The article is devoted to the musical semiotics issues – one of the most relevant areas of modern music-theoretical science. Currently, a methodology for analyzing genre-style semantics has been thoroughly developed. The study of the semantic functions of compositional structures is at an early stage. Among the little studied musical forms in this regard is the oldest vocal form AA B, called, starting from the tradition of the German Meistersingers, where the terminology that has been preserved to this day was developed, die Barform or der Bar. In this article, it is denoted by a compositional Bar model. The structural and semantic functions of the song form Bar define binary-ternary relations. The article shows the symbolism of the first terms of a simple arithmetic series. Each of its elements is represented in this poetic- musical form by a certain compositional function. The first section of A-Stollen, which exposes the main idea, establishes the intonational basis of the stanza, symbolizes the “beginning of the beginning” - the number “1”. Further, the music embodies the binary principle. The number “2” is represented in two pairs. A pair of identical elements AA forms Aufgesang. A pair of different – represents the intonation comparison of Aufgesang AA and Abgesang B. There is a transition from periodic symmetry to asymmetry. The asymmetry is also expressed by the symbolism of the number “3” in the total number of parts in the pattern, as well as in the through three-vers structure of the stanza. The author of the article, taking into account the stylistic and structural metamorphoses of the AA B pattern, which runs through the thousand-year history of European musical culture, considers it as a generative model in the formation of typical forms of European professional music. In conclusion, the etymological and semiotic interpretation of the numerical symbolism of the compositional model is presented and its dynamic potencies in musical formation are emphasized.

Within the framework of the article, an attempt is made to consider some aesthetic and choreographic features of Belle dance in the French culture of the XVII century. The basis for the work was the book Betty Bang Mather “Dance of the French Baroque”, the content of which is still little known for domestic researchers. The authors consider the specifics of Belle dance in the interrelation of three aspects: poetic, musical and choreographic. As a result of this interaction, there are types of dance periods, types of dance figures. As well as the use of sections of musical and rhetorical disposition in the music and choreography of Belle dance. Attention is also paid to the importance of the king, the surintendant, the composer, the choreographer when creating the production of Belle dance. As musical examples, a fragment from Lully's opera “Perseus”, “La passacaille de Persée” and a fragment of Pecourt's production “La bourrée d'Achille” are used.

The article is devoted to the cycle “Sonatas and Interludes” for the prepared piano, the author of which is the American composer of the 20th century, the leader of the musical avant-garde John Cage. This piano cycle is rightfully considered one of his most famous compositions, embedded in a series of such world masterpieces as D. Shostakovich's “Preludes and Fugues”, P. Hindemith's “Ludus tonalis”, “20 views on the baby Jesus” O. Messian. Written under the impression of the works of Kumaraswamy Ananda, the cycle demonstrates the composer's deep immersion in Indian culture. Despite the performing popularity, this work has not yet received a comprehensive understanding in domestic musicology, which determines the relevance of the topic of research. The author of the work focuses on Sonata No. 3 as an example of the embodiment of the cultural and aesthetic principles of the Indian dance tradition, the patterns of which are determined in the structure, images, sound palette of the composition. As the study showed, the musical material of the sonata, its general sonor system is close to the ancient phenomenon of Indian music – the shruti system, originally reproduced by Cage thanks to the prepared piano.

This article is devoted to the study of poem by V. Shershenevich and cantata by Yu. Kasparov “The Angel of Catastrophes”. This cantata is the work of the famous Moscow composer, professor of the Moscow State Conservatory named P.I. Tchaikovsky. For the first time, the analysis of the image sphere of a musical work by Kasparov. The compositional features of the cantata and its primary source are noted. Fundamental differences are revealed in the interpretation of the text of aliterary work and a musical work by composer. Particular attention in the article is paid to certain stylistic patterns characteristic of the work of Yu. Kasparov. They most vividly reflect the current trends in the development of the modern musical language. If you study in the historical context of the poem, can be understood the semantic elements of a musical text. In the work of Yu. Kasparov, music is always closely associated with the word. It was this feature of the composer's creative method that attracted attention.

This article considers the work of the modern Norilsk composer V.I. Primak “The History of the Master”, dedicated to the work of an outstanding Siberian master, a native of Krasnoyarsk V.I. Surikov. The author's focus is the disclosure of the ideological and figurative content of the oratorio, the features of its composition and drama, the music of which embodied the composer's modern vision and understanding of the work of the brilliant artist, as well as the tragic events of Russian history through the prism of his famous paintings. The author of the work also dwells on the literary basis of the work, its extensive leitmotif system, solo and choral numbers, emphasizing the idea of V.I. Primak's desire to identify the spiritual beginning of the personality of V.I. Surikov, his deep connection, involvement with the Russian people.

The article reveals the processes of formation of the academic style on the saxophone and is devoted to the life and work of its main representative – the famous French saxophonist Marcel Muhl. Considerable attention is paid to various aspects of the musician: as a concert performer and popularizer of academic music for the saxophone, the founder and member of the quartet Quatuor de Saxophones de Paris, a teacher who brought up great musicians and followers of the academic saxophone style; a talented arranger and the creator of an extensive educational material, in which his main pedagogical principles are concentrated. For the first time, two sources that have not yet been translated into Russian are being put into scientific use: a book by a student of M. Muhl-Eugene Rousseau “Marcel Muhl: his life and the saxophone” (Rousseau E. “Marsel Mule: Sa vie et le saxophone”) and alarge interview by Marcel Muhl about the history of vibrato on saxophone (“History of the vibrato on saxophone”), based on the study of which the article presents previously little-known facts of M. Mull's biography related to his young years, the evolution of the academic style on the example of solo and ensemble music of the master, pedagogical activity. The study allows you to significantly expand the idea of the personality and activities of an outstanding musician of the 20th century. The authors came to the conclusion that to date, the further evolution of saxophone performance would have been impossible without the foundations that, thanks to his successful concert, educational and pedagogical activities, M. Muhl, and later his followers-students.

The article is devoted to the analysis of the development of the academic traditions of bowed string performance in Krasnoyarsk in the first decade of Soviet power through the prism of the system-forming phenomenon of the stage under consideration - the cultural activity of the first musical educational institution on the Yenisei, the People's Conservatory, which later became the Musical College. Methodologically, the article is based on the principle of historicism, elements of systemic, sociocultural and anthropological approaches are used, source study, descriptive, comparative historical and systemic analysis are selected as the leading methods. Based on archival materials and published research, the authors highlight the results of large-scale cultural Bolshevik construction in Krasnoyarsk, the first decade of the string department of the People's Conservatory (Music College), naming the names of musicians involved in the formation and development of local professional stringed and bowed education and performance. Specific examples demonstrate the role of personality in shaping the musical life of the province. According to the authors, the 1920s represent a special page in the history of stringed and bowed performance in Krasnoyarsk, where the professionalization of art becomes the main process, which unfolds in this locus mainly through the People's Conservatory, which became the largest creative (not only educational) center of the region during the specified period.

This article is devoted to the peculiarities of the functioning of the system of musical and educational institutions in Irkutsk during the Great Patriotic War. The analysis of positive and negative trends in this area was created on the basis of archive materials and eyewitness testimonies. The novelty of this article lies in the fact that the events, that are considered in this publication, have not yet become the objects of detail consideration in scientific publications. Meanwhile, the consideration of these events and the introduction of previously unknown facts into scientific use complements the biographies of famous musical figures of Irkutsk (V.F. Sukhinenko, G.E. Lane, L.N. Sementsova, L.P. Kholodilova and so on), as well as those who arrived here in evacuation (L.S. Gurov, V.N. Pronin, A.V. Abramovich). The material of the article can be useful to musicians, historians and people, which have interest to the history of Siberian culture.

The paper has presented the main stages of efficient regional organization of folklore gathering and popularization in order to form civic identity. It has also defined the genre structure and interference between folklore and round-folklore space. The narrative, historical, comparative methods as well as the space approach are used. Defining the main stages of multinational folklore gathering and popularization in the Krasnoyarsk Territory; detecting in the regional press new genres, images of wartime, folklore counter-space and interference between folklore and round-folklore space provide the science novelty of the paper. This interference, or mutual influence, was most effective concerning the tale about Zoya Kosmodem’yanskaya by E.I. Tchitchaeva, which became the core of folklore space in print. The author does not claim to be complete and exhaustive while setting forth the problem stated, denoting new perspectives in the study of multidimensional culture of the Krasnoyarsk Territory.

This article is based on a summary of the report read by the author at the Siberian State Institute of Arts named after V.I. D. Hvorostovsky at a methodological seminar on March 24, 2021 within the framework of the Krasnoyarsk String Art School and addressed to both young violinists and their mentors. Taking into account the wide resonance caused by it in the professional pedagogical community, proving the relevance of the problem under consideration and the outlined approaches to its solution, the material is presented in the form of an article, which allows you to record and replicate the results of the author's many years of methodological work. However, at the same time, an attempt is being made to remain in the field of dialogic genres, since violin (and not only) pedagogy is largely based on the art of communication. For the presentation of the material, the genre of conversation is chosen, the purpose of which is to attract the attention of the interlocutor and give a guiding thread, an idea that helps him find a way out of the labyrinth of technological problems and “difficulties”. This idea is stated in the title of the article: from constriction to freedom. Let us emphasize that this is not only about energy saving: the removal of unnecessary stresses opens the only possible way of realizing natural, unconstrained play movements, the result of which is immeasurably superior – both in artistic and technological terms - to constrained movements, built on the forceful overcoming of clamps.

The article is devoted to the study of ecphrasis in the story of A.S. Pushkin “The station inspector”. It is argued that today the study of ecphrasis is one of the most relevant areas of such sciences as philology and art history. The analysis of studies devoted to ecphrasis in Pushkin's creativity allows us to conclude that Pushkin often used ecphrasis in his texts in order to solve ideological and stylistic problems. It is proved that the analysis of the role of ekphrasis, presented in the story “The station inspector” by the description of four German pictures about the prodigal son, can lead the reader to the most adequate interpretation of Pushkin's ambiguous work. The author of the article offers a new view at the role of ecphrasis in the story. А comparative analysis of the story of the prodigal son depicted in the pictures is carried out with the story of the main heroine of the work and it is concluded that, having turned through ecphrasis to the gospel parable of the prodigal son, Pushkin in the work “The station inspector” gave his own version of this parable (in the text – the parable of the prodigal daughter), the most organic for Easter, Orthodox culture.

This paper analyzes the Theophany images in religious painting based on the Old Testament. According to the sacred text, the author distinguishes the anthropomorphic, angel images as well as the images of the elements. The anthropomorphic image of the God is based on the Bible story of Creation and on the vision of “the Ancient of Days”, described in the Book of Daniel. The angel image of the God draws upon the Book of Genesis (visit of three angels to Abraham). God represented by cloud, storm, fire appears in stories about Sodom and Gomorrah, the Burning Bush, the Exodus, the Tent of Meeting and others. The article offers some examples of works by Mickelangelo Buonarroti, Karl Brullov, John Martin and Marc Chagall, where the above-listed images are embodied.

The paper is devoted to the study of the creative approach of Valentin Serov when painting portraits of his parents – famous Russian musical figures in the 19th century. Though the heritage of the artist has been sufficiently studied, there is a need to broaden the knowledge of Serov’s portraits of the Russian composers. The article analyses the art and picturesque means of the creative method used by the artist. The phenomenon of individual working techniques and intense, meaningful, deep penetration into a particular image to create a “vital truth” portrait is considered. Portrait, theatrical and decorative art by Serov was always associated with the role of musical culture in the biography of the artist. Serov’s musical and artistic background influenced the characteristic style and composition solutions. The portraits of Alexander Serov and Valentina Serova were created in an unusual manner, without specific, personal cooperation, communication and feedback from the model. Only a few pencil drawings of Valentina Serova created a sense of the artist’s inner penetration into the image. There was an objective explanation of these reasons: his father’s portrait was painted from memory and he spent too little time with his mother who served music education in Russia.

This article presents the author's thoughts on the close relationship between science and art on the example of art ceramics as the most complex and amazing conglomerate of their components. “Four elements” - earth (clay), water, air, fire, which are the most important and integral components in the process of manufacturing any ceramic product, are analyzed in the work from different positions, knowledge of which is necessary for the specialist to successfully carry out his practical activities at all stages of production. Based on the analysis, the author concludes that art ceramics is a science elevated to the degree of art, and, at the same time, it is a unique type of art, absolutely impossible without deep knowledge in the field of physics, calloid chemistry (physicochemical mechanics of disperse systems) and biology.

The article presents information about the need to actualize the professional and creative process of forming the personality of the artist, the future head of the studio of decorative and applied creativity in the educational process of a creative university. A reflection on the pedagogical value of the knowledge of decorative, applied and folk art is given. The current situation does not contribute at all to the preservation, and in many cases, to the revival of practical artistic creativity, including the knowledge of folk art. With the development of digital technologies and their active participation in the educational process of a creative university, students began to develop a pattern of thinking, stereotypes imposed by Internet technologies are formed. The author identifies the tasks that need to be solved in the conditions of the educational process of a creative university.

The present paper addresses the results of the first All-Russia saxophone player camp “Baikal Sax”, which took place on the bank of lake Baikal in the village Bolshoe Goloustnoe from July 27, 2021 to August 3, 2021. Such events became habitual for capital musicians, but in Siberia there is no precedent for this. It was the first largescale project that exceeded the regional limits having gone beyond the central part of Russia and got the All-Russia status. “Baikal Sax” gathered alot of sax players from all quarters of Russia including representatives from Saint Petersburg, Moscow, Miass, Yekaterinburg, Slavgorod, Novosibirsk, Barnaul, Norilsk, Krasnoyarsk, Irkutsk, Neryungri. The purpose of the camp was making an interactive creative platform for training and productive leisure of professional saxophonists. The objectives of the project were improving Russian teaching techniques and uniting various regions of our country under the auspices of All-Russia Association of Saxophonists. Through analytic approach to the study of the new saxophone trend, the author has found out the main problems and prospects for professional saxophone school development, particularly in Siberia.