The article is devoted to the consideration of intertextual interactions in the ballets of P. Tchaikovsky on the material of borrowed elements (plug-in episodes, quotations, etc.) that were included in the author’s scores of Swan Lake, The Sleeping Beauty and The Nutcracker as a result of M. Petipa’s dramatic ideas.

The study of the issues of intertextual interaction is carried out along the lines of the historical-typological and intertextual research method.

The main types of interaction are distinguished: direct external intervention (in particular, corrections and additions in the process of R. Drigo’s editorial work under M. Petipa’s director’s plan), the completion of cadences (harp solo by A. Zabel), citation (use of borrowed themes in The Sleeping Beauty and The Nutcracker), stylization (working with the music of another composer as with the model). The forms of stylistic conjugation that reveal themselves indirectly, including those reflected in the choreographic text, are especially considered.

The conclusion is drawn about the special artistic significance of intertextual interactions, which allow not only to build a multi-level metaphorical “space” for a musical performance, but also to feel deeper the richness of the spheres of mutual influence of music and ballet art, to realize the power of the impact of the choreographic design. 

The pedagogical creative artistry of Semyonova took a special place in the Russian culture during the second half of the 20th century. Her day-to-day lessons with the ballet soloists even today personify the most prestigious school of choreographic enhancement. As dominant part in this article, the barre exercise combinations of adagio and in the middle of the hall are being analyzed. The author wants to unravel the answer of the question about the essence of her pedagogical skill. The goal of these combinations is revealing the mutual connection of the elements of performing in the classical dance and their reflection among ballet dancers into the performing stage.

The article deals with the features of teaching the course “analysis of musical forms in Amateur choreographic work” in the framework of the master's program “Theory and practice of management of choreographic Amateur group” areas of training 51.04.02 “Folk art culture”. The importance of the introduction of the theme of the relationship of musical form and choreographic composition into the content of the discipline is emphasized. The algorithm of its disclosure is developed by analyzing the musical material by ear and working with notes, analyzing the features of the choreographic embodiment of the musical form. An analytical review of the musical material of textbooks on the analysis of the form of musical works is given. The specificity of the selection of musical material for the analysis of musical forms by students-choreographers. The subject of analysis is Tchaikovsky's ballet “The Nutcracker”, characterized by a variety of musical forms. On the example of “Snow flakes Waltz” the author offers the study of such musical forms as: period, simple three-part form, complex three-part form, sonata form; the interrelation of musical form and dance in the production of J. Balanchine, provides a comparison scheme of musical form and choreographic composition. The method of work is developed, designed to promote the development of students-choreographers skill of building musical and choreographic synthesis.

The purpose of this article was to analyze choreographic performances for the music of Arvo Pärt from the point of view of reflecting in them the spiritual meditative contemplation characteristic of the composer’s work. First of all, the concept of spirituality in the understanding of Pärt itself was considered, as well as the specificity of its embodiment in the composer concept. Particular attention is paid to the problem of the interrelation between music and the sacral word in the work of Pärt. The article draws parallels between the music of minimalism and the music of tintinnabuli, however, it is concluded that there are significant differences between them. The main compositions of the composer, which are most often used by choreographers: “Spiegel im Spiegel”, “Fratres”, “Cantus”, “Fur Alina”, are revealed. A brief analysis of the main productions for Pärt’s music is given: Othello and Duse by John Neumeier, Marina Kesler’s Othello, Jiří Kilian’s “Location unknown”, Christopher Wildon’s “Merciful”, Mats Eka’s “Smoke” and others. Pärt, who explain its attractiveness for choreographic interpretations: a harmonious unity of temporal and spatial factors; spiritual contemplation; structuredness and mathematical clarity; Rehearsal and pattern as an opportunity to structure choreography. Summing up, the author concludes that it was the spiritual foundations of Pärt’s music, as well as his numerical understanding of harmony and structural clarity that became decisive for the scenic fate of his compositions, which were not originally stage scenes.

The article’s aim is to consider different aspects of the contemporary dance’s artistic environment at the 90th — beginning of the 2000s in Russia. The artistic life’s traces can be found in the various critics’ reviews or in the internet recourses of that period, but there is little about one dance company’s life in their artistic community. Heterogeneity as an intrinsic sign of contemporary art proves the autobiographic method of research reliable, and an author’s personal archive will support the scientific basis of the chosen method.

In article data on life and creativity in the Far East of the Russian dancers of B. Serov and O. Manzheley are filled. As sources the little-known and revealed materials of archives, the local and Harbin periodical press are attracted. One of the first B. Serov has acquainted public of the Far East with a new variety genre and a form — a big revue. B. Serov has proved as the talented production director and the ballet master, O. Manzheley called one of the best dancers of the Far East.

The article is devoted to the music for Wassily Kandinsky’s scenic composition The Yellow Sound, written by the Russian composer Thomas de Hartmann. This music has survived only fragmentary. The musical sheets are kept in the Hartmann’s archive of the Yale University music library (USA) along with a handwritten musical explication for the The Yellow Sound.

The article is devoted to one of the most fruitful periods of the life and work of the American composer Frederik Rzhevski, who is a vivid representative of the musical avant-garde of modern times. The purpose of the article is to examine the main works of the 1970s, accentuating the appearance of new genres and forms of musical art in the composer’s heritage. At the same time, a synthesis of contextualhistorical and analytical methods is undertaken, which makes it possible to reveal the specific character of the works of this important period in Rzhevski’s work. The result of the study is the conclusion that the 1970s in the composer’s heritage are not only marked by the creation of bright experimental opuses, but also by the formation of an original style.

The article is devoted to the theoretical grounds of P. Boulez’s compositional practice. The main principles of composition and their connection with artistic concepts close to the composer are analyzed.

The works based on the aleatory principle of composition demand a special technique of the analysis as the organization whole in such opuses is influenced by random factors (the performers’ choice of these or those fragments or an order of their following). Boulez’s scores are considered in article from the point of view of the importance of author’s control of process of forming and share of its accident rendered on the basis of the theoretical analysis of the text, synthesis of statements of the composer about a chance music and experience of performances of his works.

Whatever mobile were the musical text and a form in Boulez’s scores, they embody the accurate art concept and mean the structural organization of the opus. And despite plurality of options of a form of compositions of Boulez, the listener recognizes them in each execution by unique author’s material and that artistic design which is reflected and imprinted in each “version” of a form.

The article reveals the essence and specificity of creative industries as a unique socio-cultural phenomenon, the mechanism for implementing modern art strategies, the resource of the socio-economic potential of the territories. The author notes that the most important resource of creative entrepreneurship - production as a type of entrepreneurial activity in the art industry / art business - is art management, which is the philosophy and culture of management in the sphere of art. Art manager (producer, entrepreneur, impresario, promoter, agent, administrator, art dealer, etc.) is an intellectual resource / capital for the formation of a creative economy and the im-plementation of state policy in the sphere of culture and art. Suminova T. N. argues that art man-agers are the organizers of business activities in the sphere of art / art industry / art business, en-trepreneurs who shape the taste and demand of consumers of information, the space of the art market, promote the implementation of art strategies.

This article deals with some of the esthetic and poetical features shared by various art forms in the late 20th and early 21st centuries. We will see that in the field of video art, Information Technology and especially slow motion intersect in particular ways with the principles organizing sound material in contemporary composition and musical interpretation. «Slow motion», «silent music», «detached sound» and other poetical principles will be examined, using examples from the Bill Viola’s video art and the work of Arvo Pärt, Giya Kancheli, Vladimir Martynov as well as Mikhail Pletnev, Grigory Sokolov, Valery Afanassiev and Christoph Eschenbach, among others. The analyses reflect the author’s interest in the link between creative intention and Carl Jung’s theories of archetypes. The archetypal image of the anima is associated with hellenic conceptions of the Soul as a category. «The loss of the anima» (Jung) and efforts to regain it in artistic contexts are dealt with as problems which are particularly relevant to contemporary creation.