This article examines the origins, forms, and specific features of the traditional Chinese Yingge dance, which is included on the List of Intangible Cultural Heritage of National Importance of the People's Republic of China. This dance is not well-known in Russian cultural space. This article is based on a number of Chinese studies, an analysis of contemporary Yingge performances, and interviews with tradition bearers. The aim is to introduce the Russian academic community to this phenomenon and examine it as an example of the preservation and development of national cultural and artistic heritage in the modern era. The authors consider Yingge dance as an example of the interaction between traditional and modern popular culture, tracing its application in the contemporary world.

Tatar ballet is a vivid phenomenon in the Russian musical theater. For several decades, the first Tatar ballet Shurale determined the vectors of genre development in the Tatar theater, related to the choice of a literary source, the development of drama and the scenic embodiment of a fabulous multi-act performance. The 21st century demonstrates new approaches to plot selection and genre searches. The basis of the first ballet productions are the works of medieval Tatar literature. The article analyzes The Golden Horde ballet, based on the plot of the novel Idegey. The article reveals the features of artistic “adaptation” of historical events and images of real characters for the modern viewer, the search for a new genre and scenic solution.

The article applies the concept of the “untranslatable” (B. Cassin) to ballet vocabulary, revealing it as a conglomerate of culturally specific phenomena. The authors identify three levels of untranslatability: terminological (where technical terms like plié or ballon carry a unique cultural code), stylistic (where phenomena such as Soviet “drambalet” or Virsaladze’s “pictorial symphonism” represent entire artistic worlds), and habitus-related (the level of bodily ethos, muscle memory, and performer’s mentality). Using the “Shortest Dictionary of Ballet Untranslatables” (25 entries, from Aché to Żal) as an example, the study demonstrates that it is this inherent untranslatability, rooted in national history, philosophy, and aesthetics, that constitutes the wealth of world ballet, turning it into a space for perpetual cultural dialogue.

In contemporary art, the electric guitar occupies a special place, being one of the key instruments in mass music culture, especially in rock music and its branches. The timbre of the electric guitar has unique characteristics that allow musicians to create a variety of sound images and convey a huge range of different emotions and moods. In this article, we will consider the semantics of the timbre of the electric guitar in spectral music using the example of the work “Vampyr!” by Tristan Murail.
The purpose of this work is to analyze the semantics of the timbre of the electric guitar in this work, as well as to identify the features of its use and influence on the perception of the musical material by listeners. We will consider the relationship of its timbre with the musical context, extra-musical associations, images of the electric guitar in the mass consciousness and the content of the composition.

The article highlights an important aspect of the critical reception of ballets with the music by P. I. Tchaikovsky, namely the discussion about the possibility of using the composer's music for choreography. This issue was most acutely raised by critics and publicists who responded to the premiere performances of Swan Lake (1877), Sleeping Beauty (1890) and The Nutcracker (1892). They were the first to formulate impressions of the work of a major contemporary symphony composer in the ballet genre. With the almost unanimous recognition of the artistic merits of P. I. Tchaikovsky's music, opinions on its suitability for staging dances and relevance for a ballet performance were divided and ranged across a wide spectrum from complete approval to radical protest. The article notes the growing attention to ballets with the composer's music from the professional ballet community: from Swan Lake, considered almost exclusively by music critics, to The Nutcracker, which caused the most heated controversy with the participation of music and ballet critics and publicists, as well as representatives of various ‘parties’ of the near-theatrical community. In turn, the dynamics of changing views on the music of P. I. Tchaikovsky in ballet, which took place during the composer's lifetime, allows us to assert that the main reason for the rejection was the novelty of musical solutions in the context of the ballet genre. The new creative experience was mastered quite quickly, and three ballets with P. I. Tchaikovsky’s music took their rightful place in Russian and world culture.

The article is devoted to the phenomenon of non-musical sounding objects in the academic music of the late 20th ‒ early 21st century which will be vieved through the postmodern paradigm in art, the ideas of poststructuralist philosophy and Graham Harman’s object-oriented ontology. Music playing on the objects of the surrounding world, which will be further referred to as material musical objects (MMO) – a phenomenon that occurs in the culture of different countries and epochs. The most frequent and consistent use of MMOs in the professional music environment has been observed over the past 70 years, which may indicate a pattern and awareness of composers' inclusion of material musical objects in their scores. On the one hand, the use of this type of sound instrument is a result of each author's personal beliefs, but on the other hand, the concentration of use, geographical scope, and variety of genres in works featuring MMOs indicate the presence of common philosophical and aesthetic principles.

This article explores the history of the electronic instrument, the Martenot waves, and the development of its repertoire. Composers have used this instrument with varying degrees of intensity throughout various periods. The article focuses on three composers: Edgard Varèse, Pierre Boulez, and Tristan Murail. It describes the instrument's pivotal role in the creative career of Pierre Boulez, who found himself at the crossroads of different aesthetics, radically shifting his attitude toward the instrument from acceptance to a sharp rejection of its use in his work. The instrument’s subsequent life and fate were linked to the French spectral movement and the work of Tristan Murail, one of its leading composers. The study concludes that, throughout the various periods of new music in the 20th century, composers’ interest in the instrument was driven primarily by aesthetic factors. This interest is presented as a dilemma between the expressive and the anti-expressive.

The article considers cultural relations between Europe and China dating back to the 13th century. The penetration of Chinese fabrics, clothing, porcelain and other products to Europe stirred a great interest of Europeans translated into a unique phenomenon named Chinoiserie in the 17th and 18th centuries. European missionary monks not only introduced Christianity to China, but also spread Chinese literature and the teachings of Confucianism in Europe. Chinoiserie in performing arts exhibited itself, first of all, in ballets and operas. The study proves that of great importance was the Voltaire's play “L’Orphelin de la Chine” ( “The Chinese Orphan”, 1753), based on a Yuan drama “The Orphan of Zhao”, written by Ji Junxiang (14th c.) and translated into French by the Jesuit J. M. de Prémare in 1732. The tragedy by Voltaire combined the main ideas of Enlightenment, classicist theatrical aesthetics. and the idealization of China in Chinoiserie.

Vladimir Tsytovich's vocal works are few in number. This makes the discovery made by the author of the article in the composer's archive after his death all the more interesting. These are three manuscripts of romances that were presumably created during the pre-conservatory and conservatory periods: "Heavenly Clouds" with lyrics by M. Lermontov, ["Autumn"] with lyrics by M. Dudin, and "Wind" with lyrics by M. Isakovsky.
The article provides descriptions the manuscripts, analyzes the form, texture, and mode features of the works, and highlights the characteristic features of the vocal parts. All three romances belong to the lyric-landscape type. In them, the composer carefully elaborates on vocal and piano parts, harmoniously builds the forms. In conclusion, the place of the discovered romances in the vocal work of V. Tsytovich is determined.

The article discusses M. I. Glinka’s ballroom music composed for the ceremonies of the Russian court: the marriage of Grand Duchess Maria Nikolayevna and Duke of Leuchtenberg, and the Coronation of Alexander II. The author traces up the tradition of ceremonial dances – the Polish style polonaise in instrumental versions and the Viennese waltz – focusing on the genre and stylistic specifics of the composer’s creative work and revealing composition interplay between the dance genres and the ceremonial practice of the Glinka epoch.

The subject of the article is a critical understanding of the popular English neologism “musicking” from a terminological standpoint. The formal reason that prompted Christopher Small to invent the word was the desire to introduce a lexical unit that reveals the creative power of music. However, a wrong idea of connection between the word “musicking” and a verbal noun present in some European languages (Rus. “muzitsirovanie”, Germ. “das Musizieren”), led to the widespread use of neologism as a “buzzword”, while the research potential of Small’s concept still remains undisclosed. Meanwhile, the full name of the concept — “Musicking: the meanings of performing and listening” — indicates that by “musicking” the author did not mean individual artistic practices, but the creation of new meanings by common efforts. This makes it possible to correlate the term “musicking” with the notion “musical collaborative creativity”.
The central place in the “Musicking” concept is occupied by the “pattern which connects” — a metaphor that reveals the specifics of collaborative creativity through the analysis of spiritual, historical, social, functional, and spatial relationships. According to the observations of the author of this journal article, it is the study of meaning-forming contexts that is the most promising direction for further development of the Small’s concept.

The aim of the analysis is to outline most important features related to E. Hemingway’s writing during his stay in Paris in 1922‒1926. At that time Hemingway was a young writer, that was surrounded by most prominent writers, artists of the time, including E. Pound, Sh. Anderson, H. Stein, Pablo Picasso. The purpose of the study was to show how the writer's style and views changed in a broader literary and cultural context, and to trace similar patterns of development in other areas of art. Hemingway develops his out style and invents his own writing, borrowing ideas from H. Stein, E. Pound and other artistic people he meets in Paris. The surrounding largely sharpened his style and determined his artistic talent. The Paris years Hemingway spent in France are described in the novel The Moveable Feast, which was edited a number of times. The restored edition was published relatively recently, after the opening of the Kennedy archive, with a preface by Patrick Hemingway, the writer's son, and Pauline Pfeiffer’s (the writer's second wife), and commentary by the writer's grandson, Sean Hemingway. This version is believed to be the closest to the writer's original intentions. The manuscript was initially lost, but the Ritz Hotel returned the notes many years later, and Mary Walsh (Hemingway's fourth wife) published the prepared manuscript after the writer's death. In Paris Heminway first lives with Hadley Richardson and later with Polina Pfaiffer.