The study aims to substantiate that works for one hand can reveal the potential of the piano to a greater extent, as well as its genre and style range, becoming an original sphere not only of musical performance, but also of composer creativity in general. The paper presents the essence of the phenomenon of compositions for one hand in piano art; identifies the features of the embodiment and performance of works for one hand and genres of piano repertoire for one hand. As a result, it can be concluded that the emphasis on the technical side is often the peculiarity of the embodiment of works for one hand. These compositions by their very nature imply virtuosity and this parameter comes to the fore. Despite the genre and stylistic diversity of compositions written for one hand, in general composers are characterised by a noticeable common tendency, a creative desire to reveal the capabilities of performers, i.e. their virtuosity.

The aim of the research is to identify the peculiarities of image structure in G. V. Sviridov’s “Oratorio Pathétique” taking into account the Christian ideas and symbols. The paper presents some images of “Oratorio Pathétique”; shows the ways of realizing the elements of Orthodox art in music; depicts the expression of hidden biblical images and symbols in the text of V. V. Mayakovsky. The scientific novelty lies in the study of “Oratorio Pathétique” in the aspect of the spiritual themes manifestation which expands and deepens the perception of the genre peculiarities of this monumental work of the XX century. This new approach consists in the comparison of the Oratorio text with biblical notions and meanings. The results of the research allow us to make the following conclusions: “Oratorio Pathétique” is the versatile work which comprises the themes of revolution triumph and sympathy with the «White Guard», the idea of creating “Eden city-garden” on the earth and love to devastated long-suffering homeland, the principles of socialist realism and Christian symbolism.

The work provides insight into the history of the productions of the first opera by the outstanding Russian composer S. V. Rachmaninoff in the local history aspect. The aim of the study is to reveal the features of the productions of the opera made in the Tambov region. The scientific novelty of the study lies in the fact that it provides a chronology reflecting the peculiarities of the performance of the opera “Aleko” (in the format of performances and individual concert numbers) in the Tambov region. As a result of the study, the historical context of the main productions of “Aleko” (premiere performances at the Bolshoi Theater, productions in Kiev, St. Petersburg, Tbilisi), as well as the features of opera and concert performances presented to the Tambov audience (1915-2017) were characterized.

Importance. The range of issues of fortepiano pedagogy related to the development of the classical sonata form in succession with the composing and performing experience of the pre-classical period is considered. The problem of mastering the modern musical and pedagogical experience in the field of studying the classical sonata form in the fortepiano classroom is solved. Materials and methods. The semiotic approach to the musical text is used as the main methodological principle, as well as historical and cultural commentary and reconstruction of the authentic environment in which the classical sonata form was created and developed. The expediency of using the “quasi-score of the performing concept” in pedagogical communication is shown. The justification of the introduced concept contains various examples of reading the urtext. The proposed methods can be widely used in the sequential process of mastering a large form in an instrumental classroom. Results and Discussion. A useful result of the proposed approach is a meaningful attitude to performance technique as a resource for generating variants of the correct author’s interpretation of a work of art. Despite the fact that the large form is an obligatory part of music pedagogy, practicing musicians face problems of formal and semantic perception of the text in the process of participating in the dialogue environment “teacher – student”, “composer – instrumentalist”. By analogy with the term quasi-scores used in the art criticism analysis of a large form, the concept of “quasi-score of the performing concept” is introduced, which allows to enrich pedagogical communication with a large volume of historical and cultural information tied to the artistic text of the work and the technology of its performance. Concrete examples of the mutual influence of the largest representatives of the composer and performing practice of the 18th century are given and interpreted. Conclusion. The idea of the need to develop the ability of an instrumentalist to understand, hear and reproduce in performing practice the constructs of the musical language generated in the syncretism of the compositional and performing practice of the epochs of Johann Kunau, the Bach family, Domenico Scarlatti, Georg Friedrich Handel, Joseph Haydn, Muzio Clementi, Wolfgang Amadeus Mozart, Ludwig van Beethoven is argued.

The evolution of the theme of the seasons in Russian choral music is closely linked to the processes that characterised the development of the genre of an a cappella choral miniature at the turn of the XIX-XX centuries. The aim of the paper is to consider the themes related to the seasons in choral genres at the present stage of their development. Scientific novelty lies in choosing A. Kiselyov’s and V. Khodosh’s works as the research material. As a result of considering two vivid embodiments of the theme “Seasons” in the choral music of the XX century, their poetic sources, analysing the stylistic features, as well as the features peculiar to the creative worldview of the cycles’ creators A. Kiselyov and V. Khodosh, the author identifies two main vectors in the depiction of this imaginative sphere, the neo-folklore vector and the lyric-psychological one.

The research aims to shed light on the peculiarities of the formation of an opera genre for children’s audiences – children’s opera – in the history of the development of Russian musical culture in the early XX century. The paper examines and analyses vivid examples of children’s opera written by outstanding composers, “The Snow Bogatyr” by С. A. Cui, “The Mouse Tower”, “The Dream of the Fir” by A. T. Gretchaninov. Scientific novelty lies in identifying the originality of the musical language of the children’s opera works under consideration, in particular, it is determined that the opera action is “commented” through repeated themes, motifs, intonations, individual elements, sound-expressive techniques enhance the detail of musical speech, while the musical language of the work serves as the main narrator, the carrier of the main fairy-tale function in children’s opera. As a result of the research, the author comes to the conclusion that a pedagogical orientation contributing to children’s education is manifested in the specified detailed principle of the musical language of children’s operas.

The aim of the study is to identify the direction of the thematic sphere in the creative work of Tambov authors of the 1930s-1950s (composers, artists, theatre professionals). The paper determines the significant themes and motifs embodied in musical works, paintings, theatrical productions of artists of the Tambov region. The scientific novelty of the study is accounted for by the fact that it presents a panorama of the themes found in the creative work of Tambov authors of the 30s-50s of the XX century, which makes it possible to determine how the Soviet reality was reflected in the works under consideration. As a result of the study, it has been found that in the works of Tambov composers, artists, theatre directors of the 1930s-1950s, the emotional modes of this era are revealed, i.e. the enthusiasm of the “pioneers” in socialism building at the beginning of the period, the heroic opposition to and victory over fascism, the spirit-lifting efforts to rebuild the devastated country during the postwar years; in addition, it has been determined that in the 50s, the search for the image of a contemporary hero led to the authors’ interest in local history themes – the nature and people of the Tambov region.

The research aims to create a holistic view of such a priority area of the concert activity of the choir of the Tambov State Musical Pedagogical Institute named after S. V. Rachmaninoff as the popularisation of Sergei Rachmaninoff’s music. The paper draws attention to the educational traditions of the choir of the Tambov State Musical Pedagogical Institute named after S. V. Rachmaninoff, including the promotion of Rachmaninoff’s music since the 1910s, retrospectively considers the “Rachmaninoff” repertoire of the educational choir. In general, the review covers the period from 1882, when the education institution acquired the status of the Music Classes of the Imperial Russian Musical Society, until 2022. The scientific novelty of the paper lies in its local history perspective, which has not yet found proper coverage in research. The research findings show that from the second half of the XX century to the present day, the heads of the student choir of different years strictly follow the tradition of adding Rachmaninoff’s works to its repertoire, performing them within the framework of socially significant projects, adequately carrying out the high mission of educating generations of enlightened listeners, being a “soul healer”.

Abstract. The formation of emotional and aesthetic experience of students in the process of artistic activity is important. We consider the educational environment in the arts college in the context of the implementation of the mechanisms of creative self-development of the individual. The tasks facing the teacher in the process of teaching students artistic activity are formulated. To consider the essence and structure of emotional and aesthetic experience we use theoretical research methods: analysis of psychological and pedagogical literature, comparison, systematization, generalization. Emotional and aesthetic experience is a complex, multifaceted, multi-level, multi-functional integral education. The complexity lies in the multiplicity – in their diversity in the sense of belonging to different fields of knowledge, the multilevel – in the constant improvement of components, starting from a different initial level of formation. In this type of experience, the following structural components are special, psychological, pedagogical and organizational. We analyze each component in detail and its significance for the formation of the emotional and aesthetic experience of students. Teachers do not sufficiently have technologies that could contribute to the intensive desire of a college student for creative self-development, especially in terms of enriching the personal emotional and aesthetic experience of performing. The theoretical results obtained are of interest to the scientific and pedagogical community, practicing teachers, and students.

The purpose of the research is to study music performance anxiety and characteristics of the functions of the executive system of the brain among students of the children's music school. In our research, we use questionnaire for collecting general information, Lusher’s test for the diagnosis of anxiety and Stroop test for the determination of rigidity/plasticity of thinking. The aim of the research is to study the anxiety of musicians of primary school age and the features of the functions of the executive system of the brain, more precisely, the prefrontal cortex, before and after classes with the help of the “Music Performance Anxiety Correction Notebook”. The subject of the research is anxiety, cognitive rigidity and self-regulation among musicians before and after passing a series of classes with the help of the “Music Performance Anxiety Correction Notebook”. The Notebook made it possible to reduce anxiety indicators in students at a children's music school without impairing the executive abilities of the frontal lobes. In the future, we plan to test the notebook on children of different age categories in children’s music school, as well as to develop a program for music performance anxiety correction among gifted children from different creative directions – music, choreography, acting, poetry. This research allows us to develop further the problem of “music performance anxiety” in Russia.