European Genre Research Articles

Influence of European Genre Model on Chinese Chamber Instrumental Ensemble with Piano

In today's world, the rapid development of Chinese culture and its influence on the music scene underscore the necessity for systematic research into the Chinese piano chamber ensemble. The growing interest in this musical genre challenges many widely accepted notions about musical tradition and prompts a deeper understanding of its characteristics and impact on contemporary music art. The purpose of the research is to study and analyse the musical and cultural interrelationships within the Chinese piano chamber ensemble to better understand its essence and role in the modern music world. The research methodology is based on a comprehensive approach, incorporating analysis of musical material, historical and cultural methods, as well as comparative analysis. Modern theoretical concepts are applied to reveal the significance of the piano chamber ensemble in the context of cultural transformation and to examine the interaction and influence of national and non-national musical traditions on the formation of the musical genre, as well as its role in cultural exchange and interaction between different cultural traditions. The scientific novelty of the research lies in the first attempt to systematise and analyse the musical-cultural interrelationships within the Chinese piano chamber ensemble, which opens up new horizons for further understanding of musical culture and processes of cultural exchange in the contemporary world. The conclusions of the research testify to the importance of the Chinese piano chamber ensemble in contemporary music culture and its potential as a phenomenon of musical art. It not only reflects the interrelationship between national and non-national musical traditions but also serves as a significant factor in cultural exchange and interaction between different cultural traditions.

A Cursed Circle: Confronting Patriarchal and Colonizing Legacies in Silvia Moreno-Garcia's Mexican Gothic

Abstract: In Silvia Moreno-Garcia's Mexican Gothic (2020), the Doyle family home of High Place is a living, breathing structure. The home indelibly retains memories of dead women within its walls that it uses to communicate with the novel's protagonist, Noemí Taboada. Moreno-Garcia uses this supernatural home to address legacies of violence against women and minorities by staging the colonizer-colonized relationship for Noemí in areas of the home that are typically viewed as feminine or private, intimate spaces. She furthers this discussion by reshaping a typically European genre for a new audience while critically examining a contentious period of Mexico's history. Through an intersection of spatial theory, postcolonial theory, and ecocriticism, this essay analyzes the way Moreno-Garcia constructs a haunting domestic space to confront patriarchal and colonizing legacies that are often suppressed in cultural and literary memory.

Specifics of the embodiment of European genre models in Chinese piano music as the basis of performance stylistics

Statement of the problem. A performer who gives “new life" to a composer’s work lets the sound world of music pass through him. In this process, the genre-stylistic “inclination” of the work becomes a signpost on the way to the realization and improvement of its performance style. The article accents the significant of the relating the genre and performance stylistics. From this viewpoint, the Chinese piano works based on the European genre models are considered in the article. Objectives, methods, and novelty of the research. The relationship between the genre and the performance style of the piano works of Chinese composers has been out of the focus of musicologists’ attention until today. The purpose of the article is to consider the specifics of the embodiment of European genre models (such as prelude, sonata, variations) in Chinese piano music as the basis of their performance stylistics. Achieving the goal required a systematic musicological approach and the involvement of historical-typological, musicalaesthetic, genre-stylistic, structural-functional, and interpretative research methods. Research results and conclusion. The samples of Chinese piano music (preludes, sonatas, variations) demonstrate that the specified group of works preserved their constant genre features, while the nationally directed means of expression were adapted to the norms of the European genre matrix, which in many ways contradicted the national ideas and mental foundations of Chinese musical art. The piano prelude genre has become very popular in the works of Chinese composers. All elements of the national musical style, closely related to the deep roots of Chinese musical and, more broadly, artistic thinking, are involved in the process of “concentrating” energy in miniature form with special laconic and aphoristic expression. The complex large-scale structure of the sonata genre promotes the principle of “activity”, offering the performer various musical ideas and emotions. The mental foundations of Chinese art were significantly adapted, especially in the first part – the sonata allegro, where tonal, figurative and textural contrast is the basis of the interaction of themes. New methods of folklore implementation, in which the role of language-creating and form-creating attitudes is growing, have a perceptible influence on the sonata work of Chinese composers. The European genre model of variations reveals new prospects for its development in combination with a freer national model of variations inherent in Chinese music. There is a peculiar “rational” approach to free variation, “ordering” according to the textural, tonal, figurative principle. Thus, the ccomposers try to “inscribe” national mode and intonation means of expression and performance techniques into the structure of the European genre. At the same time, under the influence of the Chinese traditional system of thinking, European genre models receive a certain “national” interpretation, although the features of a specific sample of the European genre remain as dominant, which determines the style of performing these composition. Such works – diverse and interesting – serve to develop the pianist’s performance skills and gain the widest recognition in the repertoire of many contemporary performers.

Paradoxographical Descriptions of Caribbean Animals in Fray Ramón Pané's Relación acerca de las antiguëdades de los Indios

This essay investigates Fray Ramón Pané’s text from 1500 CE, Relación acerca de las antiguëdades de los Indios, within the literary context of the paradoxography. It examines cultural frameworks and general literary knowledge that would have been understood by Pané within the structures of Spanish and Hieronymite societies. This essay compares the framework and content of Pané’s work with the known paradoxographies of Aelian and Aristotle, focusing on the emphasis placed by Pané on transformation via linguistic translation/interpretation and mythological animal representation. Through my analysis of the original text, I outline Pané’s transliteration of Taino mythology and culture, emphasizing the significance of this New World text itself within the paradoxographical genre, a genre that had generally been in disuse long before Europeans arrived in the Caribbean. While I base my analysis in the study of genre, my general focus is the inclusion and importance of transformation and animal lore within Taino culture, and their transliteration into a little-used European genre by a little-known Spanish friar.

Poetic Emancipation: Wissenschaft des Judentums and the Study of Folk-Narratives

Abstract The present article aims at explaining the unique role the study of folk-narrative played in the Wissenschaft des Judentums (the scholarly study of Judaism) as it emerged in the nineteenth century and first half of the twentieth century and as it was negotiated later. This article engages how the language of Wissenschaft constructed Jewish texts in the language of folk-narrative studies. And how the language of folk-narrative studies constructed Jewish culture in the language of Wissenschaft. Given the status of scholars within this movement – Jews who were citizens of European nations – they demonstrated the affinities between Jewish folk-narrative traditions and Islamic narrative traditions; on the other hand, they used a poetic language that implemented European (mainly German) genres and forms of scholarship that were viewed as objective and scientific in their studies of Jewish texts. The article examines three works by three scholars from three generations of the Wissenschaft movement: Moritz Steinschneider, Ignaz Goldziehr and Bernhard Heller – each corresponding respectively to one genre: legend, myth and folktale.

Collecting contemporary art in Rotterdam between 1870 and 1892: The international taste of Fop Smit Jr (1815-1892)

The extensive international art collection of the now virtually forgotten Rotterdam collector Fop Smit Jr (1815-1892) included as many as 240 contemporary European genre paintings and several works by renowned artists of the Barbizon School. After Smit’s death, his collection was divided among his family. The recent discovery of a two-part album containing photographs of the works of art he owned made it possible to reconstruct his collection for the first time. Based on extensive provenance and archival research, his collection is analysed and placed in the context of collecting contemporary art in Rotterdam and the Netherlands in the 1870s and 1890s. This reveals that Smit’s collection differed from the prevailing Dutch taste at that time. It was distinctly internationally oriented as well as larger than most other Dutch collections. Moreover, Smit did not combine paintings with works on paper or old master art, as was customary. Other Rotterdam collectors exhibit an international orientation similar to Smit’s. This is partly because, like him, they were advised by Rotterdam art dealers such as Jos de Kuyper, Jan van Mastenbroek and Willem Hendrik Köhler. In his collecting pursuits, Fop Smit was guided by his mercantile ethos. He was a shipowner and came from a successful family of shipbuilders. In addition, he owned stocks and bonds at home and abroad worth several million guilders. His collection and motives for collecting dovetailed with the development of the growing international art market, in which Smit can be considered as one of the new, upper-middle-class collectors in a position to compete with other industrialists and for whom money was no object.

Human-Animal Reincarnation and Animal Grief in Kabbalah: Joseph of Hamadan’s Contribution

Abstract In thirteenth-century Castile, the kabbalist R. Joseph of Hamadan offered an unprecedented articulation of the idea of reincarnation (gilgul), proposing that Jewish men could be reborn as gentiles, women, or even animals. This article studies the formation of the Jewish belief in the transmigration of human souls into animal bodies, focusing on the question of animal pain. It contextualizes the kabbalistic literary treatment of animals by examining the thirteenth-century European genre of bestiaries, which attempted to instill proper morals in readers by associating animals with sinners. Although the idea of animal reincarnation led kabbalists to treat animals as creatures with human souls, it did not lead to a fundamental or radical shift in the treatment of animals.

ФОРТЕПИАННЫЙ КОНЦЕРТ В ТВОРЧЕСТВЕ КИТАЙСКИХ КОМПОЗИТОРОВ: К ИСТОРИИ СТАНОВЛЕНИЯ ЖАНРА

The article is devoted to the history of the formation of the piano concerto genre in the musical art of China. Due to the late development of the piano, an instrument alien to the culture of the Celestial Empire, all the stages of mastering the piano and comprehending its specifics by Chinese musicians have been completed in just over a hundred years. Despite the fact that the piano concerto came to the attention of Chinese authors much later than other European genres, it turned out to be very consonant with their mentality. The work chronologises the gradual development of the piano concerto in Chinese musical culture — through the “introduction” of classical examples of European composers into the repertoire in the early XXth century, to its development first by the Russian-born composer A. Avshalomov, and then by Chinese composers Jiang Wenye and Zhang Xiaohu. Based on the research of musicologists Guo Hao and Wu Jiajun, the article defines the periodization of the formation of the piano concerto in China and notes the characteristic trends in the work of Chinese composers in their approach to the interpretation of this genre and their special attitude to the programme. The paper reveals the constant features of the classical piano concerto mastered by Chinese composers and the new things they brought to this genre in the process of adaptating it based on the national musical tradition.

Конструирование исторической памяти о Сибири в русской литературе 1820-х годов: баллада А. Н. Муравьева «Ермак»

The paper focuses on the genre aspect of literary works, in which the historical memory of the conquest of Siberia was generated. The ballad “Ermak” written by A. N. Muravyov, considered in terms of historiography and fiction of its time, served as the primary source. The study has revealed that the ballad genre model developed in the 1810s was implemented in the material not common for ballads, i.e. the history of Siberia. Such an approach allowed the poet to revise the “Ermak’s plot” taken from the late-medieval chronicles and poetry of modern times in the context of current historical and cultural challenges of the post- Napoleonic era. Muravyov was the first to adapt the “imported” European genre of a literary ballad with its chronotope to the thematic space of the Russian eastern periphery and presented the history of Siberia as a fully-fledged and meaningful part of the country’s history. Thus, it is not the ethnographic details of the journey beyond the Urals, but the problem of historical memory and the symbolic monument to Ermak that the poet focuses on. The constructive and semantic dominant of this genre, i.e. the invasion of the past into the present in the guise of “alive” and “dead” allowed the poet to actualize the memory of the conquest of Siberia in the national memory and revise the image of Ermak image within a framework of the genre form and the spirit of the time.

"Genre Tradition as an Artistic Category (On the Example of Ukrainian Organ Music of the Late XX – Early XXI Century)"

"Some peculiarities of genre tradition as an artistic category are considered (based on the example of a modern Ukrainian pipe organ music). It was found out that the transformation of the genres are natural process, that directed to preservate the constant traits, that are considered as genre tradition. It has been proved that in Ukrainian organ music European genre traditions are such a set of genre characteristics, that sprout in new organ pieces and reflect the total “organ experience” of European composers. Genre traditions of organ music have external and internal aspects, that come out on structural and functional-dynamic levels. Due to this, genre can be presented as dialectic sum of unchangeable and changeable features. It was revealed that considering the genre tradition as a constant category it can be characterized in three pair of attributes – cult and secular, retrospective and perspective, national and international. The infusion of the primary genre in new minds is accompanied by a waste of power and real contextual links, which are saved in the memory of the genre and are manifested by composers in form of allusions. The embodiment of ancient organ music genre traditions in the new conditions is accompanied by the loss of its real contextual connections and intensification of association links. Considering genre tradition as a dynamic fenomena of European organ art we identificate three types of genre traditions’ interaction – interference, interpolation and inclusion. These ways ensure the productive prolongation of genres in the conditions of modern organ music creativity. The prospects of research of genre tradition as artistic category open ways to the comprehension of the modern musiс’s principles. Keywords: genre, tradition, genre tradition, genre adaptation, organ music, Ukrainian music, modern academical music "

The Chilam Balam of Ixil: Facsimile and Study of an Unpublished Maya Book

This study continues to demonstrate why the Books of Chilam Balam rank among the most significant writings produced by Indigenous people and are extremely valuable in the study of the Maya. Authored and preserved throughout the colonial period by literate Maya, the books contain a potpourri of subjects ranging from medicinal remedies, to local histories, to Christian texts. As technically forbidden compilations, these books offer scholars rare insights into what the Maya recorded and preserved, largely of their own volition, and how they made sense of European concepts within their own worldview. Although other Chilam Balams have received scholarly attention for years, that from Ixil has remained in relative obscurity. With this work, Laura Caso Barrera brings the first translation of the Chilam Balam of Ixil in its entirety to English readers. First appearing in Spanish in 2011, this updated edition brings the same beautiful color images of and astute insight into the manuscript that appeared nearly a decade earlier. The first part of the book contains a facsimile of the manuscript, while the second part holds essays written by Caso Barrera and Mario M. Aliphat Fernández, followed by a full transcription and translation of the manuscript. Two appendixes illustrating the flora and fauna appearing in the Ixil complement the main text.The two essays that introduce the translation of the Ixil are important and of significant value in understanding not only the contents of the manuscript itself but also the colonial Maya in general. In her essay, Caso Barrera examines the European and Indigenous contributions to the Chilam Balam of Ixil to reveal the impact of both foreign and local ideologies on its various texts. Throughout, she demonstrates how European works such as almanacs and medical and biblical texts all informed the content of the Maya manuscript. Here, Caso Barrera’s detective work in locating possible Old World archetypes is impressive, as she identifies specific texts as likely suspects. Moreover, the essay gives due credit to Maya culture and its influence on the final text while recognizing the authorial and creative role of its composers who acted as more than mere copyists of European genres. As such, the Books of Chilam Balam became “tools used by the Maya to understand and modify the latest European concepts and theories to amalgamate them with their own knowledge” (96). Aliphat Fernández authors the second essay, which provides additional details and insights into Maya calendrics, numerology, and cosmic worldview. The excellent overview delivers the background necessary to appreciate the appearance of such themes in the Ixil and how the Ixil incorporated and familiarized similar European concepts into their own culture.Overall, this important work joins those previous in the historiography that reveal the importance of locating both the European and Indigenous elements of Maya texts to better understand how the Maya negotiated their colonial world. The Books of Chilam Balam provide an excellent observatory from which to view these elements, and English-language readers will welcome this new addition.

The Chinese Art Song, yishu gequ: Between Tradition and Modernity

The Chinese art song, yishu gequ 藝術歌曲, is a typical genre of New Music (Xin yinyue 新音樂) of the May Fourth Movement. Such pieces were primarily composed by Chinese graduates of European and American universities who found inspiration in European Romantic art songs, especially nineteenth-century German lieder. The existing Western literature about this genre emphasizes the connections between the Chinese art songs of the twentieth century and European Romantic songs and does not consider any relationship with the domestic Chinese tradition. Publications by Chinese scholars also do not examine in any detail specific connections to the Chinese tradition at the ideational level. As this paper demonstrates, the Chinese art songs that emerged during the May Fourth Movement were not created solely by following a Western model. Their uniqueness is the result of combining the search for “new culture” with the significant traces of domestic roots in the social role of music and the tradition of joining words and music in a single artistic whole. The paper first explores the emergence of the art song in the context of Chinese musical modernization, and then, through citing theoretical works and analyses of select compositions by three of the most famous art song composers – Xiao Youmei 萧友梅 (1884–1940), Zhao Yuanren 趙 元任 (1892–1982), and Huang Zi 黃自 (1904–38) – it demonstrates the various approaches to creating art songs, especially in terms of how they were related to the domestic tradition. I have chosen examples that allow us to observe the gradual adoption of an originally European genre in the Chinese cultural environment and various factors that influenced how this genre changed. I also examine the changing ways in which this foreign genre interacted with the domestic Chinese environment.

Chinese traditional wind instruments in the context of European academic genres: composers Yang Qing and Zhu Shizhui

Chinese traditional wind instruments in the context of European academic genres: composers Yang Qing and Zhu Shizhui

History of the specific musical movements in Ukraine in the XX century

The purpose of the article is to provide systematization and synthesis of data concerning the history of the separate directions of musical art in Ukraine in the XX century. Methodology. General scientific methods of research, analytical, typological, semantic, and comparative analysis - are applied to the terminological definition of a conceptual framework of the history of musical art and justification of its theoretical art criticism application. The scientific novelty consists in consideration of musical art in Ukraine in the XX century as a certain welfare community. Conclusions. The article considers the history of certain areas of musical art in Ukraine in the twentieth century. It was established that at the stage of the emergence of musical art in Ukraine, the initial music of a syncretic nature developed. This trend consisted in the fact that music, dance, song, and poetry were in constant unity and, accompanied both ceremonies, rites and rituals, and everyday life. During the twentieth century, Ukrainian music in a significant variety of genres and forms is widespread in our country and beyond. Ukrainian artists actively mastered classical European instrumental genres, including the Baroque suite, chamber sonata, trio, quartet, quintet. It was at this time that the aesthetics of the Art Nouveau era dictated an appeal to the style of impressionism, expressionism, and other directions of Art Nouveau (in association with traditional genres, forms, and means of musical expressiveness). This has had an appropriate impact on the field of music education. The development of Ukrainian professional music is associated with the evolution of Ukrainian statehood, which only in the 20th century received the driving forces for formation. This state dynamics influenced the development of Ukrainian culture (and musical art) as an integrated system that is necessary for the active development of the society of Ukraine and the international community as a whole. Speaking about the interaction following the results of the ХХ century of innovations and traditions (archaics) in the musical art of Ukraine, it should be pointed out that any tradition is an innovation in the past, and any innovation is potentially a tradition in the future. In addition, it is important that novelty and archaic in the composer's work should complement each other. It is through this trend that innovations in musical art differ significantly from innovations in technology, where a return to archaic cannot be considered an innovative development.
 Keywords: art, music, musical works, music schools, the ХХ century, directions, development innovations.

Chilean Guitar Music: Modern Reconstructions of Genre Traditions

The relevance of the article is to deepen the analytical aspect of knowledge about Chilean guitar music of the second half of the 20th — early 21st centuries in the context of the reconstruction of genre traditions on the example of works by Juan Antonio Sanchez, Gustavo Becerra-Schmidt, Javier Contreras.
 Main objective of the study is to identify the leading genre traditions of Chilean guitar music and reveal their modern reconstructions in the works of famous authors.
 The methodology includes methods of historical, cultural, comparative, phenomenological, as well as structural and functional analysis (for a contextual consideration of the creative activities of composers, the study of genre and stylistic elements of the Chilean traditions of folk music, professional-academic and non-academic origin in their influence on European genre models).
 Results and conclusions. The cultural and historical environment of the formation and development of the Chilean academic guitar repertoire of the second half of the 20th — early 21st centuries is characterized, the links with the performing achievements of domestic virtuosos are determined. The work of composers Juan Antonio Sanchez, Gustavo Becerra-Schmidt, Javier Contreras is considered in the discourse of modern processes of reconstruction of traditions, approbation of innovative methods and techniques of writing of the European avant-garde, use of the resources of American non-academic art. The national genre roots of thematic phenomena have been identified in the process of studying music scores and audio recordings of works, which go back to the primary authentic layers and influence musical vocabulary, creating the foundation of its national identity: Creole cueca, tonada with Iberian origins and hemiole rhythmic archetypes, in particular, in the Sonata for guitar by H. Sanchez; elements of the Araucanian ritual chants of the indigenous Mapuche population in the Fourth Sonata by G. Becerra-Schmidt, as well as the rhythmic formula of the Afro-Brazilian batukada in the finale of the Third Sonata by G. Becerra-Schmidt. It was found that secondary genre and style layers are formed in line with European concert genres: sonatas, concerts, cycles, the compositional and dramatic profile of which changes under the influence of the organic nature of the musical material, its transcultural ethnic ties. Jazz and fusion music-making with elements of the Chilean musical is defined as an equally important genre-style resource. The interferential nature of the inheritance of the authentic cueca tradition through its modern versions created by the legendary Violeta Parra leads to targeted citations, allusions in modern guitar works. Analytically substantiated are the conclusions that thanks to the numerous mosaic carnival contrasts, the abundance of colorful ethno-genre mixtures of Iberian, Indian, African American folklore, to which it is possible to connect the poetics of fusion or experimental percussion techniques of sound production, the originality of the modern Chilean reconstruction of ancient traditions is formed. Such syntheses are due to the internal cultural and historical situation and artistic processes that take place on both sides of the Atlantic.

Ukrainian carillon arrangements as an instance of the cultural transmission and adaptation

The development of carillon art in Ukraine is studied. The distribution of carillons in Ukraine is considered. The issue of creating a national carillon repertoire is investigated. The interactions between the Western European instrument and the Ukrainian national music are analysed. Possibilities in reflecting the peculiarities of Ukrainian folk song by means of carillon texture are shown. Analogies are made between the texture of the carillon and the ways of playing typical instruments of Ukrainian folklore. Methods of combining Ukrainian and Western musical vocabulary, laid down by M. V. Lysenko, are used: a list of Ukrainian folk genres that can be compared with European genres included in the European musical lexicon is given. The structure of the Ukrainian national repertoire for the carillon is outlined and a plan of the corresponding manual is given. The significance of the development of Ukrainian carillon art for the world musical practice is analysed.

Mapping Indigenous Land: Native Land Grants in Colonial New Spain. By Ana Pulido Rull

Ana Pulido Rull has written a first-rate book on a genre of painting in New Spain known as mapas de mercedes de tierras, preserved in the Mapoteca section of the Archivo General de la Nación (AGN) in Mexico City. Many of us who have worked on the history of Indigenous communities in New Spain have consulted one or more of these “maps,” but Pulido is the first to study the entire corpus systematically, examining how Native artists crafted the paintings on behalf of communities or native elites to (1) request royal land grants, (2) oppose petitions for land grants that threatened their own interests, or (3) negotiate the terms of a land grant. Pulido dedicates a chapter to each of these three functions, after describing land distribution in New Spain and how Indigenous artists adapted Mesoamerican conventions of representing space to the early modern European genre of mapmaking. Numerous...

Victoria Memorial Hall, India: engineering, architecture, conservation and modernisation

Located in Kolkata, Victoria Memorial Hall is the most famous monument of British India. This paper recalls the history of the memorial and describes its engineering. It reports the environmental degradation that occurred to the building in the past decades and records the repairs carried out by the authorities to rectify such degradation. Next, it contends that the architecture of the memorial belongs to the Neoclassical European genre. It refutes that the building is in Indo-Saracenic style, which many commentators claim speciously. Thirdly, it proposes that the authorities may like to study the feasibility of installing one or more tower air purifiers within its precincts to bring down air pollutants to below the values stipulated in the national standards. Such installation would minimise air-pollutant-induced degradation and thereby help conserve the building. Finally, this paper suggests that the authorities may study the feasibility of constructing large additional areas, either over ground or below ground, depending on the outcome of the feasibility study. Such additional areas should be used to provide modern visitor facilities that meet international standards and to install a few new galleries to raise the display ratio of artefacts in its stock.

СОВРЕМЕННОЕ ИСПОЛНИТЕЛЬСТВО НА КАЗАХСКОМ КОБЫЗЕ

Global processes in the musical culture of Kazakhstan are the result of the numerous events that have taken place in the country over the past 20 years. The independence of the state has become a key factor that has had a decisive impact on the economic, socio-political and cultural development of the country. We have entered a new life, which has a rich cultural heritage and was carefully preserved by our ancestors. One of the proofs is the history of Kazakh kobyz art from ancient times to the present day. Modern kobyz art is closely connected with ancient history and has a rich natural tendency for new development, based on centuries of experience. Therefore, kobyz music of the XXth–XXIst centuries absorbed the traditions of European genres and styles, and is widely used in mass music, in various directions of ethnorock, art-rock, folk and others. Two lines of development of music for kobyz and music on kobyz existed in ancient times and nowadays. From here comes the divergence of creative direction among modern composers and in ensemble performance.

Роль городской культуры в формировании башкирского национального искусства дореволюционного периода

The article presents some basic information about the development of city musical culture in the Orenburg gubernia and in Ufa during the pre-revolutionary period. The regularity of the formation of the phenomenon of the city cultural milieu is traced by the examples of such components as concert and theatre practice, in the context of which the foundations of compositional and performance professionalism indispensable for the development of European genres were perfected. As the result of an overview of various forms of musicmaking at home and the concert and theater practice, the foundations of which had been installed by the direct bearers of European culture itself — Polish insurgents banished to the gubernia in the 18th century — the fact is substantiated that the Russian-European academic musical tradition conditioned the environment due to which national concert life was established in the early 20th century. It is proven that the Europeanization in Bashkir culture began not during the period of the Soviet cultural development, but on the wave of Jadidism in the activities of the new-method madrassahs, which in the beginning of the previous century became the main centers for sacred and secular culture. At the same time, the emergence of combined Tatar-Bashkir dramatic theatrical troupes conducive towards the onset of national theatrical music is the greatest accomplishment of Bashkir music in the prerevolutionary period, which connected the pre-revolutionary epoch with the period of formation of national compositional schools.