On October 16, 2022, the entire musical world celebrated the 60th anniversary of the birth of the “golden Russian baritone”, the famous native of the Krasnoyarsk land Dmitry Hvorostovsky, whose departure is still impossible to accept. He was applauded by the best opera houses of all continents. His magical voice has conquered and continues to conquer millions of listeners from different countries.
Today, everything connected with the name of Dmitry Alexandrovich seems to be particularly important and valuable. In memory of the “Siberian Orpheus” and in honor of the 45th anniversary of the Siberian State Academy of Arts, now bearing the name of its illustrious graduate Dmitry Hvorostovsky, we publish in this issue of the journal a mini-series of materials. This materials of the city periodicals of the 1990s – early 2000s are difficult for the public to access.
The articles belong to the pen of musicologist, authoritative critic E. A. Vanyukova, who was lucky enough to become a living witness of the professional formation and flourishing of the singer’s mighty talent, to see the “birth of a star”. One of the first Elvira Anatolyevna appeared on the pages of the Krasnoyarsk press as a biographer, devoted admirer and apologist of Dmitry Hvorostovsky. She comprehended his role and significance for the musical world, revealing to readers the facets of the artist's unique tale

The premise for writing the article was the premiere of the opera “Ermak” by Alexander Tchaikovsky, which took place at the Krasnoyarsk Opera and Ballet Theater in 2019. The purpose of the study is to analyze the popular scenes and choral episodes of the opera and to identify their role in the dramaturgy of the composition. According to the author, the chorus in the opera of the Moscow master is presented in a diverse, bright, multifaceted way, its participation is always justified by the definitely expressed requirements of the plot, the program of stage action. The article examines in detail the choral scenes of the opera from the point of view of content, figurative structure and musical language. In addition, the author focuses on such issues as thematism, the principles of its development, thematic connections, harmony, harmony, structure, techniques of choral writing. The results of the study show that the chorus in the opera of the Moscow master is presented in a diverse, bright, multifaceted way. His participation is always justified by the explicit requirements of the plot, the program of the stage action. Drawing attention to this topic, which has not yet received coverage in the literature, will help to understand the original trends in the development of modern opera art and fill one of the gaps in Russian musicology about the composer’s work.

The study is devoted to the analysis of epigraphs for parts of the Concert for bayan and symphony orchestra O. Meremkulov. The author discusses the content of epigraphs, based on the semantics of the lexical units used in them, proposes their interpretation based on an appeal to the works of Russian philosophers, ancient beliefs of European peoples, Christian anthropology, traditional motives of European fine art of past centuries. It is noted that the use of universal symbols led to the introduction into the process of intonation deployment of elements of parable poetics that take the conditional musical plot beyond any chronological and geographical framework. The article also addresses how poetic lines preceding parts relate to musical thematism and its development. The observations made it possible to comprehend the role of epigraphs for the composer’s creative process and for listening perception.

In 2020, for the first time in Russia, by order of the “Insula Magica” Early Music Ensemble (Novosibirsk Philharmonic Society), the authors of this publication recreated the forerunner of the harpsichord, clavisimbalum. Research work was carried out on the study of information about the unsaved instrument, the analysis of single reconstructions made by a few European harpsichord makers. The reconstruction of the clavisimbalum was recognized as successful, this instrument is used to perform musical and educational programs, special projects on the history of Early Western European music. It’s appearance highlighted the initial stage of the formation of harpsichord music itself, added unexpected sound colors to existing ideas about the musical appearance of the era of the turn of the Middle Ages and Renaissance, enriched the palette of impressions of listeners – lovers of musical art and professional musicians.

In the article, for the first time in ethnomusicology, the phenomena of the intonation culture of the Khanty and Mansi (Ob-Ugrians) associated with reindeer breeding and hunting of these ethnoses are considered in a comprehensive manner. This work is based on materials collected by the author during expeditions to the north of Western Siberia from the late 1980s to the early 2000s. The signals of reindeer herders for managing the herd, invoking the elements (sun, rain and wind), onomatopoeia to animals and birds are analyzed. The types of reindeer herding commands are determined by two basic positions of the reindeer breeder (in front or behind the herd). Constant combinations of syllables with ascending and descending intonations (sounds as symbols) used by the shepherd in different situations are found. Invocations of the elements are carried out by voice (invoke of the sun and rain) and with the help of two types of phono-instruments, which had ritual and magical functions in the past time (invoke of wind). The vocal and instrumental imitations of the voices of hunting’ animals (bear, reindeer, elk) and birds (ducks, hazel grouse, black grouse, etc.), as well as onomatopoeia used in rituals and the musical sphere, are described. Signals, onomatopoeia, invokes created with the help of a phono-instrument or a human voice are an integral part of the sounding landscape of Ugra.

This article is devoted to the study of the phenomenon of musical culture of the Far Eastern region, which has developed as a result of the interaction of a number of socio-cultural factors of a local and all-Russian nature. The purpose of the work is to identify significant prerequisites for the formation of the work of the Far Eastern composer organization in the post-war period, from the mid‑1940s to the end of the 1950s. As a result of the study, a leading trend in the relationship of musical performance (the work of Far Eastern symphonic, choral groups of the radio committee, musical theaters, amateur performances) with composer creativity represented by various genre spheres was determined. The conclusions note that the assimilation of unique traditions and images of indigenous and resettling peoples in the works of local authors led to the formation of a special appearance and style specifics of Far Eastern music, to composer folklorism.

The article attempts to characterize the current state of the higher education system in the field of high-tech art of sound (hereinafter referred to as HTAS). At the same time, the emphasis is placed on existing problems, as well as possible ways to solve them are considered. Considering the history of the formation and prospects for the development of Russian electronic music and other areas of music, we can conclude that at the current stage our country cannot be considered among the world leaders in this field, either in technological or ideological aspects. And this state is not a temporary cyclical decline, quite natural for any evolutionary processes; it has long been a trend that will soon begin to have a negative impact not only on the development of the entire musical art, but also on many other cultural phenomena. This situation does not correspond to the special civilizational role of our country, its contribution to the world musical culture and, finally, the traditions in electroacoustic music that we had in the 1920s‑1960s. We conducted a study, as a result of which it was possible to determine both the real level and potential conditions for the development of high-tech sound art in Russia. All educational programs implemented by institutions of higher education in the 2021/22 academic year were analyzed. As a result, the author comes to the conclusion about the need to modernize the system of art education in the field under consideration.

The creative school implemented on the territory of the Krasnoyarsk is an example of a cultural and educational space for children gifted in the field of culture and art. The article reflects the stages of its organization, educational settings and event forms. The value of mentoring and tutor support for the formation of a healthy career guidance environment is revealed. The main purpose of the article is to record the experience of conducting an extraordinary largescale project. The task is to attract the attention of specialists in the field of culture to the new opportunities that the creative school opens up. The author’s experience in implanting the project in 2022 allows us to note his great career guidance resources. The regional creative school can successfully function as a career guidance platform, ensuring close interaction of systematic work in this direction is a concrete step in solving the problem of providing personnel for the culture industry.

The article is devoted to early examples of Siberian music journalism published in the government newspaper “Tobolsk Provincial Vedomosti” in the first, 1857 year of its publication. Three materials are introduced into scientific use: “Amateur” about a concert of local music lovers, N. S. Znamensky and an anonymous author about two concerts of the famous Dutch flutist A. Sovle, who is touring Siberia. In the course of their consideration, the content and genre aspects of correspondence are revealed. It is noted that the first two reviews of a laudatory nature do not contain critical elements, but record the repertoire and the names of performers. Special attention is paid to the third, extensive publication, which raises topical issues of the musical life of Tobolsk, issues of the social significance of the aesthetic functions of music, puts forward progressive ideas regarding the organization of a local musical society, the establishment of a system of concert performances, the development of music education. The assumption is put forward that the highly educated author of the review belongs to the Decembrist circle. It is argued that in such first publications of the provincial press, the foundations of the subsequent development of Siberian music-critical journalism were formed.

This article is devoted to the study of the religious search of V. P. Astafyev, reflected in the works of the writer of the late XX – early XXI centuries. The direct author's voice, so characteristic of the last Astafiev literary texts, gives reason to summarize the religious search of the writer, reflected in his work. The analysis of V. P. Astafyev’s religious search at the last stage of his creative work allows the author to conclude that the comprehension of life for the writer has always been inextricably linked with the categories that are fundamental in the Christian religion: creation, repentance, mercy, conscience. Having not fully accepted the Orthodox Church and religious rites, but feeling God through conscience, V. P. Astafyev turned out to be spiritually close to the true religious understanding of the world.

The article is devoted to the creative biography of the outstanding Chinese master of painting Ni Ide, whose personality has not yet become the object of attention of domestic art historians. Based on the study and systematization of disparate sources in Chinese, information about the artist’s creative path and his versatile activities are introduced into scientific use. It is noted that Ni Ide, having significantly expanded his horizons in the field of stylistic directions as part of his studies in Japan, showed his organizational talent in the country of the Rising Sun, creating an art society of compatriots. Subsequently, he was one of the initiators of the landmark in the history of art of China in the first half of the 20th century of the artistic commonwealth “Storm”. The results of the study show that Ni Ide was one of the brightest reformers of the art of the Celestial Empire, synthesizing the national style with the achievements of European fine culture.

This publication presents the transcript of the Round Table, which took place on October 19, 2022 as part of a set of anniversary events dedicated to the 45th anniversary of the Dmitry Hvorostovsky Siberian State Institute of Arts. During the discussion, issues related to the training system in the field of culture and art, with the peculiarities of interaction between the units of the creative education system were raised.