Abstract: The focus of this study is intertextuality within a scientific context, specifically examining a broad range of scientific works that explore intertextuality in the broader context of fiction as a whole. The relevance of this issue is determined by its ability to help estimate the scientific status of this category. The author delves into the study of intertextuality in the humanities, exploring the fundamental principles of this category as formulated in the works of A. Veselovsky, Yu.Tynyanov, Yu. Kristeva, M. Bakhtin, H. Bloom, and others. The author uses general scientific research methods within a comparative and logical analysis, including observation, generalization, and comparison. The research is comprehensive, interdisciplinary, and based on the analytical method. The author comes to the conclusion that intertextuality as an artistic category is thoroughly studied in scientific works. Despite the variety of interpretations of this category, in the scientific field, it appears as a particular mechanism that represents a scientific text as a system operating according to specific laws and acting as a theoretical and practical basis for the modern methodology of musicology as a science, revealing the content of a composer’s canvas and its connection with the cultural texts of previous epochs.  

Abstract: This study researches the editing form in a piece of music. The research subject is the music of late 20th-century Russian composers. The purpose of the article is to denote the appearance of a particular form that hasn’t been noticed in music before—an editing form—in the works of late 20th-century Russian composers and to describe its specificity. To achieve this goal, the author refers to the key provisions of V. Bobrovsky’s concept about the “compositional ellipsis,” which in its turn is based on B. Asafiev’s understanding of the process of music form-making as the switching of the functions of the associates of the “i-m-t” formula. The author uses theoretical and analytical research methods and general scientific methods within the comparative and logical analysis, including observation, generalization, and comparison, and arrives at the following conclusions: The editing method is a universal means of constructing an artistic composition space in late twentieth-century Russian musical art. In many respects, it was promoted by the spiritual and intellectual environment of the time with its striving for eclecticism, multilayered complexity, and polarity. The analysis helps identify the peculiarities of a piece of music’s editing form—a high degree of disintegration of thematic material, sudden switching of genre and thematic lines, patchiness, and the polythematic character of structures. The research’s scientific novelty lies in the author being the first to use the principle of “compositional ellipsis” (authored by V. Bobrovsky) as a fundamental principle of editing form-making, which extends the spectrum of objective scientific interpretation of music compositions.


 

Abstract: The object of this research is editing as an artistic phenomenon in the Russian musical culture of the late XX century. The subject of this research is works of the prominent Russian composer Sergei Mikhailovich Slonimsky. Analysis of musical texts of the composer demonstrated that editing manifests as the paramount method of creating an artistic space of his oeuvres. The main principle for this this research served the principle of historicism as one of the fundamental within national musicology, where an artistic phenomenon is viewed in unity of realization of the traditions and trends of modernity. The author comes to the conclusion that in the works of S. Slonimsky editing first and foremost is a unique principle of realization of the artistic plot, providing exclusive freedom to the composer, exposing all achievements of musical art, allowing to actively work with different cultural codes and freely transform them and reproduce most bold and artistically significant philosophical ideas. The scientific novelty consists in determination of specificity of functionality of the system of expressive means of S. Slonimsky in the context of editing. In the course of research, the author also formulated a number of questions requiring further scientific analysis and new research interpretation.

Abstract: This study researches the editing form in a piece of music. The research subject is the music of late 20th-century Russian composers. The purpose of the article is to denote the appearance of a particular form that hasn’t been noticed in music before—an editing form—in the works of late 20th-century Russian composers and to describe its specificity. To achieve this goal, the author refers to the key provisions of V. Bobrovsky’s concept about the “compositional ellipsis,” which in its turn is based on B. Asafiev’s understanding of the process of music form-making as the switching of the functions of the associates of the “i-m-t” formula. The author uses theoretical and analytical research methods and general scientific methods within the comparative and logical analysis, including observation, generalization, and comparison, and arrives at the following conclusions: The editing method is a universal means of constructing an artistic composition space in late twentieth-century Russian musical art. In many respects, it was promoted by the spiritual and intellectual environment of the time with its striving for eclecticism, multilayered complexity, and polarity. The analysis helps identify the peculiarities of a piece of music’s editing form—a high degree of disintegration of thematic material, sudden switching of genre and thematic lines, patchiness, and the polythematic character of structures. The research’s scientific novelty lies in the author being the first to use the principle of “compositional ellipsis” (authored by V. Bobrovsky) as a fundamental principle of editing form-making, which extends the spectrum of objective scientific interpretation of music compositions.


 

Abstract: This study researches the editing form in a piece of music. The research subject is the music of late 20th-century Russian composers. The purpose of the article is to denote the appearance of a particular form that hasn’t been noticed in music before—an editing form—in the works of late 20th-century Russian composers and to describe its specificity. To achieve this goal, the author refers to the key provisions of V. Bobrovsky’s concept about the “compositional ellipsis,” which in its turn is based on B. Asafiev’s understanding of the process of music form-making as the switching of the functions of the associates of the “i-m-t” formula. The author uses theoretical and analytical research methods and general scientific methods within the comparative and logical analysis, including observation, generalization, and comparison, and arrives at the following conclusions: The editing method is a universal means of constructing an artistic composition space in late twentieth-century Russian musical art. In many respects, it was promoted by the spiritual and intellectual environment of the time with its striving for eclecticism, multilayered complexity, and polarity. The analysis helps identify the peculiarities of a piece of music’s editing form—a high degree of disintegration of thematic material, sudden switching of genre and thematic lines, patchiness, and the polythematic character of structures. The research’s scientific novelty lies in the author being the first to use the principle of “compositional ellipsis” (authored by V. Bobrovsky) as a fundamental principle of editing form-making, which extends the spectrum of objective scientific interpretation of music compositions.


 

Abstract: The relevance of the chosen topic is substantiated by insufficient study of this problematic within Russian musical culture of the late XX century in the Russian-language scientific literature. The object of this research is the artistic space and time of a musical composition. The author examines meaning of the categories of space and time and their existing philosophical concepts. The subject of this research is music of the Russian composers of the second half of the XX century. The work leans on the analytical method and carries a systemic cross-disciplinary character. The scientific novelty consists in suggesting of M. Bakhtin’s theory as a methodological framework for space and time analysis in a musical composition of that period that was further advanced by the art historical V. Chaikovskaya. As a conclusion, the author systematizes and generalizes the key ideas pertaining to the historical-social context of the indicated period, as well as harmoniousness of the art concept of V. Chaikovskaya to the musical texts of compositions, which reveals its peculiar polychronotopic space and time structure.

Abstract: The focus of this study is intertextuality within a scientific context, specifically examining a broad range of scientific works that explore intertextuality in the broader context of fiction as a whole. The relevance of this issue is determined by its ability to help estimate the scientific status of this category. The author delves into the study of intertextuality in the humanities, exploring the fundamental principles of this category as formulated in the works of A. Veselovsky, Yu.Tynyanov, Yu. Kristeva, M. Bakhtin, H. Bloom, and others. The author uses general scientific research methods within a comparative and logical analysis, including observation, generalization, and comparison. The research is comprehensive, interdisciplinary, and based on the analytical method. The author comes to the conclusion that intertextuality as an artistic category is thoroughly studied in scientific works. Despite the variety of interpretations of this category, in the scientific field, it appears as a particular mechanism that represents a scientific text as a system operating according to specific laws and acting as a theoretical and practical basis for the modern methodology of musicology as a science, revealing the content of a composer’s canvas and its connection with the cultural texts of previous epochs.  

Abstract: The subject of this research is the works of the prominent national composer Alfred Schnittke. The analysis of musical compositions demonstrated that one of the dominant technique of their thematic development consists in the intonation and genre montage, and dramaturgy is structured as a peculiar intertwinement of imagery-thematic lines, each of which is formed as an assemblage of themes referred to the same genre. The main principle for this research served the principle of historicism as one of the fundamental within national musicology, which views an artistic phenomenon in unity of transformation of traditions and modern trends. The scientific novelty consists in determination of the leading principle of musical compositions of A. Schnittke – the principle of “generalization through the genre”, presented as an intonation and genre montage. In conclusions formulated in the article, the author summarizes and systematizes the results of study: combining different genres in a single sound space, the composer interprets them as so-called intonation-semantic signs formed in the process of prolonged historical-cultural development, generating valid content, and at the same time, in its intertwinement, creating an individual artistic view of the world.

Abstract: The focus of this study is intertextuality within a scientific context, specifically examining a broad range of scientific works that explore intertextuality in the broader context of fiction as a whole. The relevance of this issue is determined by its ability to help estimate the scientific status of this category. The author delves into the study of intertextuality in the humanities, exploring the fundamental principles of this category as formulated in the works of A. Veselovsky, Yu.Tynyanov, Yu. Kristeva, M. Bakhtin, H. Bloom, and others. The author uses general scientific research methods within a comparative and logical analysis, including observation, generalization, and comparison. The research is comprehensive, interdisciplinary, and based on the analytical method. The author comes to the conclusion that intertextuality as an artistic category is thoroughly studied in scientific works. Despite the variety of interpretations of this category, in the scientific field, it appears as a particular mechanism that represents a scientific text as a system operating according to specific laws and acting as a theoretical and practical basis for the modern methodology of musicology as a science, revealing the content of a composer’s canvas and its connection with the cultural texts of previous epochs.  

Abstract: The research subject is music texts with montage organization of a verbal text. The study covers a range of works of Russian composers of the late 20th century, including The Fourteenth Symphony by D. Shostakovich, Light Sorrow and Styx by G. Kancheli, requiems by V. Silvestrov, V. Artemov, A. Popov, V. Platonov. Analyzing the 20th century composers’ work with texts, the author gives special attention to the western composer Luciano Berio’s attitude to a text. The author formulates the main principles of montage organization of a verbal text on the base of the research of Yu. Lotman, M. Yampolsky, R. Bart and C. Levi-Strauss. These works serve as a methodological background which helps reveal the specificity of a montage-oriented verbal text. As a result, such a text is interpreted not as a bearer of an integral semantic code, but as a crossing of the plurality of codes which, in its turn, defines its characteristic features - fractionality, laconicism, associativity, and paradoxicality of correlation of verbal phrases. The scientific novelty of the research consists in the consideration of a poorly studied issue, in the choice of research methodology, and in the revelation of specific features of a verbal text functioning in the context of montage dramaturgy. The author systematizes and generalizes the results of the analysis of music texts with montage organization of a verbal text. 
 

Abstract: The object of this research is the artistic phenomenon of montage. The subject of this research is the manifestation of montage in the Russian art of the late XX century. Emphasis is made on the film editing principles in the various forms and degrees were present at all historical stages of art evolution. Vivid manifestation of film editing principles in the XX century, on the one hand, is a result of a long and gradual development of its entire history. At the same time, namely the conditions prevailing within national art of the XX century, allow it to form as an independent artistic phenomenon. The author views the manifestations of montage in different spheres: poetry, literature, music and painting. The article examines a special “comprehension of the course of time” that resulted in the formation of poly-temporal structures of film editing; the trend among artists towards multifaceted depiction of human personality; as well as the authors’ endeavor to psychologization. The author concludes that the peculiar spiritual-intellectual environment of the late XX century contributed to the extensive presentation of film editing principles. The conducted analysis reveals the attributes common to montage type of structuring an artistic composition. This is the disconnection of artistic text, syntactic isolation of montage structures, activation of inner monologue, use of reminiscences, arrangement of form “from the end”, inner unity of mosaic construct, etc. The scientific novelty is defined by the fact that the phenomenon of montage within national culture of the late XX century for the first time ever is viewed in the spectrum of the various types of arts. Based on the conducted analysis, the author formulated the general principles of its functioning.

Abstract: The research subject is music texts with montage organization of a verbal text. The study covers a range of works of Russian composers of the late 20th century, including The Fourteenth Symphony by D. Shostakovich, Light Sorrow and Styx by G. Kancheli, requiems by V. Silvestrov, V. Artemov, A. Popov, V. Platonov. Analyzing the 20th century composers’ work with texts, the author gives special attention to the western composer Luciano Berio’s attitude to a text. The author formulates the main principles of montage organization of a verbal text on the base of the research of Yu. Lotman, M. Yampolsky, R. Bart and C. Levi-Strauss. These works serve as a methodological background which helps reveal the specificity of a montage-oriented verbal text. As a result, such a text is interpreted not as a bearer of an integral semantic code, but as a crossing of the plurality of codes which, in its turn, defines its characteristic features - fractionality, laconicism, associativity, and paradoxicality of correlation of verbal phrases. The scientific novelty of the research consists in the consideration of a poorly studied issue, in the choice of research methodology, and in the revelation of specific features of a verbal text functioning in the context of montage dramaturgy. The author systematizes and generalizes the results of the analysis of music texts with montage organization of a verbal text. 
 

Abstract: The subject of this research is the determination of the degree of scientific exploration of the concept of “montage” within the system of artistic culture, consideration of the processes of its establishment and subsequent transformation. The object of this research is the analysis of fundamental works comprise the basis of the montage theory in the system of artistic culture and fully reveal the figural-dramaturgical and compositional-structural peculiarities of this phenomenon (works of S. Eisenstein, L. Kuleshov, V. Pudovkin, Y. Tynyanov, Y. Lotman. V. Ivanov, T. Efremova, R. Salganik, N. Volkov and others). For achieving the set foal, the author selected the methodology of exploration of the term “montage” in various fields: literary studies, book publishing, culturology, aesthetics, and cinematography. A conclusion is made that the concept of “montage” was viewed by the scholars from various perspectives: as the means for expressing authorial positions; realization of figurative theme; composition of artwork; one of the types of artistic thinking that becomes common for the national art of the late XX century. This article is first to consider the concept of “montage” in the context of various humanitarian spheres. The scientific novelty lies in determination of the relevance of montage principles outside cinematography, despite the origin of the montage theory in the area of cinematic art. Modern artists of different types and genres continue to widely interpret the capabilities of montage in their works.