South-Russian Musical Anthology 2021–2 (43)

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Contents

Musical Culture of the South of Russia

• Khalitova М. Vocal works by Ilyas Bakhshysh

The Twentieth and Twenty-First Centuries Composers’ Creativity

• Finkelshtein Y. Semantics of the timbre of classical guitar in works for ensemble by composers of the Second Viennese School
• Radu-Taga C., Turtă-Timofte L. Travelling through the compositional universe of Vasile Spătărelu
• Mironenko E. Asynchrony of national stylistic directions as an indicator of the growth of Moldovan compositional school

Aspects of Musical Culture of the Twenty-First Century

• Glushkova V., Zaritskiy V., Andrievskaya G. Contemporary mass media on a dialogue between word and music
• Demina V. The musical component features of commemorial performance by Jeremy Deller «We’re Here Because We Are Here» in the context of social turning-point action in arts

Problems of Traditional Culture

• Rudichenko T. Genre systems of musical folklore: construction approaches

Music Education

• Astashev D. Professional education of a singer in the context of the European idea of harmonizing the educational environment

Aspects of Mass Musical Culture

• Slobodchikova A. Borrowing from the classics as a method for individualizing the style of the rock band Muse

Problems of Musicology

• Ekimenko T. About the national features in music by Karelian composers
• Serov Yu. Satirical vocal cycles by Dmitry Shostakovich in the orchestration of Boris Tishchenko
• Sycheva N. Fantasies by A. Chernov: to the problem of genre interactions
• Frantova T. Laocoon and Aphrodite “Rolled Into One”, or Life and Death of Academic Music Studies in the Electronic Era

Problems of Musical Theater

• Klimova N. Libretto of A. Izosimov’s ballet «The tale of the Green Snake and the Beautiful Lily»

Performing Art

• Kopyryulin M. The campaign of the fight against formalism of 1948 in the Soviet music and professionalization of the folk instrumental performing art in Russia: the interconditional paradox
• Ponomareva E. S. Richter in ensemble with D. Fischer-Dieskau: the inimitable “unity of opposites”