The article first addresses the topic of the periodization of French organ music of the Baroque and the most important genre of the period under consideration – the French organ mass. A review of the special literature showed that the development of the national tradition consisted of several stages. The study found out that in the works of domestic and foreign musicologists various options for the periodization of organ music in France are presented. The systematization of information about the creation of the French organ mass made it possible to conclude that there were their own chronological boundaries for the development of the genre. Doubt is expressed in the opinion established by a number of researchers that in the second half of the 18th century the French organ mass began to degenerate into an organ suite. It is noted that over the specified period of time, the organ mass and suite coexisted simultaneously and could appear in the work of the same composer.

In this short article we would like to address a very important issue in performance, namely the performance of the chorale preludes. Should the connection between the spiritual text of the chorale and its treatment (a corresponding music piece) be manifested for the deepest spiritual interpretation of the latter?

The relevance of the study is determined by the fact that, unfortunately, the modern listeners and performers sometimes fail to see the relationship between the chorale treatment, the original melody and, most importantly, the text and meaning, which is the basis of the instrumental part.

That a chorale prelude performance may be combined with the singing of the chorale is shown by the concert practice of the famous organist and musicologist Albert Schweitzer. An analysis of Schweitzer's performance programs between 1928 and 1935 clearly demonstrates that organ chorale preludes were frequently performed by him side by side with a choir singing the corresponding chorale. In addition to the analysis of historical documents, which serves as the basis of the methodology of the paper, I would like to present some arguments for the need to preserve and develop such a performing practice.

This article examines the attitude to musical sound and to the organization of the creative process of creating the works of the Italian poet and composer of the XX century Giacinto Schelsi (1905–1988). The basis of the work was statements about the musical art of the author himself, originally recorded on magnetic tape, and entitled by him “Il Sogno 101” (“101 dreams”). These materials were originally partially printed in Italy in the form of excerpts in the magazine “Sounds, Waves”, organized by Isabella Shelsi, the composer's sister. The full version of the work was later published in two volumes in 1982 in the publishing house “Ice Words”.

For the first time in Russian musicology, the article provides translations of some fragments of author's texts by Giacinto Shelsi from the autobiography “Il Sogno 101”, the study of which can help Russian-speaking researchers of the composer's work to get closer to a more complete understanding of his personality and author's credo.

For the first time in Russian musicology, the article draws attention to the work of the modern Norwegian neofolk group “Wardruna”. The interest in research stems from the band members unusual approach to creating their own music and writing lyrics. The article analyzes the composition, its structural logic and the peculiarities of the ideological-figurative concept of the first of the five albums of the “Runaljod – Gap Var Ginnunga” ensemble, which opens the “Runaljod” trilogy, in order to discover the relationship with the cultural traditions of ancient Scandinavia and its mythology. The translation of the lyrics of 12 songs included in the album made it possible to analyze the artistic and content aspects of the album, to determine the meanings of the runes found in most numbers, and to determine the concept underlying the first part of the album. The “Runaljod” trilogy is the beginning of a new era, which comes thanks to the knowledge gained by people. According to the authors, “Runaljod – Gap Var Ginnunga” performs an exposition function within the framework of a trilogy that tells about the birth, existence and death of the world.

This article examines the musical themes of Concerto-symphony for cello, piano and orchestra by the Krasnoyarsk composer O. Meremkulov. Its musical material has a one constructive basis – the thematic complex “Pain” from the beginning of the first Concerto part. In later parts this complex is developing. Different types of expression are formed using tone, pitch, volume, tempo, rhythm, texture adjustment, horizontal and vertical combination of musical intervals, melody characteristics. Free metamorphosis of the based complex in Concerto-symphony parts form a line of development, that corresponds to conditional plot. Availability of principle of monothematism adds dynamism and integrity to the large composition.

The article is devoted to the study of the stylistic and performing features of the “Solo for oboe” by E. Denisov that is one of the most popular works in the contemporary performing practice of this wind instrument playing. In the article we have analyzed composer’s music stylistics that have reflected in the opus in question and that have manifested through appeal to the elements of the twelve-tone system, to the microchromatics and outofbar rhythm. For the first time we have characterized the new performing techniques that are widely represented on the “Solo for oboe”, we have defined their musical and dramaturgical role as well as their performing specificity. We have revealed the characteristic features of two interpretational versions of the work by E. Denisov. In the article we have produced the comparative analysis of the performances of this opus by German oboist C. Hommel and Portuguese musician J. Miguel. This makes it possible to set the sound specificity of the new playing techniques in each of the interpretations as well as to reveal the possible variants of the tempo and metro-rhythmic decisions of the “Solo for oboe”.

This article presents a study of the mechanisms of social destruction in cinematic art. With the help of a comprehensive analysis of various research approaches – philosophical, psychoanalytic, sociocultural, etc., the concept of “social destruction” was considered, its key characteristics were revealed and the relevance of the declared topic in modern scientific knowledge was justified. Based on the philosophical and art historical analysis developed by famous scientists of the Krasnoyarsk school of cultural studies and art history V.I. Zhukovsky and N.P. Koptseva, an analysis of two films by the American film director F.F. Coppola is presented: “The Godfather” and “Apocalypse Today”. According to the authors, these works are bright representatives of the culture of violence in modern cinema. Careful consideration of different levels of the artistic image of the selected works made it possible to conclude about different options for the work of the film mechanism of destruction.

In this article, the object of attention is an ethnographic expedition, which is defined by the author as a special creative method of artists of the Krasnoyarsk Territory. On the example of individual works by D.I. Karatanov, A.P. Lekachenko, V.I. Meshkova, A.A. Dovnar, V.F. Kapelko, the original approach of Krasnoyarsk painters to the image of the north is considered. A unique alloy of documentary drawing and fiction became the basis for the emergence of new possibilities for depicting the region and allowed the development of a regional art school. The work concludes that the basis of the analyzed creative method is not only the accurate transmission of ethnographic characteristics, but also the artist's personal attitude to the characters represented in the space of the artistic image. It is the author's personal experience and his subjective view that become key factors in identifying the specifics of the ethnographic expedition as the basis of regional art.

Modern design is a type of creative activity that forces us to revise many well-established rules, because the conditions of human interaction with the objective world and the surrounding reality are constantly changing. We notice this fact, in particular, in the growing complication of terminology, which prompts the search for a new typology of subjects. To update the typology the author of the article made an attempt to find historical analogs to an element of women's clothing called “shrug”. When comparing some forms of traditional women's costume, it became necessary to involve a number of ethnographic studies on the clothing of the indigenous peoples of Siberia. The author of this article cites one of the facts stated as an argument to substantiate the typological similarity of the subjects under consideration. Fashion design projects of the XX–XXI centuries, complementing the historical and typological range of forms that preceded the “shrug”, demonstrate, on the one hand, a certain continuity. On the other hand, the idea of the criteria for the typology of a garment is being updated, since the emphasis shifts from its formal qualities to the range of possibilities for combining various elements of a suit.

The article analyzes the process of formation and development in the Khabarovsk Territory during the Soviet period of the education system in the field of culture and art (secondary vocational, higher, additional). The author relies on the provisions of the institutional and sectoral approach to the study of culture and education. The characteristics of those institutional forms of education that in the period under review most actively participated in the training of regional personnel (cultural and educational school, music, theater and pedagogical college, Institute of Culture, pedagogical Institute, methodical office of cultural and educational work, lecture bureau, House of folk art, People's University, school of projectionists) are given. The considered institutes of education in the field of culture and art took an active part in the formation and development of the cultural and educational space of the Khabarovsk Territory, performing tasks for the development of the regional system of continuing professional education, for the preservation and development of the personnel potential of cultural and art institutions.

Chamber Ensemble and Accompaniment Training Department is a major division of the Dmitry Hvorostovsky Siberian State Academy of Arts. The Department was established in 1981. 40 years of activities make it necessary to review, analyze and summarize the professional accomplishments and experience that are presented in the paper. The aim is to reveal the in-depth motives of the Department team’s effective and fruitful work. It is professional ensemble music-making as such and also transfer of best educational practices from professors to students that make the most important source of creative work. Peculiar artistic and personal features of the Department’s team are openness and aspiration for polyvalent cooperation with colleagues from Academy departments, as well as colleagues from other universities, educational and musical institutions, Philharmonic Society, Opera House and Musical Theatre, members of artistic associations.

The article provides information about the II Viktor Tretyakov International Violin Competition, which was held in the city of Krasnoyarsk, the homeland of an outstanding musician of our time, from September 20 to October 1, 2021. Viktor Tretyakov not only gave his name to the competition, but became its President and Jury Chairman. The article indicates founders, participants, accompanists and organizers of the competition; it covers details of the competition program, which includes a specially written compulsory piece for the competition. The competition jury included famous violinists and conductors of our time. The competition program included not only auditions of the participants, but a creative meeting with Bruno Monsaingeon and screening of his film, as well as open masterclasses by the jury members. The role of volunteers accompanying the competition participants on an individual basis is emphasized separately. The information about the competition laureates, awards and special prizes is provided.

The art of porcelain in Russia has deep historical roots and the highest achievements, comparable to the glory of Russian ballet and painting on the world stage. Porcelain production was distributed throughout Russia, including vast territories of Siberia: Khaitinsky, Prokopyevsky, Zelenogorsky porcelain plants. In the 1990s, all the rich potential was destroyed. As a result, porcelain production disappears in Siberia. Educational institutions of the region focused on the graduation of specialists of this profile, unfortunately, did not have a production base for the consolidation of professional skills. Trying to solve this problem, since 2011, ceramic symposia have been held annually on the basis of the Department of Art Ceramics of the GII named after D. Hvorostovsky. Every year, the number of participants increases, students and teachers of the DHSH and DSHI, students of art areas of the Military District and the Law School of the East Siberian Region are involved in the educational and creative orbit, which contributes to the development of creative industries in Yenisei Siberia. The focus of the proposed article is the All-Russian Ceramic Symposium “Cosmos of the Artist”-2021, which gained state support this year thanks to the victory in the competition of projects of the Presidential Fund for Cultural Initiatives. The work provides an overview of the set of events of the symposium, implemented from October 14 to 28, 2021.

The article is devoted to the history of the International Project “Return of the Musical Heritage of Russia”, which has been operating since 2006 in the Russian Far East and in Japan. The concert programs of Far Eastern and Japanese musicians include instrumental and vocal music by Russian emigrant composers of the “first wave”: Medtner, Rachmaninov, Tcherepnin, Achron, Grechaninov, etc. The project aims to “return” to the academic space of Russia musical imagery, which was “lost” in the 20s of the twentieth century. It develops in four directions: music by N. Medtner, music by N. Tcherepnin, chamber music by expatriate composers and scientific and educational activities aimed not only at popularizing this music, but also with the study of its phenomenon. The promising direction of the project is "tied" to the dialogue of modern Russian musical reality and the cultural tradition of the countries of the Far Eastern region, in the formation of which representatives of Russian emigration participated.