Ural State Conservatory named after M.P. Mussorgsky

Abstract In the chapters 6 to 9 of his On Education ( ca . 1305) Theodore Metochites ( ca . 1270-1332) expounded his understanding of the fundamentals of Orthodox dogmatics. Basing his Triadological views on Plotinus, he went so far as to dissociate the divine essence from the Persons. By additionally exalting God the Father as the Keeper of Providence over all the beings and God the Son as the Redeemer, our thinker assigned to the Holy Spirit only a subsidiary role in the Economy of our salvation perforce. So, it was his deliberate choice not to say even a word concerning Filioque , the psychological trauma ensuing from his father’s death being not the only reason for this omission (in addition to what Ihor Ševčenko thought). In Christology Theodore moved away from John of Damascus’ teaching on the immaculate passions of Jesus Christ’s humanity taken in its post­laparian state, but then he repeatedly quoted Gregory of Nazianzus. In doing so Metochites might have thought that Gregory had terminated “the Golden Age” of patristics. I have identified an important quote from Gregory which remained unnoticed by the editor.

In reliance on the ideas of foreign researchers about the possibility of using hip-hop culture and its elements in various types of education for children, teenagers and students reveals the potential of beatbox in the development of musical abilities. The purpose of the article is to present the contents of the three stages of introducing a beatbox subculture, as an element of hip-hop culture, into the process of musical education of adolescents: introductory, where knowledge about hip-hop culture and its element — beatbox; technical, where the beatbox performance technique is formed; creative, where teenagers independently develop a beatbox performance project and demonstrate it in a concert version. It is pointed out the need to respect the health-saving approach at all stages of training. The principles of introducing beatbox into the process of musical education of adolescents considered within such disciplines as "Musical literature", "Solfege", "Vocal" and additional musical classes. The sequence of teenagers mastering the beatbox technique from simple sounds to connected sounds that mimic the sound of percussion instruments is revealed; it is proved that beatbox contributes to the development of such musical abilities as a sense of rhythm and tempo, as well as articulation skills of students in music.

.

Представлен межпоколенческий диалог как средство эстетического самовыражения детей младшего школьного возраста. Эстетический образ лежит в основе эстетического самовыражения, он представлен в сравнении с художественным образом, определены сюжеты личной жизни в виде мега-, макро-, микрообразов. Выделены характерные особенности эстетического образа: энергетичность, субсенсорность, жизненность, голографичность, константность, динамичность и пластичность, гармоничность и дисгармоничность, – которые лежат в основе самовыражения и самореализации личности.

The article examines the impact on the formation of Biedermeier on the genre of children’s album for piano in Russia. Definitions are given for the children’s Biedermeier code and its manifestation in the children’s albums for piano by Schumann and Tchaikovsky, a number of pre-revolutionary Russian composers, as well as composers from the beginning and end of the Soviet era. The author demonstrates that the children’s Biedermeier code remained stable in the children’s albums for piano written by Russian composers of the pre-revolutionary era. During the Soviet era the culture was transformed and the family nucleus was eliminated from the Biedermeier code, children’s characters and the content of their activities is changed. The absence of the family circle is compensated by deep immersion into the world of nature and folk music. The multinational approach to musical folklore symbolizes a «new social family,» while nature and music restore the psychological balance. At the same time the musical sphere broadly develops traditional types of instructional and educational content. The erosion of children’s Biedermeier code was caused by social-psychological and cultural problems, which generated counter-trends in the semantic code of Russian children’s albums for piano. Keywords : children’s piano album, Biedermeier, Romanticism, semantic code, children’s Biedermeier code

Life in the Church, taken in all the complexity of its interconnections, is a moveable feast.But there exists a misconception of the Church among the young as of something dull.To overcome this situation, we must be open to the young and to correspondingly transform our juvenile policy.By disclosing to the young the plenitude of meanings of the Orthodox Liturgy (through missionary liturgy), of Orthodox poetry and culture, by holding seminarsdiscussions like, e.g., The Meaningful Cinema with the aim of showing some real parallels between the Orthodox faith and the great masters' search for truth in mind, we may be instrumental in turning the young people all over different countries into a part of our sobornost and in their attaining of their own hypostases of ecclesiastical existence (Metropolitan John Zizioulas).

The article reveals the essence of managerial analysis, considers its place in the system of accounting and economic disciplines.The information base of management analysis is analyzed.The rationale for the development of simulation modeling, as a direction of managerial analysis, is given.

The article is devoted to the consideration of the formation of a number of the most important functions of musical tutoring in the old Russian singing culture. The main meanings of the term "tutor" in the domestic culture are revealed: a teacher who helps a student to acquire the necessary knowledge, prepare for the exam; an experienced specialist who conducts group or individual rehearsals with actors, vocalists, dancers (theater teacher-tutor). The prerequisites for the emergence of tutoring in the old Russian singing art are investigated, some tutoring functions within the framework of professional singing education are analyzed, namely conduct of additional classes within the school walls or private lessons in order to "pull" to the level of necessary training; preparations for tests; rehearsals with soloists, learning vocal parts, parts of roles; correcting the shortcomings of timbre and musical hearing, individual tutorial work; enhanced training of new singers and preparation of musical and theatrical liturgical projects.

The aim of the study is to identify the main features of the performance interpretation of the music of the Viennese Classics – W. A. Mozart, J. Haydn, and L. Beethoven – through the lens of the stylistic context of the Classical era and the individual creative thinking of each composer. The article discusses the key characteristics of 18th-century musical art, highlights the distinctive features of the style of the leading representatives of Viennese Classicism, and formulates the main principles of artistic interpretation of their piano works. The scientific novelty of the research lies in the systematization and identification of key artistic-expressive, intonational, and technical-stylistic components that performers must consider when interpreting the works of these composers. The obtained results point to the identification of specific principles for performing works by the Viennese classics that are linked to the individual compositional styles of those composers. Features were singled out such as the dramaturgical component of each composer’s works of the Viennese Classicism era, their particular handling of meter, rhythm, and harmonic coloring, which, in the broader context, in one way or another reflect the general background and ideals of the period. These aspects are important for revealing the main principles of performing the piano opuses by these authors.

This publication is dedicated to the 160th anniversary of Ferruccio Busoni’s birth (1866–1924). It is based on letters that Busoni wrote to his wife, Gerda Sjöstrand, in 1897, which have never before been published in a Russian translation. The Preliminary Notes provide a brief description of these documents and outline the biographical context for their creation. It is noted that Busoni’s epistolary legacy is an important source of information about life in Europe at the turn of the XIXth and XXth centuries. The letters to his wife occupy a central place within this collection. The period during which the series of letters was written coincided with the artist’s gradual establishment on the European concert stage. In autumn 1897, he toured Great Britain for the first time and achieved considerable success. This collection of letters conveys his impressions of London and its artistic scene. The letters contain additional information that expands and clarifies the musician’s biography. In particular, the publication results in a reasoned refutation of the assumption that Busoni was a direct student of Franz Liszt. The letters are accompanied by line-by-line clarifying footnotes and concluding Comments.

Рассматриваются особенности общения в структуре эстетического отношения, дается сравнение идеальных и искусственных отношений, которые препятствуют здоровому открытому общению. На основе идеи о том, что все в мире находится во взаимосвязи и начинает действовать лишь в зависимости от отношения, автор обосновывает качество, направленность, устойчивость, активность, избирательность общения.

Introduction. John Polemis thought that in On Education the notions of logos, paideia and theoria were synonymous. Meanwhile, Igor P. Medvedev stressed in his trail-blazing book the variety of meanings of theoria in the Late Byzantine period. Relying upon his ideas and evidence, we would like to underline, in our turn, Metochites’ diversification of meanings of this notion. As a skillful conductor or musician, he was able to tune into different waves when speaking about mundane or ecclesiastical affairs. In a number of points, he diverged from traditional Orthodoxy. Methods. Using the traditional set of historical, philosophical, and hermeneutic methods, as well as those of comparative religious and cultural studies, we try to single out and analyze in some detail different layers of meaning in the treatise under discussion. If our author had made digressions into theological knowledge, it does not mean that he would have given himself completely to theology alone, as the basic line of his reasoning remained philosophical and mundane. As compared to what his fellow-Churchmen, like Callistos I, wrote on the issue of education, Metochites’ ideas turn to be a rather clear-cut continuation of the ancient paideia and not especially spiritual knowledge derived from the Christian Revelation. Analysis. Thus, in his cosmological deliberations Metochites ran a risk to turn the world-creating power of God into something temporary and liable to change. He certainly did not learn well the lessons of the patristic tradition represented, e.g., by Ps.-Maximos’ Chapters Full of Knowledge dating back to the 7th – 8th centuries. This led to the fact that he had not recognized the operations of divine world-ordering energy in the created universe, and thus had confirmed the old assumption of H.-G. Beck that Metochites were unfamiliar with Ps.-Maximos the Confessor. At the same time, some Theodore’s ideas come close to those uttered by Ps.-Maximos. Both authors criticize indeed the notion of a pure and self-contained contemplation (which expresses the negative meaning of theoria) unattached to a person’s struggle with passions and vices. Even more intriguing is their common use of a widespread patristic concept of “cultivating the land of one’s mind” (or: “heart”). Given the fact of Metochites’ pronounced admiration of Orthodox monasticism (see, e.g., Ch. 13 of On Education), this parallel may not be incidental. It seems to be traceable to the common Biblical and ancient roots of the Byzantine spiritual culture. Results. If it is difficult to unambiguously resolve the issue of Ps.-Maximos’ or Metochites’ influence exerted to his counterpart, it is not to say, however, that there was not a high degree of cohesion and integrity within the philosophical and theological synthesis of the middle- and late Byzantine patristic tradition and spiritual culture in general. It is within this framework that a scholar should analyze Metochites’ ideas as expressed in On Education and elsewhere.

The research aim is to point to an interesting typological parallel between the notions of second, or passive, contemplation in late Byzantine philosopher Theodore Metochites (1270 -1332) and Henri Bergson's Two Sources of Morality and Religion (1932).

The article is devoted to the description of the Old Russian period of the history of professional music education. It highlights the philosophical foundations of church and chanting pedagogy, examines specifics, organizational forms, principles and methods of the system of singers' and chanters' three-level education.

В статье анализируется личность и творчество Р. Дж. Рашдуни, американского кальвинистского пастора и богослова второй половины XX в. Рассматриваются его происхождение, лингвистическо-педагогическое, теологическое и последипломное образование. Принимаются во внимание детали его духовного служения, в частности, миссионерская работа среди индейцев, личная жизнь в течение служения, интерес к либертарианству, переходы из одних религиозных организаций в другие. Относительно заключительного периода биографии Р. Дж. Рашдуни учитывается уход из духовного служения, основание и работа «Фонда Халкидон», последние годы жизни. Дается общая характеристика творчества Р. Дж. Рашдуни, описываются ранний этап авторской деятельности, участие в движении за домашнее обучение, радикальная историческая позиция. Магистральное внимание уделено рассмотрению идей христианской реконструкции, в частности, апологии применения Закона Моисеева как основы юриспруденции в современных государствах, антидемократических предпочтений Р. Дж. Рашдуни, интерпретации понятия личных свобод, публицистической деятельности, критики со стороны предполагаемых вдохновителей.

Макарий Макрис (ок. 1391–1431) — один из наиболее творчески мыслящих богословов Палеологовской эпохи. В первой части мы пытаемся доказать (на основании одного места из 5-й главы «Диалога с папой и теми, кто окрест него»), что он продолжает, хотя и не вполне открыто, традицию учения о вечном воссиянии Святого Духа (Никифор Влем мид, свт. Гри го рий Кипрский). Во второй части статьи мы показываем (на основании аргументации из 6-й главы того же труда), что учение Макария о том, что пропозиции и средние термы могут сказываться о разных индивидах, но не о свойствах, развитое в ходе аргументации против Filioque, допускает сопоставление с некоторыми положениями формальной семантики Монтегю. Согласно Монтегю, если одни и те же константы (аналог свойств Лиц) подставляются в тождественные формулы, тождественность формул утрачивается. Нам представляется перспективным такого рода сопоставление близких друг с другом средневековых и современных постклассических теорий. Macarius Macres (ca. 1391–1431) was one of the most creative thinkers of the Palaiologan epoch. In the article’s first section we try to argue, on the basis of the 5th capter of his Dialogue with the Pope and Those Near Him, that he continued, though with some reservations, the tradition of the doctrine of the Holy Spirit’s eternal illumination (Nicephorus Blemmydes, St. Gregory of Cyprus). In the article’s second section we show, on the basis of Macarius’ reasoning in the 6th chapter of the same treatise, that our author’s teaching on some propositions and middle terms being predicated upon different individuals, but not upon different properties, which was developed in course of the polemics against Filioque, can be juxtaposed with some tenets of Richard Montague’s formal semantics. According to Montague, if one and the same constants, analogous to the Holy Trinity Persons’ properties, are put into identical formulas, the identity of the formulas in question is lost. We consider such a comparison of those Medieval and modern post-classical theories, which seem to be close to one another, to be a fruitful scientific pursuit.

Рассматриваются особенности креативной личности, взаимосвязь креативности и творческой направленности, их различия и проявления. Формулируются проявления креативности на основе активности личности; предлагаются разнообразные виды музыкальной деятельности с целью развития креативности как качества личности у педагога-музыканта.

This article discusses the role of audio environment (sound landscape) in the forming of spontaneous sound activity of a child, the one who is a part of «mus» system of sound-word-movement-rhythm. The materials of sound texts recorded with Russian city children, such as infant glossalia, melodic improvisations, game monologues, songs, fragments of advertisement clips, demonstrate that the elements, drawn from the sound landscape, appear in the intonational dictionary of a child. These elements are reproduced in spontaneous singing by means of imitation, reworking and acquisition. The author comes to a conclusion that the dialogue of a child with the sound landscape leads to both positive consequences, such as forming of intonational dictionary, socio-cultural stereotypes of sound behavior, adoption of the basic principles of organization of sound material, and negative effects, such as bad influence of sound and ideological space of telecommunications, computer games, horror movies, etc. Keywords: sound landscape, types of sound texts acquired by children in the process of ontogenesis, imitation, processing and acquisition of the elements of sound landscape by the child

Nicholas Mesarites ( ca. 1163/1164 – post 1214) was rather a “theologian of transition”, than an independent thinker. Yannis Spiteris discovered in 1977 that the entire chapter on the primacy of Rome in Mesarites’ treatise The Account of the Political and Ecclesiastical Events of the Year 1214 turned out to be a large quote from the Sacred Arsenal (1173–1174) by Andronicus Camaterus. We have enlarged Spiteris’ observations by discovering that Chs. 35–50 of the treatise are a large quotation (with the elements of a paraphrase) of the triadological section of the Arsenal , which was centered on the Filioque. We can conclude that Mesarites’ piece might have served as a florilegium and a channel of transmission of Camaterus’ ideas concerning the interpenetration of the Persons within the Holy Trinity and the inadmissibility of confounding their hypostatic properties, like the Holy Spirit’s hypostatic projection by the Father, with the natural ones.

Педагогическая деятельность Василия Ильича Сафонова занимает важное место в истории отечественного профессионального музыкального образования. В данной статье его педагогические принципы выводятся на основе изучения сборника упражнений "Новая формула" и фактов, изложенных в воспоминаниях учеников разных лет. Согласно данным психологии структура личности профессионала содержит следующие функциональные компоненты: психологический, гносеологический, аксиологический, эмоционально-волевой. Индивидуальное пропорциональное соотношение этих компонентов в личности В. И. Сафонова во многом определяет своеобразие, направленность и результаты его педагогической деятельности.