Abstract

Actuality of theme. In connection with new socio-political and historiccultural realities idea of keeping consists of keeping the “memory of culture” (thermion by D. Likhachev) in Russian music of boundary of XIXXX centuries begin especially actual. In soviet period some facts and events, biographies of outstanding artists, titles and meaning in works of art not infrequently interpreted in a distorted light. With everything negative, this interpretation sometimes saved from oblivion the names of many great peoples and their creations. That’s why so mean a function of art, which imprinting their facts, events in words, colours, sounds, carefully preserving them and transmitting historic truth to descendants. To memory of culture treating a Russian language as carrier of information so far as on this language, from one side, are written the texts of operas, chamber-vocal works, from other side – researchings of outstanding philosopher and musicologist of XX century: D. Likhachev, A. Losev, P. Florensky, B. Asafiev, E. Nazaikin, V. Medushevsky, E. Ruchevskaja and many other. The purpose of this article is the revelation of aspects, which connecting with the “memory of culture” in Russian music of boundary of XIX-XX centuries. The methodology. For achievement of this purpose we use the methods of historical-cultural, musicological and genre-style analysis of secular and spiritual works of Russian composer’s boundary of XIX-XX centuries. Scientific novelty. Historical-culture and theoretical analysis of secular of works of Russian composers of boundary of XIX-XX centuries in attitude of problematic of “memory of culture” is one of insufficient researching section of native musicologist. Conclusions of article permit to say about mutual influence of secular professional and spiritual aspects on boundary of XIX-XX centuries in context of the “memory of culture”. Analysis of works with suggesting point of view is demanding reconsidering some position in musicology of XXXXI centuries.

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