Elena Ezerskaya

Editor-in-Chief of the Music Magazine. Musical and theater critic, journalist, playwright, librettist, writer, poet. Member of the Union of Theater Workers of Russia. She graduated from postgraduate studies at the State Institute of Art Studies of the Ministry of Culture of the Russian Federation (theater sector) and the Institute of Philology and History of the Russian State humanitarian university(Department of Theater and Cinema). From 1997 to 2012 she worked in the magazine " Music life", from 2010 to 2012 - editor-in-chief. Creator and first editor-in-chief of the “Music Magazine” (from 2013 to 2014, and since 2017). Member of the musical theater commission of the STR RF for operetta/musical (since 2013). Over the years, she was a member of the Golden Mask expert council on musical theater (Moscow, 2002); member of the artistic expert council under the Ministry of Culture of the Moscow Region (2008 – 2010); member of the jury of the festivals “Kuban Spring” (Krasnodar, 2010), “Theatrical Olympus” (Sochi, 2011), “Theater Spring” (Krasnoyarsk, 2012); member of the IV jury International competition young operetta and musical artists named after N. A. USSR V. A. Kurochkina (Ekaterinburg, 2012); member of the VI and VII jury All-Russian festival- “Crystal Stars” competition (Moscow, 2013, 2014); member of the Organizing Committee and jury of the VIII All-Russian festival-competition “Crystal Stars” (Moscow, 2015); member of the Organizing Committee of the I International Competition of Young Artists and Directors of Musical Theater named after P. I. Slovtsov (Krasnoyarsk, 2015); Chairman of the jury of the V All-Russian Festival of Classical and modern music for children and youth “Musical Snowdrop” (Penza, 2017); and also - Executive Director of the XXV International Vocal Competition named after M. I. Glinka (Moscow, 2014); Executive, director, member of the Organizing Committee and Directorate of the I International Festival-Competition “Music of Friendship”: festival of master classes and competition in Russian classical vocal music(Moscow, 2015-2016); Executive Director IV, V and VI Music festival named after Irina Arkhipova (Moscow, 2014, 2015, 2016). Currently - CEO Autonomous non-profit organization “Socio-cultural creative center “Musical Journal” (ANO “Musical Journal”). As a music and theater critic, she has been published in such Russian publications as Musical Journal. "Music Academy", "Musical Life", " Theater life", "Screen and Stage", "Culture", "Theater Business", "Strostnoy Boulevard, 10", "Planet Beauty", "Musical Klondike", "Evening Moscow" and others. Performances based on the libretto by E. Yezerskaya were staged in various musical theaters: “Only Love!”, “Give me an operetta!”, “Trouble in the Forest”, “How the Nightingale the Robber Helped Ivan the Soldier” (Moscow State Musical Theater under the direction of Gennady Chikhachev) , “Thumbelina” (Seversky Musical Theatre, Musical Theater of Kuzbass named after A. A. Bobrov, Ural Operetta Theater - Drama and Comedy Music Theater, Stavropol Operetta Theater), “Bayadera”, “The Waltz King” (Karaganda Operetta Theater, Kazakhstan). E. Yezerskaya is the author of several book bestsellers. Including original books based on the television series “Poor Nastya” (in 4 volumes) and “NEXT-3” (in 4 volumes under the pseudonym Viktor Bagrov), original novels “Poor Nastya. Ten years later" (in 4 volumes) and the literary series "Secrets noble nest": "The Curse of the Old Moneylender", "Protracted Reckoning" "The Last Duel", as well as the novel "Under the Sign of the Sun" and memoirs and biographical books - "Moscow Art Theater. A look from behind the scenes" and "Vladimir Basov: director and person."

Galina Skorobogatova

Member of the Public Council of the National Fund for Support of Social Programs of the Russian Federation. Professional journalist. Higher education. Graduated from the Faculty of Journalism of Moscow State University named after M.V. Lomonosov (1972). She worked at Central TV (“1st”) for more than twenty years: from editor to columnist, producer. Programs: “Kinopanorama”, “Cinema Travelers Club”, “Visiting a Fairy Tale”, “Mark Zakharov’s Serpentine”. As an author and co-director she made documentaries for television films “Gerard Philippe”, “Vs. Pudovkin”, “Nikolai Cherkasov”, “Lyubov Orlova”, “Mayakovsky’s Moscow” (with Galina Shergova) and others. Based on the scripts of G. Skorobogatova in the late 1970s - early 1980s, films and plays were made: “The History of the Chevalier des Grieux and Manon Lescaut” (director Roman Viktyuk), “I Can’t Find Peace from Love” based on the plays of W. Shakespeare (director Roman Viktyuk). In 1991, she created and for two years hosted the “Maxima” program, which was based on conversations with prominent cultural figures from the CIS countries. (D. Banionis, S. Chaureli, R. Sturua, Y. Ilyenko, R. Balayan, J. Budraitis, V. Zhalakyavichus, V. Naumov and others). As an author and producer, she participated in the creation of television versions of plays for Central Television: “La Divina” (Alla Sigalova’s Independent Troupe), “Quartet” (Alla Demidova’s “A” Theater), “Maids” (Roman Viktyuk Theater), “Lolita” ( Roman Viktyuk Theater), “Crazy Day, or The Marriage of Figaro” (“Lenkom”) and others. From 1996 to 2005, she worked at Author’s Television (ATV) as an editor, author and producer (Program “Vremechko”, “We” with Vladimir Pozner, “Eh, Semyonovna” with M. Golub). As an author and producer, she participated in the creation of the television series “Readings. Russian Lessons" (more than 400 episodes), where great works of Russian literature were read by great Russian actors - Mikhail Ulyanov, Oleg Efremov, Alla Demidova, Lyudmila Chursina, Kirill Lavrov, Boris Plotnikov, Sergei Makovetsky, and others. For more than a year she was the first editor-in-chief of the “Country Duty” program with Mikhail Zhvanetsky and Andrei Maksimov. In the period from 2005 to 2009, she was the press secretary of the international festival “Cherry Forest”, the international art project “Cow Parade”, producer and author of the art magazine “Deillusionist”, collaborated with many magazines (“Brownie”, “Atmosphere”, “ Peasant", "Vogue" and others), and newspapers ("Evening Moscow", "Evening Club", " TVNZ"and others) as a correspondent and interviewer. From 2011 to 2013 – press secretary of the Interstate Fund for Humanitarian Cooperation of the CIS Member States. From 2010 to 2014 – chief editor of the magazine “Forum Plus”: publisher – MFGS. In 2015, as editor-in-chief, she published two issues of the magazine “New Eurasia” - published by the Moscow Foundation for International Cooperation named after Yuri Dolgoruky, grant from the President of the Russian Federation. 2015, 2016 – editor-in-chief of the Music Magazine. Since 1917, editor for special projects of the same magazine.

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1 Requirements for materials submitted for publication in the journal " Musical director» WHAT MATERIALS WE ACCEPT The magazine accepts materials that meet the objectives of the educational field “Music” and related areas of upbringing and education of children preschool age. The material should be of interest to practical workers in preschool educational institutions, reflect the professional competence of the author and his creative approach to work. The provided material may be placed in one of the sections of the journal. Contents of the sections The “Main Topic” section includes current articles on the issues of musical education of preschool children. The “Programs and Technologies” section contains articles reflecting new developments in the field of musical and aesthetic education of preschool children, lesson notes and scenarios corresponding to the content of various music education programs. Lesson notes can be placed in the “Author’s methods” section different types, music games and exercises. Materials submitted for publication in this section must have original content and reflect an innovative approach to working with children. The section “Music in Correctional Work” publishes materials (lesson notes, games and exercises, scenarios, etc.) that correspond to the capabilities of children with disabilities. Articles of a scientific and practical nature are also of interest for this section. 1

3 The inclusion of materials from other modern magazines on preschool education in lesson notes and scripts for holidays and entertainment is a violation of copyright. HOW TO SEND MATERIAL Material (article, lesson notes, script for a holiday, entertainment, leisure, etc.) can be submitted to the editor by one of three ways: by mail by regular or registered mail (not by postal parcel); by email; delivered personally by the author or his representative. IN WHAT FORM SHOULD THE MATERIAL BE PRESENTED If the material is sent by mail or transferred directly to the editor: text (manuscript), illustrations (photos) and notes on electronic media (CD-ROM); printouts of the manuscript (1 copy), illustrations and photographs (1 copy), music texts (2 copies). On a separate sheet that must be attached to the material, the author’s last name, first name, patronymic, place of work, position, mobile and landline phone number, author’s email address (if available), name of the material, age group to which it is addressed are indicated. If the material is sent by email: text, illustrations (photos), notes (each of the components of the material must be contained in separate files). Illustrations (photos) and notes are formatted in the most common formats: TIFF, JPEG, PDF. 3

4 In the covering letter, the author indicates the last name, first name, patronymic (in full), place of work, position, mobile and landline phone numbers, name of the material, age group to which it is addressed, as well as the name of the section of the magazine corresponding to the material. Note. If it is not possible to format illustrations (photographs) and music texts in electronic form, the following must be taken into account: photographs (printed only on photographic paper) and music texts (handwritten, copied from the original) must be of good quality. They are sent by regular mail along with the material. HOW TO FORMAT THE MATERIAL The text must be presented in Microsoft Word doc or rtf format. The text is typed in TimesNewRoman font, font size 14, line spacing 1.5 (there should be no indents between paragraphs). The text should have paragraphs and be aligned in width, and verses should be typed from the beginning of the line. Two-column typing is not allowed. Pages should be numbered. Abbreviations of words in the text (except for generally accepted abbreviations: etc.; etc.), as well as typing words in capital letters are unacceptable. When typing text, it is necessary to use the letter “е” where required. Font selections in the text (bold, light and bold italics), as well as underlining, are not recommended. The exception is for articles in which words or phrases are emphasized to enhance their meaning. Illustrations (photos) and notes are not included in the main text, but are given as separate appendices (an appendix with illustrations or photographs and an appendix with notes). Illustrations (photos) and notes should also be numbered. Number of illustration (photo) or sheet music

5 of the appendix must be indicated in the place of the main text to which they relate. It is mandatory to include the words of the songs (including the first verse) after the main text in the order in which the sheet music is placed. Before the words of the song, you should indicate the title of the song, the author of the words (on the left) and the author of the music (on the right). The interlinear text in the notes of songs must strictly correspond to the text typed separately (punctuation marks, etc.). Descriptions of dance movements and exercises (descriptions of games), if they are performed to music (song), the notes of which are given in the application, should also be typed after the main text. The manuscript must indicate: under the title, the age of the children or the name of the age group; last name, first name, patronymic of the author (in full), place of work and position; sources (books, manuals, disks, Internet sites, etc.) that were used by the author (they can be indicated directly in the text or presented as a list after it). When referring to a literary source, you must indicate the surname and initials of the author (compiler, executive editor), title, place of publication, publisher, year of publication; When referring to a disc, its exact name, location and year of release are indicated. authors of the mentioned poems, musical works(When a song is mentioned, the author of the music is indicated first, then the author of the words). If the author suggests, but does not provide in the appendix, any song for children to perform or listen to, you must indicate the collection in which it is placed (the design rules are the same as for a literary source). Descriptions of dance movements and exercises (if they are performed to music) should be provided only with notes (the bars should be numbered and parts should be identified). 5

6 WHAT ELSE THE AUTHOR NEEDS TO KNOW The volume of the manuscript (including titles and lyrics of songs for applications) should not exceed 12 pages. The number of illustrations (photos) should not exceed 4 6 pieces. The number of illustrations (photos) in materials devoted to the design of the hall or the manufacture of costumes and scenery can be no more than 8-10 pieces. Take note! Photos with the shooting date, blurred or cropped details of the main element of the image, taken against the light, with traces of a printing device (on paper) may be rejected by the editors. The author's signature must appear on the last page of the printed text. If the author sends his material to the editor for publication in a journal, but he is not against its publication on the website of the Publishing House “Education of Preschoolers” in the section “MR: publications on the site” (instead of publication in the journal), you can fill out and sign the Agreement in advance and Application (see the main page of the site, section “Authors”, “Rules for publication on the site”). In this case, the editors decide where exactly to place the material (in a magazine or on a website) and inform the author about this. If the material is published in the journal, the Agreement and Application are canceled. The Agreement and Application can be filled out and signed by the author later (after the editors have decided on the place of publication), however, the author’s consent to publication on the site (stated in free form) must be attached to the material. Note. Placing material on a website is more efficient than publishing it in a magazine. To publish only on the website in the “MR: publications on the website” section, the material should be sent to email address magazine "Musical

7 manager” with the note “For publication on the website.” The completed and signed Agreement and Application are sent with the material. The conditions for posting materials on the site can be found on the page “For Authors”, “Rules for Publishing on the Site”. If a manuscript is recommended for publication in a journal, a license agreement is concluded with the author (with each member of the team of authors) (in order to comply with the rights and obligations of the author and the publishing house). The agreement is sent to the author (authors) for signing and forwarding back to the editorial office of the “Musical Director” magazine. We remind you that the editors reserve the right to edit and shorten materials. 7

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Topic submitted for consideration thesis– the relevance of music journalism in the Russian Federation. The very wording already contains the concept of updating information on this area of ​​journalism in our country. The study of the issue is all the more timely in the context of the rapidly changing global information space and, as a consequence, the entire music industry and related areas public life. From historical painting development of music journalism presented below, the fact of its heyday and subsequent decline in the second half of the 20th century becomes obvious.

Relevance This work is also due to the fact that it reflects the opinions of people for whom this topic was not indifferent, and who took the time to give their answers to the questions posed below.

Some of them showed interest in the full finished text of this work, which can also be regarded as an indirect sign of its relevance.

The respondents of this study were divided into two groups. The first includes musical artists of various ranks, band managers, music critics and editors-in-chief of music magazines and portals, and representatives of some labels. The second category includes ordinary listeners.

Novelty This study consists in the method of studying the stated topic - a qualitative analysis of respondents’ responses to a questionnaire created by the author in conjunction with other modern publications on this topic.

Object Our research can be called music journalism and information processes associated with it.

As subject research is a reflection of it musical process on the one hand, and satisfying public demand on the other.

Conditional chronological framework research – decade from 2005 to 2015.

Under purpose of the study We understand the opportunity to establish the social significance of contemporary music journalism.

Tasks posed before us, we see it as follows:

· Reveal the essence of the nature of today's music journalism;

· Analyze the processes occurring in it;

· Offer a vision of the prospects for this branch of journalism.

Theoretical significance This work consists of a set of authentic expert statements from representatives of the music and journalistic spheres that are relevant in this moment. In the future, these same statements, as well as excerpts from English-language articles translated by the author, and conclusions from the work can be used for subsequent studies that involve consideration of the dynamic development of music journalism.

In turn, the possibility of creating our own music media based on the information we received and conclusions drawn reflects practical significance work.

Music journalism did not appear yesterday. Already at the end of the 18th century there were such publications as “Allgemeine musikalische Zeitung” (German: “General Music Newspaper”) and “Neue Zeitschrift für Musik” (German: “New Musical Newspaper”, founded in Leipzig by Robert Schumann), “The Musical Times” existed in London from the mid-19th century. It is quite obvious that the focus of these publications was academic music. Journalists from general newspapers also wrote separate articles - for example, John Davidson from The Times. Composer Hector Berlioz also published a number of articles in Parisian publications between 1830 and 1840.

The popularization of this area of ​​journalism began precisely in the 1840s, when, under the general influence of the growing level of education, the influence of romanticism and the popularization of such composers and performers as Franz Liszt and Niccolò Paganini, not only specialized magazines became interested in music. Accordingly, the level of competence of journalists began to vary greatly even then.

The longest-running magazine in the UK is “BMG Magazine” (an acronym made up of the first letters of musical instruments - banjo, mandolin and guitar). “BMG” was founded in 1903 and is still published today. The materials in it are concentrated mainly around acoustic fretted instruments, are educational and allow you to improve your playing skills on them. The thick magazine is published quarterly.

The example of Western mass music media clearly shows that the peak of their popularity occurs at times of the most tangible social changes. The background for these shifts was the emergence of a post-war new morality, rock and roll culture, the fight against racial segregation (including the work of Dr. Martin Luther King), the hippie counterculture, the popularization of drugs, the sexual revolution (including the recognition of sexual minorities) .

Music journalist Ilya Smirnov characterizes this time as follows: “… anti-realism in behavior and art. Rejection of the surrounding reality, not provided with an alternative, took the form of ESCAPISM - escape into drug hallucinations of LSD, into psychedelic music, into the world of Maoist-style political dogma absolutely unrelated to real life”.

And further in the text: “ A direct consequence of this attitude to life was mysticism (especially eastern) and the sublime lyrics of the songs of that time. A striking example is the philosophical surrealism of the English group Pink Floyd; - pessimism, a sense of one’s own doom, again uniting hippies with the “militant” representatives of their generation. Antonioni conveyed this hopelessness with amazing accuracy in the film “Zabriskie Point.” The music for the film was written and performed, by the way, by the same PINK FLOYD”.

Since March 1952, the influential magazine “New Musical Express”, also known by the abbreviation NME (a homophone of the word “enemy” - “enemy”), has existed in London. Then it came out as a tabloid. On November 14 of the same year, NME, guided by the experience of the American Billboard, launched the first UK Top 20 singles chart.

Music journalism and criticism gained real popularity with the advent of pop and rock music to a wide audience after the breakthrough of “The Beatles”, “The Rolling Stones” and other representatives of the “British wave” in 1964. In the first half of that glorious year, New Musical Express's circulation reached its highest level in the publication's history - 306,881 copies.

The first wave of the “British Invasion” was replaced by the wave of the aforementioned psychedelics. His eternal rival, the British magazine Melody Maker, entered into a heated debate with the same “NME”, whose circulation remained firmly at around 200,000 copies per week. He was one of the first to support the rapid development of new forms of pop music in the late 1960s.

Melody Maker, founded in 1926, was one of the world's first music weeklies. Initially specializing in jazz and its main promoter Max Jones, MM did not have time to quickly respond to the emergence of rock and roll, thus giving the palm to NME. In 1958, Melody Maker launched their own Melody Maker LP charts, two years after the Record Mirror first published its UK Albums Chart. It was “Melody Maker” who in March 1965 proposed to the British government to award the members of The Beatles the titles of knights.

The magazine's audience was older than that of NME, which was aimed primarily at teenagers. There were more specialized advertisements aimed at musicians; entire pages devoted to unpopular musical genres - folk and jazz; one could read detailed reviews of musical instruments.

The third main rival to NME and Melody Maker was Sounds, a weekly newspaper published from October 1970 to April 1991. It was founded by Jack Hutton and Peter Wilkinson, who had both left Melody Maker. Hutton even emphasized that the newspaper was “a progressive Melody Maker.” Characteristic features of “Sounds” were the gatefold posters, designed to be torn out; focus on the New Wave of British Heavy Metal (Iron Maiden, Saxon, Def Leppard, etc.), Oi! (“Sham 69”, “Cock Sparrer”, etc.). Sounds was the first music newspaper to cover punk. John Robb, a member of the punk band Goldblade and the influential post-punk band The Membranes, collaborated with the newspaper. It is he who in his characterization music scene Manchester came to designate it with the term “Britpop”.

Among the notable materials of the newspaper are also articles by Keith Cameron about the group Nirvana and the first interview for them, taken by the same John Robb. Sounds was closed in 1991. However, the legacy of Sounds lives on in Kerrang!

Named to imitate the sound of a rock chord being played, “Kerrang!” Since its appearance on June 6, 1981, it has been a “Sounds” supplement dedicated to heavy music. At first published monthly, it gradually became published every two weeks, and since 1987, even weekly.

In the 2000s, the magazine became the most popular music publication. “Kerrang!” adhered to the course of heavy music, which has not changed in the entire history of the publication, which ensured their success. Starting with thrash and glam metal in the 80s and early 90s, continuing with grunge, journalists came to cover nu metal as a major genre in the 2000s, led by bands such as Slipknot and Limp Bizkit. Later, thanks to the staff of “Kerrang!” genres such as emo (imo) and metalcore became widely known.

Among the really big magazines, “Q” is also worth highlighting. Founded in the UK in October 1986, it differed from most music press in that it was a monthly publication and the high quality of its photography and printing overall. The original title was “Cue,” a word for launching a record. It was later changed due to confusion with a billiards magazine of the same name. As a result, publishers say, single-letter titles are much more visible on newsstands. The format of the magazine was distinguished by its focus on a more mature audience than that of “Melody Maker” and “NME” of those times.

The publication was also characterized by a voluminous review section: reviews of releases, music reissues, compilations, reviews of films and live concerts, radio and television programs. “Q” uses a five-star rating system. The magazine's ratings are often used in print and television advertising in the UK and Ireland.

The magazine's "best of" lists are also widely known, ranging from the "100 Greatest Albums" to the "100 Greatest" list of the 100 Greatest.

Among the interesting practices of “Q” promotion, they use, for example, the “Cash for Questions” section. In it, some artist answers questions sent by readers, the authors of those that will be published receive a reward of 25 pounds sterling.

In November 1993, the editors of the same magazine established another musical monthly magazine, “Mojo,” the emergence of which is associated with a sharply increased interest in classic rock. Despite criticism for its rather superficial coverage of some historically important musical figures, Mojo managed to discover some truly new and unusual artists. For example, Mojo became the first mainstream magazine in the UK to take on The White Stripes, and gave them as much space on its pages as famous artists.

In 1998, a magazine with a similar focus, “Classic Rock,” was launched. The September issue in 2010 had larger circulations than NME. “Classic Rock” has a sister publication “Metal Hammer” about heavy music.

Already in 1894, a publication appeared in Cincinnati, Ohio, which remains one of the flagships of music journalism to this day - Billboard magazine (literally “bulletin board”), initially published in the form of an industry newspaper for the billboard industry. Over time, news about all areas of the entertainment industry began to appear on the pages of the newspaper, and in the 1930s, with the popularization of jukeboxes, Billboard began regularly publishing charts of the most listened to songs. In the beginning, there were three genre charts: country and western music, pop music and rhythm and blues. In the 50s, television ratings appeared. However, “Billboard” became as we know it today in 1961 - then everything that did not relate to music was separated into a separate publication “Amusement Industry”, while the main platform was renamed “Billboard Music Week”, and then back to Billboard in 1963.

Then, in 1967, the well-known and still existing magazine “Rolling Stone” appeared in the United States. Its popularity is due largely to its combination of music criticism and political journalism, represented in its pages in the 1980s by the writings of Hunter S. Thompson. At first, “RS” came out as a tabloid.

At first, the work of Rolling Stone employees was directly associated with the hippie counterculture. However, the magazine distanced itself from other underground press publications by staying out of politics at the time and using higher traditional journalistic standards. In 1977, the editorial office moved from San Francisco to New York. Editor Jen Wenner felt that by then San Francisco had become a place of “cultural stagnation.”

It is Rolling Stone that is the most criticized of music magazines. This is due to the tendency towards a deliberate bias towards covering fashion trends instead of assessing the content of a particular phenomenon, which was established already in the 80s. Nevertheless, “RS” is one of the few magazines that is successfully published today.

An important page in the history of music journalism was the emergence music TV channels. Their appearance was preceded by the emergence of such type of information product as music video. Its inventor is considered to be Richard Lester, who in 1964 created a video for the song “Can’t Buy Me Love” by The Beatles as part of their musical film “A Hard Day’s Night”.

The most famous of the music channels is MTV, launched on August 1, 1981. The original format of the channel was broadcast music videos 24 hours 7 days a week, interrupted only by presenters, music news, interviews and concert announcements.

Over the past decades, the channel has been subject to widespread criticism on completely different grounds. Among the most important of them are:

· Homogenization and averaged vision of rock and roll (in particular, indicated in the song of the punk band “Dead Kennedys” “M.T.V. – Get Off the Air”, released in the wake of the growing authority of the channel in 1985);

· Censorship on the channel that does not allow references to drugs, violence, weapons, homophobia, advertising, devil worship and anti-religious themes.

Both of these factors had a negative impact on the image of music journalism at a time when MTV was truly a music channel. Subsequently, in the 90s, with an increase in the share of reality shows and other non-music programs, as well as an increase in the number of sister TV channels (for example, “VH1” - Video Hits 1), the TV channel actually ceased to be a music media.

Music journalism in Russia truly flourished during the period of perestroika, although, just like in the West, academic publications had already existed since 1774, when the monthly “Musical Amusements” began to be published, a little later “Musical Amusement Store” and “St. Petersburg Musical Store”.

Seva Novgorodtsev made a significant contribution to paving the way for Russian music journalism at the dawn of its heyday. In his book “Time for Bells. The Life and Death of Russian Rock” Ilya Smirnov characterizes Seva and his activities as follows:

“The same age as Lennon, a long-distance sailor, jazzman and member of the ancient ensemble GOOD WELL DONE, Seva Novgorodtsev took a combat post at the microphone of the BBC Russian service in 1977 - the year of the Brezhnev constitution. He was probably the only one who took the freedom of speech she granted seriously.”.

“…Seva introduces the live voice of the presenter into the program. He doesn't just comment on albums - he talks about the hard life of musicians in England, about the horrors of capitalism... About religion, about politics, about human dignity (matter little familiar to us). He just talks “for life”, witty and “untethered” like Lenny in the Bob Fosse film.
It is more convenient for us to stupidly and gloomily sentence people to quartering than to simply laugh at what is stupid and funny. And here is Novgorodtsev’s second discovery: a style that is unusual for Soviet taste, like sausages made from meat. Later, the independent rock press in the Union - Seva’s students - will speak human language. And a cheerful voice from London will, year after year, introduce us, without differences in class or registration, to world civilization, which since the time of the Great Geographical Discoveries is still one”.

In the period before, during and slightly after perestroika, the most interesting publications were “Zerkalo”, which turned into the samizdat “Ear” (by Ilya Smirnov and Artyom Troitsky), “Urlight”, “Counter Cult of Ur” (Sergei actively collaborated in the last two Guryev). Of course, a much larger number of samizdat presses were published, but often these were exclusively small-circulation (down to a single copy) publications, represented by one or two issues.

Among the publications of the post-perestroika new Russia Notable publications were “Fuzz”, “Ptyuch”, “OM”, “MuzOboz”, “Stas”, “Play”. For the music media there was even a professional award “Mark of Quality”, established by Andrei Wulf and the Wulf-Group holding, but it has sunk into oblivion.

“Ptyuch”, which appeared in September 1994, became the first glossy analogue of the foreign “The Face” and “Wired” and at the same time the flagship of the propaganda of Russian club rave culture with all its specific attributes. “Ptyuch” also stood out for its language. Igor Shulinsky, editor-in-chief: “ Now you read it and think: “... how could you write this! How could you read this!” Many articles in Ptyuch give this feeling. But we tried to speak a living language, we tried to formulate this language”.

“OM” differed favorably from “Ptyuch” both in its layout, through which materials could be read (“less schizophrenic”), and in a greater degree of responsibility to the reader. On its pages, unlike “Ptyuch,” domestic show business stars also appeared. The famous rock and jazz musician Sergei Kuryokhin also wrote his own column in “Om”.

It was these two magazines that became the fashionable founders of the genre in Russia. They were created for that same generation of regulars of the Titanic club and listeners of the Maximum radio launched in 1994.

However, today most of the publications that were significant in the nineties and zero years are closed. The reasons for this are formally different, but it all comes down to approximately the same thing – lack of funding.

For example, according to the former editor-in-chief of the licensed Russian publication “NME” Ruslan Shebukov, the reason for the decline was the lack of money invested by advertisers in placing advertisements on the pages of music magazines. Most advertisers, he said, consider the audience of these publications to be insolvent.

At the same time, Ilya Buts, former editor-in-chief of the Russian publication Billboard, believes that the crisis is due to the lack of such an expense item among our existing labels as “marketing budgets for promotion in the press.”

Igor Shulinsky, editor-in-chief of the first of them, believes that the reason for the decline of the magazine “Ptyuch”, as well as ‘OM’ and ‘Matadora’, is the very format of these publications. He considers it “generational”, capable of “existing only at a certain time.” All of them were part of the Russian “show-off gloss” that appeared against the background of those very “dashing nineties”. According to Alt. Ussery, they “flowed with cheerfulness and arrogance, and in a cultural sense they represented a Babylonian pandemonium.”

Today, a negligible number of printed music publications are published. These are, first of all, Russian versions of “Rolling Stone”, “Classic Rock”, small-circulation, but originally domestic “InRock”, “Rockcor”, “Dark City”, “Bunker”. There are also highly specialized ones, such as the quarterly “Questions of Ethnomusicology”. As before, academic “Music and Time”, “MusicuM” and others.

Despite a considerable number of articles on the topic, the current situation in the world of domestic music journalism seems to us absolutely unclear.

The theoretical basis of a music journalist is represented by only one relatively relevant textbook - the book by Tatyana Aleksandrovna Kurysheva “Music journalism and music criticism. Tutorial”, which is also extremely small, as well as a large amount of “populist” literature that does not give a clear idea of ​​the modern process of music journalism.

Tabloid is a newspaper characterized by half the size of the printed page, the volume of articles and big amount illustrations. Often a cheap, low-quality publication.

A single is initially a 7-inch record containing one or two compositions. As a rule, if there were two, then the main one was placed on side A, the other on B - which later entered the terminology as the concept of “B-side” (B-side).

The British Wave (or British Invasion) is the period of musical hegemony of British rock bands in the world charts 1963-1967.

“Folk music of Ancient Rus'” - Music of Ancient Rus'. Boyan. Flute. Singing. Change of dishes. Wedding. Night of Ivan Kupala. Buffoons. Gusli. Horn.

“A Mighty Group of Composers” - Mily Alekseevich Balakirev, Folk music became the basis of the musical works of the circle’s composers. Nikolai Andreevich Rimsky-Korsakov. Lesson topic: The role of the “Mighty Handful” community in Russian culture. where they performed their works. Alexander Porfirievich Boorodin. They promoted Russian art abroad and created the Russian Musical Society - the prototype of the modern Philharmonic.

“Music of the Silver Age” - K. D. Balmont. I. V. Severyanin. A. Blok. A. A. Akhmatova. I do not regret, do not call, do not cry. Left march. V. Ya. Bryusov. Silver Age. Poetry of the Silver Age in modern music. The lyrics of the Silver Age are diverse and very musical. I like that you are not sick with me. Winter night. N. S. Gumilev.

"Music of the Renaissance" - Music of the Renaissance. a musical form based on the alternation of a constant theme - a refrain and various episodes. The origin is connected with folk song and dance music. (ABACADAIAWAEARATAJA…..- formula. Originated in Italy. Cycles of preludes and fugues, as well as preludes alone, are created. Gabrieli, J. Define music (Renaissance or not.

“Romanticism in Music” - Robert Schumann. Song genres are being developed, including ballads. Mendelssohn. Franz Schubert. Western European music of romanticism. The most prominent representatives of the romantic school of composers were... Richard Wagner. Franz Liszt. Von Weber. Nicolo Paganini. And yet the new style has its own characteristics.

“Classicism in music” - A new stage in the development of social consciousness. The new century has brought forward a new ideal. Mozart, as we know, was a child prodigy. Mozart's style was formed on Salzburg soil. Joseph Haydn (1732–1809). Haydn's work. Beethoven continued the general line of development of genres. Wolfgang Amadeus Mozart. Music of the Classical era.

There are a total of 24 presentations in the topic

Music journalism, as is known, originated on the basis of periodicals, that is, the already existing platform of the printing industry. And, as I already wrote, only in the 18th century did musical criticism become a separate independent field of activity, when a new channel for the outlet of musical critical thought arose.

Journalism is one of the forms of outlet for both musical criticism and musical education, popularization, propaganda - different types of familiarizing society with music. That is, music journalism in its activities is addressed to everyone - musicians and non-musicians. Its main functions are to inform and evaluate, to educate. The main rule of journalism is focus on “today”, on “the present moment”. Her attention is drawn to the cultural situation of the present day. The subject of coverage, analysis, and evaluation can only be the processes of cultural life that are relevant to our time. Journalism is extremely fast in its activities. It does not imply the indefinite. The faster journalism reacts to what is happening, the more valuable it is for society and the publishing house. But having fulfilled its direct function, journalism eventually degenerates into another cultural phenomenon - a document of the views of the time. And it is precisely in this meaning that it can go down in the history of culture.

Written journalism took over, long before the advent of oral journalism. Today, critical activity is carried out primarily through periodicals.

At different periods of the development of music journalism as an independent field of activity, the function of a music critic was carried out by music professionals and enlightened professionals in their field. A word about music, which the public consciousness increasingly needed, could be spoken by someone who knew how to do it professionally. The first Russian musical magazine was the magazine “Musical Amusements”, published in Moscow in 1774. At the end of the 18th - beginning of the 19th centuries, numerous music magazines were published in St. Petersburg and Moscow, aimed at various social circles. They published piano, vocal, guitar pieces, and excerpts from popular operas. The first music magazine not published in the capital was the Asian Music Magazine.

In 1842, the music magazine “Nuvellist” began to be published in St. Petersburg, published since 1844 with a literary addition, which can be considered as the first Russian musical magazine proper.

In the 50s, mixed-type magazines stood out in terms of the level of published musical materials - “Musical and Theater Bulletin”, later - “Music and Theater”.

In the 60-80s of the 19th century, music magazines were published in St. Petersburg: “Musical Season”, “Musical Leaflet”, “Russian Musical Bulletin”.

Different in their focus, they published serious articles and represented special organs of the Russian musical periodical press. Musical periodicals of pre-revolutionary Russia at the beginning of the century are numerous and varied. In the cities of Russia (and in the provinces) publications were published with sheet music supplements for various instruments, for voice with accompaniment:

"Chord. Herald of the guitar and other folk musical instruments" (Tyumen),

"Bayan" - monthly public musical and literary magazine (Tambov);

“Tula Harmonist” - monthly illustrated music magazine (Tula);

in Moscow and St. Petersburg - “Music, weekly publication” (M. Supplement - 1915 Belyaev V. “A summary of the doctrine of counterpoint and the doctrine of musical form”),

"Russian Musical Newspaper" - a weekly publication, during the summer season - twice a month,

“News of the St. Petersburg Society of Musical Meetings” (since 1909 - serial publication “On Music and Musicians”);

musical and theatrical: “Modern theater and music”,

"Stage and Music";

pedagogical: “Russian musical literacy” and others.

After the revolution, a mass of proletarian publications appeared: “Music and Life”, “Music and October”, “Music and Revolution”. But the total number of music publications is noticeably decreasing, and over time the main ones are: “Soviet Music”, “Musical Life”, “Soviet Variety and Circus”. Musical performances are also covered: “Theater”, “Theater Life”, “Ballet”.

A separate layer can also be distinguished by academic music publications, which began to be published in Russia in the 30s of the 20th century. Academic publications have never been intended for a wide range of readers; most of the articles in them are scientific, and not purely journalistic. Their issues, style, and lexical norms correspond more to scientific requirements than to the requirements of journalism, which is based on topicality, clarity, which involves not condescending to the reader, but communicating with him in his language, individuality of approach - a subjective view of the problem, an element of creativity.

The scientific “we”, if not even written, is implied. And this is incompatible with the creative self, the sine qua non of journalism. Academic publications are of great interest to specialists and are very important for students of special educational institutions, but are quite far from the lay reader. And therefore they do not have a genuine public resonance.

A striking example of this type of publication is the magazine “Soviet Music”, which has been published since 1933 (since 1992 under the name “Music Academy”). The publication was monthly with a musical supplement (since 1949), today (by the publication’s own definition) it is a quarterly theoretical and critical-journalistic journal. This is a special edition aimed exclusively at the musician reader. Another academic publication is the magazine “Musical Life”, which has been published since 1957. This publication is intended to be more democratic with a larger circulation compared to “Soviet Music”. The titles of the sections - competitions, in the country's theaters, interviews, problems of music education - appeal to a wider readership. Interviews with film composers, television personalities, reviews of rock music on the pages of the magazine coexist with traditional academic topics - conversations about music, opera houses of the world. The magazine is doing a lot to expand its readership. Much attention is paid to the coverage of the musical process.

The only music publication of that time aimed at the masses was the magazine “Rovesnik”, published since 1962. It was the first music magazine for young people in Russia. And only in the 90s, when the rapid development of musical periodicals began, this publication began to have competitors. (“Cool”, “Hammer”).

“Coeval” existed under the auspices of the Central Committee of the Komsomol and the KMO of the USSR and wrote on the most interesting topics at that time about rock music, as well as about the life and culture of Western youth. The publication's circulation reached millions. "Rovesnik" is known for the fact that in the 1980s and 1990s it published the "Rock Encyclopedia of the Rovesnik" - the first attempt at a rock encyclopedia in Russian.

In the 90s, the new historical conditions of life in Russia became an important factor in the formation of a new type of journalism. It was necessary to determine the place that the press was to occupy in the established democratic system. The information process in the country has differentiated under the new conditions. The social, spiritual, and professional guidelines of journalism have changed.

The emergence of the media, which unfolded in the early 90s, experienced many difficulties. At the beginning of November 1991, the Ministry of Press and Mass Information of the Russian Federation registered 1,269 newspapers, magazines, and news agencies. More than 2,200 media outlets received certificates to operate in the former union department. In total, it was established that in 1991, 4863 newspapers were published in the Russian Federation.

During this period, the intensive development of the music press began in the country. Numerous music magazines and newspapers began to open, designed for different age categories and different musical tastes of readers. The profession of a music critic was in great demand. But the quality of their reviews and articles depended on the publication they worked for. Musical publications of the nineties can be divided into the following groups:

Youth: “Hammer”, “Bravo”, “Cool”, “Neon” and others;

Rock publications: “Fuzz”, “Rockcor”, “Classic Rock”, “In Rock” and others;

Publications for musicians: “Moscow Musician”, “Guitar Magazine” and others;

Secular gloss: “Hello”, “OK”, “Star Hit” and others;

Televisions (secular NOT gloss): “7 days”, “Antenna”, “TV7”, “Telenedelya” and others;

Announcement publications: “Afisha”, “Time out”, “Your leisure”, “Kommersant-Weekend” and others.

If you write about the history of music journalism, you cannot help but take into account such an interesting event as samizdat. In the 80s of the 20th century, under the conditions of a strict party-state monopoly on culture, as well as on publishing and media production, the publication of prohibited, ideologically alien materials could only be carried out illegally. The work of underground publishers and journalists was classified by Soviet law as a criminal offense.

The onset of “perestroika” stimulated the creation and development of hundreds of amateur periodicals, including rock samizdats (the first musical samizdats appeared in the USSR back in 1967). Music lovers throughout the country became familiar with such magazines as “Roxy”, “RIO”, “UrLight”, “CounterCulture”, “DVR”. Many famous musicians, writers, producers, and public figures have associated their names with this phenomenon: Boris Grebenshchikov, Anatoly Gunitsky, Artemy Troitsky, Alexander Kushnir and many others. With the adoption of the Russian Law “On the Mass Media” in 1991, citizens received the right to establish and publish their own state-registered media. Article 12 of the same law stipulates the possibility of publishing amateur periodicals without state registration, provided that their circulation is less than 1,000 copies. In Russia, samizdat was legalized, but the previous need for it as a method of publishing has almost completely disappeared. However, in the 90s, amateur music publications still existed (“The Mouse Noised,” “Oskolki,” “Nash Drive,” “Absolutely,” “Chernozem,” “Walking the Wounded,” etc.)

Significantly inferior to the official media in efficiency and quality of the information component, current Russian rock samizdats focus primarily on the originality of design and conceptual integrity of publications. The content of samizdat releases consists overwhelmingly of interviews, reviews, journalistic articles, public disputes with colleagues and other materials that are minimally tied to a specific time and specific events.