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Dante's impact on music has been studied completely enough, but so far mainly in an empirical and descriptive way. The article examines the works of romantic composers of the 19th - early 20th centuries, based on the plot of Dante's "Divine Comedy": Liszt's fantasy-sonata "After reading Dante" and the "Dante-Symphony", the "Francesca da Rimini" by Tchaikovsky (symphonic fantasy) and Rachmaninoff (opera). The author analyses compositional and stylistic models of the romantic music inspired by Dante's poetry as a system, which is relevant for modern musicology, in particular, for the theories of musical language, style, and musical meaning. Along with the traditional musicological methods of analysis of form and intonational dramaturgy, an interdisciplinary methodology is applied, associated with the coverage of the entire system of musical compositional prototypes as a structuring of meaning. This has a pronounced narrative poetic nature in romantic music. The results of the study demonstrate a system of structural and semantic invariants (secondary, musical models) conditioned by Dante's figurative world and manifested in melody, harmony, fret organization, composition. The conclusions of the article reveal the roles of Dante's models of the world in the works considered in the following aspects: in the process of extreme intensification of the contrasts of romantic music in the semantic coordinates of "Hell – Paradise"; "Love – Death"; in the approval of the concept of Liebestod; in the creation of new, extreme expressive possibilities for the given style, which significantly expanded the idea of the boundaries of beauty and caused transformations in musical sound (harmony, texture, melody); in the formation of stable idioms of romantic music from Liszt to Rachmaninov; in the modification of the structures of a one-part sonata, of the cyclic symphony, and of opera, which have received the quality of a vectorial dramaturgical process and open dramaturgy.

The work is devoted to the study of the film music of one of the bright composers of the twentieth century, Alfred Garrievich Schnittke. The music scores of the composer for feature films, TV films and documentaries of major Russian film directors are in the center of attention. Among them there are E. Klimov, I. Talankin, A. Mikhalkov-Konchalovsky, Y. Karasik. In this work, the author used a "multi-step" principle of analysis: from the literary source and the actual director's revealing of the plot to the composer's music scores and music in the film, regarded as similar but not identical "texts".

This author's bachelor's theses base this article. The purpose was to gather and systematise data on the metal music subculture in Lithuania and describe its fundamental features of identity. To compile this article, the method of observing the metalist subculture, in-depth interviews and a structures questionnaire were employed and 35 members were interviewed. The research was conducted in the cities of Kaunas and Vilnius from 2007 August to 2008 April. The data analysis establishes that the main components of the subcultural identity of metal music enthusiasts, here called "metalists", are worldview, music and the image and lifestyle they are creating. Metal music is the essential unifying factor of the subculture. It is distinguishable by its complexity, live performance and diversity of styles. The identity of the metal music subculture also relates to the image its members design that is meant to express the ideology of the subculture (e.g., black colour, long hair, preferences for military boots and leather and jeans-style clothing). The most frequently encountered symbols are related to rebellion against Christianity: the pentagram, upside-down cross, fire and different Pagan symbols. Such symbols are not only used as accessories on clothing but also for the logos the metal music groups use.[.]

This author's bachelor's theses base this article. The purpose was to gather and systematise data on the metal music subculture in Lithuania and describe its fundamental features of identity. To compile this article, the method of observing the metalist subculture, in-depth interviews and a structures questionnaire were employed and 35 members were interviewed. The research was conducted in the cities of Kaunas and Vilnius from 2007 August to 2008 April. The data analysis establishes that the main components of the subcultural identity of metal music enthusiasts, here called "metalists", are worldview, music and the image and lifestyle they are creating. Metal music is the essential unifying factor of the subculture. It is distinguishable by its complexity, live performance and diversity of styles. The identity of the metal music subculture also relates to the image its members design that is meant to express the ideology of the subculture (e.g., black colour, long hair, preferences for military boots and leather and jeans-style clothing). The most frequently encountered symbols are related to rebellion against Christianity: the pentagram, upside-down cross, fire and different Pagan symbols. Such symbols are not only used as accessories on clothing but also for the logos the metal music groups use.[.]

This author's bachelor's theses base this article. The purpose was to gather and systematise data on the metal music subculture in Lithuania and describe its fundamental features of identity. To compile this article, the method of observing the metalist subculture, in-depth interviews and a structures questionnaire were employed and 35 members were interviewed. The research was conducted in the cities of Kaunas and Vilnius from 2007 August to 2008 April. The data analysis establishes that the main components of the subcultural identity of metal music enthusiasts, here called "metalists", are worldview, music and the image and lifestyle they are creating. Metal music is the essential unifying factor of the subculture. It is distinguishable by its complexity, live performance and diversity of styles. The identity of the metal music subculture also relates to the image its members design that is meant to express the ideology of the subculture (e.g., black colour, long hair, preferences for military boots and leather and jeans-style clothing). The most frequently encountered symbols are related to rebellion against Christianity: the pentagram, upside-down cross, fire and different Pagan symbols. Such symbols are not only used as accessories on clothing but also for the logos the metal music groups use.[.]

The female image presented in the small painting "Allegory of Music" by Filippino Lippi (Gemaeldegalerie, Berlin) is most likely associated with the plot of a theatrical performance played out in 1475 in Pesaro on the occasion of the wedding of Costanzo Sforza and Camilla of Aragon. Th e similarity of the attributes of the heroine with the attributes of the muse Erato, who greeted the newlyweds, was pointed out by A. Warburg, who placed two images, the Filippino board and an illustration from the Vatican manuscript containing the text of the wedding performance, next to each other in his "Mnemosine Atlas". It is impossible to substantiate this version with documents, but the Florentine artist, who nominally interprets the plot differently from the anonymous northern Italian miniatur-ist, could be familiar with the description of the celebration, known not only from illustrated lists, but also from printed brochures. Th e origins of the "Allegory of Music" are traditionally traced to a wedding commission — on the occasion of the marriage of Giovanni Vespucci and Namicina Nerli in 1500 — which also included paired spalliers depicting "History of Lucretia" and "History of Virginia" by San-dro Botticelli and a panel by Piero di Cosimo displaying bacchanalia. Th e present article advances arguments in favor of this version, building on other episodes of cooperation between Botticelli and Filippino Lippi, both between the two of them and with the two intermarried Florentine families. Th e painting in question contains elements that may indicate its connection with the wedding ritual. It is impossible to establish how all the listed panels were arranged in the interior. How-ever, on the whole, this alleged ensemble, designed in the all'antica style, could be thought of as a glorification of sublime and chaste love. Th e theme, traditional for the decoration of the matrimonial bedroom, is eleborated simultaneously in brutal scenes from Roman history, which in Florentine artistic culture were laden with explicit republican connotations, as well as in small-scale mythological "poetry", that soft ens political accents and, moreover, can be associated with a magnificent princely wedding, glorifying the nobility of the newlyweds.

This article considers the problems of Power Point presentations on music lessons in the preschool educational institutions.

The paper considers the representation of Turkmen music culture in
the Soviet almanac "Ayding-Gyunler" (1934) and aims to recognize the patterns of
including vernacular culture into the Soviet literary field. The analysis of the texts'
content and the archival sources, including unpublished ones, sheds a light on the
processes of incorporation of the so-called "national" culture into the Soviet context,
such as declared decolonization and an attempt to "understand the new Turkmenistan". The analysis is put into historical and cultural perspective of recognizing the
typical Turkmen traits of the music culture in the texts of the almanac. Th e archival
sources include unpublished notes on the Turkmen folklore, which is considered as
one of the sources of the writers' work. Th e texts of the almanac represent the view
of the Europeans –members of the writers' brigade who provided materials for the
almanac. The poem by Turkmen author Durdy Klych is strongly connected with
vernacular culture, but being put into the context of the almanac, it gains a new use
for the aims of the Soviet literature. The view of the Turkmen culture in the almanac
remains oriental, which dissonates with the proclaimed "deexotization" of the Soviet policy. However, further investigation into the next almanac "Turkmenistan"
should be made. It is probable that the integration continued and the view of the
writers changed according to the contemporary Soviet policy.

Manifestations of Lithuanianness in the 19th century music publications is a complex and controversial topic in analyzing not only music publications but also the entire historical and cultural self-expression of the nation. Therefore, the dissertation deals with the period from the destruction of the Polish–Lithuanian Commonwealth in 1795 until the proclamation of independence of Lithuania in 1918, according to historical and political events that have fundamentally determined and shaped the concept of the period in question. The object of research is the 19th century music publications in Lithuanian and in non-Lithuanian languages, related to the cultural expression of the Lithuanian nation in various ways. The aim of the dissertation is to reveal, investigate and evaluate the manifestations of Lithuanianness in the 19th century in music publications, to analyze the peculiarities of publications, perceiving them as a multifaceted complex product of musical-cultural expression which had a significant role in the formation and development of national music, contributed significantly to the formation of national identity and at the same time played an important role in intercultural communication. There are analyzed the general political, economic, and social situation of the Lithuanian nation in the 19th century, the concept of Lithuanianness and its development. The music publications are analyzed as a result of the publishing process, the structure of the repertoire of publications, genre diversity and stylistic structure are analyzed, the field of historical-cultural context, issues of intercultural communication and national identity are researched in greater detail.

Manifestations of Lithuanianness in the 19th century music publications is a complex and controversial topic in analyzing not only music publications but also the entire historical and cultural self-expression of the nation. Therefore, the dissertation deals with the period from the destruction of the Polish–Lithuanian Commonwealth in 1795 until the proclamation of independence of Lithuania in 1918, according to historical and political events that have fundamentally determined and shaped the concept of the period in question. The object of research is the 19th century music publications in Lithuanian and in non-Lithuanian languages, related to the cultural expression of the Lithuanian nation in various ways. The aim of the dissertation is to reveal, investigate and evaluate the manifestations of Lithuanianness in the 19th century in music publications, to analyze the peculiarities of publications, perceiving them as a multifaceted complex product of musical-cultural expression which had a significant role in the formation and development of national music, contributed significantly to the formation of national identity and at the same time played an important role in intercultural communication. There are analyzed the general political, economic, and social situation of the Lithuanian nation in the 19th century, the concept of Lithuanianness and its development. The music publications are analyzed as a result of the publishing process, the structure of the repertoire of publications, genre diversity and stylistic structure are analyzed, the field of historical-cultural context, issues of intercultural communication and national identity are researched in greater detail.

Manifestations of Lithuanianness in the 19th century music publications is a complex and controversial topic in analyzing not only music publications but also the entire historical and cultural self-expression of the nation. Therefore, the dissertation deals with the period from the destruction of the Polish–Lithuanian Commonwealth in 1795 until the proclamation of independence of Lithuania in 1918, according to historical and political events that have fundamentally determined and shaped the concept of the period in question. The object of research is the 19th century music publications in Lithuanian and in non-Lithuanian languages, related to the cultural expression of the Lithuanian nation in various ways. The aim of the dissertation is to reveal, investigate and evaluate the manifestations of Lithuanianness in the 19th century in music publications, to analyze the peculiarities of publications, perceiving them as a multifaceted complex product of musical-cultural expression which had a significant role in the formation and development of national music, contributed significantly to the formation of national identity and at the same time played an important role in intercultural communication. There are analyzed the general political, economic, and social situation of the Lithuanian nation in the 19th century, the concept of Lithuanianness and its development. The music publications are analyzed as a result of the publishing process, the structure of the repertoire of publications, genre diversity and stylistic structure are analyzed, the field of historical-cultural context, issues of intercultural communication and national identity are researched in greater detail.

Manifestations of Lithuanianness in the 19th century music publications is a complex and controversial topic in analyzing not only music publications but also the entire historical and cultural self-expression of the nation. Therefore, the dissertation deals with the period from the destruction of the Polish–Lithuanian Commonwealth in 1795 until the proclamation of independence of Lithuania in 1918, according to historical and political events that have fundamentally determined and shaped the concept of the period in question. The object of research is the 19th century music publications in Lithuanian and in non-Lithuanian languages, related to the cultural expression of the Lithuanian nation in various ways. The aim of the dissertation is to reveal, investigate and evaluate the manifestations of Lithuanianness in the 19th century in music publications, to analyze the peculiarities of publications, perceiving them as a multifaceted complex product of musical-cultural expression which had a significant role in the formation and development of national music, contributed significantly to the formation of national identity and at the same time played an important role in intercultural communication. There are analyzed the general political, economic, and social situation of the Lithuanian nation in the 19th century, the concept of Lithuanianness and its development. The music publications are analyzed as a result of the publishing process, the structure of the repertoire of publications, genre diversity and stylistic structure are analyzed, the field of historical-cultural context, issues of intercultural communication and national identity are researched in greater detail.

The Philosophical Conception of Music in Classical Greece The phenomenon of music is one of the central aspects of Greek culture. The Greek word for music (mousikē) means the art of the Muses and is related to the literary and theatrical tradition. Its significance can be seen from the universal use in a huge variety of different social practices. This thesis aims to analyse the phenomenon not from the empiric evidence (the discourse of musical iconography and musicology is much more explored), but through the texts where music is reflected on the theoretical basis. Special attention is paid to the texts regarding philosophical considerations of music, in particular the writings by Plato and Aristotle, the musical tradition of Pythagorean thought (mostly reconstructed from the Corpus Pythagoricum) as well as the remarks related to the aforementioned traditions. It is argued that these texts were of highest importance in Classical Greece and their frame of reference became the starting point of conceptual music for the later authors. The concept of music is ambiguous on many levels even in the ancient Greek texts. There are two main traditions, one of which focuses on talking about the empirical music and another that conceptualises the phenomenon by connecting many other philosophical contexts, such as mathematics, harmony, ethics etc. Those which do not relate music to the philosophical background usually define music as an enclosed niche with autarchic laws, though this tradition is confronted with the question of how music can affect people, and these discussions often lead to the theoretical / philosophical contemplation. The tradition of Pythagoras is understood as the medium between the archaic and classical tradition of Greek thought. Their ideas about finding the basis of hidden, though fundamental, structure of the world leads to the claim that the number is the foundation of reality. The number has mystical philosophical relevance, but what is most important for the analysis of music, is that harmony of cosmos has the same numerical basis as musical harmony. Numbers define the laws of cosmos, as well as the laws of human soul and music becomes the representation of these laws both on sensual and theoretical level. In Classical Greek world music is not only the phenomenon of sound, it corresponds to the principles of profound nature and it could be understood only by invoking mathematical knowledge. Music is perceived as numerical and temporal phenomenon leading to the intellectual work of mind. The mathematical nature of music in relation to other elements of reality is further developed in Plato's Timaeus. Pythagorean theory of music and cosmos, mathematics and proportions, is described explicitly and the Timaeus' version of the universe can be seen as a tuned musical instrument. The dialectic of stability and change is also analysed both on the levels of cosmos and musical laws. The proportion establishes a diversity of elements and at the same time enables a clearly definable unified identity (that is argued to be one of the keystones for understanding any form of Greek art). The textual analysis of the terms ἁρμονία (harmonia) and συμφωνία (sumphonia) affirms the importance of proportion. Because of its numeric nature music can affect human soul that also has numeric nature, and through imitation of emotions make a huge influence on the level of ēthos, as well as on political and social life. Music might be invoked for both virtuous and vicious means, therefore, the regulation of the phenomenon and appropriate tradition-forming laws have to be implemented in the musical culture of society.

The Philosophical Conception of Music in Classical Greece The phenomenon of music is one of the central aspects of Greek culture. The Greek word for music (mousikē) means the art of the Muses and is related to the literary and theatrical tradition. Its significance can be seen from the universal use in a huge variety of different social practices. This thesis aims to analyse the phenomenon not from the empiric evidence (the discourse of musical iconography and musicology is much more explored), but through the texts where music is reflected on the theoretical basis. Special attention is paid to the texts regarding philosophical considerations of music, in particular the writings by Plato and Aristotle, the musical tradition of Pythagorean thought (mostly reconstructed from the Corpus Pythagoricum) as well as the remarks related to the aforementioned traditions. It is argued that these texts were of highest importance in Classical Greece and their frame of reference became the starting point of conceptual music for the later authors. The concept of music is ambiguous on many levels even in the ancient Greek texts. There are two main traditions, one of which focuses on talking about the empirical music and another that conceptualises the phenomenon by connecting many other philosophical contexts, such as mathematics, harmony, ethics etc. Those which do not relate music to the philosophical background usually define music as an enclosed niche with autarchic laws, though this tradition is confronted with the question of how music can affect people, and these discussions often lead to the theoretical / philosophical contemplation. The tradition of Pythagoras is understood as the medium between the archaic and classical tradition of Greek thought. Their ideas about finding the basis of hidden, though fundamental, structure of the world leads to the claim that the number is the foundation of reality. The number has mystical philosophical relevance, but what is most important for the analysis of music, is that harmony of cosmos has the same numerical basis as musical harmony. Numbers define the laws of cosmos, as well as the laws of human soul and music becomes the representation of these laws both on sensual and theoretical level. In Classical Greek world music is not only the phenomenon of sound, it corresponds to the principles of profound nature and it could be understood only by invoking mathematical knowledge. Music is perceived as numerical and temporal phenomenon leading to the intellectual work of mind. The mathematical nature of music in relation to other elements of reality is further developed in Plato's Timaeus. Pythagorean theory of music and cosmos, mathematics and proportions, is described explicitly and the Timaeus' version of the universe can be seen as a tuned musical instrument. The dialectic of stability and change is also analysed both on the levels of cosmos and musical laws. The proportion establishes a diversity of elements and at the same time enables a clearly definable unified identity (that is argued to be one of the keystones for understanding any form of Greek art). The textual analysis of the terms ἁρμονία (harmonia) and συμφωνία (sumphonia) affirms the importance of proportion. Because of its numeric nature music can affect human soul that also has numeric nature, and through imitation of emotions make a huge influence on the level of ēthos, as well as on political and social life. Music might be invoked for both virtuous and vicious means, therefore, the regulation of the phenomenon and appropriate tradition-forming laws have to be implemented in the musical culture of society.

The Philosophical Conception of Music in Classical Greece The phenomenon of music is one of the central aspects of Greek culture. The Greek word for music (mousikē) means the art of the Muses and is related to the literary and theatrical tradition. Its significance can be seen from the universal use in a huge variety of different social practices. This thesis aims to analyse the phenomenon not from the empiric evidence (the discourse of musical iconography and musicology is much more explored), but through the texts where music is reflected on the theoretical basis. Special attention is paid to the texts regarding philosophical considerations of music, in particular the writings by Plato and Aristotle, the musical tradition of Pythagorean thought (mostly reconstructed from the Corpus Pythagoricum) as well as the remarks related to the aforementioned traditions. It is argued that these texts were of highest importance in Classical Greece and their frame of reference became the starting point of conceptual music for the later authors. The concept of music is ambiguous on many levels even in the ancient Greek texts. There are two main traditions, one of which focuses on talking about the empirical music and another that conceptualises the phenomenon by connecting many other philosophical contexts, such as mathematics, harmony, ethics etc. Those which do not relate music to the philosophical background usually define music as an enclosed niche with autarchic laws, though this tradition is confronted with the question of how music can affect people, and these discussions often lead to the theoretical / philosophical contemplation. The tradition of Pythagoras is understood as the medium between the archaic and classical tradition of Greek thought. Their ideas about finding the basis of hidden, though fundamental, structure of the world leads to the claim that the number is the foundation of reality. The number has mystical philosophical relevance, but what is most important for the analysis of music, is that harmony of cosmos has the same numerical basis as musical harmony. Numbers define the laws of cosmos, as well as the laws of human soul and music becomes the representation of these laws both on sensual and theoretical level. In Classical Greek world music is not only the phenomenon of sound, it corresponds to the principles of profound nature and it could be understood only by invoking mathematical knowledge. Music is perceived as numerical and temporal phenomenon leading to the intellectual work of mind. The mathematical nature of music in relation to other elements of reality is further developed in Plato's Timaeus. Pythagorean theory of music and cosmos, mathematics and proportions, is described explicitly and the Timaeus' version of the universe can be seen as a tuned musical instrument. The dialectic of stability and change is also analysed both on the levels of cosmos and musical laws. The proportion establishes a diversity of elements and at the same time enables a clearly definable unified identity (that is argued to be one of the keystones for understanding any form of Greek art). The textual analysis of the terms ἁρμονία (harmonia) and συμφωνία (sumphonia) affirms the importance of proportion. Because of its numeric nature music can affect human soul that also has numeric nature, and through imitation of emotions make a huge influence on the level of ēthos, as well as on political and social life. Music might be invoked for both virtuous and vicious means, therefore, the regulation of the phenomenon and appropriate tradition-forming laws have to be implemented in the musical culture of society.