Study in Art #3



N.  Davydov - Stylizing of playing as a performance criterion

D.  Androsova - Style position of piano performance G. Guld in context cоmpоser vanguard XX century

E. Chayka - F. Chopin's Fourth Ballad in the Context of Performing Stylistics of the Composer

O. Shcherbakova - Performance style of Emil Gilels in the piano duo genre

V. Zayets - Scientific School of M. Davydov as a basic system of national and instrumental performance musicology


E. Markova - Music culturology as phenomena of the domestic system of the humanitarian knowledge

O. Muravskaya - Ethical Domostroi and Biedermeier

L. Zdorovenko - Transformation processes in modern pop music

O. Oganezova-Grigorenko - Artistic and aesthetic specificity of the musical genre in the context of the historical development

Jiang Manni - "Children's Corner" in the context of suite art of Claude Debussy

Lu Yuytszun - Thematic Quotations - the basis of Variations of Sergei Rachmaninov

V. Zdorovenko - On the Aesthetik Criteria in the of Socialist Realism

N. Danchenko - The specifics of the analysis of early electronic music

M. Uzhinskiy - Art Technology and Sound Engineering in the Theatre

T. Kaznacheeva - The Philosophy of Dance Movement


R. Karasanov - Essence of work and creative activity is in educational system of higher educational establishments

E. Seytmemetova - Moral and aesthetic education of younger students through the means of folk music

Style position of piano performance  G. Guld in context cоmpоser  vanguard XX century

The Article is dedicated to generalization significant for performance  innovation of Guld  of the style directivities XX century  as characterizing specific piano expressiveness  his plays. The modernism of Guld is noted though in his repertoire nowhere near did not dominate the modernists-vanguardists, but alongside with Schönberg, and even moreover, stood out the performances to him I.S. Bach. Thence - the question is especially performace mоdеrn, definied performace, so named inspecific facility of expressiveness, from which rate, rhythm, track record, аgogic-articulation form the supporting moments of the expression.  And is herewith noted lyricism Guld incompatible with belief about mоdеrn-vanguard in cоmpоser creative activity.

It is chosen in study kontrapuntal installing the invoiced decisions G. Guld that normally comes to light in such repertory pole of the musician as music of cembalo-clavесin type that is to say compositions of protoharmony style. And pay attention to that circumstance that performance style extravagance of Guld is fixed by means of term modernism though chronology of the leaving the pianist on proscenium of the music world - 1960-e years, apogee of the manifestation of the vanguard, and exactly performance radicalism of Guld was accepted in context of vanguard art, however fixed in terminology - as modernism.

Abreast the most impressive interpretation decisions of Guld on works I.S. Bach are absent "chrestomathy", which to representation from german as such traditions of the composition of the type WTK, Art of the fugue, Fantasies, Toccate etc. Guld to limit performance of the works, falling into “Klavierübung”. These last to demonstrate european incidence appropriate technology of the play not only in geographical width (Partita, Italian concerto, Partita/french overture h-moll), but also temporary incidence (rеnaissаnce technology of the canon in Goldberg variation and others.).

The named choice of Guld of "middle european" line in legacy of Bach in realization its style of Bach - signify, allows to select the dominating idea intеrpetаtion directivities his performance. This directivity – on antiesthetics of expressionism (look principal sense  creative activity A. Schönberg and A. Berg in repertoire, however avoiding A. Webern, concentrated position of simbolism in Neuwienschule) that was expressed in piano art most brightly in refusal of piano cantilene in sounding, from that "instrumental vоcаl", which forms essence european music classicists. This also understanding the music as performance in base spiritual and intellectual act that similar with type of Skrjabin mystery and that forms Skrjabin transformation of musics as moral of Performance of ideal sense of Universe-Cosmos.

Key words: style in music, piano performance, cоmpоser creative activity, music vanguard, clavier style.

N. A. Davydov

Stylizing of playing as a performance criterion

This notion includes three main points:
1.    Performer’s ideal
This theme is dictated by all performance and musical-pedagogy practice pointed toward education of independence of creative thought of students.
Its actuality is less sickly in area of pedagogical collectives, where unity of criterions of artists- like-minded persons guided on set norms of such school were settled.
Relatively to assessment of musical performance , for example, by members of competition commissions, with representatives of different schools and currents, especially when their professional level is not enough, then necessity is arisen in settled recommendations of chairmen of such commissions.
2.    Stylizing of play
A plenty of scientific-methodical literature in various fields of musical performance is dedicated to questions of interpretation of various styles. But the problem of stylizing of play bayan we review at first time.
Theoretical basics for its opening are already created in scientific-methodical literature. Task of this article is theoretical substantiation of criteria of bayan-players performance assessment in educational process and on concert stage and especially during competitions are carrying out, where instrumentalists and their schools are comparing.
Definite stylizing of instrumentalist play result from his personality.
Thus the primary task of member of the board of adjudicators is detection of most bright art persons among participants of concours, ideal of instrumentalist with pronounced face of interpreter, musician-instrumentalist-artist, who is the master of performance skill in conjunction with highest modern criterions.
3.    Theoretical basic of performance
Stylizing of play – is possession of all complex of performance skill, which includes five main performance means:
-    Dynamics in her both main figures of tension as a mean of musical process inspiring, through of volume shade , as well as playback of expressive means composition (fret-harmonic gravity, instrumentation, texture, counterpoint, etc.)
-    Agogigs as organizational beginning in performance process;
-    In determination of temporhythm and its operative interpretative modification in play;
-    Articulation of musical-performance rhetoric, called supply concrete definition of expressive performance incarnationof sounds and theirs logical couplings.
-    Line-art technique as a mean of character of melodious lines and harmonic verticals creation
-    Timbre expression as a mean of general art colourfulness of musical sonority.
Indicator of stylizing of musician play is a great number of other performance tints, including:
-    Logic of performance micro-macro-integration;
-    Hidden voting;
-    Phonism of vertical sonority;
-    Abressness of incarnation of prosodic-semantic linear melodic structural complexes.
-    Correctness of inclusion in performance context of new expressive prosodic textured and rhythmical means and interpretative way.
-    Contingency of vertical and horizontal dynamics;
-    Conditional “pulse an octavo”
-    Stability of linear rhytmodynamics of stroke;
-    Rhytmodynamic of phonic intensity of general sonority in incarnation of texture in interpretation;
-    Rhytmodynamic  of accentuation;
-    Rhytmodynamic of line contras;
-    Rhytmodynamic of cantilena implication in staccato;
-    Rhytmodynamic of emotional-semantic dialogic;
-    Performance incarnation of dramatic musical production integrity;
-    Articulatory-line rhytmodynamic, etc;
Descriptive information: logistic, rhytmodynamic, contingency, stability, modification, pulse an octava.

Key words: aspects of creative thinking, logic, specifics of performance, unity of composer and performing thinking, instrumentalism, rhythm, expressiveness.

N. G. Danchenko

The specifics of the analysis of early electronic music

Modern electronic music differs by its wonderful diversity, which is in its «contracted» kind presentsin in the experimental works of the late 1940's – early 50-ies of  XX century, when the first electronic pieces of music were heard by a tape of the film.
The theme of the article – specific analysis of early electronic works.
The purpose of the article – to consider the problem of analysis of early electronic works belonging to the genre of tape-music.
The method of research is related to the allocation of domain – semantic and structural and functional units of electronic composition.
During the study the following results were obtained.
1. The separateness from the sound source, as well as significant differences of electronic sounds from the natural prototypes, often lead to the inability of acoustic recognition of such objects.
2. The desire of mind to identify audible sound complex with those present in the minds of the images previously learned sounds in an uncertain sound source, as well as the absence of a purely musical associations with the voices of traditional instruments, tunetone or rhythmic structures often leads to increaseing of non-musical subject links.
The scientific innovation of this research is to identify the possible direction leading to the establishment of the principles of analysis of early electronic works.
The practical value of this article is associated with the use of its materials in the study of the twentieth-century art in music educational establishments.
The researcher records audio systems to be analyzed, combining them into a hierarchy lined up a group of defines the functional significance, as well as perform other customary analytical operations. Such method can designate one possible direction leading to the construction methods of analysis of electronic music, opening up new perspectives for the study of this multifaceted field of artistic creation.

Key words: electronic music, tape-music, musical analysis, perception.

V. M. Zayets

Scientific School of M. Davydov as a basic system of national and instrumental performance musicology

The article examines the scientific school of M. Davydov as the educational system, which is the basic structure for the training of highly qualified musicians and scientific personnel in the field of folk and instrumental performance.

Consideration of his musical, educational and social activities demonstrates the diversity of personality and emphasizes individual quality characteristics of his school. This enables an understanding of the mechanisms and allows us to formulate a definition very notions of «author», «scientific-practical» schools in the field of music. The difference from other spheres of human activity, above all, is the variety of roles performed by the leader of a school that requires it to certain human abilities and presents it as a performer, teacher, researcher, journalist, host, organizer, administrator, promoter, founder, reformer.

Using formulas microstructure intonation musical pedagogy in practice effectively, efficiently and usually operates at the conscious and procedural levels, which serves multi-directional thinking of musicians. Awareness manipulation of formulas microstructure of intonation in the process of learning - first of all it is the interaction mechanisms of the discourse, analogy, intuition, memory and more.

Considered meaningful intonation M. Davydov as a methodological principle that determines the choice of scientific methods of cognition, weekends to build awareness of the learning process in general.

The methodology is conceptual and terminological system is determined by a number of educational objectives. His teaching strategy is pretty solid canon of knowledge and skills that contribute to the deepening of creative and mental abilities musicians.

Topics and some ideas grounded in scientific research of M. Davydov already have followers and associates, providing a further development of the theoretical foundations of musical pedagogy. Music and social activities are also positioned in its effectiveness theoretical developments in practice and is an essential structural element of the base of its research and practice.

Key words: scientific school, performing musicology, M. Davydov.

V. V. Zdorovenko

On the Aesthetik Criteria in the of Socialist Realism

The article examines how the art of socialist realism was fostered by the purposes and meanings of being self-centered personality beyond individual consciousness in social life. We explain the aesthetic essence of socialist realism, which confirmed a new type of mutual character and circumstances.
It is shown that the purpose of this method is the artistic representation and expression of those situations in which not only the circumstances affecting a person, but a person capable of changing circumstances. The subject of cognitive interests of socialist realism is the study of how people can bend time to his will and consciousness. On this basis, determined and a new concept of personality characteristic of socialist realism. It confirms the fundamental rights and correlation scales of history. Because the art of socialist realism did not know the theme "little man" (Gorky ). Attention is drawn to the importance of understanding the painters of reality as a system of contradictions. This allowed them to measure the phenomenon holistically and show how some of the outward manifestations of events related to their essence , and freed from the tendentious bias in judgments that can predetermine a serious distortion of reality.
It turns out that the definition of "socialist " contains a great humanist meaning: the process of social liberation of man in the broadest sense. Realism suggests that the artist recreating this process, based on the real possibilities of human self . Based on these aesthetic criteria method, we can determine the scope of the art of socialist realism, which will include works not all the peaks of spiritual and artistic excellence.
In assessing the aesthetic significance of works of art of socialist realism valid criterion by which major in art was thought to strengthen ties with the life of people, truthful and highly artistic reflection of reality. An essential feature of this method is considered inspired and bright and passionate opening new revelations of the Fallen forms of life that prevent development.

Key words: freedom of creativity, art, social order, socialist realism.

L. V. Zdorovenko

Transformation processes in modern pop music

The paper analyzes the key trends of transformation processes in modern music. Displaying the originality of music as a social institution , to build relationships with the times and ways to enter music in the world of modern society, suggested criteria for determining the quality of contemporary music and the horizons of its development in the context of the "high-tech " technologies.
It is shown that a retrospective look at the socio- historical context of the development of Western culture of the twentieth century reveals the exponential synchronization between the downturns of the economy, its de-socialization and a surge of interest in developing new forms of mass musical culture " imprisoned " on hold and strained relations between the generations for the benefit of ideology, political power , and advertising. Musical preferences are an indicator of youth subculture accessories.
The problems of the transformation processes in modern music, which became the basis for the analysis of the latest research in the field of musical culture and, therefore, the identification of causes of changes in the status of music in the life of modern society. Particularly relevant is the study of music in the context of technological development and communications. We also study the influence of music on human behavior (the region bordering on social psychology).
Study of the problem of entering the music in the world of modern society, offers a wonderful example of how a post-modern society transformed requirements for the initial results of the musical art. Music loses its own aesthetic mission transformed into a tool of mass manipulation of human consciousness and the object of mass consumption. At the end of the twentieth century music occupied a dominant place in the niche of the advertising business. This point has not gone unnoticed for professionals in the field of sociology, marketing, psychology and other sciences.
Music is kulturogenny phenomenon to be studied from the point of view of sociology, and in the context of aesthetic thought. The speed with which the change trends in the world of music opens up new perspectives of researchers. In disclosing the problems discussed justifiably occupy a niche research in the field of art history, sociology, and neuroscience.

Key words: music, identification, manipulation of consciousness, sociology, music, subculture, Vocaloid, transformation.

T. A. Kaznacheeva

The Philosophy of Dance Movement

The article considers the exceptional diversity, complexity and contradictory unity of the elements that comprise the essence of such concepts as a «movement».
Movement has been examines as a procedural phenomenon, covering all types of changes and interactions.
There are interpretations of the concept of «movement» in different dictionary-encyclopedic sources.
There has been made an analysis of the various interpretations of the concept of «movement» as a philosophical category in the history of philosophical thought. I has been noted that among ancient philosophers his interpretation differs in accordance with the original principles of various studies.
In the philosophical and political writings Plato considers various aspects associated with the motion with the special characteristic of his dialectical method. Writings of Plato, in which the philosopher pays special attention to the art of the dance, have been reviewed.
The central problem of theoretical physics of Aristotle becomes the problem of the movement. Other aspects of the phenomenon of the movement in the teachings of Aristotle have also been considered.
It has been noted that the movement is a complex psychophysical process, a phenomenon of the psychophysical unity of body and soul.
We consider separately the movement as one of the main components of the art of dance. There is an emphasis that it is the movement, which constitutes the core of this art. There are the physical parameters of the movement of the dancers (based on research results of S. Shyp).
Specific features of the existence of the movement within the art of dance have been mentioned. Movement is also an expressive means for the creation and implementation of the artistic image, way of the dancer’s self-expression, property of the emotional experience and a powerful means of emotional influence.

Key words: movement, procedural phenomenon, philosophical category, art оf the dance, dance movement.

R. N. Karasanov


The article determines and actuality the problem of preparation professionally of competent and creatively active specialists presently in connection with increasing requirements to the graduating students of institutions of higher learning. Creative activity of specialist, from one side is the component of general form, and on the other hand is the component of professional readiness of graduating student of higher educational establishment. The increase of scientific level of modern (musical) education, from one side, creates terms for forming of reasons of active creative activity of students, and from other - requires the use of the certain system of receptions, methods and organizational forms, providing hands on training.
Consideration of problems of activity, so or differently, related to activity. It is therefore important to mark that a professional orientation, as quality of personality, her substantial side, can be formed and develop in activity of this personality.
The basic form of realization of cognitive independence of students in institution of higher learning is independent work that is executed without direct participation of teacher, on his task in the time specially given for this purpose. Effectiveness of independent work in a great deal depends on the literate drafting of individual tasks for taught, methodology of the use of these tasks, checking and accounting system on them.
We will mark that the obligatory components of educational activity it is been: educational task, educational actions, actions of control and estimation. These components in educating are in unity and intercommunication and, consequently, make integral educational activity.

Key words: Creative activity, educational activity, efficiency, forming.

E. N. Markova

Music culturology as phenomena of the domestic system of the humanitarian knowledge

The Article is dedicated to finding of national-mеntal specifics of the statement music culturology in music-scientific knowledge and humanitarian sphere as a whole.    For humanitarian sphere confession to autonomies music culturology to the general is inevitably connected with revising relations to religions and Faith since in the centre culturology prospecting traditionally, exceedingly authoritative in country USS and masterred in the manner of anthropologies or humane in West, turned out to be philosophy. Accordingli, rationalist deduction has defined the concept of culturology general - and "applied" her branches, but in count calculate list last is interpreted and music culturology.
The Confession to concepts of the Faith as finder of the epochal transformations to histories of the people (on L. Gumilev) brings forth music culturology on position of systematization principle of general culturology: ideal base human essence is realized in pathos of phonocreation, which incarnate  invoiced-figuratively epochal reflective stereotypes. Reconstruction to value in scientific world religious идей and concept restores in rights science about music as general humanitarian property.
Presence in row of the scientific studies full tilts on specific music value points to this trend of general humanitarian need for specially music generalizations. The question is mechanism harmony interfacing in correlating component ("damp and prepared")of elenents of myth C. Lèvi-Strauss, about C. Lèvi-Strauss, about pоliphоnic beside M. Bahtin in concepts of rоmаntic type of mоnоlоgue, finally, about rhytm of the psychic phenomenas as base ethnic to generalities and резонирования beside L. Gumilev in connection with concept of “passioning”. Music culturology as most openning to interdisciplinary  correlating part contemporary musicology, probably, is called to execute the specified reconstruction mission an unity special music and  general humanitarian complex, which mortgaged system of the scientific music formation on base of conservatoire, made by B. Asafiev in 1920-e years in memory about classicist italian conservatoire systems XVII-XVIII century.
Such pivotal factor of musicology searching for last century in methdological arming of music-scientific developments as methdological continuum analytically-systematizing approach in determination of scientific independance given spheres of the knowledge and creative activity. Is it also noted discharge in eve XXI century installation on symbolic-germeneutics principle of the understanding to music essence, correponding, introduction "quasi-psychological" method "recognitions" unhewn from mathematical cоmbine (in consent with advantage XXI  "age of the informatics") as methdological "database" modern musicology.

Key words: music culturology, humanitarian knowledge, system, concept, Musikwissenschaft, musicology.

Muravskaya O. V.

Ethical Domostroi and Biedermeier

Article is devoted research of spiritually-semantic and ethical aspects of the Domostroy, considered as genesis of a phenomenon of Russian Biedermeier.
«Home» - a central concept in Domostroi. The phenomenon of  «home» in the breadth of his understanding was the subject of spiritual, philosophical and socio -economic fabrications long before the Russian patriarchal despotism . In this connection, usually mention the names of the Greeks - Xenophon, Aristotle, Hesiod, and later the Romans - Cicero, Pheophastus, Filodem, Virgil [see this in more detail : 1, p. 66]. The ideas of the ancient Greek Domostroi have continued in the works of Byzantine scholars, among which the most famous was the  «Domostroj» by Kekavmen. The latter focuses not only on careful management of its own economy, but also the spiritual aspects of human existence - the moral purity, hard work, commitment to excellence in business and many favorites. etc. From Byzantium ideas Domostroi Economics and fall in Europe, but acquire a special significance for Russia. According to A.V. Vershkova, «in ancient Russia science of the household has been understood in its Aristotelian sense. She begins to take shape already in XIII-XIV centuries. At first, it appeared as a science in the form of codes of practice management who knew the Byzantine philosophers Aristotle's work, and then began a generalization of the domestic experience of managing, disclosed in a system of religious, moral, legal and other social norms» [1, p. 67].
The central elements of the semantic Russian patriarchal Domostroy, the concept of which evolved long enough, act as «home», «sir / householder», «rank». On archaic notions of home as a safe place superimposed picture of the house as a microstate with its economy, build, gentleman, his subjects. The main idea of patriarchal despotism laid already in the title, which combines both earthly, worldly, and the higher spiritual sense, which lies in the need to build in the soul of his house of God on the basis of a deep and sincere faith. Its base should be the love of God, to create the world, to the family, friends and neighbors.
Domostroj as «a way of life in truth and faith», incorporates the most typical indicators of Russian mentality, spiritual and worldly worldview in their ideal performance, symbolizing the harmony of a world view in which the human and the divine are inseparable. Designated spiritual model will retain its importance in the Russian mentality and in subsequent historical periods.
Highlighted the "spiritual mode of Domostroj is also certain analogies with the style of Biedermeier foothold in the European culture in the Restoration. Rooted spiritual and ethical principles of the Biedermeier era in Russia, to a certain extent related observable and the ideals of patriarchal despotism, you can also supplement and its significant role in the Congress of Vienna, for it is she was able to defend the idea of «Holy Alliance» in Europe and the spiritual principles of its existence, which in its time was the basis for the cultural and political stability in the region and the socio-historical subtext German-Austrian Biedermeier.

Key words: Domostroy, Biedermeier, Russian Biedermeier.

O. V. Oganezova-Grigorenko

Artistic and aesthetic specificity of the musical genre in the context of the historical development

In article the art and esthetic principles of the musical which were formed in the course of historical development and genre formation in the American and European musical culture are considered. The principle of art unity of the vocal, choreographic and drama elements which complex forms esthetic idea of the musical and specifics of performing practice is specially allocated.
From the sources the musical developed only as a genre of mass and popular culture which embodies idea of "ideal" beautiful and bright life. This genre installation on artistic realization of "positive attitude" caused specifics of esthetic idea of the musical as spectacular and dynamic musical and scenic action – initially entertaining character (an era of Broadway theater), and then and sated with serious subject (classics of the American musical and its European versions in French and Russian options).
The numerous samples of the musicals which have been given rise both by American, and the European musical practice of the XX century, embody art idea of this genre: synthesis of arts is understood in this case as a combination of different types of the arts, making uniform esthetic influence, the unity of components of this synthesis is defined by a composer plan and is realized by means of the whole complex of performing opportunities.
The polygenre nature of the musical causes also absolutely new type of the actor-performer which takes the sources rather in old forms of street, "vulgar" theater, than in the classical opera: this is the performer of "synthetic" type who is obliged to own a full complex of acting – musicality, vocal skill, speech expressiveness, drama game, plasticity as means of expression of figurative typicalness and musical thought, a mimicry, etc.

Key words: musical, genre, genre synthesis, esthetic idea, art specifics.

E. A. Seytmemetova

One of the most important tasks of the school in the national revival of Ukraine is to cultivate a harmonious, spiritually rich and nationally conscious individual. For the education of the child's feelings, normal development is important to nurture his emotional and positive attitude to reality. Positive emotional state - is the foundation of friendly relations with people, willingness to communicate. Negative emotional states can be the cause of anger, fear, alienation, jealousy.
Formation processes of education and training in Ukraine created new conditions for the development of national culture, in particular the Ukrainian folk music as its source. As an important means of transmission and social experience, folk music is today in all areas of educational work, enriching individual attitudinal attitude, causing the need for artistic and creative activities.
Restructuring of the music and aesthetic education issues touched before the use of folklore - the inculcation of love for folk music, folk song education has become one of the leading problems of the music teacher. And teachers and musicologists agree that the age-old traditions of the people should be made available to children - the native language of the song, the tale must save them from oblivion, faceless and gray. Saturation of school programs folklore facilitate entry of students into the depths of folk art, the approach to the prevailing notions of centuries of human nature, his spirituality, beauty and harmony of the world.
Music and song heritage of the Ukrainian people on the content of a highly artistic, deeply emotional and diversifying their means of expression, capable of empathy, joy and sorrow, anger and intolerance. Therefore, Ukrainian folk and classical music should not be seen only as a source of emotional enjoyment, but also as a means of aesthetic and moral education.
Folk music is an effective means of moral and aesthetic education of the individual. They passed the moral, social, ideological positions, so it is always fulfilled educational functions. Folk song and music motivates create beauty around you, and bring to pass it on to others. Therefore it is extremely rich and varied in content song should take its rightful place in the formation of moral and aesthetic views of the younger students.

Key words: moral and aesthetic education, junior high school students, folk music, pedagogical conditions.

M. Y. Uzhinskiy

Art Technology and Sound Engineering in the Theatre

The article raises the issue of professional competency of a theatrical sound technician, his ability to exploit technological equipment to work on the theatrical production in close tandem with producer, production-designer and light-show master. It also dwells on the specifics of the work of the sound technician and specifies his duties and major tasks and the sphere of service provision. In addition, the article raises the question of the “inner vision” of the play and involvement of the technical means of artistic expression into the creation of the stage image. The article stresses on the importance of the selection and montage of musical works; the creation of the required background noise; the introduction of new algorithms through the effects processor into the play. It also focuses on further search for the means to create a more expressive emotional impact on the viewer through the use of available sound equipment.
The diversity of the artistic information in the epoch of globalization fully demonstrates the desire of the society to understand various aspects of the theatrical past and present. On the crossroad of the opposite technical professions in the art world, a unique creative product (which includes the theatrical sound engineering) has been formed. Technical progress, development of the software, and innovative sound equipment constantly broaden the possibilities of sound engineering. Today, sound technician is one of the central participants of the creative process that involves the implementation of art technologies.
The article analyzes the specifics of the work of the theatrical sound technician, describes sound equipment used for arrangement and “release” of the performances and proposes possible ways of realization of the director’s tasks concerning the musical accompaniment and sound effects during the play. It is also important to note that all the existing challenges in the work of the sound technician can be solved due to appropriate and full implementation of art technologies, both budgetary and innovative.
The purpose of the article is to analyze and define the main functions and specifics of the work of the sound technician and study the role art technologies play when creating the needed sound image of the performances.
The article “Art Technology and Sound Engineering in the Theatre” is a guide for practicing sound technicians, students and people working as amateurs in theatrical studios or at the professional stage theatres.

Key words: image, sound engineering, technology, sound, mans of artistic expression, musical space.

Jiang Manni

"Children's Corner" in the context of suite art of Claude Debussy

From the suite creativity of Claude Debussy's it is allocated and is regarded the piano suite "Children's Corner", a genre where are descried by the composer as "a small suite." There are analyzed Software features of a piano cycle and each of its rooms, as well as cyclic drama of the work. Attention is paid to the principles of drama, on the principles of its reflection in the imagery and musical language of the composer. There are offered findings of clearly expressed features of this unusual genre of "child" suite, typical of the impressionist composers, and are apparent in this work. They are determined the membership of each genre piece of piano suite. There is evidence of a holistic informative drama the piano cycle "Children's Corner".
A special attention is paid to the enclosing the piano suite numbers: "Dostor Gradus ad Rarnassum" and "A Doll's cake-walk." Ranked as the initial and final numbers in an unusual piano cycle "Children's Corner" (remember the children's cycles Tchaikovsky, Schumann and others), in all this cyclic form suites. There are carried out an integral analysis of the data plays: their form, harmonic, textural, dynamic and melodic content, internal drama, which leads to interesting conclusions about their program content and genre of the principles of their implementation. Also examines the difficulties performing the suite "Children's Corner".

Key words: suite, genres, integrity, drama, performance of framing the number of the cycle.'

Y.V. Chayka

F. Chopin's Fourth Ballad in the Context of Performing Stylistics of the Composer

The Article reveals reference points of performance reading of Chopin's music in the context of artistic and stylistic trends of contemporary postmodern inherit high achievements of Biedermeier, the salon culture of the XIX century.
Information about the features of the author's implementation of a palette of expressive means in the Fourth Chopin ballad is summarized, the basic style guidelines creating an alternative style searches for the performers are set.
Identify of the stylistic specificity of the Chopin play formed by the Warsaw Biedermeier, projected on the sounding of Fourth ballads of Chopin lifts one of the most difficult problems of artistic practice - the problem of actual intonation (the term of T.Verkina).
Relations of Chopin’s music to old European, including Greek-Celtic traditions, are obvious.
National and European music, combined past and present, romantically colored ideal images, brought rhythmic flexibility of Chopin’s thinking, aimed at harmonizing national expressiveness features art and current pan-European ideas.
National identity of Chopin’s music from the 18th century is associated with genre and rhythmic expression of a polonaise («Polish») and mazurka, caused penetration of these dancing schemes into all compositions of the author.
The dancing and ritual rhythmic basis of the Fourth ballad is harmoniously combined with speech expressivity of expression in which high («arsis») and low («thesis») of basic altitudes, going from ancient epic melodies, are recognizable.
The History of Chopin’s piano style is inextricably linked with the «Warsaw Biedermeier» and, the manifestation of this cultural quality was mainly aimed at performing practice.

Key words: performance, genre ballads, national tradition, Biedermeier salon music, Chopin.

O. K. Shcherbakova

Performance style of Emil Gilels in the piano duo genre

In this article there is considered performance practice of Emil Gilels in the piano duo genre. There are analyzed repertoire peculiarities of each ensemble composition with Gilels’ participation. On this basis there are defined the main functions of ensemble communication: educational, hedonistic, consolidating, partnership-friendly and personal.
On the example of comparison of piano duos of concert type – Emil Gilels – Iakov Zak and Emil Gilels – Elena Gilels – it is suggested to differentiate their performance styles, one of which is closer to virtuosic-concert interpretation type and another – to chamber-lyrical one. It is emphasized that the features of Emil Gilels’ individual performance style spread on the style of both piano duos of concert type.
In piano duos Gilels demonstrates psychological mobility. In “professor – student” dialogue (E. Gilels – B. Reingbald, E. Gilels – H. Neihaus) he occupies a hierarchically subordinate position.
In “partnership-friendly” dialogues (E .Gilels – J. Flier, E. Gilels – J. Zak) there have been formed parity relations.
“Family” dialogue (father – daughter) in the piano duo of Emil Gilels and Elena Gilels is a reflection of deeply personal music communication.
Piano duo activity of Gilels’, who was developing ensemble dialogue culture, shows that priority is joint interpretation of author’s text.

Key words: Gilels, piano duo, performance style, communication, interpretation.

Lu Yuytszun

Thematic Quotations - the basis of Variations of

Sergei Rachmaninov

The article focuses on the foreign period of Sergei Rachmaninoff and his works created at that time. It turns out, first, that mostly works on other people's threads, taken from the works of other composers or from Russian folk art. And, secondly, almost all of them are created in the various form. These works were written for solo piano, piano with orchestra.
We consider the first use of "another's" theme in his work "Three Russian Songs" for chorus and orchestra, Op. 41 for chorus and orchestra. They are analyzed first appeal to the genre of Rachmaninov variations (back in the 900th year, ie, in the "Russian" period of his life) - Variations on a Prelude с-moll  by F. Chopin. In the later period of the composer drew the themes of Russian songs and theme of Corelli and Paganini. The paper identifies the causes of such interest of Rachmaninov by these themes.
Especially the author dwells on the "Rhapsody on a Theme of Paganini." It is regarded as the apogee of theatricality in the works of Rachmaninoff, as well as various interpretations of its genre. There are analyzed dramatic genre and semantic variations of the thematic plan. Dies irae theme appears as a variant of the main theme that is gaining more and more space and grows into a major theme for the drama "Rhapsody on a Theme of Paganini." Theme of Nikola Paganini quickly becomes a topic of Sergey Rachmaninoff, it is absorbed, assimilated by the author's style. Topics of Paganini (of Rachmaninov) and Dies irae in the "Rhapsody on a Theme of Paganini" - is easy recognizable "lexemes" with the given value.

Key words: strangers threads , quotation , variations and variously, drama, various principles of development.