The article studies the defi nition “symphonic process in choreography”: the defi nition’s introduction to scientifi c and practical use by Fyodor Lopukhov, its importance for the ways of ballet in the 20th century, the use of “choreo-symphonic” terminology in the writings of the leading Russian ballet researchers. There are examples of Lopukhov’s analysis of choreography by Marius Petipa from the point of view of the ideas of symphonic process in choreography. The author emphasizes that the theory of symphonic process in choreography is still fragmentary but it is the basis of the theory of ballet. The author describes the evolution of the views of F. Lopukhov on the interaction between music and choreography in Tchaikovsky-Petipa’s The Sleeping beauty.

Currently the art of fl amenco is one of the most popular in the world. However scientifi c understanding of this art, including in Russia, is only at the very beginning. In the article the reasons of special popularity and demand of the fl amenco in the modern culture are analyzed. They are caused by east characteristics and the synthetic nature of the fl amenco, and also their accord to a postmodern culture.

The article is devoted to the problem of using identical musical fragments in different ballets by L. Minkus (the fi rst and fourth scenes of the ballet The Spring (La Source; Paris, 1866), The Golden fi sh (Zolotaya rybka; Petersburg, the fi rst act — 1866, the full version — 1867), The Night and the Day (Moscow, 1883)). The author of the article analyzes musical sources and traces the ways of the national and plot transformation of the Minkus scores. This transformation is very paradoxical sometimes. Based on the analysis, the author builds a line of subject reinterpretations of individual musical fragments used in diff erent ballets. The author makes assumptions about the sequence of creating ballets.

The article analyzes the views of Russian historiographers on the phenomenon of S. Diaghilev as the creator of the ‘Russian Seasons’ and ‘Russian Ballet’ in Paris. Encyclopedic articles published in Russia during the 20th century and the fi rst decades of the 21st century (from the New Encyclopedic Dictionary to the New Russian Encyclopedia and Wikipedia) demonstrate historical-cultural or ideological dependence in the interpretation of Diaghilev’s contribution to the world history of contemporary art.

In the article the peculiarities of professional training of classical dance, are determined by individual psychological qualities for successful mastering the profession of a ballet dancer. Discusses the results of diagnostics of character accentuations of character and temperament (used a questionnaire of G. Smereka, K. Leongard) students of 1st class of the Vaganova Academy. Are the methods of interaction with the adolescents with diff erent types of accentuations of character for successful study classical dance.

This paper examines the issue of achieving the sportsmen resource state in diffi cultcoordinating types of sport. The main research method is the analysis of the eff ect of choreography on the psychological state of sportsmen in diffi cult-coordinating types of sport. The conclusion is that the choreographic exercises in diffi cult-coordinating types of sport themselves give the sportsmen the feeling of resource state in the competition due to the fact that the sportsmen ceases to feel fear of injury, experiencing physical and mental "clips", possessed the ability to look good in even the most stressful situations. Moreover, the conclusion about the necessity of psychological work of the coach-choreographer with the sportsmen, in particular, using the techniques of cognitive psychotherapy. The work also describes one of the techniques of entering the resource state which are presented in the method “School of motions” developed by the author.

The Bashkir Theater of Opera and Ballet has been cooperating with Yu. N. Grigorovich for a long time. The ninetieth anniversary of the outstanding choreographer in the capital of Bashkortostan Ufa was marked with the premiere of the ballet The Legend of Love. The article tells about this premiere, as well as about the Small Nureyevsky Festival, established two years ago by the Bashkir Choreographic College named after Rudolf Nureyev. This festival was created following the example of the Nureyev International Ballet Festival, which arose in Ufa on the initiative of Grigorovich two or more decades ago.

The article is devoted to the problems of perception and interpretation of American minimal music. The author proposes to consider the direction in the context of the art of crossover, characterized by a symbiotic nature and a free crossing of boundaries between academic and mass genres. The diff use character of the minimalist movement of the 1960s and 1970s predetermined its focus on the youth audience, who attended nightclubs and rock concerts, as well as close ties with the avant-garde Minimal Art artists. The minimalists formed the concept of music as an endlessly developing process, physiologically aff ecting both the sophisticated and the unprepared public through the repetitive technique. Standing at the origins of minimalism, Steve Reich solves the problem of interpreting minimalist works based on the ideas of L. Wittgenstein’s “Logico-philosophical treatise”, which denied the need for a verbal description of emotional processes. Following the Austrian thinker, Reich builds up topical analysis strategies in those years, emphasizing the formal technical aspects of minimalist plays. Thus, the removal of the problem of interpretation turned out to be of fundamental importance for the representatives of minimalism who sought to transcend art in the region of transcendent, consistently creating an atmosphere of ecstatic religious ritual that opened the mind to a new perception.

The fi rst completed project of Neo-Dada that of Water Yam (artist’s book) by George Brecht and George Maciunas and the Yam Festival has come to be seen as an organizational model related to Fluxus projects of the 1960s. The article aims to restore the preparation and implementation of that project with the help of foreign sources and researches. The main actors’ views regarding the aesthetic program and their interpretation of the results of the festival are considered as well as a historical signifi cance of Water Yam (artist’s book) for Fluxus movement is revealed. The author translated and analyzed the fi rst edition of Water Yam collection of event-scores which in turn classifi ed according to their types. The article comes to the end with conclusions about the value of the project for a history of avant-garde art.

The main subjects of this article were texts of religious themes, somehow present in the score of composers in the form of an unpronounceable text (epigraph). It is noted that an unpronounceable verbal text can be invented by a composer or taken from a literary source (a prose or poetic work of a religious orientation). As a proof are given musical opuses by F. Liszt, O. Messiaen, A. Knaifel, A. Karamanov, S. Gubaidulina and several other authors are given. The article is based on an integrated approach to the study of religious texts in the score of composers of diff erent centuries, belonging to diff erent styles and epochs. Therefore, in addition to the analytical method that characterizes the consideration of individual works, a context-historical method is used. But still the main attention is paid to composers of the twentieth century — it is at this time created that the greatest number of works with epigraphs of religious content appears, which is dictated by the special position of the twentieth century with regard to negative events and emotions.

The article is devoted to the problem of freedom as a universal characteristic of human existence, and as a condition for the existence of man and his creativity. Outside the freedom of the spirit, human life has neither meaning, nor dignity. Internal freedom is a way of transcendence, an outlet to something beyond human limitations. Creativity is a mystery and mystery of human existence. Dance is an animated, liberating, plasticdynamic action. The dancer creates himself, creating a conscious alchemy of the dance. Choreography is the art of beauty and purity of movement, the unity of dynamics and subtle balance. The author comes to the conclusion that the ballet, speaking in the sacred language of high art, possessing freedom and expression, has a simultaneous eff ect on both the “physics” and the “metaphysics” of man, aesthetic and transcendental, revealing the limits of the person’s conscious and free being in the world

Recent studies refer to a phenomenon of musical gesture as one of the most important elements of a music performance. This is in the domain of gesture that the interpretational (rational) act meets the body and brain vehicle for sound production. The technical part of musician’s work, his or her psycho-emotional and physical abilities play a decisive role especially in the performance of highly diff erentiated multistructural pieces of music. This paper focuses on some aspects of performer’s analysis and interpretation of music by Brian Ferneyhough from the point of view of deconstruction in music, — a concept presented by Claus-Steff en Mahnkopf. It also aims to study the role of gesture and its forming components in the process of identifying and communicating to the listener the discursive contradictions at the interpretational level.