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Journal articles on the topic 'Glazunov'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Baranova, Margarita. "Intermedial Specificity of Illustrations by I.S. Glazunov for the Works by F.M. Dostoevsky." Bulletin of Baikal State University 30, no. 2 (June 11, 2020): 225–32. http://dx.doi.org/10.17150/2500-2759.2020.30(2).225-232.

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The article explores illustrations by I.S. Glazunov for the works by F.M. Dostoevsky in terms of intermediality. This up-to-date method allows us to consider the area of different kinds of art as an open information field, connected by various communication channels, «media». This method promotes deep analysis of the illustrations, their holistic interpretation and perception. Dostoevsky is Glazunov's favorite writer; it was precisely his works that the artist most often referred to in his illustrations. However, not only his skills as a graphic artist, but also his ideological closeness to the artist in words makes Glazunov’s illustrations so valuable. In his works, Glazunov tried to embody not only literary images, but also to convey the writer's philosophy, including the well-known idea of «universal responsiveness». The artist sought to convey the intention of Dostoevsky’s characters through experiments with color and chiaroscuro, as well as using the sauce and pastel technique, which made it possible to convey expressiveness and tension through certain incompleteness and sketchiness of the illustrations created by Glazunov.

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2

Zajaczkowski, Henry, Bolshoi Theatre Orchestra, and Algis Zhuraitis. "Aleksandr Glazunov: Raymonda." Musical Times 133, no. 1789 (March 1992): 134. http://dx.doi.org/10.2307/966447.

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3

Горнов and A. Gornov. "Evgeniy Alekcandrovich Glazunov. To the 125th Anniversary from the Birthday." Geometry & Graphics 3, no. 4 (December 17, 2015): 55–66. http://dx.doi.org/10.12737/17351.

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This year marks 85 years of the National Research University “Moscow Power Engineering Institute” (National Research University "MPEI”). The department of engineering drawing was the first among other departments in the MEI, for which it is also the anniversary year. The organizer and the first head of this department from 1930 to 1962 was Eugeniy A. Glazunov - a prominent scientist and educator, engineer and organizer, who celebrates 125 years. At the beginning of 1930 the Department of Electrical Engineering Higher Technical School, which earlier E.A. Glazunov graduated, has been transformed into the Moscow Higher School of Energy, which became soon the Moscow Energy Institute. Eugeniy Glazunov was appointed to the head of the department of descriptive geometry and drawing in MPEI. (Some time this department was called "Technical graphics"). His name is undeservedly rarely mentioned in textbooks and other literature in applied geometry and graphics. But Eugeniy Glazunov was very authoritative in the circle geometry and graphics, and among the heads of departments he was one of the initiators and leaders of the Moscow seminar on descriptive geometry, who published his works, and the head of the department, who generously shared teaching materials with his related institution. But E.A. Glazunov had relatively few publications compared with present time. But there were very capital works. One of them was written in conjunction with the N.F. Chetverukhin and is called "Axonometry." But it was not only an outstanding organizer and teacher, but also a magnitude engineer — designer and practitioner in the field of electrical engineering. He was a team-mate, who developed and marketed the first installation, substation and network of well-known Russian electrification plan — the plan for electrification. Based on his experience and under his leadership tasks on the engineering drawing based on electrical products and parts were improved, and drawing ceased to be exclusively machine-building. His merits in the development of engineering education and his geometry and graphic component were so significant that he was awarded the title of professorship of Higher Attestation Commission without doctoral dissertation. He was also one of the highest awards of that time, the Order of Lenin (1951).

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4

Skorobogacheva, E. A. "И.С. Глазунов — меценат, коллекционер, основатель музея Российской академии живописи, ваяния и зодчества." Iskusstvo Evrazii [The Art of Eurasia], no. 1(20) (March 31, 2021): 206–19. http://dx.doi.org/10.46748/arteuras.2021.01.015.

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The article is devoted to the Museum of the Ilya Glazunov Russian Academy of Painting, Sculpture and Architecture. With the help of a comprehensive analysis, the history of the foundation of the museum by Ilya S. Glazunov in the 1980s and 1990s, the stages of enriching the Museum's collections in the 2000s and 2010s are studied. The purpose of the study is to characterize the activities of the Academy's museum, to justify the importance, the value of Museum collections, primarily in the educational process in mastering the skills of the realist school. The combination of historical, problem-logical, typological-systemic methods made it possible to evaluate the samples of professional art, to give their interpretation against the background of the general historical situation and the processes that determine the development of the national culture of the present time. For the first time among the rarities of the Academy's museum, more than 20 works of painting and graphics of the 19th — first half of the 20th century, included in the state part of the Museum Fund of the Russian Federation, are marked, their art history analysis is given, and their artistic value is revealed. The study revealed the role of I.S. Glazunov as an outstanding public figure, philanthropist, collector. В статье посредством применения комплексного анализа изучена история основания И.С. Глазуновым музея Российской академии живописи, ваяния и зодчества в 1980–1990-х годах, этапы пополнения музейных коллекций в 2000–2010-е годы. Цель исследования — охарактеризовать деятельность музея академии, обосновать актуальность, значение музейного собрания, прежде всего, в учебном процессе — в овладении навыками реалистической школы. При сочетании исторического, проблемно-логического, типологически-системного методов оценены образцы профессионального искусства, дана их интерпретация на фоне общей исторической ситуации и процессов, определяющих развитие отечественной культуры настоящего времени. Впервые среди раритетов академического музея обозначено более 20 произведений живописи и графики XIX – первой половины ХХ века, включенных в государственную часть Музейного фонда Российской Федерации, дан их искусствоведческий анализ, раскрыта художественная ценность. В результате исследования выявлена роль И.С. Глазунова как выдающегося общественного деятеля, мецената, коллекционера.

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5

Ponkina, A. M. "Quartet For Four Saxophones by Alexander Glazunov: On Tradition and Renewal." Izvestia of the Ural federal university. Series 2. Humanities and Arts 18, no. 3 (154) (2016): 266–73. http://dx.doi.org/10.15826/izv2.2016.18.3.059.

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6

Skorobogacheva, Ekaterina Aleksandrovna. "INTERPRETATION OF THEATRICAL THEME IN GRADUATION WORKS OF ILYA GLAZUNOV ACADEMY STUDENTS." Manuscript, no. 10 (October 2019): 282–87. http://dx.doi.org/10.30853/manuscript.2019.10.56.

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7

Сальков and Nikolay Sal'kov. "Descriptive Geometry As Theory of Images." Geometry & Graphics 4, no. 4 (December 19, 2016): 41–47. http://dx.doi.org/10.12737/22842.

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In April 2016 at the All-Russian seminar "Geometry and Graphics", dedicated to the 125th anniversary of the birth of Glazunov Yevgeny Alexandrovich on a replica of one of the N.A. Salkov paper authors that descriptive geometry is the theory of images, the speaker somehow ambiguously stated that it is not quite so. How, in his opinion, was the case, he did not wish to disclose. Moreover, some graphic disciplines teachers believe descriptive geometry unworthy of study because some of them only known causes. They do not understand that descriptive geometry is the theory of images, and images are everywhere, right down to the computer screen. There is no such area of the human labor application where this or that image wouldn´t be applied. Images are ubiquitous! That is why descriptive geometry as a theory of images should be studied not only in the artistic and technical high educational institutions, but in all ones of Russia. In proposed paper there are numerous examples of the classics (and not only of them), expressed oneself on a subject of descriptive geometry. All statements (of Gaspard Monge, academician N.F. Chetverukhin, professors A.I. Dobryakov, E.A. Glazunov, V.O. Gordon, G.S. Ivanov, S.M. Kolotov, V.A. Peklich, N.A. Rynin, S.A. Frolov, etc.) are reduced to one and the same: a projection is an image, and descriptive geometry is the theory of images. A diagram showing that descriptive geometry’s interest area includes not only drawing, but also thirteen other sections, has been presented.

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8

Broad, Leah. "BBC Proms 2015: Gary Carpenter, Anders Hillborg, Ørjan Matre, Alissa Firsova, B Tommy Andersson." Tempo 70, no. 275 (December 7, 2015): 84–85. http://dx.doi.org/10.1017/s0040298215000674.

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Sibelius' and Nielsen's 150th anniversary year has prompted a proliferation of events to celebrate the music of the Nordic composers, from conferences to concert series. The Proms has been no exception, with an unusually high number of Nordic composers represented throughout the festival (although Glazunov, also in his 150th anniversary year, has been forgotten). British composer Gary Carpenter's Dadaville was premiered on the first night, which opened to the sounds of Nielsen's Maskarade and Sibelius's Belshazzar's Feast, while later concerts covered here presented premieres by the Swedish composers Anders Hillborg and B Tommy Andersson, the Norwegian composer Ørjan Matre, and Moscow-born (though UK-based) composer Alissa Firsova.

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9

KONSON, GRIGORIY R. "THE PAINTINGS OF ILYA GLAZUNOV THROUGH THE PRISM OF THE METHODOLOGIES OF SERGEI EISENSTEIN AND LEV VYGOTSKY." Art and Science of Television, no. 14.4 (2018): 38–86. http://dx.doi.org/10.30628/1994-9529-2018-14.4-38-86.

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10

Konson, GRIGORIY R. "THE PAINTINGS OF ILYA GLAZUNOV THROUGH THE PRISM OF THE METHODOLOGIES OF SERGEI EISENSTEIN AND LEV VYGOTSKY." Art and Science of Television 15.1 (2019): 30–105. http://dx.doi.org/10.30628/1994-9529-2019-15.1-30-105.

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11

Frank, G. A., M. Sh Knopov, and V. K. Taranukha. "Academician M.F. Glazunov, Principal Pathologist of the Red Army (on the occasion of the 120th anniversary of his birth)." Arkhiv patologii 78, no. 6 (2016): 58. http://dx.doi.org/10.17116/patol201678658-60.

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12

Sidorov, K. R., and M. V. Korepanova. "EXPERIENCE IN APPLYING THE METHODOLOGY FOR STUDYING THE CONTENT OF HUMAN GOALS." Bulletin of Udmurt University. Series Philosophy. Psychology. Pedagogy 30, no. 4 (December 25, 2020): 362–71. http://dx.doi.org/10.35634/2412-9550-2020-30-4-362-371.

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The experience of applying the methodology for studying the content of human goals makes it possible to single out speech constructions produced by the subjects in the course of working with the instrument and on the basis of which a number of classifications of goals are confirmed. Among them, there is not only the one that is involved in the technique of Yu.T. Glazunov and K.R. Sidorov, where goals are divided into regularly reproducible goals, analogue and development goals, but also the classification of D. Derner, who divides them into goals of striving and avoidance, general (global) and specific (definitized) goals, clear and unclear goals. The conducted analysis also leads to the formulation of a new classification of goals based on their orientation: towards oneself ("I"), towards other persons ("Others"), towards the world ("World"), towards the material sphere ("Material values"). The conducted research allows to increase the interpretative capabilities of the technique and, consequently, its objectivity. This makes it possible to widely use the method: both for scientific purposes and for practical purposes, for example, to determine the trajectory of further development, psychotherapy, self-knowledge and self-development of a person.

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13

Mironov, Vladimir V., and Nikolay A. Shchipkov. "Humanitarian Sciences in the Transition Era:Creation of the History and Theory of World CultureDepartment of Moscow State University.The Conversation of V.V. Mironov and N.A. Shchipkov." Voprosy Filosofii, no. 2 (2021): 7–18. http://dx.doi.org/10.21146/0042-8744-2021-2-7-18.

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“Voprosy filosofii” publishes one of the last interviews of the Dean of the faculty of philosophy of Lomonosov Moscow State University, associate member of the Russian Academy of Sciences, DSc in Philosophy V.V. Mironov, which he gave to his student, lecturer of The Ilya Glazunov Russian Academy of Painting, Sculpture and Architecture N.A. Shchipkov. The conversation focuses on the post-Soviet ideological reform of the faculty of philosophy and the creation of a new social science – cultural studies – the emergence of which has affected the methodological landscape of Russian Humanities. Thirty years ago, thanks to the initiative of the rector of Moscow State University V.A. Sadovnichy, organizational efforts of A.V. Panin, V.V. Mironov, V.Y. Savrei and other political and cultural figures such as R.M. Gorbacheva and D.S. Likhachev, the department of History and Theory of World culture appeared at the faculty of philosophy of Moscow University. Its field of study has always been extremely close to Vladimir Vasilyevich’s own scientific interests and it is no accident that he considered “Philosophy and metamorphoses of culture” to be one of his most important works; a work devoted not only to the problem of culture itself, but also to the place of the Humanities in modern philosophical studies and education.

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14

Urvantseva, Olga A. "About the Interaction Between Different Styles in the Music of Alexander Glazunov on the Example of the Variations for Piano opus 72." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2016): 68–75. http://dx.doi.org/10.17674/1997-0854.2016.1.068-075.

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15

Mosusova, Nadezda. "Symbolism and theatre of masques: The deathly carnival of la belle époque." Muzikologija, no. 5 (2005): 85–99. http://dx.doi.org/10.2298/muz0505085m.

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The junction of the nineteenth and twentieth centuries in Europe sharpened the clash of artistic novelties in the Western and Slavonic worlds, caused by developed Symbolism and Expressionism. As an output of the former reappeared in the "Jahrhundertwende" the transformed characters of the Commedia dell'arte, flourished in art, literature and music in Italy France, Austria and Russia. Exponents of Italian Renaissance theatre Stravinsky's Petrushka (1911) and Sch?nberg's Pierrot lunaire (1912) turned soon to be main works of the Russian and Austrian expressionistic music style, inaugurated by Strauss's Salome, which won opera stages from the 1905 on. Influences of the latter were widespread and unexpected, reaching later the "remote" areas of the Austro-Hungarian Empire, as well as the Balkans (in 1907 the Canadian dancer Maud Allan performed The Vision of Salome in Belgrade - music Marcel Remy - making her debut in Vienna 1903). Compositions of Strauss and Sch?nberg (Erwartung included) reflected also the strong cult of death present in Vienna's Finde-si?cle Symbolism concerning among other works plays by Wedekind and Schnitzler (Veil of Pierrette was staged successfully in Russia, too), with prototypes in Schumann's Carnival and Masquerade by Lermontov (both works written in 1834!). It was not by chance that Schumann's piano suite became one of the first ballets of Diaghilev's Saisons Russes (1910) and Masquerade, performed with the incidental music by Alexander Glazunov, the last pre-revolutionary piece of Vsevolod Meyerhold (1917).

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Климовицкий, А. И. "Cantata “In Memory of Antokolsky”: Almost Forgotten Work of Russian Music." Музыкальная академия, no. 3(767) (September 20, 2019): 100–121. http://dx.doi.org/10.34690/05.

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Статья посвящена совместному произведению А. К. Глазунова и А. К. Лядова, созданному по инициативе В. В. Стасова, - кантате «Памяти Антокольского» на текст С. Я. Маршака. Рассматриваются напряженные и порой почти конфликтные ситуации, сопровождавшие буквально каждую из стадий работы над сочинением. Впервые представлена еврейская песня, которую записал Глазунов, услышав ее в исполнении М. М. Антокольского, и которая была использована Лядовым в кантате. Внимание Лядова к еврейскому напеву, готовность ввести его в свое сочинение стали свидетельством культурной открытости и отзывчивости композитора. Его опыт - после М. И. Глинки, М. П. Мусоргского, Н. А. Римского-Корсакова - явился связующим звеном в обращении русских композиторов к еврейской песне на рубеже XIX и XX столетий. The article is devoted to the joint work of A.K.Glazunov and A.K.Lyadov, created on the ini tiative of V.V.Stasov, the cantata In Memory of Antokolsky to the text by S.Ya. Marshak. Tense and sometimes almost conflict situations are examined that accompanied literally every stage of the work on the composition. For the first time, a Jewish song was presented, which Glazunov recorded when he heard it performed by M.M.Antokolsky, and which Lyadov used in the cantata. Lyadovs attention to the Jewish chorus, his readiness to introduce him into his composition became a testament to the composers cultural openness and responsiveness. His experience after M. I.Glinka, M.P.Mussorgsky, N.A.Rimsky-Korsakov was a connecting link for Russian composers in addressing Jewish song at the turn of the 19th and 20th centuries.

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Kuryakova, Natalia, Tatyana Zapolskikh, and Alena Pirutskaya. "The research and analysis of comfort of Academic building of the ural branch jf Russian Academy of painting, sculpture and arhitecture behalf of Ilya Glazunov." PNRPU Construction and Architecture Bulletin 2 (2015): 205–17. http://dx.doi.org/10.15593/2224-9826/2015.2.14.

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18

Gapharov, I. R., U. F. Mukhametov, S. Yu Glazunov, R. A. Saburov, and F. S. Musina. "Modern methods for the treatment of shoulder joint pain." Russian Medical Inquiry 4, no. 8 (2020): 487–91. http://dx.doi.org/10.32364/2587-6821-2020-4-8-487-491.

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Aim: to evaluate the clinical efficacy and safety of the hyaluronic acid (HA) with scapulohumeral periarthritis.Patients and Methods: the study involved 42 patients (mean age 55.8±3.03 years) with scapulohumeral periarthritis, who were divided into 2 groups. Group 1 received HA once a week around periarticular tissue of the shoulder joint. Course duration — 3 injections. Group 2 included patients (n=23) who were treated with glucocorticosteroids (GCS) once for the entire treatment course. The drug was re-admin-istered only if there was no clinical effect. Before and after the therapy, the severity of pain in active and passive movements was assessed using a 100-mm long visual-analog scale, as well as Health Assessment Questionnaire disability index in diseases of the shoulder girdle and Oxford Shoulder Score.Results: during therapy, there was a significantly more pronounced reduction in the shoulder joint pain, as well as a decrease in disability index due to shoulder joint disorder in group 1 versus group 2. In group 1, the rehabilitation potential exceeded that of group 2, in 18 (95%) patients of group 1 there was a positive response to the therapy, and only group 1 had pain in the shoulder joint, while in the same period of follow-up in group 2, 8 (35%) patients did not reach the values of group 1. No systemic adverse events or changes in the hemogram were registered in patients from both groups.Conclusion: the use of HA enhances the rehabilitation potential in patients with scapulohumeral periarthritis. HA is well tolerated with proper injection and administration techniques and had a favorable safety profile.KEYWORDS: scapulohumeral periarthritis, tendinopathy, hyaluronic acid, local injection therapy, rehabilitation potential.FOR CITATION: Gapharov I.R., Mukhametov U.F., Glazunov S.Yu. et al. Modern methods for the treatment of shoulder joint pain. Russian Medical Inquiry. 2020;4(8):487–491. DOI: 10.32364/2587-6821-2020-4-8-487-491.

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FANTI, FABRIZIO, and HASSAN GHAHARI. "A checklist of the soldier beetles (Coleoptera: Elateroidea: Cantharidae) of Iran." Zootaxa 4196, no. 4 (November 24, 2016): 529. http://dx.doi.org/10.11646/zootaxa.4196.4.4.

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The present paper is a collection of data and records taken from literature on the Cantharidae of Iran. New original records are also included. These data indicate that 12 genera and 84 species and subspecies of Cantharidae have been recorded from Iran. Fifteen of these species-level records require further data to confirm. Synonymies and distributional information, both general and local, are provided. Two genera: Macrocerus and Themus, and three species: Cordicantharis cordicollis (Küster, 1854), Themus glazunovi glazunovi (Barovskij, 1909) and Macrocerus oculatus Motschulsky, 1845, are reported as new country records for Iran.

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Аникиенко, Сергей Викторович. "Honorary Members of the Ekaterinodar Branch of the Imperial Russian Musical Society: On the History of the Issue." Музыкальная академия, no. 4(772) (December 21, 2020): 184–201. http://dx.doi.org/10.34690/121.

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В статье рассматриваются предпосылки, приведшие к открытию в Екатеринодаре (ныне - Краснодар) отделения ИРМО (1900), возобновлению его деятельности после прекращения работы в связи с финансовыми трудностями (1905) и избранию в 1907 году шести выдающихся русских музыкантов - Н. А. Римского-Корсакова, М. А. Балакирева, Ц. А. Кюи, Э. Ф. Направника, А. К. Глазунова и С. В. Рахманинова - его почетными членами. Это событие широкой огласке не предавалось и упоминалось только в официальных изданиях ИРМО. В основу исследования легли документы из фондохранилищ Отдела рукописей Российской национальной библиотеки, Центрального государственного исторического архива Санкт-Петербурга, Государственного архива Краснодарского края, а также материалы центральной и региональной периодической печати начала ХХ века. В статье представлены ответные благодарственные письма Римского-Корсакова, Балакирева, Кюи и Направника и грамота на звание почетного члена отделения Кюи; впервые публикуются их факсимиле. В настоящее время ответные письма выдающихся русских музыкантов хранятся в Государственном архиве Краснодарского края, куда поступили из Краснодарского музыкального училища. Не оформленные соответствующим образом, они на протяжении более трех десятилетий находятся в одном из сейфов и являются недоступными. Их факсимиле, представленные в статье, воспроизводятся с копий из личного архива автора, сделанных в 1981 году. The article examines the preconditions that led to the opening of the IRMO branch in Ekaterinodar (now Krasnodar) (1900), the resumption of its activities after the termination of work due to financial difficulties (1905) and the election in 1907 of six outstanding Russian musicians-Ri msky-Korsakov, Balakirev, Cui, Napravnik, Glazunov and Rachmaninov as its honorary members. This fact was not widely publicized and were mentioned only in the official documents of the IRMO. The study is based on documents from the depositories of the Department of Manuscripts of the Russian National Library, the Central State Historical Archive of St. Petersburg, the State Archive of the Krasnodar Territory, as well as materials from the central and regional periodicals of the early 20 century. The article presents letters of thanks from Rimsky-Korsakov, Balakirev, Cui and Napravnik and Cui's certificate for the title of honorary member of the branch and for the first time reproduces facsimiles of these historical sources. At present, the letters of reply from outstanding Russian musicians are kept in the State Archive of the Krasnodar Territory, where they were received from the Krasnodar Music School. Not properly executed, these documents have been stored in one of the safes for more than three decades and are not available. The facsimiles of the documents presented in the article are reproduced from copies from the author's personal archive, made in 1981.

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21

Edgecombe, Rodney Stenning. "Internationalism, Regionalism and Glazunov's Raymonda." Musical Times 149, no. 1902 (April 1, 2008): 47. http://dx.doi.org/10.2307/25434517.

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22

Sevost'yanova, Liliya Vasil'evna. "A. K. GLAZUNOV’S QUARTETS: ATTEMPT AT CRITICAL REVIEW." Historical, Philosophical, Political and Law Sciences, Culturology and Study of Art. Issues of Theory and Practice, no. 2 (March 2018): 141–46. http://dx.doi.org/10.30853/manuscript.2018-2.32.

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23

Manilova (Volkova), G. V. "The Gaseous Envelope Structure of the Eclipsing Binary System V448 Cyg." International Astronomical Union Colloquium 135 (1992): 333–35. http://dx.doi.org/10.1017/s0252921100006710.

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V448 Cyg (HD 190967 = BD+34°3871) represents rather an uncommon case, where the primary component (indicated by stronger lines in the combined spectrum) is the star exhibiting mass loss. The system has a circumstellar envelope, formed by mass flow from a primary component filling its Roche lobe, and by a stellar wind that is stimulated by the duplicity of this system of two hot stars (BO Ib + O9.5 V — see Glazunova et al. 1963). Ultraviolet, polarimetric, and spectral observations of V448 Cyg permitted us to form a model of the structure and parameters of this system’s circumstellar envelope.

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Skorobogacheva, Ekaterina Aleksandrovna. "Spiritual Meanings of F. M. Dostoevsky’s Works in I. S. Glazunov’s Painting and Graphics." Manuskript, no. 3 (March 2021): 579–84. http://dx.doi.org/10.30853/mns210091.

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Petkevich, Alexandra. "Innovative function of state governance." Law and innovations, no. 3 (31) (October 2, 2020): 13–17. http://dx.doi.org/10.37772/2518-1718-2020-3(31)-2.

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Problem setting. At the current stage of global economic development, innovations play a significant role not only at the industries level but also at the state level of national economies. Innovations make companies and countries significantly more competitive at the global market at the same time increasing local economies’ status. Analysis of recent researches and publications. In order to identify functions of state governance theoretical papers of numerous authors were carefully studied. Innovation function was not stated in the studied works. The provisions on the functions of public administration are highlighted in the works of N.I. Glazunova, R.V. Goloshchapova, A.N. Kramnik, E.K. Borisova, L.V. Smorgunova, Y.A. Tikhomirov. Nevertheless, some issues of the posed problem still need to be covered. Target of research. With the purpose of deep study and further development of innovation activities in the country it was necessary to identify the new function of state governance – innovation function. Article’s main body. Different classification of state governance functions have been analyzed and conclusions and assumptions were made about the new innovation function that was not named before. Because of the significant role of the state in influencing innovation processes, coordinating activities of all interested parties in order to obtain an innovative product it is important to underline the new role and to pay it additional attention in further study of state governance. Conclusions and prospects for the development. The new innovation function has to be defined in the state governance theoretical study. The goal of state influence on innovation processes should be provision of the most optimal, favorable conditions for the most effective interaction of participants in the innovation process with each other. Thus, we consider it appropriate to create a separate institution for the development of innovative function in the country.

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Pluzhnikov, Victor. "«Forgotten name... Yakov A. Rosenstein»." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 90–105. http://dx.doi.org/10.34064/khnum2-16.05.

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Problem statement. Conductor is considered to be one of the most prestigious occupation in musical field, so there has always been a certain interest to its history. But, despite a large amount of literature, there are no musicologist’s scientific works, with the systematized and generalized materials on training conducting staff in Ukraine in the 1920s – 1940s. This is partly due to a shortage of primary documents at a difficult historical period: most of them were destroyed by the employees of state institutions before being evacuated behind the lines during the Second World War; the other part was burned down during the hostilities; the third one was lost in the territories temporarily occupied by the fascists. The most important information was restored in the postwar years on the basis of personal documents of the musicians and memoirs of the contemporaries. The names of many other talented performers, who were not high ranked in the hierarchy of Ukraine musical culture, were forgotten. Research and publications analysis. Dealing with this article, the author relied on the research of three scientists. For example, the episode devoted to the history of the Kuban State Conservatory is based on the materials of the book by V. A. Frolkin, PhD in musicology, Professor of Piano Department of Krasnodar University of Culture and Arts. (Frolkin, 2006 : 70–89). The Kharkov period of Ya. Rosenstein’s activity is based on the article by E. M. Shchelkanovtseva, PhD in musicology, Department of Orchestral String Instrument of I. P. Kotlyarevsky Kharkov National University of Arts (Shchelkanovtseva, 1992 : 178–179), as well as the memoirs of conductor S. S. Feldman (Feldman, 2006). Ya. Rosenstein activities in T. G. Shevchenko Kiev Academic Opera and Ballet Theater of the Ukrainian SSR was described in research of Yu. A. Stanishevsky – Doctor in musicology, Professor. (Stanishevsky, 1981 : 533–534). The objective of this article is to create Ya. Rosenstein’s complete and non-biased biography, to analyze various aspects of his activity, and, as a result, to revive the name of a talented musician who was at the forefront of Ukraine musical pedagogy. This is the urgency and novelty of this study. Core material. Yakov A. Rosenstein (1887–1946) – a cello player, conductor, professor. In1907–1912 he studied at St. Petersburg Conservatory specializing in cello. Until February 1917, he had served as a cello player in the Royal orchestra of the Imperial Mariinskyi Theater. During the Civil War, he moved to Yekaterinodar (Krasnodar), where in 1918–1919 he was a director of Russian Musical Society Conservatory. October 1, 1920 witnessed the opening of Kuban State Conservatory. The university was funded from the budget of the People’s Commissariat for Education, so the training of all students was free. Ya. Rosenstein taught the cello class. But at the end of 1921, the Kuban Conservatory was deprived of state funding, and in summer of 1922 the university was reorganized into the Kuban Higher Technical School. (Frolkin, 2006 : 74–89). In autumn of 1923, Ya. Rosenstein moved to Kharkov, where he was a cello player in Russian State Opera orchestra. Later Ya. Rosenstein became a theater conductor. Also, he was engaged in pedagogical activity: in 1925 he became a dean of the instrumental faculty of Kharkov State Higher Music and Drama Courses, and in 1926 he became the head of the courses. According to E. M. Shchelkanovtseva, since 1927, Ya. Rosenstein had been teaching at the Music and Drama Institute (currently – I. P. Kotlyarevsky Kharkov National University of Arts) – Professor of cello class, chamber ensemble, orchestra class, conducting; in 1929 he became an Academic Director. (Shchelkanovtseva, 1992 : 179). Opera-symphonic conducting class at Kharkov Music and Drama Institute, which was opened in autumn of 1927, is a merit of Ya. Rosenstein. During 8 years, he had been training such conductors as: P. Ya. Balenko, M. P. Budyansky, I. I. Vymer, F. M. Dolgova, K. L. Doroshenko, D. L. Klebanov, B. T. Kozhevnikov, V. N. Nakhabin, V. S. Tolba and others. In 1926–1927, the Orchestra of Unemployed Musicians in Kharkov was transformed into the First State Symphony Orchestra of All-Ukrainian Radio Committee, which in autumn of 1929 was integrated with the Ukrainian Philharmonic. In 1929–1932 Ya. Rosenstein acted as a chief conductor. Then he was replaced by German Adler, a graduate of German Academy of Music and Performing Arts in Prague, and a world-famous conductor. In 1937, this musical group was the base for creation the State Symphony Orchestra of the Ukrainian SSR in Kiev (nowadays the National Symphony Orchestra of Ukraine). (Pluzhnikov, 2016 : 358). In 1935–1941 and 1944–1946 Ya. Rosenstein was a conductor of T. G. Shevchenko Kiev Academic Opera and Ballet Theater of the Ukrainian SSR. According to S. S. Feldman, there he brilliantly showed himself in the ballet performances “Swan Lake” and “Sleeping Beauty” by P. Tchaikovsky, “The Fountain of Bakhchisarai” and “The Prisoner of the Caucasus” by B. Asafiev, “Lilaea” by K. Dankevich and “Raymonda” by A. Glazunov (Feldman, 2009 : 102). In summer of 1941 the War began, and the theater troupe was evacuated to Ufa. In 1942–1944 the United Ukrainian State Opera and Ballet Theater was created on the basis of the Kharkov and Kiev theaters in Irkutsk. More than 650,000 people visited 785 performances conducted by N. D. Pokrovsky, Ya. A. Rosenstein and V. S. Tolba in Krasnoyarsk, Irkutsk and other cities! In June 1944, the theater troupe returned to Kyiv, and in 1946 Ya. Rosenstein died. He was buried at Baykove cemetery in Kyiv. Conclusion. The creative personality of Ya. A. Rosenstein, a cello player, conductor, teacher, one of the organizers of the First State Symphony Orchestra in Ukraine and the creators of the Kharkov school of orchestra conducting, deserves more attention on behalf of the scientists, musicians and all non-indifferent people. There is hope that Ya. A. Rosenstein’s memory will not be forgotten, and the name of this talented and noble person will take its rightful place in the annals of Ukraine and Russian musical culture.

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Kasyanova, Olena. ""Dance щf The Seven Veils" Based щn Oscar Wilde's Drama "Salome" In The Director's Interpretation щf The Modern Era." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(50) (March 18, 2021): 117–32. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233140.

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The urgency to address to the theme of Salome in conditions of postmodern culture is considered. Some attempts are made to read anew and rethink it in the era of current information technology. Attention is paid to the peculiarities of the interpretation of the image of Salome and the "Dance of the Seven Veils" in the iconographic sources of the 12th – early 21st centuries through the prism of the aesthetics of certain era aimed to find artistic means of expression. An overview of the reflection of the event at the feast of Tetrarch Herod in the Gospel of Matthew and Mark. The content of the young princess's fateful dance, which led to irreparable tragic consequences — the beheading of John the Baptist. The necessity of using the concept of different branches of knowledge in order to establish a holistic picture of the development of events in this scene is proved. The sources that inspired O. Wilde to create the drama "Salome" are identified. The peculiarities of artistic interpretations of the image of the princess by the writer S. Mallarme and the artist G. Moreau are reflected in the article, in addition, the author showed the difference in the interpretation in the author's concept by O. Wilde. The stage version of "Salome" of 1902, directed by M. Reinhardt, is analyzed, the master's innovative approaches to the embodiment of dance are singled out against the background of the original scenography solution of M. Krause and L. Corinth, which became an aesthetic discovery in theatrical art of the modern era. Peculiarities of interpretation of Salome's dance based on O. Wilde's drama to O. Glazunov's music, with L. Bakst's decoration, M. Fokin's choreography, which continued modern experiments on the stage embodiment of the said work, are revealed. Priorities are set by dance director M. Fokin to work with iconographic sources, artistic design of the issue over the analysis of his musical drama. The results of the choreographer's search for new, relevant to the modern era, means of stage expression, their non-standard, bold combination to create an original version of the artistic and holistic spectacle are outlined. The influence of innovative discoveries of M. Reinhardt, V. Meyerhold and M. Fokin on further dance interpretations in R. Strauss's opera "Salome"

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Anderson, Martin. "Ronald Stevenson et al. - RONALD STEVENSON Piano Music. CD1: Prelude and Chorale; L'Art nouveau du Chant appliqué au Piano, Vols. 1 and 2; Scottish Ballad No. 1; Fugue on a Fragment of Chopin; Pensées sur des Préludes de Chopin; Variations-Study on a Chopin Waltz; Etudette d'après Korsakov et Chopin; Three Contrapuntal Studies on Chopin Waltzes; BACH-STEVENSON Komm, süsser Tod, BWV.478. CD2: Le festin d'Alkan; Norse Elegy; Canonic Caprice on The Bat; YSAŸE-STEVENSON Six Sonates pour violon seul, op. 27, Nos. 1 and 2. CD3: Melody on a Ground of Glazunov; Ricordanza di San Romerio; Little Jazz Variations on Purcell's ‘New Scotch Tune’; Two Musical Portraits; MOZART-STEVENSON Fantasia, K.608; Romance (from Piano Concerto in D minor, K.466); PURCELL-STEVENSON Three Grounds; Toccata; Hornpipe; The Queen's Dolour; BULL-STEVENSON Three Elizabethan Pieces after John Bull. Murray McLachlan (pno). Divine Art DDA 21372 (3-CD set)." Tempo 67, no. 266 (October 2013): 106–9. http://dx.doi.org/10.1017/s0040298213001095.

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"Reflections While Listening to the Glazunov." JAMA 290, no. 13 (October 1, 2003): 1683. http://dx.doi.org/10.1001/jama.290.13.1683.

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"Professor Igor Sergeevich Glazunov (on the occasion of the 85th birthday)." Profilakticheskaya meditsina 21, no. 4 (2018): 93. http://dx.doi.org/10.17116/profmed201821493.

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Scholz, Fritz. "Glazunov’s electrography—the first electrochemical imaging and the first solid-state electroanalysis." Journal of Solid State Electrochemistry, May 15, 2021. http://dx.doi.org/10.1007/s10008-021-04967-1.

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AbstractAleksandr Il’ich Glazunov developed the first electrochemical technique to image the surface of conducting solids giving the technique the name electrography. The electrographic images can mirror the distribution of elements on the surface of solid materials and also the electrochemical activity, caused by variations of “dissolution tension”. Thus, he has established for the first time a kind of spatially resolved electrochemistry. Electrography is also the first direct electroanalytical technique for solid materials. The present paper gives an account of his turbulent life in Russia, Czechoslovakia and Chile, and a discussion of his main scientific achievement, the development of electrography.

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Androsova, D. V., and E. N. Markova. "ABOUT ACTUAL CORRECTING OF THE SENSE IN FIRST PIANO CONCERTO OF A. GLAZUNOV." European Journal of Arts, August 7, 2020, 79–82. http://dx.doi.org/10.29013/eja-20-2-79-82.

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Козак, М. В. "A New Diatonic Modal Principle of Relative Music of Monfred: Origin and Stages of Formation." OPERA MUSICOLOGICA, no. 4(42) (November 15, 2019). http://dx.doi.org/10.26156/om.2019.42.04.004.

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Авенир Генрихович Монфред (1903 1974) композитор, пианист, органист, теоретик. В силу эмиграции из России во Францию и США, он стал носителем нескольких музыкальнотеоретических традиций. В статье уделяется внимание страницам творческой биографии Монфреда, определившим истоки изобретенного им нового диатонического модального принципа относительной музыки (НДМ принципа). В частности, речь идет об обучении Монфреда в Петрограде и Париже под руководством А. К. Глазунова и В. дЭнди. Первое теоретическое осмысление НДМ принципа в виде статьи относится к 1951 году, в дальнейших работах Монфреда его концепция менялась. Цель настоящей публикации проследить этапы формирования НДМ принципа, соотнести их теоретической итог с композиторской практикой Монфреда. Avenir H. de Monfred (1903 1974) is a composer, pianist, organist, and theorist. Due to circumstances connected with his emigration from Russia to France and the USA, he became the bearer of several musicaltheoretical traditions. The article pays attention to the events that determined the origins and stages of the formation of a new diatonic modal principle of relative music, namely, his studying in Petrograd and Paris with two famous teachers А. К. Glazunov and V. dAndy. The first theoretical understanding of the NDM principle in the form of an article dates back to 1951, being changed in his further works. The purpose of the present publication is to follow the stages of the formation of the NDM principle, to correlate their result in theory with the composing practice.

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Gubarev, P. V., D. V. Glazunov, V. G. Ruban, and A. S. Shapshal. "Refined thermal calculation of the locomotive heat engine collector." Vestnik Mashinostroeniya, September 2020, 56–58. http://dx.doi.org/10.36652/0042-4633-2020-9-56-58.

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The thermal calculation of the locomotive traction engine collector is proposed. The equations of the heat balance of its elements are obtained taking into account the cooling air. The calculation results and experimental data of thermal imaging control are presented. Keywords: traction electric motor, collector, thermal calculation, thermal imaging control. glazunovdm@yandex.ru

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