This article presents a search for an answer to the question “what is art?” in the changed conditions of our time. The author does not aim to develop a modernized definition of such a polysemantic concept as art, but at the same time the relevance of rethinking and clarifying individual definitions is obvious. There are many objects and projects at modern exhibitions that position themselves as works of art cause a lot of controversy among viewers and critics. Finding markers that make it possible to separate genuine works from “various types of art” (Yu.M. Lotman) is a difficult and urgent task. Initially, the author examines the stages of formation of the “art” concept and its functions,  tested  by  time,  briefly  reveals  the  importance of  the  main  functions  (aesthetic,  cognitive-heuristic, communicative,  educational,  etc.).  Further,  it  is  noted that such fundamental criteria as aesthetic qualities and skill, the professionalism of the performance of a work in the XX–XXI centuries in many artistic practices have lost their significance. Almost any activity aimed at creating projects that do not carry a functional load has received the  right  to  be  called  art.  However,  art  is  a figurative assimilation  of  reality,  therefore,  using  new  materials and trying to saturate his creation with actual meanings, a modern artist will only remain in the field of art when his  work  has  deep  artistic  imagery.  In  the  traditional way of development of art, the sensual, aesthetic material for  creating  an  artistic  image  dominates,  in  postmodern trends – contexts and associations. In the conclusion, the need for the responsibility of art to society and society to art is emphasized.

The article provides a complete repertoire list of the outstanding singer and People’s Artist of Russia Dmitri  Hvorostovsky.  The  list  is  submitted  in  Russian musicology for the first time. The research is based on the analysis of various live recordings and CDs with works by the  famous  baritone.  The  vocal  heritage  is  represented by Russian (arias from operas, romances and song cycles by  Russian  composers,  folk  songs,  sacred  music),  WestEuropean  (arias  from  operas,  romances  and  song  cycles) and contemporary (songs by Soviet authors, wartime songs, the album ”Déjàvu“) music. Each section is preceded by a brief analytical summary regarding the place of the genre in  the  singer’s creative  activities  and  the  reasons  why he turns to it. The study contains quotations from books about the life and work of Dmitri Hvorostovsky published in recent years as well as videos and numerous interviews with ”Siberian Shalyapin“.

This article addresses a wide range of issues related  to  the  topic  of  continuity  in  music.  The  author of  the  work  on  the  example  of  piano  heritage  makes  an attempt to connect a number of multi-genre compositions of composers of different eras and styles, demonstrating unexpected, sometimes unique phenomena of the so-called “direct dialogue” far from each other periods in the history of world musical culture. This phenomenon – “memories of the future” or “vice versa” – seems extremely important for reflection, because it makes it possible to trace the origins of similar creative ideas and artistic discoveries in various aspects of composer writing, which, in turn, allows you to clarify the role and significance of a number of creative potentials and innovations of major figures in the history of music.

This article presents the work of the french composer  of  the  XX  century  Jacques  Ibert  for  the  flute. Closely  belonging  to  the  circle  of  composers  of  the  Six group, his works trace the features of urbanism. But at the same time, a feature of his work is the synthesis of different artistic  directions  of  the  first  half  of  the  twentieth century,  such  as  impressionism  and  neoclassicism.  The identification of this style feature of the composer’s work is the goal of the study. An example of such a combination of different directions is the Concert and Play for the flute. The study showed that the identified features of various directions  presented  in  Iber’s  work  constitute  a  single whole, an organic alloy, which is distinguished by a bright individual character, a unique style characteristic of the work of the french master.

The article is devoted to the peculiarities of  the  author’s  tintinnabuli  technique  of  the  modern Estonian composer Arvo Pärt, which is considered on the example  of  the  composition  “Tabula  rasa”.  The  authors draw  attention  to  the  title  of  the  work,  emphasizing  its metaphorical  meaning.  The  article  also  discusses  the theoretical  aspects  of  the  tintinnabuli  technique  based on the research of foreign scientists. In addition to the accepted  terms  Hauptstimme  and  Tintinnabuli-Stimme, the  author  introduces  the  theoretical  concept  “HauptTema”,  which  complements  the  analytical  terminological apparatus. The genesis of the tintinnabuli Pärta technique, which grows out of the traditions of bell ringing associated with  church  rituals,  is  noted.  The  structural  features  of the “Tabula rasa” are analyzed in detail, which are clearly confirmed in the table, as well as the implementation of the compositional principles of the Tintinabuli technique in each of the two parts. The importance of the timbre and dynamic components of the orchestral score is emphasized.

The paper presents a pioneer consideration of peculiarities of folk-based symphonic works created by Russian composers in the XIX century. These compositions reflect the epic world picture, and this is why the symphonic type embodying the musical contents of the works under discussion can be defined as the style of epic genre. The objective nature of the images determined by the themes performed  as  signs  of  “outer  reality”  and  manifestation of variety in unity are the most essential features of the epic world picture expressed in the music of the Russian composers. The paper deals with works of diverse genres with  similar  principles  of  musical  development,  formbuilding  and  musical  dramaturgy.  The  tradition  of  the symphonic  style  of  epic  genre  in  Russian  music  in  the XIX  century  was  evolving  dynamically  and  reached  its climax in 1860-s. Then a noticeable decline in composers’ interest towards this field of symphonic music occurred. At  the  same  time  certain  shift  of  accents  is  observed  in sub-genres  of  one-part  pieces  in  the  field  of  symphonic music described. Thus, overture genre that was apparently originally  dominant  is  gradually  displaced  by  the  genres having  greater  freedom  of  form-building  as  compared to  overture  (primarily  fantasy,  then  capriccio).Having played itself out by 1890-s the tradition of the symphonic style of epic genre is seen as growing into other areas of Russian symphonic music (symphonies, suites and musical pictures).

The  article  analyzes  for  the  first  time the  works  of  the  contemporary  Tomsk  composer  Valery Yermoshkin  about  the  cosmos.  Being  a  conductor  and arranger  for  the  main long-term  activity,  the  musician shows  the  gift  of  the  composer  in  instrumental  and theatrical music. The relevance of the article is connected with the recent anniversary date – the 60th anniversary of  the  first  human  flight  into  space.  Paradoxically,  this significant  event  for  humanity  has  not  yet  received  its musical embodiment. The article interprets the figurative content of the works, draws analogies of musical portraits of space heroes with the composer’s ideas about them. The author of the suites seeks to reveal the movements of their souls, as well as to convey the dreams of ordinary people. In the analyzed compositions of Valery Yermoshkin, there is  no  special  pathos  and  pathos,  at  the  same  time,  the suites intended for performance by the chamber orchestra have a stronger impression on the audience.

The  prerequisites  for  writing  the  article were the peculiarities of the existence and development of  theater  in  the  Arab  world  in  general  and  in  Palestine in particular. The purpose of the study is to identify the main problems, first of all, the scenography of the region and  identify  possible  vectors  for  solving  problems.  The review  of  the  situation  uses  methods  of  summarizing historical  data  on  the  recent  history  of  the  creation  of theater  companies  in  the  region  and  their  development on  the  example  of  the  existence  of  the  theater  “Days  of Theater” in the Gaza Strip (Palestine). The article analyzes the production of the play based on the traditional Arabic poetry “The Sun Stone, or the Phoenix” by the troupe of the  foundation.  The  main  modern  features  of  the  young Palestinian  theater  and  scenography  are  revealed.  The results and main conclusions mark the significance of the semantic image of the performance through the analysis of its individual parts. The set design, color structure, and musical  accompaniment  are  also  analyzed.  This  region very  rarely  falls  into  the  area  of  scientific  interest  of researchers  due  to  the  historical,  political  and  religious features of development. Therefore, any new aspect of the consideration of the problem is important and contributes to the further disclosure of the peculiarities of the culture of this region.

The  article  is  devoted  to  the  musical education activities of Western Christian church schools in  the  modern  history  of  China  (1840–1949).  In  recent decades, there has been a significant increase in research interest in the Chinese music education system, but little attention has been paid to the influence of church schools on its formation. However, today, in the system of musical education in China, Western classical music is experiencing a colossal flourishing and occupies a dominant position. For  the  Chinese,  the  first  introduction  to  Western  music culture and education was in church schools. The purpose of the article is to identify the role of the church school in the development of the Chinese music education system. In this article, using the historical method of research, the features of church schools and the content of their music education system are analyzed. The establishment of a  large number  of  church  schools  has  had  an  invaluable  impact on  the  development  of  the  modern  Chinese  educational system.  Drawing  attention  to  the  role  of  church  schools in the creation of the Chinese music education system can help to understand the original trends in the development of Chinese music education, fill one of the gaps in domestic ideas about the history of world music education.

This  article  provides  an  overview  of  the activities  of  the  Opera  Studio  of  the  Glinka  Novosibirsk State Conservatory. Characteristic features in the work of the Department of Musical Theatre are marked, as well as key figures with whose activities are connected with her work  and  significant  events.  The  creative  personality  of the honored artist of the Russian Federation, the former head  of  the  department  of  musical  theatre,  Professor E.I.  Titkova,  her  pedagogical  and  directing  principles during her work with the students-vocalists in the Opera Studio  is  described  in  a few  more  details.  The  author  – a former  student  of  the  vocal  faculty,  and  now  a senior lecturer  in  the  Department  of  Solo  Singing  –  outlines his  own  observations  and  through  the  prism  of  personal experience attempted to understand the educational and creative process in the historical aspect. The conclusions summarize  the  information  and  suggest  that  there  are general methodical and artistic trends in the development of the Opera Studio at the Department of Musical Theatre of the Glinka Novosibirsk State Conservatory.

The  article  is  devoted  to  the  analysis  of a special author’s project of the Department of Orchestral String  Instruments  the  Dmitry  Khvorostovsky  Siberian State  Academy  of  Arts  –  the  Krasnoyarsk  String  Creative School  (KSCS),  which  harmoniously  combines  high academic  traditions  and  the  latest  current  trends  in domestic professional education. Based on the local history material and based on the principle of historicism, the work examines the previous activities of the department, which became  the  foundation  for  the  birth  of  the  KSTH.  Using elements  of  systematic  and  culturological  approaches, the role, significance and prospects of this project, which received  the  status  of  a  Federal  Innovation  platform in  2021,  in  the  East  Siberian  region,  are  understood. The  integration  functions  of  KSTH  as  an  outpost  of  the string-bowed formation of Eastern Siberia are particularly emphasized.

The  article  examines  the  process  of forming  an  ethnographic  motive  at  works  of  fine  art  on example of “Osuohkai” by Evgeniy Porotov and Yulia Porotova. The research is based on the semiotic analysis of the fine arts language, which allows tracing the stages of the formation of a separate trope at an artwork and comparing the features of the ethnographic motive’s formation and formation of an imagery. There is not only a common ideological key, but also single signs coexist at the imagery and ethnographic motive. This work presents a comparison of their meanings. If for an artistic image universal human values have greater importance, then for signs of an ethnographic motive, the entire centuries-old experience of a certain culture is added to the universal one.

This  article  discusses  a  multi-level  set of  issues  of  technological  work  on  orchestral  score  in conducting  practice.  The  theoretical  analysis  of  the main  stages  is  carried  out  -  from  initial  acquaintance with  the  composition  and  analysis  of  its  aspects  to  the final  rehearsal  process,  the  practical  application  and professional  significance  of  the  various  methods  and approaches developed and successfully tested in practice during  the  preparatory  work  of  the  conductor  on  the orchestra score are comprehensively analyzed. The role of independent,  theoretical  and  practical  classes  that  play an important role in working with the score is determined, which  determine  the  further  rehearsal  process  with  the orchestra.

This  article  presents  observations  regarding  the  wind  instrument  Uhair-Bure  (Tib.  dunchen). The  uhair-bure  characteristic  contains  comprehensive information  on  the  method  of  its  manufacture,  design features and timbre specifics, scope of application, game techniques, symbolic meaning. Particular attention is paid to the consideration of this instrument in connection with the Buddhist mystery Tsam, captured in 1928 on film in the film of the domestic director Vsevolod Pudovkin “Descendant of Genghis Khan”.

This article highlights the main milestones of the creative biography of the outstanding virtuoso musician with a world name Susan Nigro, who opened a completely new page in the history of modern performance on counterfeit. Largely thanks to her, counterfeit received in the second half of the 20th century the honorary status of a solo instrument, for which today composers from different countries have written dozens of original multi-genre compositions  (concerts,  rhapsodies,  suites,  plays,  etc.). The study concludes that Susan Nigro made a significant contribution  to  the  popularization  of  solo  performance and the development of counterfeit art. It is assumed that the materials of this work will form a more complete idea of counterfeit and its role in modern musical practice.

This  article  is  devoted  to  illumination  of dynamic photo portrait technology. The problem is posed by  the  analysis  of  the  technique  for  performing  digital photography from the standpoint of the theory of quantum physics. The author of the work focuses on the function of the photographer as an observer and his influence on the  result  of  photofixation  of living  reality.  The  article tests  the  theory  of  a dynamic  portrait  in  transfer  to  the photography process. The author of the study understands four  main  ways  of  working  on  a dynamic  photo  portrait. The creative process of creating a dynamic photo portrait itself  is  considered  on  the  example  of  photography  of the  I  All-Russian  Forum  of  Brass  Art  “Yenisei  Fanfare” (Krasnoyarsk, December, 2020). The author also shows the possibilities of expanding the technique of dynamic photo portrait  through  experiments  with  the  phenomenon  of augmented reality through a QR code accompanying photo work.

The article is devoted to one of the largescale music forums in Siberia – the Spring Choir Chapels festival, which has traditionally been held in Krasnoyarsk since 1997. It examines the historical aspect of the emergence  of  the  project,  in  which  the  department  of  choral conducting  of  the  Dmitry  Hvorostovsky  Siberian  State Academy of Arts has taken on the main organizing role and continues to this day. The authors of the article provide an analysis of all the components of a full-scale event, which contains  important  artistic  attitudes  and  principles.  In their opinion, the revival and preservation of choral traditions in Siberia and Russia, the performance of large vocal, symphonic  and  choral  compositions  by large  combined ensembles,  the  introduction  of  the  children’s  audience to  choral  singing,  the  desire  to  improve  the  professional level of choral groups in Krasnoyarsk and the region, the establishment  of  creative  contacts  with  the leaders  of the choral movements in Russia and abroad are the most important fundamental aspects of the Krasnoyarsk festival movement. It is important to note that along with the concert performances of choral groups within the framework of the festival, a competition of choral conductors is held every  three  years,  scientific  and  practical  conferences, master  classes  and lectures  by leading  masters  of  choral art are held. The authors of the study note the importance of  the  choral  movement  in  the  development  of  Russian culture and, of course, the Spring Choir Chapels festival has formed  a steady  interest  in  choral  music  in  Krasnoyarsk and has given a new direction to the development of the musical culture of the Krasnoyarsk Territory.