The article covers the background of the La Boutique fantasque (The Magic Toyshop) created by the choreographer L.Massine and the composer O.Respighi. The performers of the ballet were Sergei Diaghilev’s Ballets Russes. The Russian impresario wanted to revive the one-act ballet by J.Bayer, Die Puppenfee (The Fairy Doll) as another musical and choreographic version. As a result, a restoration performance appeared based on the musical material by G.Rossini, a composer of the 19th century. There is a good reason for considering the ballet designed by A.Derain to be an example of musical and theatrical neoclassicism. Its immensely successful premiere was performed at the Alhambra Theatre in London on June 5, 1919. The objective of the article is to reconstruct how the international team, the composer, choreographer and artist, worked on the ballet. Exploring the musical material of «The Magic Toyshop», the authors of the study identified the works of G.Rossini included by O.Respighi in the score of the ballet, which determined the relevance and novelty of this research. The methodological framework for the article includes art research by Russian and foreign scholars, as well as musicians and choreographers’ letters and memoirs. 

The content of this article is dedicated to an urgent issue in contemporary musicology, which is to determine the specific impact of the works of the Russian Soviet composer school, Korfiyev, on the legacy of outstanding figures in Chinese academic music culture, especially the first Chinese composer, Wu Zuqian, who graduated from the Moscow Conservatory of Music. Taking his works from different genres as examples, it demonstrates his multifaceted and selective perception of M.I.’s creative experience. Clay, Kuchchkov, P.I. Tchaikovsky Prokofieva, N.I. Miyaskovsky, B.V. Asafieva, R.M. Gliera, S.N. Vasilenko. The scientific novelty of this article lies in the synthesis of research results on the specific forms of expression of Chinese authors’ acceptance of the traditional Russian Soviet composers. 

The author of the article turns to a relatively little-known chamber-instrumental work by B.Britten, dating back to the late period of his creativity. Rarely performed and largely underestimated by the public, the Third Cello Suite has not been spoiled by the attention of Russian and foreign musicologists. Meanwhile, the composition in question is unique not only in the creative heritage of the classic English music of the twentieth century, but also in world musical culture. Its uniqueness lies in the equal dialogue and organic fusion of elements of European and Russian music, as well as in the deeply personal embodiment of the theme of Farewell to Life. The work is permeated with numerous references, auto quotations, allusions, encrypted messages, a careful study of which helps to get closer to understanding the hidden author’s program. In addition, the Third Cello Suite can be seen as an important link in the development of along English tradition, dating back to the 18th century and clearly manifested in the Victorian era. We are talking about the special interest of the inhabitants of Foggy Albion in the Orthodox kontakion “With the Saints give rest” which over time became part of British funeral ceremonies and was even included in the English Hymnal. 

The article is the first attempt in Russian musicology to examine one of the most famous works of the Hungarian virtuoso clarinetist Béla Kovács “Dedications” from the position of intertextual approach. The peculiarities of the composer’s work with an “foreign” text are revealed, primary sources are identified, and the forms of their integration into the sound fabric of the nine concert etudes for solo clarinet are considered and systematized. Avoiding quotations from the works of the addressees of the dedications, B.Kovács adheres to the leading role of allusion and stylization. The preferred principle of work for the composer is “the principle of working according to a model” (I.C. Stognyi). The Hungarian composer demonstrates flexibility in switching from one language to another, applies a playful logic in the arrangement of the material, and displays a quality of irony. As a result of these features, connections of “own” and “foreign” are revealed: semantic, semiotic, genre, structural end figurative. The conscious use of recognizable segments of borrowed compositions acts as an important means of communication with the listener. The organic inclusion of the reflected vocabulary and the depth of the figurative and emotional content of the dedications allow us to consider them not only through the prism of the concert clarinet repertoire, but also as an original phenomenon in the intertextual musical space of the late 20th century.

The relevance of the article is due to the understanding of the importance of prompt musicological response to the creative experiences of modern composers, especially those of their region, which allows recording moments of current musical life and laying the foundations for research into certain composer styles, artistic trends, and analysis of individual works, taking into account the opinions of the masters themselves, critics, and journalists. However, a considerable number of problems hinder the appeal to modern music: a negative attitude toward experimental practices on the part of many participants in the cultural community, the inertia of the “classics” in the system of music education, mistrust of the names of littleknown composers and their «unhistoricity», the inaccessibility of sheet music and audio recordings, difficulties in establishing contacts with authors, a small amount of information, and the lack of skills in working with examples of modern art that require comprehension of individual concepts and artistic solutions. The history of the development of topics related to the study of contemporaries’ music is traced using the example of diploma theses by musicology students of the Novosibirsk Conservatory. It turns out that for along time, the works of Russian composers, including Siberian ones, have been in the field of research interest. It is concluded that receptivity and openness to multiple experiments taking place in the latest music, the desire to respond to the creative searches of modern authors corresponds to the metamodernist attitudes (oscillation, hyper-reflection, self-sufficiency of all cultural units and the multiplicity of their interpretations). 

The article is dedicated to the eminent Austro-Hungarian flutist, conductor, composer Franz Albert Doppler. During his lifetime, he received wide recognition in musical circles of the mid-19th century – he was the main flutist of the Hungarian National Theater and the Vienna Court Opera, taught at the Vienna Conservatory, and performed at prestigious concert venues throughout Europe. Despite the fact that a number of his compositions for flute are still very popular performing, the personality and work of this musician have not yet become the object of attention of Russian scientists. Based on the study foreign sources, in the article recreated the biography of F.Doppler, inscribed in the so-called “interior” of the era. Systematized the composer’s experiments of a talented flutist who left a rich legacy that significantly expanded the concert repertoire in the middle of the XIX century for flute, as well as demonstrating vivid achievements in the field of the musical theater. The introduction of the facts of F.Doppler’s life and career into the scientific use of unknown Russian-speaking audience will make it possible to complement the panorama of outstanding performers who have gone down in the history of world wind art. 

The article pays attention to one of the ritual Tuvan songs – the song-spell of the sheep “tege”, which was recorded by the author of the article in April 2024 during an expedition to Sumon Tsengel Bayan-Ulgian aimag of Mongolia, the place of residence of ethnic Tuvans. This chant-spell is performed when a sheep mother refuses to feed her newborn lamb or a stranger who was left without a mother, to adopt a cub, as well as to calm the sheep during milking. The author performs a musicological analysis of the melody, makes a comparison of the TuvanMongolian conspiracy with similar traditions among the Tuvinians of the Republic of Tyva and Buryats and, based on comparisons of these related ethnic groups with cultural and historical contacts, identifies similar features of timbre, fret, melodic and rhythmic organizations. 

The article is devoted to the emergence and development of professional compositional creativity in Krasnoyarsk and the specific features of its existence over the past two centuries. The focuses on those features of the musical life of Krasnoyarsk that created the prerequisites for the Krasnoyarsk authors to achieve high results, and above all – in choral genres, the activities of those musicians whose pedagogical, creative and social activities contributed to this are considered in detail. Discussing the ways of the formation of compositional creativity in the city on the Yenisei, the author places accents and gives his arguments in his own way, in some cases arguing with other authors who wrote on this topic, and also introduces facts, events and names into scientific use that previously turned out to be apart from the mainstream of local history research or were not at all they are known to the general community. 

The article is dedicated to the personality and work of the outstanding Chinese painter Gao Xiaohua, a representative of the “Sichuan group” of artists in the Southwest. He went down in the history of fine arts of the PRC in the late 1970s. as a “pioneer” of “scar painting”, uncompromisingly debunking the mistakes of the “Cultural Revolution”. Subsequently, he entered the galaxy of Chinese masters of the southwestern region, developing the direction of the “rustic realism” in his art work. Based on the study and systematization of disparate information concentrated in Chinese sources that have not been translated into Russian, this work reconstructs the main stages of the biography of the Gao Xiaohua through the prism of historical and political events of the era. The author analyzes the reasons for the change in creative style using the example of works of the Gao Xiaohua, demonstrating the process of nationalization of oil painting in the Chinese. The transformation of the style of Gao Xiaohua is shown to be a product of the historical development of Chinese fine art after 1978 and the manifestation of the subjective will of a master who promptly responds to social demands of time. The results of the study contribute to a deeper understanding of the social nature of the artistic strategy of Gao Xiaohua, help to expand the idea of the personality and work of the master who had a great influence on the development of modern Chinese painting. 

Article represent systematized analyze of the creative activity of the Ural’ jeweler and stone carver Vladimir N.Shitsalov – important personage of the decorative ART OF Sverdlovsk-Ekaterinburg of the end of the 20th century. Also are presented some results of the comparative studies of his education, creative methods and main aspects with the activities of the classical representatives of the Ural’ jeweler school. The article includes some conclusions about the specificity of Shitsalov’ artistic works. During the studies, were discovered, attributed and analyzed more than 150 pieces of art in different area of decorative art (stonecutting and jewelry works, design graphic), mostly conserved in the museums and privet collections of Ural. Is proposed consecutive retrospective of the evolution of the artistic approaches in the frames of main directions of the artistic activity: stonecutting pieces, jewelry work and interior decorative objects. 

German playwright Bertolt Brecht, being also a theater director, created his own theater system – “epic theater”. His main works were created taking into account the principles of this system, but the play “Drums in the Night” was written earlier and therefore does not fully correspond to his poetic and aesthetic concept. Nevertheless, the play became famous and in 2016 was staged at the Moscow Pushkin Theater by director Y.N. Butusov. The author examines the play “Drums in the Night” in the context of the “epic theater” system for the implementation of the main postulates of B.Brecht’s poetics, which has not yet entered the orbit of scientific attention of domestic researchers. As part of a comparative analysis, it was established that, despite the gravitation of the Russian theater school to the system of K.S. Stanislavsky, Y.N. Butusov created a performance that corresponds to Brechtian principles not only at the level of acting, but also at the level of directing, sound and artistic design of the performance.