Culture, cultural institutions regulating the joint life of people in society, contributing to the formation and socialization of personality, influence society through the system of norms and rules formed by them. The semantic dominant point of the article is the analysis of the activity of each of the segments of cultural institutions in Transnistria (the Transnistrian Moldovan Republic, formed on September 2, 1990, exists de facto but is not recognized de jure) — state, public and private. They are considered in the spectrum of the formed normative-legal base, cultural infrastructure, personnel training for the implementation of ethno-cultural activities aimed at the preservation of national-cultural identity in the implementation of the cultural policy of the state. It is substantiated that the most significant role belongs to the public sector, which greatly influences the vector of development of ethno-cultural policy and its content core. At the same time, the degree of etatism of Transnistrian state cultural institutions is quite high. The activity of the public sector of culture aimed at national consolidation of ethnic groups living in Transnistria in recent years demonstrates a sharp decrease in ethno-cultural activities against the background of a decrease in state support for creative unions and national-cultural associations, including in connection with the fact that a course has been taken for the formation of a new multi-ethnic community — “the Transnistrian people”. Private initiatives are localized and episodic. The voice of the “public” is not always taken into account, so there is a dissonance between state and non-state structures, which negatively affects the development of certain sectors of culture and contributes to the outflow of professional personnel from the Republic. More effective state support of local passionary forces, launching revitalization processes with the definition of priorities (in the form of modern targeted development programmes), ensuring the activation of cultural institutions of all levels, contributing to the preservation and presentation of the diversity of the ethno-cultural heritage of the Republic in the conditions of formation and modernization of the civil society of Transnistria seem to be relevant.

The proliferation of unofficial, informal publications has accompanied mankind since the emergence of book culture. The reasons for this could be either a desire to circumvent censorship restrictions or a lack of need for a wide audience or official publication status. Terms such as “amateur book publishing”, “samizdat” and “self-publishing” are used to describe this process and its result.

Amateur publishing, synonymous with non-professional publishing, can be aimed at both the creative realization of the author and the dissemination of works of artistic or ideological value that are important to him. “Samizdat” is a concept belonging to the Soviet period of history, a phenomenon of “second culture” that coexisted with official culture on an unofficial, uncensored level. In the modern period of our country’s history samizdat has been replaced by self-publishing. It is distinguished by less ideologized and maximum individualization of the product. Self-published authors publish works in small editions, often in a single copy. The motivation of the authors and the themes of these works are as diverse as possible. It should be noted that most of the works are of an entertainment nature. Electronic book publishing is actively growing.

Technologies allow copying and generating textual and visual content, giving authors the possibility to use available templates and products of automated software work.

Thanks to the development of printing technologies and the spread of the Internet, self-publishing is converging with official book publishing. If in the Soviet period samizdat and official book publishing practically did not overlap, today the situation has changed. Large book services, such as Litres and Ridero, speed up and simplify the process of proofreading, layout and design of editions, as well as provide the possibility of ISBN registration. Thus, the distance between official and unofficial, informal book publishing is shrinking.

In the article, the author traces the chronology of the formation and development of review-competitions of military bands of the Armed Forces of the Russian Federation from the moment of competition at the International Exposition of 1867 in Paris to the present day. And if the first competitive events held in the second half of the 19th century had an international status, then after 1917 their state developed from district and regional review-competitions to competitions on the scale of all the Armed Forces. Performances of military bands on the international arena resumed only in the second half of the 20th century due to regular trips of military bands to Europe, where the festival movement flourished at that time, which appeared in the 1990s in our country as well. The relevance of competitions was in the greater opportunity to demonstrate their creative achievements not only in the field of musical design of military rituals, but also in concert activities.

The development of review-competitions went in parallel with the formation of military-music culture in Russia. The formation of professional military music education, the increase in the number of military bands and the improvement of their staffing, the publication of music literature and, together with it, the development of repertoire practice of military bands were reflected in the conditions of review competitions. In Russia’s recent history, the performance of service and concert repertoire was joined by a separately assessed section of the review-contest – the platz-concert.

In addition, the regular holding of review-contests contributed to the development of the work of many national composers of the Union republics, whose various works were given a chance to come to life at these events. At the stage of the final competitions the participants were given a unique opportunity to take part in a master class of orchestral performance from the leading military orchestral ensembles of our country. By now, a stable system of holding such events in two rounds with a regular frequency of once every five years has been developed, which contributes to improving the growth of musical culture and performance skills of military orchestras.

The relevance of the topic is to analyze the formation of the musical content of clips created with the involvement of the plots of cinematographic works in their text, and the impact of the clip on the perception of the viewer; to study the development of visual means attracted to the textual factors of the clip. The purpose of the present research is to study the influence of the plot intent of the scenic features of a cinematographic work on the visual and musical series of the clip, related to the associative perception of the viewer. Novelty — for the first time the influence of aesthetic-plastic and ascetic ideas of cinematography on the formation of mediaverbal texts of music videos has been investigated. Objective — to investigate the possibilities and effectiveness of the use of cinematographic techniques in music videos and their impact on the viewer’s perception of the musical work. The research methodology is based on descriptive, inductive and iconological methods. The possibilities of using plastic means of cinematography in the construction of imagery, music videos and their comprehension by the viewer are studied. The possibility of determining the genre characteristic of a music video shot on the basis of the storyline of a cinematographic work is considered. The high degree of non-verbal nature of music video lyrics, which incorporate the storylines of cinematic works, allows the viewer to experience the charm of artistic possibilities complemented by the world of classic cinematic works. This is the unique potential of music videos, in the context of which the aesthetic constants of cinematographic works are used, the possibilities of visualization of which are not limited.

The article is devoted to the urgent problem of searching for the variability of performing interpretations in the performing arts of the present time. The reasons for the transformation of interpretation solutions and the emergence of “mirror” variants in the context of the development of modern communication technologies are highlighted. The concept of interpretation of a musical text is presented on the basis of B.V. Asafiev’s typology, reflecting the degree of disclosure of the artistic idea depending on the creative plan of performance, as well as the chosen principles of reproduction of the author’s text. The variability of interpretative approaches and their synthesis are outlined in Charles Munch’s ideas as an addition to B.V. Asafiev’s basic system. A certain exhaustion of performing resources in the main complex of musical expressive means, in particular in the sphere of dynamics and tempos, was recorded. This served as an impulse to search for new solutions, among which the developments of modern piano construction are worthy of attention. The search for new timbre possibilities of the instrument has become a reserve of variability and one of the conditions for improving the art of performing. The pianist, conductor and social activist Daniel Barenboim and piano maker Chris Maene are linked to this trend. Amid the total proliferation of electronic keyboard musical instruments and developments in the field of digital sound, a new acoustic concert grand piano produced under the Barenboim-Maene brand was presented to the public in 2015. The idea of creating the instrument stems from the demand to update the timbre characteristics of the sound of musical compositions from the late 18th and early 19th centuries — the main concert repertoire of D. Barenboim. The appearance of the Barenboim-Maene grand piano is in line with the main trends in the performing art of the present time, in which two main vectors are clearly visible: academic concert performance and historically informed performance.

The study of the work of the famous Chinese composer Tan Dun (b. 1957), who in many ways determines the image of contemporary Chinese music, is closely connected with the identification of the origins of national culture, the reflection of which he pays special attention to. Among them is the ritual and ceremonial side, which has not yet become the subject of special research. That is necessary for a fuller and more adequate interpretation of the content of Tan Dun’s works. The opera “Tea”, in another version “Tea: A Mirror of Soul” (2002) seems to be indicative in terms of revealing both the external event side of the action and the ritual side of the tea ceremony, which acts as one of the essential aspects of Chinese and Japanese culture and determines the most important aspects of the musical language and dramaturgy of the opera. The fate of the opera’s characters is closely linked to the discovery of the true “Canon of Tea”, which symbolizes the search for the right path in life. Combining the traditions of different cultures, the composer chose for his work the genre of hall opera, based on the fusion of the ancient theatres of Europe and Asia, as well as modern multimedia technologies. At the heart of this synthesis are Western opera, primarily Italian opera, the traditional musical theatre of China (Beijing opera) and Japan (Kabuki theatre). All means of artistic expression: the construction of the stage space, costumes and lighting, the actors’ movements, vocal techniques with elements of traditional theatre singing, and the use of organic instruments create a unique atmosphere of action. The tea ceremony becomes the “pivot” around which the tragic fate of Prince Seikyo and his beloved Princess Lan develops. The tea ceremony is not only an important piece of national flavor, but also a link between all the elements of the practice.

In the light of the growing interest in the industrial theme in the art of the Soviet period, the questions of terminology and typology are becoming increasingly acute. Their solution helps to understand the artistic approaches to the development of the theme by Soviet painters, to identify and classify certain intra-genre types. One such question, which has not yet been raised by researchers of Russian art, is the definition of the difference between industrial and manufacturing landscapes. The present article represents the first attempt to typologies the Soviet landscape genre, which took shape within the framework of a large industrial theme. The aim of the study is to put forward a hypothesis explaining the terminological and typological difference in the interpretation of the terms “industry” and “manufactory” and to reveal the fundamental difference between the two respective types of landscape in Soviet painting of the 1920s—1930s, the unified species form of which is not questioned. It is shown that the interest of Russian painters in the industrialization of the USSR was manifested with varying degrees of intensity throughout the Soviet period, which was also reflected in the landscape genre: evolving within the theme, it developed the two forms of artistic interpretation considered, which at the dawn of their emergence were inseparable, but by the 1960s—1980s became increasingly distant from each other. Their typological differentiation is revealed, expressed in compositional features, as well as in the conceptual treatment of the theme by Soviet painters to solve different semantic problems. The author proposes the following definitions: industrial landscape is a depiction of an industrial object as an organic part of the natural, urban or suburban environment, demonstrating non-conflict unity and harmony of coexistence, so important in the concept of Soviet reality. The manufacturing landscape focuses, rather, on an architectural portrait of a production facility that dominates the environment. This type of landscape is shaped by the production itself, the factory or its territory. The manufacturing landscape itself becomes the new nature that organizes life around it.

As part of the compilation by the Anna Golubkina Museum (a department of the State Tretyakov Gallery) of a complete catalogue of the outstanding Russian sculptor, a search for the prototype of one of A.S. Golubkina’s non-personified works, “Man’s Head” (tinted plaster. 28 × 15.5 × 18.5. Inventory No. MG SK-108 MG KP-108), was conducted. One of the assumptions about who could have been the model for Golubkina’s small work was the name of the painter and sculptor N.I. Altman, a contemporary and colleague of A.S. Golubkina. A scrupulous analysis of the biographies of both masters revealed the possibility of their meeting in 1913 in St. Petersburg at the exhibition “The World of Art”, where their works were on display. The article considers other candidates for the model of the sketch “Man’s Head”. The authors conclude that despite the difference in age, the meeting could have taken place, and Altman’s expressive appearance could have interested Golubkina and served as a prototype for the sculpture. To resolve the issue, the museum staff appealed to the Laboratory of Anthropological Reconstruction of the Centre of Physical Anthropology of the Institute of Ethnology and Anthropology of the Russian Academy of Sciences (IEA RAS) with a request to carry out an identification expertise on the comparison of images, taking into account the experience of scientists in the field of forensic work for the purposes of identification.

The Laboratory of Anthropological Reconstruction of IEA RAS conducted a study on the comparison of the sculpture “Manʼs Head” with the photographic images of N.I. Altman. The method of M.M. Gerasimov “Face reconstruction from the skull” was used, taking into account the subsequent developments of his followers in the field of anthropological reconstruction and forensics. According to the results of anthropological identification expertise concluded that there is a high degree of probability that it was N.I. Altman served as a model for the sculptor A.S. Golubkina when creating the sketch “Manʼs Head”.

The article is devoted to the poetry of art historian Sergei Konstantinovich Makovsky (1877—1962), first considered as a self-contained phenomenon. The perception of Makovsky as a poet by contemporaries and descendants is characterized. An attempt is made to answer the question about the reasons for the general underestimation of him as a poet. Subjective metaphysical views, laid by Makovsky in the basis of his poetic creativity, are revealed. Different levels of antinomianism, characteristic of Makovsky’s general worldview and reflected in his poetic work, are analyzed. An intermediate conclusion is made that his poetry pursues the myth-making goal of merging art with religion, and the creator (poet) with the Creator (God). On the basis of the poems themselves, the persistent mystical motifs accompanying Makovsky’s poetic work are revealed and analyzed: duality, incomprehensibility, inexpressibility, silence, loneliness, horror, longing and apocalyptic perception. As a means of existentially overcoming the impact of these states, the concepts of faith, hope and love are identified. The conclusion is made about Makovsky’s non-participation in poetic movements and schools, and the relevance of his poetry at the present time is explained.

Dacha culture is a rather popular topic in the scientific environment. The relevance and novelty of the article lies in the identification and characterization of the main models of dacha culture with the analysis of their historical change in the broad context of modernization of society, in the identification of factors influencing the formation of this or that model. There is a deficit of research in the field of typology of dacha culture. Types are identified most often by geographical, economic or legal characteristics. There are practically no studies where interdisciplinary comparative analysis is applied.

Having generalized the available scientific potential in this issue, we have found our own approach to the typology of dacha culture. Dacha culture is considered as a dynamic system (model), which includes not only economic and geographical, but also socio-cultural variables: value attitudes of dacha dwellers, gender relations, and dacha practices. Based on theoretical analysis and our own research, we have traced that the models of dacha culture were formed against the background of the country’s modernization. They became more complex along with social relations, acquiring features of this or that epoch. Reform periods are the triggers for the formation of dacha culture models. There are three main models: traditional, modernist and postmodernist. At the same time, the models of dacha culture are not found in a pure form; they have a hybrid character, one or another feature becomes dominant depending on the specific socio-cultural situation. This complex system ensures the stability of dacha culture, which has existed in Russia for over 300 years.

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