The article is devoted to the legendary figure in the history of Russian ballet, Lev Ivanov, whose outstanding role, according to the author, has not yet received an adequate assessment. It tells about the difficulties of his career as a performer, teacher, choreographer. His rare talent as a choreographer is noted by all researchers. The article attempts to explain the degree of novelty, the revolution that took place in the work created by Ivanov. His creations are mostly either consigned to oblivion, or dissolve into what others have created. Only the ingenious swans have survived. They became the sign of a true revolution in ballet: here classical dance became the embodiment of psychological reality, the language of the 20th century art.

Dalcroze method of rhythmic education has existed for more than a hundred years. During this time, it developed in various directions: in the musical, theatrical, choreographic and therapeutic areas. The article discusses the points of contact between rhythmic gymnastics and dance art. The results of this interaction and the prospects for the use of musical movement methods in dance art and teaching will be presented in article.

The text represents memories of Agrippina Yakovlevna Vaganova. This is a recording of a conversation between Irina Pavlovna Deshkova and Rimma Stepanovna Peterson.

The purpose of the study of this scientific article is the only book by the great Russian ballerina of the 20th century Olga Aleksandrovna Spesivtseva “The Technique of a Ballet Artist” published in London in 1967. The author of the article reviews the basic content of the book, which is a kind of historical and theoretical work of the ballerina, who absorbed the experience of many prominent teachers of her day and mentions reliable facts from the history of the book’s creation. The author focuses on the uniqueness of this book, in which, in the author’s opinion, Olga Spesivtseva presented her ideal model of classical dance lessons, contributing to the development of technique and representing a certain synthesis of the experience and knowledge of the greatest Russian ballerina. The author gives a generalized description of the process of formation of her professional maturation and development, tracing the stages of Spesivtseva’s work with various teachers of classical dance, which had an impact on the ballerina’s formation and worldview, as well as the evolution of her professional and pedagogical views.

The article is dedicated to the ballet theater of Alfred Schnittke – the least studied field ofthe composer’s work. The center of consideration is the ballet “Peer Gynt” – one of the significant stage works of the 1980s. The composer’s creative activity of the 1970–80s, aimed at finding new style solutions in the field of melody, harmony, form, polyphony, texture, is marked by the appearance of the theater and stage genre - ballet. Over the fifteen-year history of the formation of the ballet genre composer, three ballets were written: “Labyrinths”, “Sketches”, “Peer Gynt”. The article explores the multidimensional nature of the plot of the Ibsen’s drama and the image of “Peer Gynt”, who received many interpretations in theatrical, concert and multimedia compositions. The character’s multitude is emphasized by the original find of choreographer John Neumeier, which consists in transferring the struggle of opposite principles from the character’s inner world to the real scene, where seven different aspects of Peer Gynt’s personality collide in the guise of seven dancers. In order to identify the features of ballet music, a detailed analysis of the language means of some numbers is carried out: pitch, harmony, dynamics, rhythm and timbre.

The article examines Russian folk songwriting as a factor that determines the ideological and expressive features of Russian musical culture, and as a way of forming a system of moral and aesthetic values of an individual, satisfying his spiritual and emotional needs. Exploring the dynamics of the development of a folk song in the context of the formation of modern society, the author points to the multivariance of its transformations in professional art, defines as a source of an intonation thesaurus, the foundations of performing practices adapted to the perception of a city listener.
The authors come to the conclusion that it is impossible and futile to resist the changes in Russian folk song in order to reserve its authentic appearance in modern society, however, they consider it important to preserve the folk song as a cultural memory, source and basis of meanings and images of national culture.

In the modern world, visual art occupies a large place and is accessible to the widest range of people. Developing as a genre, cinema in its various interpretations forms new genre varieties, such as film music. Unlike the opera genre, where the work of a composer in collaboration with a director or conductor is influenced by many factors and the final result varies depending on each specific production, cinema, as a fixed genre, retains the result, once realized and preserved in tandem of the director and composer.
This article analyzes the combination of visual and auditory experience using the example of joint works of creative unions - a composer and a director. The author considers the unique experience of interaction and the characteristic features of each described creative tandem, such as the formation of common stylistic features and relationships that make it possible to create unique films, the problems of interaction between the director and the composer, and the importance of the musical design of the film as the most important means of expression. Examples for consideration in this article are some well-known domestic and foreign film works, on the basis of which the concept of a sound film is based.

The article analyzes the history of the creation of the theater in the estate of the famous noble family of Sheremetev’s in Kuskovo as a phenomenon common in the 18th century of the organization of palace theatrical events, but not studied from the standpoint of the formation of their visual and artistic structure. The architecture of theaters is considered both in the system of a landscape park and the internal structure of the stage space. Attention is drawn to the compositional and figurative characteristics in the implementation of the theatrical plan, the artistic and scenic embodiment is analyzed. The methodological basis of this study is based on the principles of comparative historical and system analysis, which allow us to trace the evolution of theatrical structures within the boundaries of one estate, as well as the spatial relationships of architecture, theater art and the natural landscape as a single visual and artistic structure. In conclusion, the author comes to the conclusion about the important role of various constituent elements of the subject-spatial environment as a necessary communication not only in the architecture and structure of the theaters themselves that existed on the territory of the Sheremetyevo estate, but also a capacious expression of the theatrical meaning of the era, which influenced the entire compositional, figurative, ideological organization of the park ensemble. The architecture of the Sheremetyevo theaters, which has now been lost, has preserved the spirit of a bygone time, and influenced the subsequent development of stage art, and the Kuskovo Historical and Art Museum-Reserve, located in the south-east of Moscow, today belongs to the unique objects of cultural heritage, becomes a platform for creative interaction between the museum and the theater.

The article is devoted to the history of development and the main genrestyle features of the German folk song. Melodic, harmonic, rhythmic and compositional features of song folklore are revealed on the examples of the 16th– 19th centuries (dance, love, morning, historical, competitive songs, ballads, and chants of Landsknechts, clerks, peasants, squires, hunters and fishermen). There is determined a role of German folk song in the formation of national composer schools in Austria and Germany: instrumental compositions of composers of the Baroque and Classicism era, which reflect the intonation and genre-style features of the folk song are analyzed in the work. The methods of research were a theoretical analysis of historical, art-historical, musicological literature; chronological historical and cultural theoretical and comparative analysis. The methodological basis for the development of the problem was the work of domestic and foreign musicologists-theorists and folklorists. Conclusions: German folklore was developed in the art of minnesingers, the repertoire basis of which was folk songs, so it’s retained their fundamental features — a clearly constructed melody, the predominance of stable scale degree, movements along the sounds of tonic triad, marching and dance rhythms. The same qualities of German music were appreciated and developed in their work by I. S. Bach, G. F. Handel, J. Haydn, V. A. Mozart, L. van Beethoven, F. Schubert, J. Brahms and other German and Austrian composers.

The article is devoted to the history of Russian productions in the 19th and 20th centuries of the only truly successful A. Rubinstein’s opera, which celebrates its 150th anniversary this year. “The Demon”, completed in September 1871 and staged for the first time on January 13, 1875, differs significantly from Петухова С. А. «Демон» и демоническое… 121 the works of Western European theater, written on the “demonic” theme. Lyric opera, in which critics found the verbosity and banality of musical expression, nevertheless, was immediately accepted by the public and survived practically unchanged in content until 1936. The staged story of “The Demon” as such has not yet attracted the attention of scientists. The article makes the first attempt to consider the stage existence of opera, based on critical reviews of different years. Her interpretations mainly affected the creation of a demonic atmosphere and the corresponding stylistics both in the part of the protagonist and in the general decoration of the performances. The culmination of the reading of the title role was its performances by F. I. Shalyapin at the beginning of the 20th century, inspired by the searches by M. A. Vrubel’s searches and bringing back Lermontov’s demonism to the composition.

The article is devoted to a review of critical reviews about Arthur SaintLeon, published in the magazine «Muzykal’nyj i teatral’nyj vestnik» (“Musical and Theater Bulletin”), published in 1856–1860. Saint-Leon was interesting to critics not only as a choreographer. He was mentioned in the magazine as a teacher and dancer. In the “Musical and Theater Bulletin”, many lines are dedicated to Saint-Leon as a musician. They wrote about him not only as a violin virtuoso, but also as a composer (in Russia in 1859 the ballet “Saltarello” was staged with his music). The combination of so many talents in one artist was a rare and therefore surprising phenomenon. The history of the brief appearance of Saint-Leon in the reviews of a particular journal is interesting not only for the vastness of the material and the detail of the analysis, but also for the charm of its immediacy. By virtue of these short lines, we get the opportunity to plunge into the atmosphere of the musical and theatrical life of the mid-19th century.

The article provides an overview of traditional ballet festivals held this spring and summer in two capital cities of the Volga — Cheboksary (Chuvashia) and Kazan (Tatarstan). The most interesting performances and premieres are considered. It is noteworthy that the ballet troupes in the academic theatres of these cities are led by graduates of the Academy of Russian Ballet named after A. Ya. Vaganova.