatography, delivered by Profs. V. P. Georgiyevskiy (Ukraine), V. G. Berezkin (Russia), and E. Tyihák (Hungary), will be published in the Journal of Planar Chromatography and in other journals. The program also included 46 keynote and oral presentations and 120 posters, which were distributed among symposia devoted to the following topics: chromatography, materials science, solution chemistry, theoretical chemistry, electrochemistry, kinetics and catalysis, and photochemistry.The social program included a classical music concert, welcome party, conference reception, visit to the Museum of Arts, bus excursion to the museum of the great Russian painter Il'ya Repin in Chuguev, and numerous local activities. On 25 June, an all-day excursion to the typical Ukrainian city Poltava provided an opportunity to visit the famous battlefield where the army of Tsar Peter I of Russia achieved a decisive victory over the invading forces of King Charles XII of Sweden in 1709.Nikolay Mchedlov-PetrossyanConference Editor

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Zakrepina, Alla V., Tatyana Yu Butusova, Elena A. Kinash e Alyona I. Kamelkova. "Analysis of Learning Activities Dynamics among First-Graders with Intellectual Disabilities". Integration of Education 26, n. 2 (30 giugno 2022): 266–96. http://dx.doi.org/10.15507/1991-9468.107.026.202202.266-296.

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Introduction. The article is devoted to the issue of learning activity of first-graders with intellectual disabilities, the relevance of which is dictated by the search for factors of effectiveness of the educational process. In the theory and practice of remedial education of learners of the studied category much attention is paid to their learning skills in the learning process, but for the first time the most significant in the dynamics of the ratio of opportunities and achievements in mastering the content of the adapted educational program is considered. The purpose of the study is to analyze the learning opportunities and the results of the performance of academic tasks in the subject areas of adapted programs by first graders with intellectual disabilities. Materials and Methods. The sample included 95 first-graders with intellectual disabilities. The following methods were used to process research results: standardized observation to explore learning opportunities and learning outcomes; pedagogical testing to study the results of the implementation of educational tasks in accordance with the subject areas of the adapted training programs (Russian, mathematics, etc.); Wilcoxon T-test, Spearman correlation analysis, principal component factor analysis followed by varimax-normalized matrix rotation, Statistica version 10. Results. We identified statistically significant variance in the structure of correlations between learning opportunities and the results of completing educational tasks in the subject areas of adapted programs at the current and intermediate cut in subjects studying for options 1 and 2 of ABEP. We have noted the variability of the factor structure of learning opportunities and the results of the implementation of educational tasks in the subject areas of ABEP at the current and intermediate cut in both groups. We found obvious advantages of practice-oriented skills in assignments in subjects such as visual activity, music, manual labor, etc. and the ways of their implementation (by joint actions, by showing and imitating) over verbal assignments (in subjects – Russian language, mathematics, reading, etc.) and methods of their implementation (orally, according to verbal instructions), which allows us to consider the importance of the practice-oriented skills in teaching first-graders with intellectual disabilities. Discussion and Conclusion. The results of empirical research make a significant contribution to special pedagogy, to its methodological resource, as they expand not only the understanding of the possibilities and results of learning of modern learners with intellectual disabilities, but specify the determinants of the dynamics of their learning activities.

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Yunusova, Violetta. "World Music Cultures in Russian Musical Education". ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 9 (27 giugno 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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Wanqi, Luo. "Training of Teachers at the Moscow Institute of Arts of Weinan Pedagogical University as a Form of International Cooperation between Russia and China". Prepodavatel XXI vek, n. 3, 2020 (2020): 76–83. http://dx.doi.org/10.31862/2073-9613-2020-3-76-83.

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The article presents some features of Russian-Chinese cooperation in the field of teacher training for China. Moscow Pedagogical State University together with Weinan Pedagogical University not only implements joint educational programs of pedagogical profile, but also forms a new system of educational process management in the joint structural educational division of the Chinese University. The implementation of joint educational programs in the field of preschool education, training of teachers of fine arts and music was the first project based on intergovernmental agreements between Russia and China on the creation of a joint structural educational unit in a Chinese University. The project is related to the development of modern approaches to teacher training for the People’s Republic of China based on the achievements of the Russian model of teacher training.

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Samigullina, Rufina Ildarovna. "Features of musical enlightenment in Russia in the second half of the twentieth century". New Trends and Issues Proceedings on Humanities and Social Sciences 4, n. 8 (11 gennaio 2018): 205–11. http://dx.doi.org/10.18844/prosoc.v4i8.3051.

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Musical enlightenment is an actual problem of modern education. It involves dissemination of knowledges among the audience, the development of artistic needs, interest in music. By the second part of the 20th century, Russia has accumulated a wealth of experience of musical enlightenment activities. The Russian experience in the training of musicians has become an example for other countries, the concept of mass musical education developed by Kabalevsky, is the basis of many contemporary programs in music, various forms of musical education (people's universities, television & radio concerts, competitions, festivals and lectures) are widespread and practiced at the present time. The study used theoretical methods: analysis of the training programs, pedagogical literature, regulatory documents, the activities of educational institutions, musical enlightenment organizations, and systematization of the repertoire of musical collectives. Keywords: Musical education, mass culture, musical enlightenment, musical enlightenment organizations.

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Pankin, Arkady, Semen Ivanov, Natalia Shagaeva, Ervena Kalykova e Eduard Sokalskiy. "Spiritual and moral training of the future kindergarten teacher in a teacher training college". E3S Web of Conferences 210 (2020): 18064. http://dx.doi.org/10.1051/e3sconf/202021018064.

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The article reveals the problems of spiritual and moral education of students of a pedagogical college located in a small city of Russia, Vilyuisk (Republic of Sakha (Yakutia). This settlement is very remote from the republican center (situated in the subarctic belt) with its rich historical past, originality and other unique characteristics. Initially, Vilyuisk was founded as a prison - a place of exile for the Decembrists, revolutionaries - Poles, Social Democrats, Bolsheviks, Socialist-Revolutionaries and others (M.I. Muravyev-Apostol, P.F. Duntsov - Vygodsky, N.G. Chernyshevsky whom the teacher's college is named after, etc.). The rich heritage of the past multiplied by the present acts as a powerful stimulant in the training of the students of the Vilyuisk Pedagogical College named after N.G. Chernyshevsky for future professional activities. In this context the extraordinary potential of museum pedagogy in the training of future specialists for preschool institutions is described. For these purposes after experimental testing a multifunctional educational platform has been created on the basis of the museum of the Vilyuisk Pedagogical College named after N.G. Chernyshevsky and it has been functioning. It works effectively as a purposefully organized socio-cultural environment influencing the stimulation of the creative interests of the students, enrichment of spiritual and moral concepts and it successfully functions as an open cultural and educational environment for professional and pedagogical activities, self-development of the students. In this context a special role belongs to the laboratories: development of children's environment, "We Draw Everything", music for everyone, theater for everyone, protection of historical and cultural monuments, pedagogical researches. The students of the experimental group in addition to the general training program for specialists have attended a course of extracurricular activities on the basis of the multifunctional educational platform. The stages of the formation of the spiritual and moral qualities of the students have been diagnosed and described. As a result, the features of the dynamics of the development of spiritual and moral culture of the students of the control and experimental groups have been revealed. The innovative experience of the Vilyuisk Pedagogical College can be extended to other regions of the Russian Federation.

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Osenneva, Marina, e Chen Ying. "Multiculturalism of the modern city as a necessary condition for the modification of music-pedagogical education". SHS Web of Conferences 98 (2021): 02015. http://dx.doi.org/10.1051/shsconf/20219802015.

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The article substantiates the need to integrate pedagogical communities in the context of multiculturalism as a social reality of contemporary urban life. The authors note the unity of the existence of such a phenomenon in the multicultural megacities of the polyethnic world in general, and in Russia and China, in particular. Nevertheless, training future teachers to multicultural music education is usually carried out locally based on the students’ country of residence, which today requires concerted efforts on the part of teachers-musicians of different countries, including Russia and China, of which each has its own view on the solution to this issue and a wealth of experience in the formation and development of students’ respect for different musical cultures within the country, in general, and metropolises, in particular. In this regard, the research aims to study the theoretical justification and testing of technologies for students to master the multicultural component of music education in the Russian Federation and China in the comparative context. To achieve this goal, the authors used theoretical and empirical methods. The scientific novelty of the research is based on a comparative analysis of the methodological foundations, the essence and content of the multicultural component of the music programs of the Russian Federation and China, as well as identification of common and characteristic features of pedagogical approaches, general and specific methods of multicultural education in the Russian Federation and China. The reliability and validity of the research results are proven by relying on the fundamental provisions of science, as well as consideration of the research problem from the standpoint of philosophical, general scientific, and specific scientific analysis.

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Pereverzeva, Marina V., Anna A. Davydova, Anna V. Zhilina, Elena A. Meleshkina e Sergei N. Baidalinov. "Digitalization in the field of music education: assessment of prospects". SHS Web of Conferences 103 (2021): 02018. http://dx.doi.org/10.1051/shsconf/202110302018.

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Preconditions of the research: in the course of implementation of federal program of digitalization of all areas of life, the digital format has been applied for education of musicians in higher schools. In this regard, the research objective is assessment of digitalization results of modern departments of music in Moscow universities (RSSU, MPGU), determination of prospects and issues of this process. The research was based on common methods of analysis: system analysis, instrumental and functional approaches, dialectic and comparative analysis, as well as sociological and statistic methods. Results: it is possible to conclude that in Russia digitalization of higher music education leads to improvement of its quality in total; provides higher level of mastering programs by students, expansion of range of acquired competences and opportunities to obtain high-quality education by broader range of people. Herewith, digitalization does not deprive art education of its inherently individualistic and practice-oriented approaches (individual lessons, independent creative work, rehearsals, etc.). The novelty of the work is comprised of substantiation of efficiency of digital educational environment in universities and departments of music, which is a promising approach promoting development of higher education in Russia and allowing to achieve qualitatively new level of music pedagogics. The practical significance of the work is in disclosure of problems of music education digitalization.

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Sretić, Stefan. "Program content in relation with compositional and technical solutions found in piano pieces by Modest Mussorgsky". Artefact 7, n. 1 (2021): 33–49. http://dx.doi.org/10.5937/artefact2101033s.

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The thesis focuses on the analysis of three program pieces - Catacombs, The Hut on Hen's Legs (Baba Yaga) and The Great Gate of Kiev from the Modest Mussorgsky's piano suite Pictures at an Exhibition. A starting point is the analysis of the wider context out of which the mentioned pieces originated which throws light on the stylistic characteristics of Romanticism, and provides grounds for a detailed pondering on the artistic creations of the iconic composer. The study can be valuable for the pianists and musical pedagogists, as the analysis in its essence explores the ways of interpretation of the mentioned compositions. The article PROGRAM CONTENT IN RELATION WITH COMPOSITIONAL AND TECHNICAL SOLUTIONS FOUND IN PIANO PIECES BY MODEST MUSSORGSKY consists of the following chapters: Introduction, Modest Mussorgsky - Features of Artistic Oeuvre and Musical Language, Pictures at an Exhibition: Catacombs, The Hut on Hen's Legs (Baba Yaga) and The Great Gate of Kiev - Analysis of the Contents and Performance Aspects, Conclusion and References. The introductory part offers an explanation of the research framework, presents the research methods and objectives and gives a short review of the literature used for the study. The following chapters are drafted in such a way as to offer to the reader the important information on the characteristics of Mussorgsky's oeuvre in order to provide for a well-founded introspection of the selected compositions. The central part of the thesis is reserved for the analysis of the compositions, first by presenting their program content, and then by focusing on its bonds with compositional and technical solutions found in each piece. In order to come up with fuller consideration of the employed means of expression and their role in evoking the specific contents, the work offers the author's own solutions, all backed up by notational examples and explanations. The piano suite Pictures at an Exhibition by Mussorgsky is a work of exceptional value, very inspiring for the performer. Pieces contrast with each other in tempo, character, as well as harmonic and expressive means. In addition to achieving it's unity, it is important that each piece is well conceived, that the main points are singled out and that the narrative of each piece is recognized and complied in the interpretation. Taking into account the atmosphere of the piece Catacombs, the performer should keep the chords long enough and move from one to the other without haste. Another important element of the performance is the acoustic connection of the chords without interruption and being out of context, so it is important to listen well to each chord, with a special focus on the sound level just before the next one. Baba Jaga's flight in a large attic is characterized by a constant vertical in the texture, largely composed of octaves and massive chords, frequent leaps and rapid changes of the register along the entire keyboard. In order to evoke the fierce and evil nature of the character, the composer establishes a characteristic rhythmic scheme. The witch's impatient and angry steps are represented by accents on the weak parts of the beat. The invoice is composed of unison, doubled or tripled octaves. With its sumptuous sound, in full piano capacity, the piece The great gate of Kiev completes the work in an imposing way. Inspired by folklore and church motifs, the composer pays tribute to the Russian people, historical heritage, tradition and cultural values. The grand fi nale opens with the long chords of E-flat major, a key that has often been associated with heroism and fame in the history of music. The massive sonority and triumphant character of this theme, which also closes the cycle, can be connected with the sound of a Russian folk melody sung by large masses of people, in a way that symbolizes the vitality of the national spirit. Mussorgsky's melodic line is characterized by a wide range of expressions, in accordance with the aesthetic and psychological principles of individual paintings; it less often contains "long breath" or longer motion in one direction. Of the selected pieces in this work, except in The great gate of Kiev, the melodic lines are mostly comprised of short motifs. The rhythmic component is extremely important for certain pieces of the cycle (among which is certainly baba yaga). Harmony includes unusual and frequent changes of tonal centers, as well as the appearance of modality. Particularly expressive properties of harmony can be observed in the Catacombs, where dissonances are supported by sharp dynamic extremes, with the aim of evoking the psychological state of the observer in the eclipse of ancient Christian hiding places and tombs. The fi nal considerations, which are focused on the contribution of the research, offer possible perspectives for further studies of pianistic poetics as a means of interpretation of program compositions. I believe that my research has contributed to the elucidation of possible perspectives for further reflections on pianistic poetics in the service of interpreting and evoking compositions of a programmatic character. Also, I hope that this work will be useful to all pianists who are looking for their own solutions and personal path to achieving high creative and artistic achievements.

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Pereverzeva, Marina V. "Modern Computer Programs for the Development of Hearing and Their Use in Solfeggio Classes at a University". Uchenye Zapiski RGSU 20, n. 2 (29 giugno 2021): 131–38. http://dx.doi.org/10.17922/2071-5323-2021-20-2-131-138.

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Modern computer technologies are in demand and are actively used in music education. Their competent use contributes to the fulfillment of a wide range of pedagogical tasks. Teachers-musicians today can use the diverse potential of information and communication technologies intended for students to study theoretical disciplines. The application of information technologies in solfeggio lessons is currently one of the most priority areas in the fields of Russia, our attention was auditory and vocal educational programs and mobile applications designed to develop the main types of hearing: harmonic, rhythmic, melodic and intonational. The article is devoted to the specifics of the use of the “Absolute Hearing” program, designed to develop musical abilities.

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Yurieva, Marina N. "Dance culture of the Tambov provincial nobility of the late 19th – early 20th century". Neophilology, n. 2 (2022): 393–400. http://dx.doi.org/10.20310/2587-6953-2022-8-2-393-400.

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The purpose of the study is to consider the dance culture of the provincial nobility of the Tambov province of the late 19th – early 20th centuries. From the standpoint of a culturological approach, the evolution of ballroom culture in Russia as a socio-cultural phenomenon based on the relationship of family, public education and upbringing of young people of the Russian provincial nobility is analyzed. The curricula and programs of educational institutions of the Tambov prov-ince are analyzed: the Noble School Building, the Government Men’s Gymnasium, the Pitiri-movskaya Gymnasium, as well as private educational institutions: the Ptashnik Gymnasium, the Music School, the Catherine Teachers’ Institute, the Alexandria Institute of Noble Maidens, the Diocesan Women’s School and others. The importance of the main characteristics of the dance evening and its functional significance for Russian society is determined. The role of educational institutions of the Tambov province in the choreographic training and education of the provincial nobility is established. Public, merchant, and private balls are characterized. The changes of bal-lroom dance determined by socio-cultural processes in Russian culture and education are consi-dered. The conclusion is made about the need to revive the dance ballroom culture and fill it with regional peculiarities, its own character and content, traditions, rituals, beliefs. The role of dance culture in the preservation of aesthetic values in modern society is determined.

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Пономарева, Елена Ивановна. "Chronicles of Sviatoslav Richter as Accompanist: In the Duet with Galina Pisarenko". Научный вестник Московской консерватории, n. 2(49) (29 giugno 2022): 404–17. http://dx.doi.org/10.26176/mosconsv.2022.49.2.07.

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В статье освещается одна из ярких страниц исполнительской деятельности С. Т. Рихтера в качестве концертмейстера - сотрудничество с певицей Г. А. Писаренко, охватывающее продолжительный период (1980-1993 годы) и ознаменовавшееся крупными творческими достижениями. Первый из камерно-вокальных проектов, успешно реализованных этим артистическим дуэтом, - монографическая программа из сочинений К. Шимановского (циклы «Песни безумного муэдзина» на стихи Я. Ивашкевича, «Семь песен на стихи Дж. Джойса», а также избранные «Курпёвские песни»). Интерпретация названных произведений, исполнявшихся на протяжении 1980-1985 годов, по сути, явилась откровением не только для отечественной аудитории, но и для почитателей выдающегося польского композитора за рубежом (в том числе на родине К. Шимановского). Столь же плодотворной оказалась совместная работа Г. А. Писаренко и С. Т. Рихтера над пушкинскими романсами Н. К. Метнера (1981-1982), чье камерно-вокальное наследие вплоть до конца 1970-х годов пребывало на периферии репертуара отечественных певцов и пианистов-концертмейстеров. Монографическая программа из романсов и песен Э. Грига (1993) привлекла внимание многочисленных ценителей музыки норвежского классика своим оригинальным подходом к истолкованию «нордических» истоков григовского художественного мышления в целом и вокального стиля в частности. Как отмечает автор статьи, рассмотрение концептуальных основ каждого из вышеперечисленных проектов, последовательно соотносимое с «хронографом» их концертно-сценической реализации, позволяет выявить ряд существенных черт исполнительской деятельности С. Т. Рихтера-концертмейстера в 1970-х - начале 1990-х годов. The article deals one of the brilliant pages of S. Richter’s performing activities as accompanist. It is implied his collaboration with the singer Galina Pisarenko for a long time (1980-1993) to be marked by the famous creative achievements. The first of the chamber vocal projects successfully realized by this artistic duet was a monographic program of the works by K. Szymanowski (the cycles “Songs of the Infatuated Muezzin” on J. Iwaszkiewicz’s words, and “Seven Songs on Poems by J. Joyce”, and selected “Kurpie Songs”). The interpretation of these works which were performed during the period of 1980-85 was in fact the true revelation not only for Soviet audience but also for admirers of the outstanding Polish composer abroad (including K. Szymanowski’s fatherland). The team-work of Galina Pisarenko and Sviatoslav Richter at Pushkin romances by N. Medtner (1981-1982) was equally fruitful. (The chamber vocal heritage of this master up to the end of the 1970s stayed on the periphery of the repertoire of the Russian singers and accompanists.) The monographic program devoted to romances and songs by E. Grieg (1993) drew the attention of numerous connoisseurs of music by the Norwegian classic owing to its original interpretation of “Nordic” sources of the composer’s artistic thinking in the whole and of his vocal style in particular. As the author of this article notes, the examining of conceptual bases of each of the above-named projects in correlation with the chronology of their concert-stage realization allows revealing some essential features of S. Richter’s performing activities as accompanist for a period from the 1970s to the beginning of the 1990s.

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Kabaeva, S. V. "Historical aspect musical and organizational activities by M. P. Belyaev". Vestnik of Saint Petersburg State University of Culture, n. 3 (44) (settembre 2020): 35–40. http://dx.doi.org/10.30725/2619-0303-2020-3-35-40.

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The article is devoted to «Russian Symphony concerts» and «Russian Quartet evenings», founded by the wellknown timber industrialist and maecenas Mitrofan Petrovich Belyaev. Founded in 1885 and 1891, these concerts were regularly held in St. Petersburg and were public concerts for a wide audience, in which new works by Russian composers were constantly performed. «Russian Symphony concerts» and «Russian Quartet evenings» are considered in this article. The author highlights the features of concerts, their programs, as well as the composition of performers. The article describes the creation of a music Committee – «The Board for the promotion of Russian composers and musicians». Special attention is paid to the coverage of concerts in the periodical press. «Russian Symphony concerts» and «Russian Quartet evenings» played a signifi cant role in the development of the national musical culture, as they represented a unique type of concerts in the world concert practice of that time, the purpose of which was the formation of national art.

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Toropkova, Evgeniya R. "Music education in the context of new information and distance technologies". Vestnik of Saint Petersburg State University of Culture, n. 2 (47) (2021): 127–32. http://dx.doi.org/10.30725/2619-0303-2021-2-127-132.

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The article is dedicated to the analysis of forms and methods of application of information technologies in the educational process of children’s art schools in the implementation of programs in the field of musical performance. The article considers the synthesis of the unconditional preservation of the existing traditions of the primary level of the Russian music school and the methodological expediency of using new technologies in the educational process of children’s art schools. Specific software developments, electronic educational resources are proposed for use, the application effect in the educational process is described. The article shows that the introduction of new musical information technologies provides additional opportunities for musicians when working with musical scores, orchestral parts, when performing creative tasks in subjects of the theoretical cycle. The article also discusses and analyzes the interactive educational programs of the series «Playing with Music».

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Ииань, В. "Development of music education in China and Russia". Management of Education, n. 2 (7 giugno 2021): 75–81. http://dx.doi.org/10.25726/i1791-4215-8464-z.

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Введение. В статье раскрыты культурно-философские предпосылки развития музыкального образования Китая в ХХ веке. На основе анализа научно-педагогических источников доказано, что на развитие музыкального образования повлияли традиционные идеи древнекитайской философской мысли, где большое внимание уделялось гармоничному воспитанию человека в единстве с природой и социумом, в том числе средствами музыкального образования. Выяснено, что с начала ХХ века музыкальное искусство занимает важное место в гуманитарном образовании Китая, играя важную роль в воспитании детей и молодежи в системе школьного, внеклассной и внешкольной образования. Материалы и методы. На основе анализа государственных программ и стандартов для учащихся средних школ, утвержденных Министерством образования Китая, установлено, что целью музыкального образования было создание эстетической основы для развития личности, воспитания у школьников духовных качеств и чувствительности к положительному влиянию музыкального искусства. Результаты. Основной формой школьного обучения выступало хоровое и вокальное пение. Во внеклассной деятельности акцент был сделан на развитие творческих задатков школьников в кружках, где они имели возможность учиться инструментальной игре, в частности игре на народных музыкальных инструментах. Внешкольное музыкальное образование выступало Центром первичной профессионализации учащихся как музыкантов и певцов, обеспечивая творческую самореализацию детей в групповых и массовых формах музыкальной деятельности. Introduction. The article reveals the cultural and philosophical prerequisites for the development of music education in China in the twentieth century. Based on the analysis of scientific and pedagogical sources, it is proved that the development of music education was influenced by the traditional ideas of ancient Chinese philosophical thought, where great attention was paid to the harmonious education of a person in unity with nature and society, including by means of music education. It is found that since the beginning of the twentieth century, the art of music has occupied an important place in the humanities of China, playing an important role in the education of children and young people in the system of school, extracurricular and extracurricular education. Materials and methods. Based on the analysis of state programs and standards for secondary school students approved by the Ministry of Education of China, it was found that the purpose of music education was to create an aesthetic basis for personal development, education of students ' spiritual qualities and sensitivity to the positive influence of musical art. Results. The main form of school education was choral and vocal singing. In extracurricular activities, the emphasis was placed on the development of creative abilities of students in circles, where they had the opportunity to learn instrumental playing, in particular playing folk musical instruments. Extracurricular music education was the Center of primary professionalization of students as musicians and singers, providing creative self-realization of children in group and mass forms of musical activity.

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Anufrieva, N. I., e A. P. Efremenko. "Problem of Forming of Musical-Performing Competency of Pedagogue- Musicians on the Base of Vanguard Works for Folk Instruments". Uchenye Zapiski RGSU 19, n. 3 (30 settembre 2020): 68–75. http://dx.doi.org/10.17922/2071-5323-2020-19-3-68-75.

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the article highlights the problems of developing the teacher-musicians’ performing skills on the material of works of avant-garde composers for folk instruments and proposes ways to solve them. Folk instruments and avant-garde music are still perceived as incompatible phenomenaby many contemporaries, and educational programs in the field of training “Pedagogical Education” (profile “Musical Education”) inherit the traditional approach, which implies the mastery of folk instruments by performers, primarily the classical repertoire, closely related to Russian folk culture. As a result, avant-garde compositions for an accordion or guitar remain out of the attention of both university teachers and their pupils, future specialists in the field of music pedagogy and cultural and educational activities. Conclusions of the study: it is necessary to change the attitude towards folk instruments and the educational potential of avant-garde music for folk instruments; training programs require improvement in the content and composition of disciplines, among which the analysis of musical works and the art of interpretation deserve particular attention; in the teaching methodology, preference should be given to the problematic method and the practice-oriented approach.

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Yureva, Tatiana V., Yulia S. Davydova, Maria V. Strachkova e Anna V. Volkova. "Music performance anxiety and it’s correction among students of the children’s music school". Psychological-Pedagogical Journal GAUDEAMUS, n. 2 (2022): 106–13. http://dx.doi.org/10.20310/1810-231x-2022-21-2-106-113.

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The purpose of the research is to study music performance anxiety and characteristics of the functions of the executive system of the brain among students of the children's music school. In our research, we use questionnaire for collecting general information, Lusher’s test for the diagnosis of anxiety and Stroop test for the determination of rigidity/plasticity of thinking. The aim of the research is to study the anxiety of musicians of primary school age and the features of the functions of the executive system of the brain, more precisely, the prefrontal cortex, before and after classes with the help of the “Music Performance Anxiety Correction Notebook”. The subject of the research is anxiety, cognitive rigidity and self-regulation among musicians before and after passing a series of classes with the help of the “Music Performance Anxiety Correction Notebook”. The Notebook made it possible to reduce anxiety indicators in students at a children's music school without impairing the executive abilities of the frontal lobes. In the future, we plan to test the notebook on children of different age categories in children’s music school, as well as to develop a program for music performance anxiety correction among gifted children from different creative directions – music, choreography, acting, poetry. This research allows us to develop further the problem of “music performance anxiety” in Russia.

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Ovchinnikova, Yulia S. "Conceptual Foundations of the Academic Course “Traditional Music in Culture of Peoples of the World”". Musical Art and Education 7, n. 1 (2019): 40–59. http://dx.doi.org/10.31862/2309-1428-2019-7-1-40-59.

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In Russia the teaching of traditional music of peoples of the world is realized in higher education institutions with specialization in musicology, performing art and in solitary cases in music pedagogics. The actual dialogue between sound and musical traditions and acquisition of musical polylingualism of the world by nonprofessional musicians shows a clear need for including into the variable component of higher humanitarian education a subject focused on complex, interdisciplinary study of world music with orientation on development of intercultural competence of future specialists. The author generalizes her 12 years’ experience in teaching the course “Traditional music in culture of peoples of the world” at the Faculty of Foreign Languages and Area Studies of Lomonosov Moscow State University for students of the following educational programs: “Linguistics and Intercultural Communication”, “Area Studies and International Relations”, “Culture Studies”. Also the experience of teaching this course as interfaculty subject (2019) is recognized. The theoretical foundations of the course, culture study approach to the world music, pedagogical technics, music and cultural content, results of the work are regarded.

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AKHMADIEVA, N. V. "THE HISTORY OF THE DEVELOPMENT OF THE MUSICAL CULTURE OF BASHKIRIA IN THE 1950S - MID-1980S". Izvestia Ufimskogo Nauchnogo Tsentra RAN, n. 4 (13 dicembre 2021): 75–82. http://dx.doi.org/10.31040/2222-8349-2021-0-4-75-82.

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In the 1950s-1980s. the musical culture of Bashkiria was further developed, acquiring specific forms. As a result of the influence of various musical cultures, forms of professional art that were not inherent in traditional national culture were actively developing in the republic. Historically, the artistic and aesthetic experience of Bashkiria was limited to monodic forms of folk music (monophonic songs and instrumental tunes). The problem of overcoming the predominance of traditional monody in professional musical culture was urgent. Having adopted and creatively using the best traditions of classical and Soviet music, Bashkir professional music has gone an accelerated path from traditional monophonic folk music to complex genres of professional art. For several decades, such genres as opera, symphony, ballet were created in Bashkiria. Already in 1950-1970. a national style is formed on the basis of the creative implementation of folklore and the interaction of national and international in musical art. In the 1960s. against the background of the continuous interest of Bashkir composers in chamberinstrumental and chamber-vocal genres, the center of gravity is shifting to the field of musical-theatrical, symphonic music. In the musical life of the republic, great importance was attached to the popularization of musical culture. Bashkir radio paid great attention to the promotion of musical knowledge and works. Back in the early 1960s. musical and educational programs were conducted in the Bashkir and Russian languages, concerts of Bashkir, Chuvash and Russian composers were broadcast. Often, the radio played works by amateur composers with the participation of the authors themselves. At the same time, with the huge genre diversity of the musical culture of Bashkiria, significant and talented works of many authors remained outside the active cultural life, unable to popularize them and bring them to the mass audience. As a result, a serious gap was noticeable between the musical culture itself and its consumer. The low level of culture of perception of music by the population, due to the lack of professional musical education, formed preferences for pop, popular music.

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Shalaeva, Anna. "On the integration of methodological principles of vocal schools in the practice of foreign vocal art teachers within the system of China’s higher music education". Культура и искусство, n. 1 (gennaio 2020): 92–98. http://dx.doi.org/10.7256/2454-0625.2020.1.30508.

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The goal of this article consists in determination of the relevant problems in preparation of students majoring academic solo singing in the Institute of Art of Jinggangshan University in groups of the educators representing vocal schools of Russia. The article examines the key aspects of the problems of Chinese vocal education in the context of European representation on the fundamentals of vocal skills. The study is dedicated to comparison of academic programs in the two leading universities of Russia and China, as well as detailed analysis of the curricula. The curriculum of Herzen State Pedagogical University of Russia focuses on the development of general cultural and professional vocal cycle, while Jinggangshan University focuses on upbringing an ideologically faithful citizen of the People’s Republic of China. The conclusion is made that despite the major impact of PRC’s leader Mao Zedong upon the music and vocal education, as well as vocal-methodological conference held in Beijing in 1957, the development of the vocal-pedagogical process has stagnated. The educators and students of music education in PRC should pursue the following objectives: openness to the new as a condition for cultural development; balance between the national spiritual values and professional competences; fulfillment of the role of cultural dialogue as a way of existence of art in the modern Communist China; preservation and continuous improvement of the system of music and arts education.

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Morozova, Nina W., e Irina A. Rastopina. "Studying and Development of the Musical Educational Needs of the Participants of the Pedagogical Process in the Children’s School of Arts". Musical Art and Education 7, n. 2 (2019): 155–76. http://dx.doi.org/10.31862/2309-1428-2019-7-2-155-176.

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During the public discussion of the development of additional music education in Russia, the authors of the article propose to turn to the study of the basic and musical-educational needs of students and other participants in the pedagogical process in the children’s art school. The focus of attention is the village school of art or the music school on the outskirts of the big city, serving as one of the few cultural centers in the area and in need of active support from parents and the public. The authors analyze the basic needs of students and their satisfaction in the process of music education, describe risky situations in the education of gifted children and adolescents that require the in tervention of adults, using concrete examples from practice show the positive impact of music education on learning motivation. The results of the study of the musical and educational needs of the subjects of the pedagogical process in rural children’s art school are disclosed, on the basis of which the school has created a promising development program. Primarily, the content and forms of work of the general aesthetic direction of education, as well as the cultural and educational activities of students and teachers, aimed at developing the musical needs of the rural public, have been updated. Children’s activity in choosing the direction of additional education is provided by the school of arts through a trial study of children in various areas of artistic activity. For preschoolers 5-6 years old, the Maestro program was developed.

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Balan, Mihaela-Georgiana. "Nikolai Myaskovsky – 140^th birth anniversary. Rediscovering the composer in the present times". Artes. Journal of Musicology 25, n. 1 (1 aprile 2022): 93–105. http://dx.doi.org/10.2478/ajm-2022-0007.

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Abstract On the occasion of the 140th anniversary of composer Nikolai Myaskovsky’s birth, in the spring of 2021, in the city of Ekaterinburg there took place the Myaskovsky Dialogues festival dedicated entirely to the Russian composer, being one of the few musical events with a musical programme based on his works. Known as the “father” of the Soviet symphony, Nikolai Myaskovsky was one of the pillars of resistance in Russian music culture in the first half of the 20th century, managing to maintain a stylistic balance between traditional genres, harmonic language with innovative tendencies, ideas promoted within the new political system and a neutral way of integrating communist ideals musically. Although his contemporaries perceived him with respect and consideration, N. Myaskovsky was discredited after the tensions and political events of 1948, entering a shadow zone during the Cold War, until the fall of the Iron Curtain. Therefore, it was only in the last three decades that he was rediscovered in the music world, due to the interest given to his works by well-known conductors such as E. Svetlanov, V. Gergiev, V. Petrenko, V. Jurowski. In this paper, our aim is to accomplish a historical perspective on N. Myaskovsky’s rediscovery and his approach in concert programs, records, reviews, chronicles, articles, musicological studies, papers and volumes from the 1970s to the present.

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