Vestnik KemGUKI

18-25

Authors: Gordeeva Tatyana Yuryevna

The aim of the article is to defi ne the term “singing culture” in scientifi c literature. It was discovered as a part of the study that the term is understood mainly as a part of intellectual culture or as a part of music culture along with the music and instrumental culture. The use of the term “singing culture” particularly comprises non-academic singing tradition, whereas the term “vocal culture” is used in academic singing tradition, both of them often being substituted by the term “singing.” At present the term “singing” is being realized as a phenomenon tightly related to the existence of a person. It is an independent unit connected with the spirituality and embodiment of a human being. Taking into consideration the deductions of the scholars studying the world music cultures, we should pay more attention to apply, on the one hand, deeper, and, on the other hand, specifi cally oriented approaches of investigating these systems. Thus, it is required to address the general universals and the origins of singing cultures. For instance, among these universals “sound phenomenon” and “singing sound” can be named. In this context “singing culture” should be understood as crossing the border which divides purely sensual nature of “sound phenomena” and the sphere of phenomena, or “singing sounds”. It may be also considered correct to speak of the singing sound culture, highlighting the distinguished importance and value of singing sound. It represents a twofold phenomenon directly associated with embodiment and spirituality of a person and comprises the basis, “rolled up variety” of every singing culture.

33-40

Authors: Shub Mariya Lvovna, Kosobutskaya Natalya Yuryevna

The cultural heritage appears to us not as a mass of stiffened forms and artifi cially tinned traditions but the phenomenon which is extremely densely interwoven into living tissue of relevance. As it often happens in humanitarian practice, uniform approach to understanding and interpretation is still not developed. Most of researchers use this term, it is rather at the level of common sense, than within accurate terminological registration. Within this article we systematize a separate array of various author’s concepts of cultural heritage. It leads adjustment of heritages to conditions of the present to its inevitable transformation. Choosing any research foreshortening, scientists interpret cultural heritage through its prism. More accurate differentiation of defi nitions of cultural heritage looks in the following approaches: phenomenological, valuable, information and communicative, guarding and legal and economic. For example, in phenomenological approach, the heritage is presented as culture phenomenon in concepts of a number of authors. Pierre Nora has memory heritage, with deep importance of tradition and historical memoirs. He allocates changes of value of heritage as a natural paradox of modernization processes. In Louental’s characteristic, the heritage is presented as one of knowledge forms with an associative array of valuable and cognitive reference points in chronological dynamics, fl exible and pliable transformation. Valuable approach is considered with representation of a phenomenon of heritage as the systems of values: material, intellectual and spiritual. As information component the heritage is displayed in approach of information and communicative property with the imprinting, keeping and transferring the functions for the future generations. The authors in the stated approaches are pragmatic and convincing in statement of the positions. They have tried to develop own defi nition of cultural heritage synthesizing everything in variety of approaches to judgment where they understand modern signifi cant, historically steady and the selected forms and results of human activity represented in material, spiritual and art samples.

45-52

Authors: Chen Xin

The art of Russian emigration of the twentieth century is an integral part of Russian artistic culture. At present, the creation work of Russian artists in Europe has been more studied. At the same time, the “Eastern Wave” of Russian emigration made an important contribution to the development of fi ne art in China, as Russian masters brought up a whole galaxy of Chinese artists. However, their names are insuffi ciently explored. Connections of stylistic features of the works of Russian artists and their Chinese students have not been studied at all. A signifi cant amount of studied sources in Russian and Chinese (65 sources) allowed to reveal the names of Chinese students of Russian artists-emigrants, who became well-known artists and who have contributed to the development of dialogue of cultures of Russia and China through artistic creativity. In their works, obviously the use of style features, reaching, on the one hand, from the Russian artistic tradition: compositional techniques of color, traditions of socialist realism and, on the other hand, the attraction in the portrait genre the monochrome Chinese traditional ink painting Guohua. The technique of ink penetrates into the genres of landscape, domestic sketches, painted in oil. The article is devoted to analysis of artistic creativity of Han Jingsheng, Sun Yunthai, Gao Man, Van Tongzheng, whose names, as students of Russian artists, the author of the present work had installed, and those traits of their style that are manifested in the dialogue of cultures with the obvious infl uence of their teachers, Russian artists-emigrants M.A. Kichigina, M.M. Lobanov, A.N. Klementyev.

58-63

Authors: Grevnev Vladimir Mikhaylovich

The high degree of relevance of the phenomenon of identity is indicated by its inclusion in modern discourses as one of the basic concepts of modern humanitarian knowledge. Being formed in the depths of the national culture, it acts as a mediator between man and the universe and can be formulated as a philosophical category and at the same time a factor of social life that forms standards of behavior in various sociocultural environments. Speaking of Russia, social justice, the primacy of the spiritual over the material, the brotherhood and unity of all people must be attributed to the characteristic features of the Russian identity. The civil identity of the Russian nation grows out of the identity of the regional, based, in turn, on the identity of the national, which together and each individually represent a complex combination of continuously interacting sociocultural codes that form a single mental matrix. Most elements of the base matrix are movable; only those of them that have a traditionally high social status and a dominant value in the system of values are stable and invariant. This modesty of morals, social justice, tolerance, charity, cordiality, unselfi shness, the primacy of the spiritual over the bodily. Peaceful coexistence and commonwealth of peoples inhabiting Siberia are ensured by ethnic and sociocultural self-identifi cation, which is dominant in the minds and mentality of Siberians. It is the mutual tolerance of the peoples of Siberia that contributed to a more complete disclosure of the creative, spiritual and labor potential of Siberian Jews. Inclusion of the mental matrix in the discourse of regional identity seems to the author of the article productive, having prospects for positive development and maintaining the consistency of the sociocultural environment.

68-71

Authors: Filin Dmitriy Anatolyevich

The apophatic aspect takes a rather serious place in Aristotle’s philosophy since it is its concluding point. In comparison to his teacher Plato Aristotle doesn’t use in his reasoning the delighted description of the Heavenly Sphere. The logic predominates over the poetry in his apophatic sphere. For Aristotle he Divine Nous is the First Cause where the antinomies of our intellect have the reconciliation. The cosmological context Aristotle’s teaching about the Divine Nous has predetermined the emphasized use of the mathematical and natural scientifi c concepts in his apophatic. God is motionless, immaterial, indivisible and infi nite in the Aristotle’s reasoning. According to Aristotle the time is endless therefore it can’t have bounded quantity. Since matter according to Aristotle implies a transition to another, it is also a concept expressed through some value. For this reason, God is an immaterial being. However, since Aristotle’s matter is conceptually broad in its meaning, it is also used in the sense of the other’s being of Eidos. There are no boundless quantities in the nature. That is why God has no quantity and consequently has no parts. Since the Heaven as the upper sphere concerns the gods apophatic logic can be applied to it in the certain context. Since the fi rst matter has the comprehensive negative predicates of the infi nity, forlornness and continuity the elements of the apophatic logic can be also applied to it. However the potential characteristic of this infi nity excludes on the whole the concept of the First Cause out of the sphere of the apophatic Theology.

79-96

Authors: Novoselskaya Vera Vadimovna

Creating a comfortable human environment and ensuring its full development in harmony with social and natural world necessitates the study of some natural-anthropogenic complexes, among them cultural natural landscapes. The cultural and natural landscapes are constantly changing, primarily due to the changing forms and means of human activity; they require detailed study, consisting in the analysis of the conditions of their formation, defi nition of typological characteristics and formed types. This approach allows not only to systematize the cultural and natural landscapes at the regional level but also to determine their identity and prospects. The purpose of this article is the defi nition of typological characteristics and types of cultural and natural landscapes of Crimea, the analysis of their identity. The aim has defi ned the objectives of the study: to substantiate a comprehensive approach to the study of cultural and natural landscapes at the regional level; to identify typological features of cultural and natural landscapes; to create the characteristics of cultural and natural landscapes of Crimea. The theoretical and methodological basis of the research consists of analytical, comparatively historical and typological methods, and fi eld research are applied in the context of the specifi cs of an integrated approach developed in the article to the typology of cultural and natural landscapes of Crimea. The study has shown that cultural and natural landscapes are multi-functional in nature and, therefore, they can be attributed to multiple types at the same time. Different types of cultural and natural landscapes are distinguished on the territory of Crimea: recreation, historic, palace-park, tourist, garden, resort, sacred, scientifi c, educational, conservation, residential, as well as their various combinations, which suggest the high educational, tourist, economic, historic and recreational potential of Crimea. The importance of the typology of cultural and natural landscapes is, fi rst, of the necessity of their consideration in connection with the problems of preservation and use, and, second, of the need for subsequent landscape zoning of territories with the aim of identifying their individuality and developing a strategy for the conservation of the unique cultural and natural systems in the region, their use for cultural, economic and social development of Crimea.

99-104

Authors: Zolotukhin Vladimir Mikhaylovich, Loginova Galina Evgenyevna

The purpose of this article to analyze the concept of a hybrid war in modern political science and geopolitics. On this basis, to investigate its nature and essence in theoretical and philosophical aspect in the context of theories of activity and information society. Based on the analysis of existing approaches and defi nitions, the specifi city of hybrid war from the point of view of its infl uence on the social and cultural process within public entities and on a global scale. Attention is drawn to the peculiarities of its application in all spheres (military, technological, informational, etc.). Attention is focused on the fact that the theoretical foundation of the hybrid war is adequate to the new realities as its related components generated by the global terrorist threat, to refl ect new information and technological capabilities of our time in the socio-psychological, political and military activities. Moreover, it infl uences the formation and/or change of culture and its values within the framework of the confrontation of different ideological paradigms. Hybrid warfare involves all sorts of sanctions, subversive activities of special services and different technology to manipulate a population in enemy territory. To its elements and/or forms include Western technology velvet revolutions, Arab spring, etc., using, as a rule, socio-economic, political and socio-cultural contradictions to resolve the “unwanted” of state leaders. At the same time, are not considered what is happening in the national and public entities processes infl uencing socio-psychological climate, the change of values of coordinates and socio-cultural climate.

111-117

Authors: Rakhmatova Alisa Mukhamatovna

Culture of the 19th-20th centuries is transitional in the context of perception and creation of the image of man. The image of a person in various spheres of thought in a given era is represented by a non-integral one. This was largely promoted by works on culturology, philosophy and aesthetics in general. A striking example are the works of S. Freud, C. Jung devoted to the description of the human psyche from the point of view of its heterogeneity. N. Berdyaev notes the process of “the death of a holistic human image”, characteristic for the late 19th century. Thus, the topic of the non-integrity of the human image is vividly manifested in the literature relating to the poetics of modality (Broytman). The most representative for the expression of this topic are images of bodily objectifi cation. This type of images is manifested in the literary works of this poetics, as of the classical stage, and so non-classical stage. This article discusses the features of the works of F. Dostoyevsky’s “the Double”, which embodies the features of the transition to the non-classical stage of the poetics of modality. The texts relating to non-classical lyrics (Broytman) are also considered in the work. The bodily objectifi cation is characterized by features of the character’s axiological position. The body placed in the horizon of the character / lyric character, in certain cases, is objectifi ed by him, is assessed by him in opposition to another / other sphere / spheres of his being, which illustrates the non-integrity of the image of the character / lyric character.

126-131

Authors: Krasnikova Tatyana Nikolaevna

The article is on the Second Symphony for the Russian folk orchestra composed by G.V. Chernov. The Second Symphony is considered as a result of interaction of traditions and innovation in the fi eld of the symphonic genre, in the context of the composer’s creativity and even wider – of the heritage of the domestic professionals who worked in this fi eld. It is presented as a full-fl edged component of the contemporary orchestral repertoire, performed at the most prestigious concerts and festivals in Russia and abroad, as well as the historical fact and the result of collaboration of outstanding musicians in the Gnesins Russian Academy of Music. The content plane of the symphony is presented as the result of a unique synthesis of the philosophical attitude with lyrical revelations, images of nature with folklore. Great attention is paid to the expressive means. The article reveals specifi cations of the form, texture, dramatic art, composition that establish the concept of symphony style for the folk orchestra specifi cs of its interpretation. `the process of analysis reveals such features of the opus style as the alternative and variational development, vicinity to folklore sources, use of quotations, and attraction to the synthesis of forms. The emphasis is put on the principles of monothematic invention, symmetry, manifested at the level of morphogenesis and tonal cycle plan, thematic synthesis, diversity of polyphonic techniques, strokes and articulatory techniques, timbre citation. The mode and tonal arrangement of the work, based on an organic combination of tonal style with modality and polytonal episodes, is also described. The article also explains the excellence of orchestration manifested in the unexpected and fresh timbre interactions of instruments that enriched the musical score with new shades. Particular attention is paid to the experiments in the fi eld of orchestral coloristics, related to the discoveries in the fi eld of correlation of the Russian folk instruments with the symphony orchestra instruments. The timbre and textural variability is considered as the most important style indicator of the creative attitude of the composer and an integral part of the transformational poetics inherent to his creative method. The article is devoted to the anniversary of Gennady Chernov who is a bright representative of the cohort of domestic experts of the symphonic genre.

143-149

Authors: Breitburg Valeriya Vyacheslavovna

A musical in modern theatrical practice is widespread. On the one hand, it is a commercial genre, which is already at the beginning of the last century exerted serious impact not only on the genres of music, but the media and genres of academic art. On the other hand, the musical allows to acquaint viewers with well-known literary sources, stimulating interest in and attention to them by a tension of dramatic collisions, impulsive stage rhythm, cascade of feelings, recognizability of lyrical heroes. The modern genre of mass culture is based on the close coordination of singing (solo, ensemble, choral), choreography, costume and make-up, scenic design and stage effects, other components. Appearing at one of New York’s musical theatres in the late 19th century, the musical has proved itself fi rst as an entertainment genre. For decades, it was determined by its specifi city, helped by interest of musicians from different countries. In Russia, directors of dramatic and musical drama theatres have appealed to the genre of musical only in the second half of the 20th century. Currently, there are musicals for children. Some of them included in the Repertoire of children’s musical theatre of Natalya SATS (Moscow). The article fi rst introduces the successful existing on the theatrical stage of musical “Jane Eyre” by Kim Breitburg. The focus is on musical characteristics of the heroine. For the fi rst time it examines the musical means employed by composers to translate the master image of a musical. The article is about the geography of successful productions of the musical that allows to talk about the quality of the musical material of the proposed performers and spectators of the composer.

154-159

Authors: Fattakhova Leyla Rinatovna

Many liturgical traditions of the Siberian Old Believers are at the very initial stage of study. Meanwhile, this study gives us an opportunity to reveal the current state of the Old Believers culture, to determine the principles of culture variants formations depending on the foundations of exact Old Believers Hierarchy. This study is based on the analysis of Old Believers service, put down by the author in different communities of Belokrinitsa Hierarchy (offi cial name is Russian Orthodox Old Believers Church) in Kemerovo region. The main principles of Belokrinitsa Hierarchy (Novokuznetsk city) “napevka” formation are discussed in the paper. At the same time, the practice of “napevka” singing became commonly used among the Old Believers. Therefore, performance of liturgical chants in the way of “napevka” is a signifi cant component of the modern Old Believers liturgical practice. The repertoire of “napevka” singing includes various everyday prayers, but the leading genre is the irmos of the canons. Based on the analysis of individual hymns and their “hook” samples, it is found that the “napevka” melody is somewhat at variance with the book source, but these changes are of a systematic nature: they are aimed at a signifi cant reduction of all long chants and rhythm simplifi cation. Many hooks in “napevka” are performed inaccurately, nevertheless its melody repeats the melody of the handwritten version with some abbreviations (which somewhat simplifi es stylistics). Changes contribute to a more clear pronunciation of the text at a moving tempo, that is more typical for recitative forms of liturgical singing. All the chants were written by the author during the expedition work in the Kemerovo region and are given in the author’s transcript. The decryption of the “hook” samples also belongs to the author.

167-173

Authors: Samitov Dmitriy Gennadyevich

The article stages the formation and development of the drama theater “Long Wharf” in the Unites States of America. The theater was created as a cultural institution with the help of city authorities and local community and used as much of local forces as possible. New Haven is a small town not far from New York, whose main attraction is the famous Yale University. Taking into account the specifi cs of the audience of the university city, where professors and teachers, with their exquisite tastes, as well as the student audience predominate, the theatre defi ned its course as an artistic theater, with its repertoire of different styles and genres based on plays of high literary dignity, classical and new, mainly characters drama, which, exploring the conditions of a person’s life, his inner life, gives an opportunity for actors to show their skills. Gradually more famous actors and directors began to come to New Haven, attracted by the opportunity to play serious roles in a good performance, surrounded by a fi rst-class ensemble. Being a regional theater in New Haven, Long Wharf Theatre managed to become a well-known non-profi t theater in the country. Many performances were successful and were shown in New York on the stages of Broadway as well as off-Broadway theaters. Among the stars of the theatre one can name: Maurice Karnovsky, the creative and family union of Jessica Tandy and Hume Cronyn, Colleen Dewhurst, movie stars Al Pacino and Stacey Kitch. The theater carefully forms the repertoire, trying to refl ect all its diversity and keeps its fi delity to the original goals and tasks, showing on stage high works of scenic art. The article analyzes the peculiarities of the principles of the formation of the repertoire, the cast, organizational methods of planning, the formation of the audience, statistical data.

181-188

Authors: Dmitrieva Anastasiya Borisovna

Dostoevsky has never written a single work for the theater, but already in the XIX century his works began to be staged; novels, novellas and short stories provided the basis for dramas, operas and ballets. The stage directors frequently refer to the oeuvre of the writer during the late XIX-early XXI centuries, and the theatre artists help to embody the images of his works on stage. This study aims to identify the sketches of costumes, greasepaint, set design and staging in the Museum’s Decorative Materials Department and to see how the artist represents and embodies the Dostoevsky’s characters. We’ve selected the sketches from different periods, regions, artists and styles referring to the novels “The Idiot,” ”The Brothers Karamazov,” “The Insulted and Injured” and the novella “Uncle’s dream.” The article studies the creations of 20 artists who worked in 1920–1990s for the theater and the cinema. Quite often the artist conveys the nature of Dostoyevsky’s characters in costume and greasepaint sketches, combining the images of the actor and the hero. Not only the face but also the attitude and the charisma frequently express controversial and lively dispositions of literary characters. In their set designs, the artists do not simply reproduce the described landscapes and interiors but also create expressive images of locations and the atmosphere.

196-210

Authors: Arakelova Aleksandra Olegovna

The historical purpose is to massively teach children to different types of art through a long-term orderly educational process with a system for monitoring the quality of the education received by children. Since children’s art schools are the basis in the three-level system of art education and their functioning inevitably affects the whole system of training the creative personnel in this article are designated priorities for the further development of the entire network of art schools. The focus is on underestimation of children’s art schools as a social institution from their institutions, that is, municipal authorities. In the 1990s, children’s art schools began to perform the role of leisure institutions, the number of entrants in educational institutions of secondary and higher education in the cultural sector declined sharply, the quality of their education decreased, methodological and creative ties between educational institutions of the cultural sector of different levels of education were lost, a single educational space in branch of culture was violated. Despite the fact that over the past 5 years there have been a number of positive trends in the functioning of children’s art schools, in a number of regions the importance of children’s art schools as a social institution remains low, the children’s art schools continue to be fi nanced by the residual principle, the interaction of children’s art schools with the sectoral educational institutions secondary professional and higher education is often absent, and personnel or organizational decisions made by founders of children’s art schools In the case of children’s art schools, the pedagogical teams and parents of children are more likely to react negatively.

220-227

Authors: Paliley Aleksander Vasilyevich, Rozhkov Valentin Nikolaevich

This article examines the modern approaches to choice of control methods in the educational – cognitive activity of students at the Institute of Culture, Department of Choreography. It presents the fund of assessment tools that identify and match the educational achievements of planned results of training and requirements of educational programs, work programs, modules (disciplines). The role of the fund of assessment tools in the educational level of Department of Choreography is getting on the modern stage more and more urgent problem, since its functional quality is a signifi cant indicator of the educational potential of the faculty implementing the educational process in areas of training of specialists in the fi eld of choreographic art. In this regard, the clarifi cation of roles and forms of control methods, and their structural components used in the educational activities of the faculty, may be useful for use in the educational – cognitive activity of students. A control method in the educational activities in the fi eld of choreographic art was present during the operation of the Imperial ballet institutions in Russia of the 19th century. But the evaluation of the effectiveness of control systems, choice of control methods, defi nition of terms and concepts cause controversy and debate among teachers of choreography so far. The reason is that the structure and content of choreographic disciplines (modules) at the University at the present stage educational technologies, including the planning and evaluation of the quality of training of specialists focused primarily on the formation and achievement of stated learning outcome. In this case, it is necessary to establish matching between the planned and achieved learning outcomes. On this basis, we consider from the point of view of the relevance of the application of control methods as a monitoring and evaluation component in the educational process at the modern stage, which allows to systematically monitor, diagnose, and adjust the learning process in the fi eld of choreographic art.