Vestnik KemGUKI

13-30

Authors: Pokrovskaya Nadezhda Nikolaevna, Dr of Art History, Professor, Professor of Department of the String Instruments, Novosibirsk State Glinka Conservatoire (Novosibirsk, Russian Federation). E-mail: arfa333@ yandex.ru

The article is devoted to the study of a little-known page in the history of the harp, which is its role in Baroque music. The stages in the evolution of the instrument from the end of 16th to the middle of 18th century were identified as a result of the study. The main trend of this period became the desire to overcome the diatonic structure of the harp, which prevented it from joining the process of radical changes in the musical culture of Europe. The masters of Spain, Italy, England and Germany went in different ways to the harp development of the chromatic scale, creating tools with original organological characteristics. They were chromatic one-, two- and three-row harps, diatonic two-row and hook instruments. They were used in those musical forms and genres that were characteristic of this country at this time. Based on the new qualities of these instruments, there were changes in the planting and staging of the hands of the players, in the texture of the works for the harp, which ultimately led to the development of the technical base of the game, to the emergence of virtuoso performers and to the creation of national harp schools.The creation of chromatic and hooked harps in the Baroque era and the repertoire for them by professional composers is the first step in the new history of the harp. In the early period of the European instrumental music creation the harp was in the main direction of the whole musical culture development.

39-49

Authors: Ismagilova Ekaterina Igorevna, PhD in Art History, Researcher of Sector of Folklore of the Siberian Ethnic Groups, Institute of Philology of the Siberian Branch of the Russian Academy of Sciences (Novosibirsk, Russian Federation). E-mail: zhimul@ngs.ru

Theory of the ethnos’ intonation culture in the modern domestic ethnomusicology is being one of the instruments for description and studies of the musical traditions of the indigenous people of Siberia.Intonation culture consists of the layers or strata, determined by the grammar feature. Researchers distinguish the homomorphic, heteromorphic, combinational, simulating and combinational-simulating types of the strata. The aim of this work is consideration of the Siberian Chuvash song tradition from the viewpoint of stratification by the musical style parameters in comparison with their known genre classification. Application of the system approach to intonation culture of the re-settled Chuvash ethnos demonstrates the novelty of this work. According to the existing methodology of the re-settlers’ folklore traditions studies, a comparison of the Siberian Chuvash genre content with the genre classification of the Chuvash folklore functioning in the Volga region was undertaken. The results of the comparative analysis indicate significant shortening the number of genre names and quantity of samples of calendar folklore recorded in Siberia; the family-ritual cycle is also reduced (the traditional Chuvash birth and burial rites). The non-timed genres are represented by the large number of samples, among which the guest songs, lyrical songs on various themes, Chuvash ditties. Besides the genres typical for the Chuvash folklore tradition, the Siberian Chuvash intonation culture includes the genres borrowed from the Russian traditional music: the songs of late tradition, Russian ditties, and folklorized Orthodox chants. As a result of analysis by the main musical style parameters, the six typologically different musical strata are distinguished and characterized. The genres typical for Chuvash music comprise heteromorphic stratum of the traditional Chuvash musical style, heteromorphic simulating stratum of the late lyrical songs, homomorphic stratum of the Chuvash ditties; the genres borrowed from the Russian musical culture are represented in the heteromorphic stratum of late tradition hybrid songs, homomorphic re-intonated stratum of the Russian ditties in the Chuvash language, heteromorphic re-intonated stratum of the folklorized chants.ethnos intonation culture, system methodology, Siberian Chuvash song folklore, borrowed genres.

58-65

Authors: Antipova Yuliya Vladimirovna, PhD in Art History, Associate Professor of Department of The Music History, Novosibirsk State Glinka Conservatoire (Novosibirsk, Russian Federation). E-mail: antikostin@ mail.ru

The article presents a brief history of the study of mass musical culture in Novosibirsk State Glinka Conservatoire from the 1970s to the present day. In the origins, it is connected with the scientific, pedagogical and educational activities of Vladimir Mikhailovich Kaluzhsky. Interest in so-called nonartificial genres in Novosibirsk Conservatoire had originated long before the emancipation of

72-78

Authors: Koroleva Anna Vladimirovna, Postgraduate, Department of Musical Education and Study, Institute of Music, Theatre and Choreography, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation). E-mail: Nussel89@mail.ru

Global changes in the development of social and scientific processes in the 20th century caused emergence of new trends and schools absolutely different in the art search from the previous eras in the history of musical art. Within the framework laid by vanguard features of a surrealism and radical abstraction of the musical image became characteristic for the musical Europe of the mid-century. In such a style development one of the key problems turned out to be the manifestation of the traditional genre possibilities. The genre as an art actuality (term by M. Bonfeld) is entering into certain interrelations and relations with the actuality of the real. The article presents the analysis of the rare in works combination of styles – music of vanguard and sacred texts – an example of which is the Requiem by composer György Ligeti of the western German vanguard. With the use of historical approach, it has been revealed that the Requiem takes a significant place not only in works of the composer, but also in the historical context of the post-war time. The author’s polyphonic equipment of composing and musical realization of the Latin text in the set program scope of work have been analyzed with the use of theoretical approach features. For deeper understanding the interrelations between musical material and the word, the Latin words’ lexemes have been designated. The article tells about the specificity of the “separation” of genre features in the Requiem and extraordinary, abstract embodiment of sacral images in relation to the conceptually significant emergence of the ancient genre in a given historical and musical context. The imagery contents of the Requiem have been shaped on the basis of the meaning of Latin lexemes. The study of similar examples reveals the possibilities of existence of sacral texts in the 20th century music and gives a new view on musical esthetics of the western vanguard.

83-93

Authors: Saygushkina Olga Pavlovna, PhD in Art History, Associate Professor, Professor of Department of General Course and Technique of Teaching Piano, St. Petersburg Rimsky-Korsakov State Conservatory (St. Petersburg, Russian Federation). E-mail: olgasaigush@mail.ru

The topicality of the paper is explained by necessity to acquaint the Russian reader with an outstanding French musician Pierre-Laurente Aimard. The aim of the article is to show various aspects of Aimard’s activity, his non-conventional approach to planning and performing the concert program (principle of collage assembly) and experiments with the format of concert organization and his contacts with people of art such as Olivier Messiaen, Yvonne Loriod, Gyorgy Kurtag, Pierre Boulez, Gyorgy Ligeti. Special attention is given to his interpretation of works by Ligeti and Debussy. Aimard was the first to perform the First and Second books of piano etudes by Gyorgy Ligeti. Нis interpretation of all three books of etudes is one of the most interesting and stylistically true. The analysis of the interpretation of Debussy’s Preludes was made under the impression of the concert performance of these pieces by Aimard in December 2017 at the Mariinsky Concert Hall in St. Petersburg. Interview script, digital resources, audio and video records have been studied and summarized with the help of complex and system approach and method of performing analysis of interpretation. A result, we see a comprehensive picture of various activities performed by Aimard; he was awarded a lot of prizes including the prizes of Grammy and Siemens. Aimard is giving a lot of piano concerts, he is the performer of classical and contemporary music who recorded many CDs. He is also orchestra conductor, organizer and participant of music festivals, teacher, author of the book about music performance, one of the main characters of a documentary

101-104

Authors: Loseva Svetlana Nikolaevna, PhD in Psychology, Associate Professor of Department of Music Education, Irkutsk State University (Irkutsk, Russian Federation). E-mail: Loseva@bk.ru

The article considers the concept of creativity of I. Vyshnegradsky. Describing the features of the study of the composer’s creative path, the author notes the basic fundamental feature of the concept of I. Vyshnegradsky as synesthetic. The article describes the first concert of the Festival of Quarter Tone Music as a phenomenal discovery in the musical life of Paris – a new phenomenon, avant-garde – connected with the name of Ivan Vyshnegradsky, the most consistent theorist, practitioner and popularizer of microchromatics, as well as the philosopher of music. The fundamental concept of the creative concept of I. Vyshnegradsky – “sound continuum” or “allsoundness” – is interconnected with the characteristics of sound pra-matter. The formation of the concept of “continuum” in the composer’s work is interconnected with a special feeling of mystical enlightenment, inner hearing of the space between sounds (and later of the sound space as a whole), which subsequently form the definition of quarter-tone technique. Characterized by the specificity of the interconnections of the microchromatic system of I. Vyshnegradsky, individually interpreted by him as programmability in music and theory of color ultramatism. These interfaces are interpreted as a kind of “technology” of decoding the meaning, concluded in musical work. I. Vyshnegradsky substantiates the microinterval concept of music, based on the overtone scale; the theory of “sputtering” the sound matter of music from speculative ideas about the structure of space. The article deals with the development of the project of the three-key microchromatic piano by I. Vyshnegradsky (where the middle keyboard was tuned to 1/3 of the tone above the lower one, and the upper one – to 2/3 of the tone). It is shown that the work of I. Vyshnegradsky is interconnected with a special feeling of mystical enlightenment, a special hearing of sounds.

109-121

Authors: Portnova Tatyana Vasilyevna, Dr of Art History, Professor of Choreographer’s Art Department, Institute of Slavic Culture, Department of Art History, Russian State University named after A.N. Kosygin (Moscow, Russian Federation). E-mail: infotatiana-p@mail.ru

The article is devoted to the interpretation of the dance theme in the work of famous French artist E. Degas (1834-1917) against the backdrop of the development of the Paris Opera’s ballet theater, which introduces new forms of dialogue and communication into the sphere of interaction of related arts. It is shown that the theme of the dance in the artist’s work was conventionally developed in two directions: academicism was more inclined towards showing dance classes, lessons and rehearsals, and romanticism was most often manifested in depicting the stage performances and was only occasionally seen in pictures fixing the production process for the birth of plays. It is established that the artist’s works, in spite of the general theme, solve various creative tasks that lie in the sphere of the Impressionist image method. In addition, they form an artistic consciousness that requires creativity, which develops search thinking in the image of the behind-the-scenes life of dancers. The interdisciplinary nature of the topic of the article focuses and aims to gain new knowledge about the visual images of performers, choreographers, the production process, rehearsals and performances in the ballet theater of the second half of the 19th century, as well as the technical equipment of the stage of the Paris Opera, decoration and stylistics of costumes. Based on the study of a number of works in museum collections, the author formulates the main dynamic characteristics of the created artistic images of the ballet and their unique identity.

127-135

Authors: Goryunova Elena Sergeevna, PhD in Pedagogy, Education and Methodology Specialist, Institute of Distance Education, Tomsk State University (Tomsk, Russian Federation). E-mail: gorunova@ido.tsu.ru Frantsuzskaya Evgeniya Olegovna, Sr Instructor, Research Center for Management and Technologies in Higher Education, Tomsk Polytechnic University (Tomsk, Russian Federation). E-mail: francuzskaya@tpu.ru Kulakovskaya Kseniya Valerievna, PhD in Philology, Associate Professor of Department of International Business Communication, Tomsk State University (Tomsk, Russian Federation). E-mail: evsevia@list.ru Andreeva Tatyana Leonidovna, PhD in Philology, Associate Professor of Department of International Business Communication, Tomsk State University (Tomsk, Russian Federation). E-mail: andreeva.tl2012@ mail.ru Sidorova Tatyana Borisovna, PhD in Pedagogy, Associate Professor of English Language Department, Far Eastern Federal University (Vladivostok, Russian Federation). E-mail: sidorova.tb@dvfu.ru

The paper describes the experience of the professional retraining program provision “Theory and practice in foreign languages teaching (English, French, Chinese, Japanese, Korean)” in Tomsk State University. The target audience for the retraining program was university teachers, delivering the discipline “Foreign language,” who are proficient in a foreign language and use it for academic and professional purposes. Their participation in the retraining program had been conditioned by the lack of appropriate qualification in theory and practice of teaching the foreign languages. The process of building the methodological skills of 30 teachers majoring in “Linguistics,” “Translation and translation studies,” “Regional Studies” and “International relations” is given in detail. The planned results for the program are stated in terms of competences and cover the professional skills to be acquired by the program participants. The authors indicate approaches to the training provision based on the performance level of the program participants, as well as the difficulties encountered in the implementation of such retraining programs. The contents of the program modules are designed to ensure building and enhancing the methodical competence of the program participants. The technological base of the program comprises such approaches as context-based teaching, case-study, individual teaching experience analysis, class observation and selfreflection. The paper lists the requirements for final qualification projects, challenges faced in their preparation and the results of the implementation of the developed teaching materials and lesson plans in real teaching. In conclusion, the analysis of the questionnaire survey data of the program participants conducted at the beginning and at the end of training is given. Prospects of further work on the program, some options of its modernization and development in response to the needs of the subjects of training are defined. The implemented research methods list the following ones: theoretical analysis, questionnaire and teaching and learning materials analysis, final qualification paper material analysis.

146-150

Authors: Tretyakov Andrey Leonidovich, Master of Library and Information Activities, Sr Intstructor, Department of Preschool Education, Moscow State Regional University (Moscow, Russian Federation). E-mail: altretyakov@list.ru

In an era of global change, special attention is always paid to the economic prosperity of the state, development of socio-cultural practices and formation of the personality of the new type. Education as a significant segment of the state’s economic growth is always the most important element in the formation of high GDP, construction of new scientific and practical agreements on joint activities with states, etc. In this regard, the goal of the article was defined, which is to identify innovative trends and directions for training the experts in education at the pedagogical university of the 21st century as the foundation and development of the pedagogical corps of the Russian Federation on the basis of a study among students in the Master program “Expertise in Education”. In addition, a detailed analysis of the Decree of the President of Russia “On national goals and strategic tasks of the development of the Russian Federation for the period until 2024” is given in terms of the formation of human capital in training the highly qualified pedagogical staff as experts in the field of education. The functions of expertise in education as a phenomenon of pedagogical theoretical and educational practice are described. Particular attention is paid to the training of personnel in the modern innovative pedagogical university as the flagship of building educational architecture of the Third Millennium. The key points of expertise in the field of education are described in detail. The socio-economic necessity of developing the innovative master’s program is indicated, within the framework of which training the experts in education, ready to a rapidly changing environment and capable of projecting their professional activities to various subjects of the external environment to be carried out.

156-161

Authors: Paliley Aleksandr Vasilyevich, PhD in Pedagogy, Associate Professor, Professor at the Department of Choreographic Art, Dean of the Faculty of Choreography, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: palileyav@mail.ru Melentyeva Lyudmila Dmitrievna, Associate Professor at the Department of Classical and Modern Choreography, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: aplomb55@ mail.ru

Modernization of the educational system of training the students-choreographers at the universities of culture in the field of classical dance today is one of the priority areas for training the specialists for cultural institutions, secondary educational institutions of culture, centers of additional education. The problem of improving the educational system is its integration of educational, scientific and practical activities, the ability of a university graduate to navigate in unusual situations, which is important for a young specialist. The choreographer in the field of classical dance should be able to form and apply the knowledge and skills acquired during the period of study at the university, and design them for their professional activities. The training of the student should be carried out in the direct relationship of the pedagogical, historical cycles with the professional, which includes specialized and general development of humanitarian disciplines. The major disciplines in choreography were formed and developed historically, gradually. The relationship of all educational cycles will help the graduate to successfully solve professional problems. According to the federal educational standards, higher education institutions of culture do not train teachers for certain types of dance: classical, folk-stage, modern (jazz, modern, ballroom dance). Classical dance, as a discipline, is one of the fundamental in the preparation of choreographers at the university of culture, which is a stimulus for continuous physical development and professional growth.

168-175

Authors: Blagojevic Nenad, Dr of Philological Sciences, Assistant at Department of the Russian Language and Literature of the Faculty of Philosophy, University of Nis (Nis, Republic of Serbia). E-mail: nenad.blagojevic@ filfak.ni.ac.rs Ilic Velimir, Dr of Philological Sciences, Associate Professor at Department of the Russian Language and Literature of the Faculty of Philosophy, University of Nis (Nis, Republic of Serbia). E-mail: velimir.ilic@ filfak.ni.ac.rs Trapeznikova Olga Aleksandrovna, PhD in Philology, Sr Instructor, Kemerovo State Institute of Culture (Kemerovo, Russian Federation), Russian Language Lector at the Faculty of Philosophy of the University of Nis (Nis, Republic of Serbia). E-mail: trapeznikova-olg@mail.ru

This article examines the experience of Department of the Russian Language and Literature of the Faculty of Philosophy in Nis (Serbia) in application of motion pictures as an auxiliary didactic material in education of philologists. The film screenings are understood as extra-curricular activities of students, which allow usage of all advantages of such approach without negative effect on amount of lessons planned in the training program. The film screenings are presented in the article as a passive phase of work with students, after which an active phase of work takes place, during the course of exercise classes on conversational practice, literature and culture. The article gives recommendations on understanding the methodology of film application in teaching the Russian language, literature and culture. A separate topic in the article were problems with motivation in learning Russian in other educational institutions, film screenings are visited not only by students of the Department but also by pupils of primary and secondary schools of the city of Nis and other audience. All of them in the course of projection are attached to Russian culture and language, while teachers, following the recommendations of the authors of this article, are preparing the thematic lessons of the Russian language. Thus, film screenings turn into multilevel work on increasing the motivation, speeding up the learning process, expanding the knowledge and popularization of the Russian language and culture in Serbia. Such effect and level of public interest is achieved, among other things, by creation of film subtitles, since the Serbian audience is accustomed to watching movies with such type of translation. Avoidance of duplication in the translation of films plays an extremely positive role in teaching the language, as evidenced by some aspects of work with students in the active phase of film application.

182-187

Authors: Krasilnikova Oksana Sergeevna, Sr Instructor, Kemerovo State University; Applicant of Department of Culturology, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: oks-vulf@ yandex.ru

Intercultural communication presented in different migration forms, missionary work, trade, conquests, diplomacy, wars. These forms are fixed on confrontation between the “Native” and “Strange”. The opposition “Native” and “Strange” is universal and constant in the sphere of human existence. A “strange” image becomes intense in a military conflict. Patriotic War of 1812 preserved in Russian culture in various sources memoirs of the nobility and stories of ordinary people. The main data for the study of “strange” image were stories of eyewitness of 1812 collected in the 19th century by Tatiana Tolacheva. The materials are stored in the Russian State Library. We analyzed the attitude of ordinary people during the war of 1812 to the enemy. We paid attention to the problem of “strange” in intercultural communication, noted different points of view, pointed out the relevance of this question and problems. An analysis of documents defined contradictory attitude to “strange” and to enemy. These stories of eyewitnesses about the Patriotic War of 1812 helped form image of “strange” in the Russian culture of the 19th century. We are to use this information for lectures on history of Russia, culturology and intercultural communication. The Patriotic War of 1812 actualized a dialogue between French and Russian cultures and creates new image of the French in Russian culture of the 19th century. The conclusion presented different theoretical opinions about problems of “strange” in the intercultural communication. The experience of understanding the image of the “Strange” in the Russian culture of the 19th century helps analyze the dynamics of interaction between the Russian and French cultures. In theoretical interpretation the article presents the fundamental problem of culturologic studies of the opposition “Native” and “Strange”.

196-203

Authors: Ishutina Yuliya Aleksandrovna, PhD in Culturology, Associate Professor, Chinese Department Chair of the Oriental Institute, School of Regional and International Researches, Far Eastern Federal University (Vladivostok, Russian Federation) E-mail: ishutina.yua@dvfu.ru

The article deals with the specificity of family education in China, Taiwan and the United States. The phenomenon of the “modal personality” is an average type characteristic of the largest number of adult members of society, which accepts it as the norm. Chinese parents, regardless of their country of residence, whether they are mainland Chinese, island Chinese or emigrants, are able to adhere to the Confucian model of behavior in upbringing the children, which indicates that they define their ethnic identity as Chinese. At the same time, the choice of a national identity is in the field of a constructed imaginary community and is conditioned by the social environment and political system of the country in which they live. In the case of the Chinese culture, which is basic for both, the inhabitants of mainland China and island Taiwan, the norm is to follow the Confucian regulations, updated to modern conditions. However, the system of education in Taiwanese society reveals new tendencies to manifest itself as a part of a multicultural space, and, at the same time, to demonstrate its own originality within localization of the global culture. In addition, it does not imply the possibility of discussing the rights of the child as a person, suppressing the conflict of interests at the root and orienting towards the achievement of a goal that is seen as a common good for all participants in the educational process. In addition, the attractiveness of the Confucian model lies in the fact that over time the grown-up child turns out to be older with respect to the younger generation, and acquires the rights of the senior regulating relationship. The ultimate goal of Confucian education is to achieve a purely pragmatic benefit: education, strengthening the material base and family prosperity.

213-219

Authors: Makarova Nina Ilyinichna, PhD in Culturology, Associate Professor of Department of Philosophy and Humanities, Novosibirsk State University of Economics and Management (Novosibirsk, Russian Federation). E-mail: siberianalchemy@gmail.com

The symbolism of water played a significant role in the organization of Royal entry festival in France in the Renaissance. The festival introduced the city population to the new monarch and symbolically shaped the power relations between the ruler and the city. The ruler, visiting the city after his or her inauguration, confirmed the traditional privileges of the inhabitants. The city, in turn, took the king as its “Signor,” expressing its loyalty to the monarch. In the early Renaissance period, water symbolized to a large extent the sacred nature of sovereignhood, demonstrating the power of the monarch to “pacify” water, as well as transform the city into a blooming garden and to turn water into wine. Since the reign of Francis I, almost every Royal entry festival included maritime motifs, interest in which was primarily associated with the Age of Discovery, overseas exploration and the idea of creating an Empire. By the middle of the 16th century, the idea of monarch power over the natural element was still in force. However, the motives of sea travel and water battles came gradually to the fore in the organization of the Royal entry festival. The theme of the Roman Imperial triumph began to prevail over the religious imagery characteristic of the earlier period, and the ancient deities replaced to a large extent the biblical characters. The antique iconography at that time reflected also the growing importance of the humanist elite, which emphasized not only military power but also sciences, arts and law in the creation of a strong centralized state.

230-237

Authors: Pronina Svetlana Andreevna, Instructor, Department of Musem Sciences, Kemerovo State University of Culture (Kemerovo, Russian Federaition). E-mail: swetlanapro@yandex.ru

Proceeding from the fact that the composition of ethnographic museums is not uniformed, the proposed article considers the various methods used to muse the objectification, different ways of their actualization, and the division of this group of museums into types for certain reasons. The author in his work divides ethnographic museums in the open air of Siberia according to the dominant type and considers the ways of museumification of heritage objects. To define the boundaries of the “open-air-museum” concept, it is necessary to identify the criteria on the basis of which the museum can be attributed to this type. These are the types of object of historical and cultural heritage preserved in the museum, number of stored objects, way they are included in the museum environment, and presence of the exhibition created on the basis of these objects. The author, based on the dominant feature of the preserved historical and cultural heritage, relying on existing classifications in museum science, distinguishes the following classification of open-air museums: environmental, skansen and ecomuseum. An average museum, whose activities are aimed at the museumification of the historical, cultural and natural environment with all movable, immovable and intangible objects. In such a museum as the Skansen, the historical and cultural environment is modeled at the expense of fresh objects, and in ecomuseums the environment is preserved in development by the efforts of residents and objects of historical and cultural heritage are used on an initial basis. This classification allowed the distribution of existing ethnographic museums in the open air of Siberia, according to this classification and highlight the dominant type of preservation of historical and cultural heritage in these museums.