Пн	Вт	Ср	Чт	Пт	Сб	Вс
26	27	28	29	30	31	01
02	03	04	05	06	07	08
09	10	11	12	13	14	15
16	17	18	19	20	21	22
23	24	25	26	27	28	01
02	03	04	05	06	07	08

Пн	Вт	Ср	Чт	Пт	Сб	Вс
26	27	28	29	30	31	01
02	03	04	05	06	07	08
09	10	11	12	13	14	15
16	17	18	19	20	21	22
23	24	25	26	27	28	01
02	03	04	05	06	07	08

Аrchive of the scientific journal

https://www.kazancons.ru/science/scientific-journal/archive-eng.html

___________________________

2025 - 4(52)

ANNIVERSARIES

E. V. Porfiryeva, V. R. Dulat-Aleev

Almaz Monasypov: Personality and Time

Summary. This article examines the personality and work of one of the most prominent representatives of Tatar musical culture Almaz Monasypov (1925–2008). His characteristic creative versatility is examined through examples from various areas of his musical career. Particular attention is given to the specifics of his creative development — compositional teaching, opera and symphony conducting, and others. It also analyzes Monasypov’s uniqueness as a Tatar composer, whose work is marked by innovative stylistic expressions and fits within the context of artistic trends of the last decades of the 20th and early 21st centuries.

Keywords: Monasypov, Tatar musical culture, compositional pedagogy, opera and symphony conducting, Kazan Conservatory

I. V. Shlemov

Remembering a Teacher... In Memory of Professor K. Kh. Monasypov

Summary. The article briefly covers the life and creative path of Professor of the Department of Viola, Cello, Double Bass, and Harp at the Kazan Conservatory, K. Kh. Monasypov (1950–2025). It analyzes his teaching method and evaluates the results of his performing, teaching, and scientific activities.

Keywords: Kazan Conservatory, K. Kh. Monasypov, violin, viola, string quartet

MUSIC HISTORY AND THEORY

A. G. Pyzhyanova, A. G. Korobova

The Austro-German Künstleroper of the First Third of the 20th Century: on the Issue of Genre Status

Summary. At the beginning of the 20th century in European art the images of a lonely, sensitive artist and his brilliant creations — motifs dating back to the previous era — were not only preserved, but also developed. The Austro-German musical theater of the first third of the 20th century is particularly significant from this point of view: composers of various styles addressed this topic, including R. Strauss, H. Pfitzner, A. Schoenberg, F. Schreker, P. Hindemith and E. Krenek. In foreign musicology these kind of opuses are combined by the term Künstleroper (“opera about the artist”), which hides quite different views of musicologists on the nature of this phenomenon. In modern Russian science, despite the interest in the Austro-German musical theater of the designated period as a whole, the phenomenon of Künstleroper remains poorly understood. In this article, it is proposed to trace the history of the term’s origin and its interpretation in research papers, as well as to consider the issue of the genre status of Künstleroper in the context of the general theory of genres. The main attention is paid to substantiating the phenomenon of Künstleroper as an independent genre, as well as the problem of its genre typology.

Keywords: Austro-German musical theater, Künstleroper, opera about the artist, genre theory, genre typology

N. K. Kozak

The Embodiment of Stylization in Russian Musical Art of the Late 20th — Early 21st Century (E. Denisov, V. Silvestrov)

Summary. The article discusses the development of foreign-style borrowings in Soviet and Russian music since the 1980s within the framework of stylization. A division into partial and holistic stylization is proposed for the first time. The features of each type are examined based on E. Denisov’s Chaconne from Partita for Violin and Chamber Orchestra and V. Silvestrov’s “Two Dialogues with an Afterword”. Partial stylization is marked by the integrative combination of original and borrowed material, various transformations of themes from the primary source, and the use of different pitch systems. Holistic stylization is characterized by the absence of original material, or the predominance of borrowed material, the application of clichéd melodic and harmonic turns, and the reinterpretation of structural and compositional genre features.

Keywords: рartial stylization, holistic stylization, Edison Denisov, Valentin Silvestrov, compositional principle, quoting

MUSICAL CULTURE OF RUSSIAN REGIONS

A. N. Khasanova

“In the Beginning There Was Verse... ”: On the Problem of Reading Poetic Text in the Vocal-Symphonic Works of Almaz Monasypov

Summary. The article is devoted to the analysis of the specifics of reading a poetic text in vocal and symphonic music by the outstanding Tatarstan composer Almaz Monasypov (1925–2008). Original methods of synthesizing words and music are explored using the example of his poems “In the rhythms of Tukai”, “Crystal Love” and “Worlds of Atnabai”. The aim of the work is to identify and systematize the features of the composer’s unique creative approach, which goes beyond simple illustrativeness. The article proves that Monasypov acts as a co-author who carries out a deep musical and dramatic interpretation of the poetic source.

Keywords: Almaz Monasypov, Tatar music, vocal-symphonic poem, music and poetry, “In the rhythms of Tukai”, “Crystal Love”, “Worlds of Atnabay”

N. G. Agdeeva

Compositions for the Chamber Ensemble by A. Monasypov: Features of the Style

Summary. The name of Almaz Monasypov in the history of Tatar music is traditionally associated with the development of the genre of symphony and symphonic music. The chamber music of A. Monasypov has not received detailed coverage in the musicological literature. The article analyzes the composer’s works for the chamber ensemble of violin and piano: Sonata, Andante and Gavotte, Aria, “Winter Road”, reveals the features of style, interpretation of genres.

Keywords: A. Z. Monasypov, chamber ensemble, sonata for violin and piano, piece for violin and piano, Gavotte, Andante, Tatar composer, Tatar music

T. V. Kolupaeva, I. M. Nurieva

Folklore Motifs in the Choral Works of Yuri Tolkach

Summary. The name of composer Yuri Lvovich Tolkach, a graduate of the Kazan State Conservatory, is widely known in the region. His works are performed in Russia and abroad, invariably causing bright and unforgettable emotions in listeners. Choral music occupies a central place in his work, a love for which arose during his years of study at the Kazan Conservatory. In his very first choral works, Yu. L. Tolkach uses folklore material as a source of themes. A comparative analysis of two choral cycles “Rural Songs” (1976) and “Udmurt Triptych” (2003) shows, on the one hand, a change in some techniques for processing of traditional Udmurt music, on the other hand, the similarity of the principles of working with folklore material. The composer creatively rethinks its genre, experiments with voice timbres, while remaining within the strict framework of the classical composing school.

Keywords: choral music, Udmurt folklore, Yu. L. Tolkach, free arrangement

Ch. S. Tumat

About the Development of the Tuvan Chadagan

Summary. In this article, the author examines various types of Tuvan chadagan, which are used in musical groups and in the training of professional personnel. In neighboring regions, related types of chadagan are quite well studied and described. However, the Tuvan chadagan is poorly studied. The purpose of this article is to study the development of the Tuvan chadagan from the mid-20th century to the present day. The article examines chadagans made by various masters and performers during different periods of Tuvan culture’s development. The issues of modernization have also affected the chadagan. The results of the study show that the Tuvan chadagan has undergone significant changes in its design and playing techniques over the past half century. Various performers have made significant contributions to its development. Additionally, we conclude that the development and preservation of the Tuvan chadagan directly depend on the proper training of professional performers.

Keywords: chadagan, a folklore instrument, modernized version, musical instruments of tuvans

PROBLEMS OF MUSICAL-PERFORMING ARTS

S. Y. Belova

Reflection of the Original Music in the Performing Practice of a Folk Singing Group: on the Example of Opera Fragments by M. P. Mussorgsky

Summary. This article is devoted to the embodiment of fragments of operas by Modest Petrovich Mussorgsky in a folk singing group within the framework of the program of the Gnessin Festival “Dialogue in the Composer’s Homeland. Modest Mussorgsky 2025”. The author analyzes materials about the composer’s work and life, examines the genres of the original sources of selected opera fragments in relation to the definitions of leading folklorists, and pays special attention to folk singing performance techniques and means of expression that turned out to be necessary for concert performance.

Keywords: M. P. Mussorgsky, folk singing group, opera, folk drama, song, lament, prayer, performance techniques, Gnessin Festival “Dialogue in the Composer’s Homeland. Modest Mussorgsky 2025”

MUSIC AND PHILOSOPHY

Zhu Yongkang

Reflection of Traditional Chinese Philosophy in the Works of Zhao Jiping as Exemplified by “Eight Songs on Poems of the Tang Dynasty”

Summary. This article analyzes Zhao Jiping’s cycle “Eight Songs on Poems by Tang Dynasty Poets”. It examines the musical embodiment of key concepts of Chinese culture (tragedy, love, friendship, nature, and time). The musical devices that unite the cycle are identified: a common philosophical theme, the cyclical shift of images of spring and autumn, the evolution from traditional modes (gong) to major-minor, the synthesis of Chinese and European instrumentation, and a system of symbolic intonations. It is concluded that national tradition dominates Zhao Jiping’s work, while there is a tendency to adapt European elements.

Keywords: Hao Jiping, Chinese classical music, vocal cycle, Tang Dynasty poetry, philosophical concepts, musical symbolism, gong modes, cultural synthesis, traditional Chinese instruments

Lian Yicen

Taoism in Modern Music of the West: an Analysis of the Plays “4’33”” and “Wushu” in the Context of Comparative Musicology

Summary. The article traces the trajectory of the “journey” of philosophical universals that unite the cultures of East and West, which modulate from culture to culture, enriched by the realities of new historical periods, national traditions and artistic styles. A similar thing happened with J. Cage’s play “4’33””, written under the influence of Zen Buddhism and reflecting the most important concepts of Taoism, which in turn produced a “mirror effect”, inspiring the modern composer V. Kuhta to create a piece for the solo flute “Wushu”. th works are studied in the article by method of comparative analysis. The philosophy of Taoism, which serves as the paradigm basis of oriental art, left a deep mark in modern Western music and now appears as an organic imaginative-semantic and compositional component.

Keywords: Taoism, Tai Chi, John Cage, “4’33””, Valeria Kuhta, “Wushu”, East, West

___________________________

2025 - 2(50)

MUSIC HISTORY AND THEORY

Wang Yunze

C. P. E. Bach. From Berlin to Hamburg (Materials and Documents)

Summary. The article selects materials, documents and letters from 1767–1768 that reflect the conditions of C. P. E. Bach’s transition from the position of chamber musician in the Prussian court chapel to the position of cantor and music director (director chori musici) in Hamburg. Petitions to Frederick II and correspondence with Hamburg correspondents, his autobiography, newspaper articles and memoirs of contemporaries become the basis on which the details of the composer’s life and the musical atmosphere of Berlin and Hamburg are revealed. The article examines the results of the competition for the position of Hamburg Musikdirektor, in which C. P. E. Bach successfully participated, and his work in organising Hamburg’s public concerts. Two letters from among the documents related to C. P. E. Bach’s dismissal from the court chapel are published in Russian for the first time.

Keywords: Carl Philipp Emanuel Bach, Frederick II, Prussian court chapel, Hamburg musical life, Musikdirektor, Public concerts

V. R. Dulat-Aleev, Liu Xiao

Albert Zabel’s Harp Pieces in the Context of Russian and European Music at the Turn of the 19th and 20th Centuries

Summary. The compositional work of virtuoso performers still remains an insufficiently studied phenomenon in the history of music. It is generally accepted that the compositional work of performing musicians is mainly aimed at pedagogical purposes. In this regard, the legacy of performing composers, as a rule, is not considered in the context of the general processes of music history. The article examines the compositional legacy of Albert Zabel (1834–1910), an outstanding Russian harpist of German origin, in his connections with artistic trends in Russian and European music. Based on the analysis of the works, conclusions are drawn about genre and style guidelines, features of shaping and other aspects of the composer’s musical language.

Keywords: history of Russian music, harp concert and pedagogical repertoire, history of harp performance, Albert Zabel, Russian music of the turn of the 19th–20th centuries, foreign musicians in Russia, musical genres, musical form

M. S. Burlakov

Kirill Volkov’s Creative Work: Stylistic Features and Issues

Summary. The article examines the work of a major contemporary Russian composer Kirill Volkov. The research material is music intended for the academic stage, as well as a number of the most significant opuses created by the composer for cinema and theater. Based on the figurative-thematic, stylistic and genre aspects that are revealed at different stages of the artist’s professional path, as well as paying attention to the word of the composer himself, the author offers his own version of the periodization of his work: from the formation of his own style and musical language to the implementation of creative ideas at the present time.

The article summarizes the array of works by the composer, created over six decades, and allows to partially fill the gap in scientific knowledge about Volkov’s contribution to Russian musical culture.

Keywords: periodization, thematics, style, stylistics, folklore, neofolklorism, genre, K. Volkov

Wang Xiaoqing, I. V. Polozova

Zhu Jianer’s First Symphony: The Meeting of East and West

Summary. Chinese symphonic music is a unique phenomenon, organically combining the traditions of Western European and Chinese music. The example of Zhu Jian’er First Symphony shows the manifestation of this synthesis, where the connection of the intonations of Chinese song, the timbres of traditional Chinese percussion instruments and the problems of content relevant to the Chinese people are traced, on the one hand, and the dramaturgy of the cycle characteristic of the European symphony, the serial organization of the musical material and the techniques of thematic development developed by European schools of composition.

Keywords: Zhu Jian’er, symphony, European compositional technique, Chinese music

I. I. Vasiruk

National and International in Modern Polyphonic Cycles

Summary. The article examines the problem of national and international in the perspective of polyphonic works — all-regional collections of Russian composers of the second half of the 20th — beginning of the 21st century. Large polyphonic cycles reflect either one national musical culture with its own specifics, or a musical and folklore compendium of peoples. National color is created by quoting folk melodies or stylization, that is, compositions in the spirit of folk music. However, in polyphonic polyphony, the whole textural space turns out to be important: the combination of expressive means of musical language, the counterpoint of melody themes, and the principles of their processing in a folklore key.

Keywords: national, international, polyphonic cycle, prelude, fugue

PROBLEMS OF ETHNOMUSICOLOOGY

A. T. Gumerova

Orthodox Chants in the Folklore Environment of the Peoples of the Middle Volga Region (on the example of the Easter Troparion “Christ is Risen”)

Summary. A special area of the existence of Orthodox chants in the culture of the Christianized non-Russian peoples of the Middle Volga region is associated with the penetration of liturgical melodies into the folklore environment. Being included in traditional calendar and family rituals, church prayer books fall into a foreign cultural artistic context; in the conditions of oral usage, they undergo various kinds of reinterpretations and transformations, in fact, they become part of the folk song tradition.

One of the most striking examples of liturgical hymns that have become established in the folklore traditions of the region is the Easter Troparion “Christ is Risen”, performed by native speakers in their native and Church Slavonic languages.

Based on the involvement of a large body of field materials, the peculiarities of the functioning of liturgical chanting in the folk ritual environment are determined, the mechanisms of updating the texts of the troparion are analyzed in this article.

Keywords: Easter troparion, “Christ is Risen”, folklorized Orthodox chants, Orthodox singing of the peoples of the Middle Volga region

E. V. Biteriakova

The Scientific Heritage of Irina Konstantinovna Sviridova in the Light of Modern Ethnomusicological Research

Summary. The article highlights the scientific legacy of Irina Konstantinovna Sviridova (1924–1975), a musicologist, collector and researcher of musical folklore. Her activity in the 1960s was connected with her work in the Folk Music Office of the Moscow Conservatory. Expedition materials of I. K. Sviridova make up a voluminous collection in the funds of the Kvitka Scientific Center for Folk Music. These unique documents are sources for studying the folk traditional culture of different regions of Russia, as well as Kazakhs, Armenians, Gagauz, Nenets. The article describes the methods of I. K. Sviridova’s field work, which allowed her to make promising observations and discoveries. The main directions of I. K. Sviridova’s expeditionary research include Cossack traditions, Old Believer culture, heritage of Molokans and Doukhobors.

Keywords: Irina K. Sviridova, Moscow Conservatory, folklore expeditions in 1960–1970s, funds of the Kliment Kvitka Folk Music Research Center, Nekrasov Cossacks, Northern Russian folklore, culture of the Old Believers

MUSICAL CULTURE OF PEOPLES OF VOLGA AND URAL REGIONS

D. F. Khairutdinova

“Eldermeshten Elmender” by Almaz Monasypov: About the Role of Music in the Realization of the Director’s Idea

Summary. The article examines the activities of composer Almaz Monasypov at the Tatar State Academic Theater named after G. Kamal for the first time. Based on the study of archival materials, his contribution to the development of theatrical music as an important part of Tatar dramatic art is determined; the method of comparative analysis reveals continuity features in the creation of the musical design of the play “Idegay” versions of 1941 and 1994. Using the example of the legendary production “Eldermeshten Elmender” (“The Old Man from the Village of Aldermysh”), the significance of music in the direction of the Kamalov theater of the Marcel Salimzhanov era is revealed. The composer’s role in the creation of the play indicates the formation of a new paradigm of the existence of a musical component in the Tatar theatrical art of the last quarter of the 20th century.

Keywords: Almaz Monasypov, Marcel Salimzhanov, Tatar State Academic Theater named after G. Kamal, music at the Drama Theater, “Eldermeshten Elmender” (“The Old Man from the Village of Eldermysh”), “Idegey”, the poem “In the Rhythms of Tukai”

L. I. Bushueva

Chuvash Compositional Art of the Second Half of the 20th Century in Russian Historiography

Summary. The proposed article reflects the historiography of the Chuvash compositional art, starting from the 20s of the 20th century, when the main directions of Chuvash musicology began to form and up to the end of the century. The material is based on all existing works: from the first ones created during the formation of professional artistic culture to the latest modern publications. The mentioned works include many little-known materials by Russian musicologists that reveal the musical art of the period under review. The author has tried to build a complete picture of the general state of Chuvash music in the second half of the 20th century, emphasizing its most problematic moments.

Keywords: historiography, Chuvash compositional art, 20th century, problems of theory and history

___________________________

2025 - 1(49)

MUSIC THEORY AND HISTORY

M. E. Girfanova

Elephant, Moon, and More: An Anthology of Puzzle Canons in Pietro Cerone’s Treatise “El melopeo y maestro: tractado de música theorica y pratica” (1613)

Summary. The last, XXII Book of Pietro Cerone’s treatise “El melopeo y maestro: tractado de música theorica y pratica” (1613) contains one of the largest and most significant collections of puzzle canons presented in music-theoretical treatises. The tradition of collecting puzzle canons goes back to the work of Ramos de Pareja “Musica practica” (1482) and can be traced in the works “Practica musica” (1556) by Hermann Finck, ‘‘Canoni musicali’’ (between 1622 and 1627) by Lodovico Zacconi. In the Introduction to the XXII Book, Cerone explained the place of the puzzle canon in the system of knowledge about music and its specificity, pointed out the typological similarity of the musical riddle with the literary one, designated the target audience and the purpose of the XXII Book. The article takes a closer look at one of the 45 musical riddles included in XXII Book — the Riddle with the elephant (No. 28).

Keywords: puzzle canon, Pietro Cerone’s treatise “El melopeo y maestro: tractado de música theorica y pratica”, Ramos de Pareja, Hermann Finck, Armadas da Índia

G. Yu. Savchenko

Extraordinary Composer’s Project: Six Etudes for String Orchestra and Organ by Boris Tchaikovsky

Summary. Six Etudes for string orchestra and organ is a unique composition. It reflects all the characteristic features of Boris Tchaikovsky’s style, which fully manifested themselves in the works of the 1970s. Among them, we noted a special type of thematism, which implies the construction of themes from short motifs. No less original is the concept of timbre, which includes the most interesting mixed combinations of various organ registers with bowed instruments. We also examined the features of the author’s dramaturgy, the main feature of which is the process associated with the variant development of thematic elements and similar in meaning to the principle of deployment. The thematic connections between the parts, in turn, indicate the signs of a cycle that actually do not allow each piece to be performed separately. Finally, ascetic linearity and coloristic saturation of chord combinations coexist in a surprising way in the textural and harmonic appearance of the cycle. All these signs speak to the uniqueness of this composition both in terms of the creative legacy of its author and in the history of Russian music in the second half of the 20th century.

Keywords: Boris Tchaikovsky, Russian music of the second half of the 20th century, multi-timbre ensemble, mixed timbres, organ music, non-linear climax, individual project

A. V. Khakhina

Images of the Oriental Poetry of R. Tagore in the Vocal Cycle “Gitanjali” by J. A. Carpenter

Summary. The vocal cycle “Gitanjali” by John Alden Carpenter on the lyrics of R. Tagore is examined in the article for the first timе in Russian musicology. Despite the world fame of R. Tagore as a poet, a writer, a musician, an artist, there are relatively few works written on his poems. Carpenter’s cycle is their first implementation in this genre. The creation of this work is to some extent connected with the fascination of Americans with oriental culture and the peculiar fashion for exoticism at the beginning of the 20th century. The uniqueness of the material determined the necessity to present Carpenter’s vocal poems from the point of view of stylistic and musical-poetic features. The usage of a cultural-historical approach and methods of genre-stylistic analysis made it possible to identify connections with some of the harmonic techniques of the impressionists, the principles of the composer’s work with the text and ways of reflection of its features in music. Using the example of this cycle, one can observe how the stylistic renewal of American chamber vocal music took place at the beginning of the 20th century.

Keywords: John Alden Carpenter, Rabindranath Tagore, Gitanjali, sacrificial songs, vocal poem, vocal cycle

A NEW READING OF TRADITIONS in the works of composers OF THE SECOND HALF OF THE 20th — BEGINNING OF THE 21st CENTURY

A. V. Aksenova

Choral Arrangement of Spiritual Poetry in the Works of Composers of the Second Half of the 20th — Beginning of the 21st Century: Genre and Style Interpretations

Summary. The article describes the main characteristics of the term “arrangement” in relation to spiritual poetry. The developing process of the spiritual poetry arrangement for choral concert performance has been studied since the second half of the 19th century. The main approaches of composers and arrangers to the choice of methods for converting ethnographic musical and poetic material into the form of a concert choral work have been identified. Two main directions in the work with the folklore primary source are indicated: orientation to the church canon and reliance on the complex of musical and expressive means of folk song.

Keywords: spiritual poetry, folk art, church singing, choral arrangement, contemporary composers

N. V. Petrova

An Ensemble of Traditional Chinese and European Instruments (Based on the Example of Li Bochan’s Play ‘‘Late Autumn’’ for Pipa and Piano)

Summary. The author of this article refers to the chamber music of the Chinese composer Li Bochan. His music has not yet been the subject of scientific research, which indicates the scientific novelty of the presented article. The paper analyzes the key reasons for the emergence of an ensemble of this type, as well as the role and functions of the piano, where the prerequisites were historical events, as well as the search for a new sound and the desire to synthesize Eastern and Western culture. The ensemble of the traditional Chinese instrument pipa and piano is studied from the point of view of revealing the characteristic features of the composer’s chamber-instrumental creativity.

Keywords: chamber and instrumental ensemble, Chinese instrumental music, composer Li Bochan, ensemble of national and European instruments, pipa and piano duet

D. S. Dedyukhin

‘‘Russian Suite’’ and G. Chernov’s First Symphony for Wind Orchestra: on the Problem of Implementing Neo-Folklore Tendencies

Summary. The article highlights the ways of individual implementation of composer’s folklorism as a significant tendency of the Russian concert academic repertoire for brass band. An illustrative example of multiple folklorism manifestations inherent in the modern era are the works by the Moscow composer G. Chernov, in particular, the famous works of the turn of the 1960s–1970s “Russian Suite” and Symphony No. 1 “The Great Russia”. The specified cyclical opuses represent an individually interpreted neo-folkloristic approach to musical material. The sources of the original artistic and conceptual solutions in the “Russian Suite” and the Symphony “The Great Russia”, according to the researcher, are associated with the programmatic nature of the picturesque plan, refracting the traditions of Russian opera classics and the specific impacts of the national folklore “parody” spheres.

Keywords: Russian concert academic repertoire for brass band, orchestral works by G. Chernov, “The Russian Suite”, Symphony No. 1 “The Great Russia”, neo-folklorist influences

MUSICAL CULTURE OF PEOPLES OF VOLGA AND URAL REGIONS

A. T. Gumerova

Revival of the Orthodox Singing Practice in the Udmurt Language in the Post-Soviet Period: Izhevsk Experience

Summary. The last decades of the 20th and early 21st centuries have been marked by the gradual revival of the tradition of Orthodox singing in the native languages of the “non–native” ethnic groups of the Middle Volga region — the Chuvash, Kryashen Tatars, Udmurts, Mari, and Mordvins. There is a process of rebuilding many parishes, the practice of celebrating the Liturgy in “foreign” languages, suspended during the Soviet period, is returning, and activities for the translation and publication of liturgical literature are resuming. In this work, the Orthodox singing of the Udmurts, which is practiced in the parish of the Holy Apostles Peter and Paul, becomes the object of attention. Izhevsk is currently the only parish in Udmurtia where services are conducted entirely in the Udmurt language. The article examines the history of the preparation of translations of liturgical literature into the Udmurt language, the specifics of the work on the linguistic adaptation of the musical part of the ritual, the issues of the formation of the singing repertoire.

Keywords: Udmurts, Orthodox singing in the Udmurt language, church singing in the Udmurt language, G. M. Atamanov, Udmurt parish, Peter and Paul Church.

G. F. Yunusova

Textless Chants in Tatar Lullabies

Summary. Textless chants are a characteristic phenomenon of Tatar children’s folklore. The article is devoted to the issues of identification, systematization of various types of asemantic components in lullabies. The relevance of the topic is due to the need to preserve and study the intangible cultural heritage, as well as the importance of lullabies in the formation of the national musical tradition. In the process of analysis, probable sources of the origin of these tunes were revealed. The structure, intonation features of the considered folklore samples, types of intonation and performance manner were analyzed. The use of content analysis and comparative analysis methods allowed us to determine total and fragmented textless tunes in the lullaby itself, samples of other genres of Tatar folklore. The source of the work was the applicant’s expedition records, materials from sound archives, websites, publications of ethnomusicologists and other specialists.

Keywords: textless melodies, lullaby, Tatar folk art, children’s folklore, onomatopoeia, modified text, imitation of bird chirping, Islamic content.

A. N. Khasanova, S. V. Ustyugova

The Folklore Nature of the Choral Music of Sh. Sharifullin (on the Example of Arrangement of the Folk Song “Apipa”)

Summary. Choral music by Sh. Sharifullin, who has always attracted the attention of performers and researchers, remains incompletely published to this day. Many of the composer’s manuscripts exist in single copies and are kept in the personal archives of the performers. The subject of the study of this work was one of such finds — the arrangement of the folk song “Apipa” for the children’s choir. Created by Sh. Sharifullin in 1992, the choral composition vividly reflects the composer’s skill in working with folklore material. The author refers to one of the most famous dance tunes of the Tatar people — takmak, which became the basis of the compositions of a large number of Tatarstan composers. The essay of Sh. Sharifullin is distinguished by a number of unique features in this area: this is the only choral interpretation of “Apipa”. It is a rare example of a multi-variant and diverse interpretation of a folk melody, in which the most iconic features of takmak are vividly highlighted — the recitative type of intonation, onomatopoeia, theatricalization, etc.

Keywords: Sh. Sharifullin, “Apipa”, takmak, arrangement, choral music, children’s choral music, Tatar music, V. Lukyanov, R. Belyalov, A. Leman, S. Saydashev, A. Klyucharev, Yu. Vinogradov, A. Kostyukova, L. Iskhakova

PROBLEMS OF MUSICAL PERFORMING ARTS and education

E. V. Kruglova

The Term “Gruppo” and Its Musical Application

Summary. The article is devoted to topical issues of authentic performance of vocal music of the Baroque era. The author raises questions about the correct interpretation of a popular ornamentation in the 17th century, named “gruppo” by G. Caccini. Probably, the lack of a unified system of ornamental terms in music from the end of the 16th to the middle of the 17th century, as well as scattered information, led to the fact that this ornamentation is currently forgotten and not used in performing practice. The author of the article draws conclusions about the importance of studying the functions and features of the performance of the ornamentation in question, noting that gruppo’s vocal performance involves expression in connection with the embodiment and transmission of affects.

Keywords: baroque music, historical singing, ornamentation, gruppo, vocal technique

Zhao Zhengsheng

Manuel Garcia Jr.’s Research on the Singing Voice Physiology in the Context of Scientific Discussions in the First Half of the 19th Century

Summary. The invention of the laryngoscope by Manuel Garcia Jr. in 1855 was preceded by years of methodological research, medical and art history discussions, which largely prompted him to study the vocal organs and explain the mechanism of their action. A substantial role was played by the research of scientists of the 18th–19th centuries: A. Ferrein, F. Savart, M. Colombat de l’Isère, F. Magendie, F. Bennati. Tenor Gilbert Duprez, who introduced a new style of singing to the French stage called voix sombrée, caused a polemic between doctors P. Didey and J. Pétrequin on one side and Garcia the Younger on the other. Based on his anatomical observations, vocal and pedagogical experience, Garcia in 1841 for the first time explained the difference in the formation of registers and timbres of the singing voice, and in 1855 he confirmed his findings thanks to the laryngoscope.

Keywords: timbre, voice, voice-emission, instrument vocal, laryngoscope, Manuel Garcia Jr., Gilbert Duprez

А. A. Sikorskaya

Development of Domestic Conducting and Choral Education in the Mid-20th Century Using the Example of the Conducting and Choral Department of the Saratov Conservatory

Summary. The subject of the article is the study of the formation of the choral conducting department at the Saratov Conservatory. The study presents the main positions of the formation of the choral conducting department of the Saratov Conservatory, due to ties with the Moscow choral school. It is worth noting that they determined the development of pedagogical guidelines and methodological principles of the department’s work from the moment of its inception to the present day. The author comes to the conclusion that systematic conducting and choral education and training in Russia today is inseparable from the activities of the relevant departments, which for many decades have contributed to the preservation and development of domestic musical performance traditions based on pedagogical principles developed in a particular region.

Keywords: performing school, higher education, Saratov Conservatory, department of choral conducting, specifics of training, choir, choral performance, choral conducting, choral conductor

___________________________