注释,注释: The object of this study is the initial period of activity of the Saratov Conservatory; the subject can be called the pedagogical priorities of vocal teachers of this period under consideration. In the article, based on rare archival data, surviving printed evidence, and student memoirs, an attempt is made to restore the pedagogical priorities of the most famous and influential in the musical circles of Moscow and St. Petersburg, active participants in concert events of the Imperial Russian Musical Society: Mikhail Efimovich Medvedev - the first performer of the role of Lensky in the opera P. I. Tchaikovsky's "Eugene Onegin" and Alevtina Mikhailovna Paskhalova, who embodied the image of the Snow Maiden in the opera of the same name by N. A. Rimsky-Korsakov. The scientific novelty of the study includes the fact that the author identifies and for the first time introduces into scientific circulation data on the pedagogical priorities of the most prominent vocal teachers who have made a significant contribution to improving the educational process of the department of academic singing. It is revealed that the pedagogical priorities of M. E. Medvedev and A. M. Paskhalova include: a fairly low type of breathing, increased attention to developing a sense of support for sound, a cautious attitude towards the development of the full range of the voice, the development of clear diction, evenness of sound production, smoothness of register transitions; soft sound attack; the ability to qualitatively vocalize various dynamic gradations of sound; the use of the “concentric” teaching method in the pedagogical process, increased attention to the education of the emotional and dramatic component of the performer’s personality. The analysis also showed that the features that distinguish the pedagogical views of the professors of the initial period of the Saratov Conservatory include the use of the repertoire of Russian composers in class work with a beginning singer.

关键词: vocalization, romances, arias, repertoire of Russian composers, pedagogical views, methodical work, vocal and pedagogical traditions, student's memories, Saratov Conservatory, dramatic talent

注释,注释: 弦乐四重奏流派在俄罗斯和西欧音乐史上占有重要地位。 它的形成始于莫扎特，海顿和贝多芬的作品，并经历了一条革命性的道路，从"业余愉快的音乐"到为鉴赏家和专业人士设计的严肃类型"。"文章以贝多芬和肖斯塔科维奇为榜样，从语调和主题联系以及创造力的相似之处，探讨了弦乐四重奏的流派。 作者给出了肖斯塔科维奇四重奏中贝多芬作品的主题，间隔，语调和结构旋律引用的例子。 俄罗斯的俄罗斯文化和贝多芬的关系被揭示出来，特别是在与俄罗斯歌曲的材料的工作在四重奏由拉祖莫夫斯基伯爵的命令。 作者揭示了肖斯塔科维奇对贝多芬作品的吸引力，他的作曲风格和思想在概念化，建筑学，音乐和表达手段的使用以及动态冲击的倾向方面的密切性。  研究的方法是基于对历史资料，音乐文章，杰出历史学家和音乐理论家的概念的分析。 材料是两位杰出作家-贝多芬和肖斯塔科维奇的弦乐四重奏的分数。 本研究的主要结论是确定贝多芬和肖斯塔科维奇四重奏之间的主题和语义联系。 作者的结论是，肖斯塔科维奇经常转向贝多芬的作品，使用他的方法和技巧来处理材料，循环的结构，包括对主题的典故，他的四重奏中的语调，甚至使用贝多芬音乐的完整纹理摘录–他通过他的创作风格的棱镜折射了这一切。 俄罗斯俄罗斯四重奏这篇文章的新颖之处在于确定贝多芬的作品与俄罗斯音乐之间的联系，作曲家在"俄罗斯四重奏"中使用俄罗斯歌曲的旋律，以及贝多芬和肖斯塔科维奇四重奏之间的语调主题相似之处。 此外，文章揭示了表演者在贝多芬和肖斯塔科维奇四重奏作品中的特殊作用–这强调了两位作者创作过程的相似性-不同时代的代表。

关键词: 贝多芬, 肖斯塔科维奇, 弦乐四重奏, 类型, 专题连结, 语义相似, 室性能, 俄罗斯四重奏, 贝多芬四重奏, 鲍罗廷四重奏