The role of music in Azerbaijani folk theatre performances

The purpose of the article is the conceptualization and rethinking of the meaning of Ukrainian children's folklore as an integral part of the structure of Ukrainian folk art culture and carefully crafted magic rituals. Updating the concept «Ukrainian children's folklore» in the context of cultural knowledge, defining the essence of this phenomenon in the chronotope of the 21st century and evaluating temporal and spatial unity, which contributes to the preservation of the national cultural heritage, the dialogue of different cultures and human unity, is also the goal of the work. The delineation of the essence of this phenomenon in the chronotope of the XXI century and the assessment of temporal-spatial unity, which contributes to the preservation of the national cultural heritage and dialogue of different cultures, is also the goal and object of analysis. The methodology consists in applying comparative and concrete-historical methods for conceptualization of Ukrainian children's folklore in the context of national folk art culture, use of formal method, as well as hermeneutic interpretation method for analysis of the concept of «children's folklore» and its functions in today's chronotope. The scientific novelty lies in the actualization and conceptualization in the context of culturological knowledge of Ukrainian folklore, including children's (riddles), as a complex phenomenon and an integral part of the morphology and typology of national folk art culture in the chronotope of the XXI century. Scientific novelty also consists in revealing on the basis of delineation and comprehension of essence, dynamics of laws of development and an estimation of internal structure and space-time unity of functions of the Ukrainian national art culture, consideration of interaction of oral folk art of the childhood and dialogue of various cultures. Conclusions. In modern socio-cultural reality the question of understanding the chronotope of Ukrainian folk art culture as a dialectical unity of traditional and innovative models of life in space and time and conceptualization of Ukrainian children's folklore (riddles) in the context of culturological knowledge as an integral part of morphology and typology of national folk art culture. Ukrainian children's folklore in its diversity of forms, types, functions, purposes is an attractive phenomenon that requires further conceptualization and continuation of thorough research. Defining the essence of this phenomenon in the chronotope of national folk culture contributes to the preservation of national cultural heritage and dialogue of different cultures in the XXI century. Keywords: Ukrainian folk art culture, folklore, children’s folklore, riddles, musical folklore, dialogue of cultures, oral folk art, national culture, chronotope, space-time interrelations.

Place, Space, and Time in MC Solaar’s American Francophone

Introduction Musical sound can be measured with the help of physical methods, and on the other hand, it will be percept with human's hearing. In order to use objective measurements of the sound in musicology, these two kinds of information extraction must be compared and associated with each other. About the musical sound research in Russia In 1920th, some Russian researchers fulfilled significant works on the field of musical sound investigations. Vsevolod S. Kazansky and Sergey N. Rzhevkin studied the timbre properties of a singing voice and string instruments [1]. V. S. Kazansky developed also a recording device where the form of sound oscillations was fixed with a light ray on a photo-sensitive film. At this time professor Nikolay A. Garbuzov, who had both technical and musical education, organized in Moscow the State Institute for Musical Science (1921–1931) and then the Scientific Research Institute of Music (since 1931). In 1929, prof. N. Garbuzov proposed to use the oscillation-recording device for exact measurement of melody. This work have been fulfilled by A. V. Rabinovich, who published the results in a 32-pages brochure [2]. He calculated the number of oscillation periods on a known time interval and derived on this way the main tone frequency. Using this method, A. Rabinovich estimated the deviation of tones from the standard pitch values in violin music performance. He showed that the changing of sound pitch is a usual performer's method for improving the harmony. From 50th until 80th of the XX century, several measurements of this kind have been made. In this investigations, chromatic stroboscopes and other technical devices were used. These works have been fulfilled in Acoustical Laboratory of Moscow Conservatory by pupils of N. Garbuzov Sergey Screbkov, Eugeny Nazaikinsky, Youry Rags, Olga Sakhaltueva etc. After the end of 1980th, musical sound investigations will be based on computer methods. Nikolay Bazhanov in the Conservatory of Novosibirsk examined performance styles of different famous piano-players with the help of a personal computer and self-made sound card. In 1994 N. Bazhanov published a book with results of these investigations [3]. In 1993, the computer center of Moscow P. I. Tchaikovsky Conservatory have been organized. Since 1994, we began to study vocal sounds with computer and a 'Soundblaster' card. Some measurements of vowel sounds were fulfilled under the direction of the vocal sound expert prof. Vladimir P. Morozov (who began the investigations of singing voice in the 1960th). In 1995, the author of this report began to develop his own computer program for measurements of musical sound. This work will be continued until present day [4]. Methods For computer study of musical sound, mostly 'sliding' methods will be used, i.e. the estimation of sound properties happens in a 'window' with a width , which moves along the time axis with a small step . 'Sliding' Fourier transform allows to follow the spectrum changing during the musical piece. The form of used 'window' causes more or less estimation errors of spectrum components. Spectrum resolution and time width are in an 'uncertainty relation': , which limits the possibilities of exact estimation of parameters in time- and frequency- domain. The immanent properties of musical sounds require high resolution in frequency domain. For instance, frequency difference between stages c and cis vary from 1.95 Hz in contraoctave to 248,91 Hz in 5th octave; in musical scale, it is always the interval 100 cents. According to human's hearing possibilities, the accuracy of about 4..5 musical cents (1/20 of octave) must be assured for sound pitch estimations. Non-ideality of sound structure and noise, witch contains any sound recording, and other voices and also errors of numerical methods used in computer programs are the main causes of result errors. For the calculation of changing sound pitch, i.e. melody, both spectral and temporal methods can be used. In order to study properties of musical sound of different traditional cultures, some new methods measurements have been developed by the author. For example, a special technique of estimation of pitch row was elaborated, based on phonogram processing. Results and Discussion Accuracy control An investigation of characteristic estimation errors for different sound parameters have been made by the author, including the pitch extraction methods — difference method (YIN), autocorrelation method and cepstrum method. The estimation errors were measured statistically for test-sounds in four 'central' octaves and in consideration of influence of 'white' noise with different levels, additional tones and for various 'window' width . The method parameters and conditions for keeping the summary error under 4..5 cents have been defined. Some results of ethnomusicologycal investigations Folklore Singing. In many folk singing examples the sound pitch row contains an equidistant stage structure like the European equal tempered pitch row. But, as a rule, there are more then 12 stages in octave — this number varies from 15 to 30 or more. In some other pieces, the pitch row contains linear rising steps between stages (from about 30 cents to 90..100 cents within 1,5..2 octaves) [5, 6, 7]. Tuva throat (overtone) singing (khoomei). In this traditional singing pieces usually contain a vocalization part, which sounds like a flute with an additional lower voice (bourdon). This effect was usually explained through two independent oscillations — of 'true' and 'false' ferrein's cords, but the spectrums show only one overtone system. In author's investigation, based on modulation theory (radio-signal transmission systems), a new model of sound production was offered, which allows to explain this spectrum structure. A computer simulation (in SPAX program) discovered also the 'mechanism' of two-voice hearing during vocalize part in khoomei [8]. Traditional Kazakhstan instruments. In this computer investigation, the traditional dombra pitch row was studied, based on old master's recordings. This investigation showed that the pitch row includes stages with are close similar to Pythagorean's, pure scale or equal tempered scale and includes also very 'narrow' intervals like ⅛, ⅓, and also ¾ of a halftone [9, 10]. Classical music of the East: analysis of performance style parameters. Traditional performance of classical music of Transcaucasia and Central Asia have been compared on the basis of phonograms of famous Azerbaijani and Tadjik musicians, belonging to two generations. This analysis showed some 'historical' differences during the period 1960th–2010th in the used pitch row — an increasing of percentage of 'European' intervals (multiple of 100 cents) instead of small intervals (about 25 cents and multiple of it). It indicates a certain trend in the thinking of musicians who studied western music and played pianoforte in conservatory [11]. Conclusion Contemporary computer investigations on the field of musical information research in Russia mostly deals with traditional music and instruments study. On this way, some interesting new results have been obtained, which are useful for musicology and ethnomusicology. Acknowledgments I would like to express my sincere gratitude to my co-authors — ethnomusicologists, who became interested in quantitative objective methods of musical sound investigation and had patience enough to finish its study in spite of lacks of mathematics-understanding which is typically for humanitarians. References Kazansky, V.S., Rzhevkin, S.N. Issledovaniya pevcheskogo golosa (The investigations of singing voice), -Petersburg, Russian Federation, Journal of Applied Physics, 1928, v. 5, P. 87 (in Russian). Rabinovich, A.V. Oscillografichesky metod analiza melodii.Problemy musikoznaniya. Teoreticheskaya biblioteka. (Oscillographical method of melody analysis.Problems of musicology. Theoretical library). Muzgiz: Moscow, Russian Federation, 1932 (in Russian). Bazhanov, N.S. Dinamicheskoe intonirovanie v iskusstve pianista: issledovanie (Dynamical intonation in the art of piano player: an investigation). State Conservatory of Novosibirsk: Novosibirsk, Russian Federation, 1994. Kharuto, A.V. Program SPAX for Windows. #2005612875 of Federal Institute of Industrial Property of Russia, 2005. Kharuto, A.V., Smirnov, D.V. Ispolzovanie komputernogo analiza v issledovanii zvukovysotnogo stroeniya narodnoy muzyki (Using of computer analysis in investigations of folk music). Proc. of International scientific conference in memory of A.V. Rudneva: Music of oral tradition. Moscow P.I.Tchaikovsky Conservatory: Moscow, Russian Federation, 1999, P. 335–340 (in Russian). Smirnov, D.V., Kharuto, A.V. Nelineiny zvukoriad v musicalnom folklore: obschaya zakonomernost i individualnost (Non-linear sound pitch row in musical folklore: common consistent pattern and individuality). Languages of science — languages of art. / Ed.: Z.E.Zuravleva, V.A.Kopzic, G.Yu.Reznichenko. Progress-Traditsiya: Moscow, Russian Federation, 2000. P. 347-352 (in Russian). Kharuto, A.V. Komputerny analiz zvukoriada po fonogramme (Computer analysis of pitch row based on phonogram). Musicalnaya Academya, 2010, № 3, P. 83–89 (in Russian). Kharuto, A.V. Tuva throat singing: forming of many voices from a 'single-voice' spectrum (model of sound production and perception). Abstracts of V International symposium on khoomei (throat-singing) — cultural phenomenon of the peoples of Central Asia. UNESCO National Committee of Tuva Republic, International Scientific Center 'Khoomei': Kyzyl, Russian Federation, 2008, P. 134–142. Utegalieva, S.I., Kharuto, A.V. Komputernoe issledovanie traditsionnogo stroya kazakhskoy dombry na primere fragmenta is kuia D.Nurpeisovoy 'Enbek epi' (Computer analysis of traditional pitch row of Kazakh dombra on the fragment from D. Nurpeisova's kui 'Enbek epi'). Musicovedenie, N 8, 2013, P. 28–39 (in Russian). Utegalieva, S.I., Kharuto, A.V. Komputernye issledovaniya zvukoriadov kazakhskogo kyl-kobyza (Computer investigations of pitch rows of Kazakh kyl-kobyz). Musicovedenie, N 12, 2013, P. 38–45 (in Russian). Yunusova,V.N., Kharuto, A.V. Objective analysis of performance style parameters (on the material of classical music of the East). Proc. of the 24th National Scientific Symposium with International Participations 'Metrology and Metrology Assurance', Sept. 7–11, Sozopol, Bulgaria. TU Sofia: Sofia,, Bulgaria, P. 96–100.

The article discusses the research issues conducted in the field of music education in Azerbaijan in the early twentieth century. The article also looks at the process of collecting and transmitting the oral folk heritage of Azerbaijan to future generations and examines the purposeful work carried out in this area. In addition, the article provides information about prominent Azerbaijani educators in the field of writing and studying samples of national folklore, based on archival materials, highlights several relevant sources in this regard. The article emphasizes the peculiarities of the folklore environment of Baku and Sheki, where oriental concerts are held. The purpose of the research is to determine the features of the collection and recording of Azerbaijani folklore samples. The article emphasizes the work of the Research Music Room, which is important in the field of education. The study of national and cultural values of the Azerbaijani people in modern times and the solution of the problems of spiritual heritage protection are the basis of the research as a working principle of the research music room. The research methodology is based on music-analytical and historical analysis. It was noted that the research music room has established its activities in the field of collection and study of folklore within the requirements of modern times. At the same time, the methodological basis of the article is based on the scientific-theoretical principles and research practices of Azerbaijani and foreign musicologists in the study of musical folklore, comparison of oral folk-art examples, recording of folk music samples. The scientific novelty of the research is that for the first time, the activity features of the scientific room within the framework of Azerbaijani music were examined, and the working principles were studied in detail. At the same time, based on the research, the article presents a scientifically substantiated study of the features of the process of collecting and studying musical folklore in the early twentieth century, the oral folklore recording. Conclusions. The presented article allows us to cover the activity of the Research Room of Music established at the Azerbaijan State Conservatory in 1932, in particular, to get important results in the study of Azerbaijani folklore. The article analyzes the continuation of the educational movement in Azerbaijan, in particular, the popularization and use of oral folklore, using articles, transcripts and speeches of meetings periodically published in the press. It is noted that the processes of globalization taking place in the world today emphasize the value system of traditional heritage. This is especially important in the field of humanities in terms of studying the history and folklore of Azerbaijani music culture up to modern times. The problems of writing and studying Azerbaijani music folklore were raised by national educators. From this point of view, it is especially important to systematically publish materials on the study of oral folk art in periodicals. It was noted that the educators paid special attention to the educational significance of oral folk art. In this sense, the research draws attention to Hasan bey Zardabi’s research on folk art, especially its educational function. From this point of view, it is very important to emphasize that the first researches on oral folklore carried out by Azerbaijani enlighteners allowed national folklore to enter the world folk art system. Such issues as identifying the uniqueness of the collection of oral folk art, studying music folklore as a whole, comparing examples of oral music, determining the regularities and harmonization of folk music from the activities of the Research Room of Music, and assessing the protection of spiritual heritage were noted. At present, the research music room continues to play an important role in the study of music folklore and generalizes the study of music science at a certain stage in the history of Azerbaijan.

The author proposes the theory that the national and cultural habitat of Ukrainians is determined by musical and folklore sources. It is noted that the scientific analysis of folklore expresses the subject's world picture and the system of his sociocultural orientations, provides an opportunity to understand the transformation and historical sociodynamics, to determine the main system-forming meanings of culture and national culture in particular. Attention is focused on the cultural understanding of the essential content of the categories "national-cultural space", "folklore" and "musical folklore" as a type of folk artistic culture, which is based on the ethnicnational picture of the world. It was found that, gaining experience, the nation creates its own history, which is filled with its own unique meanings, inherent exclusively to its field of culture, which is characterized by certain values and special rules of interpretation. Musical folklore as some national modus in the traditional culture of Ukrainians forms the value and behavioral guidelines of the representatives of this community. The national-ethnic picture of the worldview and understanding of the meaning of being is defined as a single cognitive orientation, which is a non-verbal, implicit expression of understanding by members of each society of the "rules of life" determined by social, natural and supernatural forces. Ukrainian musical folklore is characterized as a type of culture that expresses the national picture of the world structure and the valuenormative system of people's life, the national-cultural habitat of Ukrainians. The picture of the world is considered as a representation of the surrounding reality, a feature of its perception, which is determined by the unity of subjective and objective conditions and factors of the formation of the national-cultural landscape. The significance of the musical and folklore concept in the formation of the main value orientations of the Ukrainian nation has been proven. Attention is drawn to the scientific rethinking of the content of traditional concepts of cultural creation in the context of its national mode. An art-critic analysis of the musical-folkloric component in the rituals of Ukrainians is presented.

Background. The history of the development of orchestral music for Chinese traditional instruments covers more than a thousand years. During this time, the traditional orchestra has undergone significant changes. In the article the modern stage of the development of the orchestra of a new type is considered starting from the 1920s, when its modification began and integration with the principles of the Western Symphony Orchestra. The modernization of the Chinese orchestra of traditional instruments began in the twentieth century after the overthrow of imperial rule and the emerging changes in Chinese society. Nevertheless, the process of integrating the Western musical traditions was carried out in China for several centuries, which prepared the ground for the qualitative changes that began in the 20th century in the field of national musical art. The development of orchestral music for Chinese traditional instruments is not sufficiently studied today in musicology. One of the little studied periods is the initial stage of the formation of the Chinese orchestra of folk instruments of a new type in the 1920s – 1930s. Objectives. The purpose of the article is to reveal the prerequisites and specifics of the formation of the Chinese orchestra of traditional instruments of a new type in the 1920s and 1930s, to determine the role of outstanding Chinese musicians in the process of modernizing the orchestra and creating the appropriate national repertoire. The methodology of research is based on musical-historical approach combined with musical-theoretical and performer analysis. Results. The first shifts in the integration of Western and national traditions in Chinese traditional orchestral music became possible thanks to the activities of the music society “Datong yuehui”, as well as the emergence of higher professional musical institutions in China and the training of Chinese musicians abroad. The most important role in the formation of the Chinese orchestra of traditional instruments of a new type was played by outstanding musicians Zheng Jinwen, Liu Tianhua, Zheng Tisi. Zheng Jinwen was the initiator of the creation of the society “Datong Yuhui” in 1920. He began the process of standardizing various Chinese instruments with the goal of unifying their sound tuning fork. This was necessary for a well-coordinated game in the orchestral ensemble. The musician modernized and developed new methods of tuning traditional instruments for flute dizi, multi-barrel sheng and expanded the orchestra to forty people. Zheng Jinwen adapted the national repertoire to a new type of orchestra, performing as an author of orchestral transcriptions of ancient music for traditional Chinese instruments. Liu Tianhua became the creator of the Society for the Development of National Music at Peking University (1927–1932). The musician reformed the old system of Chinese notation “gongchi” based on hieroglyphs, modernized it and adapted it to the Western musical notation. Substantial achievement of Liu Tianhua was a significant modification of the erhu with the replacement of strings by metal, changing the settings in accordance with the standards of Western stringed instruments. As a result, the erhu acquired the status of a leading or solo instrument in a new type of orchestra. The activity of the first modern Chinese orchestra of traditional instruments, the musical collective of the Broadcasting Company of China, created in Nanjing in 1935, had a great importance. In 1937, from the Second Sino-Japanese War, the orchestra was transferred to Chongqing, and after the victory of the Communists in 1949, he moved to Taiwan. One of the orchestral musicians, Zheng Tisi, played an outstanding role in the formation of this group. The musician carried out the reformation of this orchestra in the field of tuning instruments. The range of the orchestra was expanded by the introduction of additional wooden string instruments dahu and dihu, having a volumetric sound-board and tuned an octave below the violin erhu. Their purpose was to fill the lower register, alike to the cellos and double basses in Western orchestras. For the first time the post of conductor and his assistant was introduced by Zheng Tisi, which was also able to attract professional composers to create a multi-voiced orchestral national repertoire. The innovations of the outstanding musician made his orchestra a role model for all subsequent similar contemporary Chinese orchestras. Conclusions. The process of forming a Chinese orchestra of traditional instruments of a new type in the 1920s and 1930s made it possible to modernize Chinese traditional folk instruments and the ancient Chinese notation system in order to adapt Chinese orchestral music to the integrative processes in musical art. Orchestral music was reformed in accordance with the principles of Western European symphonic and conducting art. In this process, outstanding highly professional Chinese musicians who contributed to the development of orchestral music in their country and the creation of a corresponding national repertoire played the leading role.

Death of a Salesman

As an important carrier of national culture, Chinese folk dance gets much attention and affirmation in social circles.This paper expounds the concept of folk dance, points out the ways and laws of the national folk dance inheritance, and then analyzes its development trend based on current situation in order to provide some references for the relevant researchers. Concept of National Folk DanceDance is a kind of cultural phenomenon, is also an art form which conveys emotion via person's body action, look, expression, manner and costume.It is gradually formed the body and to reflect the values of a society to form.Folk dance refers to a nation or region in the development of material civilization and spiritual civilization, the work of the masses directly created by the masses, but also in the masses, but still in the form of dance.Folk dance is a nation in the process of historical development and people themselves created in the masses of the inheritance of dance forms.It reflects the people's life and traditional activities, with ethnic characteristics and regional style, can with the development of society and add new connotation and denotation.China is a multi-ethnic country.Each nationality has its own national characteristics of folk dance.These forms of folk dance show the unique form of the nation, which has accumulated the cultural phenomenon of the national spirit, aesthetic taste, customs and habits of the nation.Moreover, the formation of the nation, migration, living environment, economic foundation, social structure and other aspects are reflected.Folk dance itself has a strong national color and regional characteristics, is an important part of the national regional culture.Different cultural backgrounds gave birth to different forms of dance, creating different styles of dance culture.

Chapter 9 examines how unconventional written work is currently pushing the limits of our understanding of genre. Women from elsewhere are drawing from personal experience in order to disturb tired distinctions between “text” and “life” in imaginative fashions that reconfigure the reading experience. Their creative work is contributing to liberating these authors from overworked modes of expression and worn expectations, and allows them to break free from rigid definitions. It is significant that a number of worldwide women writers are now opting to compose works in a variety of creative forms ranging from the bande dessinée to the journal to the photo essay to récits of all sorts, expanding our conceptions of generic classification by playing with everything from titles to formats within the written work. This inventiveness includes a great deal of attention to visual arts and music, occasionally through the integration of works of art and musical notations in the text itself, and other times through allusions to artistic and musical pieces, or even through the construction of passages that liken literature to these other art forms. Authors are more and more impressively contributing to their own publishing profiles by writing “autobiographically” in variations that elude any clear categorization, but that reveal intimate details in texts that embody movement, progression, and development in exciting new terms.

Purpose of Research. The purpose of the research is to characterise the nature of the Kobzar phenomenon as an organic component of Ukrainian national musical culture. Research Methodology. The research methodology is based on the systemic approach in the study of the highlighted issues and a set of the following methods: comparative, cultural, historical, analytical ones. Scientific Novelty. The scientific novelty consists in an attempt of the complex analysis, which include the determination of the essence of the Kobzars phenomenon, and the investigation its main features and peculiarities and the generalisation of the understanding of the Kobzar culture as a national high spiritual creative potential of the folk-cultural reality as a kind of stage in the development of national folk creativity in the paradigm of the Ukrainian musical tradition. Conclusions. The author has defined Kobzar art as a unique phenomenon of national Ukrainian music and song culture. The uniqueness and originality of the Kobzar phenomenon is in the fact of the existence and spreading of the Kobzar culture in the following areas as a folk and everyday environment, i the worldview essence of the singer’s personality, the high demands on his spiritual and moral world, musical skills, abilities, self-improvement, the understanding of their purposes and the performance of their duties and missions, the selection of the repertoire. Kobzar art is an indicator of the high civilizational development of folk traditions, musical culture and the Ukrainian people as a whole. Keywords: kobzars art, national culture, musical instruments, repertoire.

Reconciling the Conservation of Cultural Heritage with Rural Development

The culture of a community plays a major role in narrating the history and life of that particular community. This culture includes various aspects such as religion, ritual, faith, food, customs or practices as well as art and culture. Among these aspects, art is not only for entertainment; but it is also for exposing the social character and tradition of that particular community. The undeniable thing here is the factor that art forms in every country, and in every region are not only to create entertainment but also to preserve the antiquity of their existence up to now. In that respect, Vasanthan Kooththu, one of the Sri Lankan Tamil art forms, is a notable art form in that category. Even though this art form is found in Batticaloa and Jaffna areas, they have differences between each other. This study focuses on the songs of Vasanthan Kooththu performed in the Katuthavalai area of ​​Batticaloa. This type of Kooththu is an art form of tapping and dancing with two sticks in the hands; however, these sticks are also used to express the function of the meaning of the song with dance. Even though this type of Kooththu is a dance form, the greatness of the songs used in this Kooththu is significant. There are 62 types of Vasanthan poems have been in use in the Art Form performances. These have been compiled around the year 1940. These 62 genres of songs are divided into six genres and compiled, namely 'Kattiyam', 'Thoththiram', 'Sariththiram', 'Tholil', 'Vedikkai', 'Vilaiyaattu' and are still in the practice during Kooththu performance. As mentioned earlier, these Kooththu song systems emphasize the art expression of the culture of a community. The songs related to the professions or job involved in these Kooththu songs express the whole series of activities of the agricultural industry. The reason that these Kooththu songs to aim to explore only a specific industry is to be explored. It is vital to discover this factor; and this article explores about how these Kooththu songs are still in operation today as a popular form of folk music performance to describe a particular social professional life, beyond globalization trends, imposition and blends of colonization thinking. This article also explores the significance of these Kooththu songs hold, the importance they have gained in the life of people as well as the value that these Kooththu songs have even today.

Medical journals are products of national medical cultures, which influence the organization of medical research and the readiness to employ different research methodologies. A content analysis was undertaken to ascertain the characteristics of scientific papers in nine Russian and three American medical journals published in 1992. The American medical journals were thriving, both in appearance, and with research contributions coming from a decentralized national system of research institutions and also from European and other international research centers. Much of American medical research is “big science” based on collaborative efforts of researchers at a number of institutions. Russian medical journals, in contrast, were more parochial in content, reporting mainly local research, with several primary journals serving as outlets for endeavors of sponsoring institutes. While Russian medical culture did appear to discourage usage of classical random experimental designs, the choice of research methodologies proved to be influenced more by medical specialization than by national culture.

The article will carry out an artistic analysis in the context of circology, namely: comparative and artistic analysis of the show “OVO” of the “Cirque du Soleil”. Research in the field of circus arts, its theory and practice will be carried out in the context of circological research.
 The problem of this article is that in domestic and world art criticism there are practically no serious scientific studies on the specifics of circus performances of the “Cirque du Soleil”.
 It is important to note that separate publications, announcements, programs of circus performances, popular articles from modern magazines in the press of the late 20th and early 21st centuries certainly took place. However, their exclusively narrative display without specific factors should be noted, namely: lack of clear connection between practical specifics of circus art and scientific transmission of information and analytics in the field of art criticism.
 The purpose of the article is to give clear and systematic analysis within circological plane, namely, to provide comparative analysis of the show “OVO” with other performances of the Cirque du Soleil circus as well as to reveal in detail the uniqueness of direction and features of the numbers of the show “OVO” in terms of circus genres, scenario and artistic design.
 Comparative analysis of various circus performances of the show of the Cirque du Soleil, defines diversity and different facts of difference of show "OVO" from such circus performances of the Cirque du Soleil as “Alegría”, “Zumanity”, “Kà”, “O”. The description emphasizes and gives clear description of decoration, modern methods of circus apparatuses, pyrotechnics and innovative technologies, lighting and musical accompaniment. Music was written separately for each show, musical samples were created depending on scenario and plot.
 “OVO” is considered a touring production of the Cirque du Soleil, written and directed by Deborah Kolker. This is the 25th “Cirque du Soleil” show since 1984 created to celebrate the 25th anniversary of Cirque du Soleil. The name “OVO” translated from Portuguese means “egg”. This corresponds to the theme of the series on life cycle and birth of insects. It is also the main threat of the show. Production designer Gringo Kardia was inspired by nests and colonies of various insects when creating the scene for the “OVO”. Acrobatic structure used during free throw is situated at an angle of 45°. The structure can be lifted up to 4.5 meters and weighs more than 5 tons. Costume designer Liz Vandal to create costumes for “OVO” used her signature style inspired by futuristic superheroes and a variety of armour.
 Thus comparative and artistic analysis of the show “OVO” is a combination of creative and unique, at the same time simple, but understandable plot, bright costumes and make-up that really turn artists into insects. Well-chosen numbers, the way they interconnect and an unsurpassed acting gives an excellent performance about fabulous world of insects which one can visit with the whole family and take a break from real life.

Dolalak is a type of folk performance art popular in the Purworejo Regency, Central Java Province. Its existence is often associated with another folk performance art called Angguk . Both forms of performance arts influence each other. Based on a study on a book written in 1938 by Th. Pigeaud with title on Javaanse Volksvertoningen (Javanese Folk Performance Arts), the name Angguk had been recorded at that time while Dolalak had not. Purworejo’s Dolalak was initially popularized by three santris (religious students) named Rejotaruno, Duliyat, and Ronodimejo. One of the popular elements of Dolalak performance is tembang . These tembangs are a form of sung folk poetry. It takes form in the oral language, using the Javanese language and containing elements. Up to 2010, found 210 Dolalak successful song lyric documented in writing. Besides poetry, the other elements of the song is a song. Dolalak song has a number of variations of the songs are quite unique and interesting when sang his poems. Discussion of the above problems, used an umbrella approach to Performance Studies (Art Studies appearance), was the study of the use of the song in the show Dolalak used models of Jacques Derrida's theory of deconstruction. Special analysis of linguistic elements used Dolalak song lyric theory proposed formula Albert B. Lord. Analysis begins with the deconstruction reveal pre-existing construction, namely the assertion that Dolalak the nuances of Islamic arts, especially seen from the use tembangnya. Starting from the existing construction, it found kontrakdisi of actual reality. Such contradictions give rise to ideas or a new offer in the way of understanding of Dolalak seen from the song and use. This research has resulted in findings that means a new understanding of Dolalak as folk performances seen from the use of poetry tembangnya, namely that Dolalak an art form that is simple, straightforward, uncomplicated, irregular, choose words that are popular, easily understood, and choose the theme of daily life. Song lyrics Dolalak more concerned with sound rather than sense or meaning. This condition reflects populist Dolalak as performance art.