“Art in the Dialogue of Cultures” is an international peer-reviewed open-access periodical dedicated to the study of traditions and innovation in contemporary art, as well as their scholarly interpretation within the context of intercultural dialogue. The journal publishes original research, analytical reviews, and informative articles addressing current issues in the history and theory of musical culture, fine arts, and arts education. Its thematic scope encompasses a wide range of topics, including: the role of art in the modern world, East–West relations in cultural dialogue, the philosophical essence of art, the enigmas of creative process, historical and theoretical aspects of artistic and creative practice, and notable anniversaries in Russian and world culture. The journal seeks to bridge the gap between cutting-edge academic research and teaching practice in higher, secondary, and supplementary music education. It features contributions from established scholars as well as early-career researchers embarking on their professional paths.
The journal was founded in 2026.
The publication frequency is 4 issues per year.
The magazine is multilingual. Original scientific articles are accepted for publication. Publication in the journal is open to all scientists, regardless of their place of work.
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Elena V. Zvonova
4-20
Art evolves in parallel with the evolution of human cognitive processes. Contemporary art utilizes a unique language reflecting the laws of cultural-historical thought. The language of contemporary art exists in the context of interdisciplinary and intercultural counterpoint. A defining characteristic of the language of contemporary art is syncretism. Contemporary syncretism creates the conditions for the emergence and interpretation of the meaning of a work of art. The process of creating meaning is determined by the author of the work of art. The consciousness of the listener (viewer, reader) creates an aesthetic image by comparing the identified syncretism with the main, guiding idea of the work of art. The guiding idea is based on lofty ideals, and the chosen artistic means are focused on an aesthetic response. The syncretism of contemporary art takes into account potential differences in stimulus modality and allows the respondent to choose the most compatible stimulus type. Contemporary art, at its best, is symbolic. The nature of a symbol lies in its polysemy, cultural variability, and the need for intense intellectual activity. The syncretic language of contemporary art determines the dominant position of syncretic art forms. Cinema, in particular, defines specific standards for the transmission of information, as well as standards for the aesthetic perception of modern man. The subject’s specific intellectual development and aesthetic Literacy transform the perception of a work of contemporary art into a creative process, a search for meaning that reveals the individual’s inner world.
Valery A. Ilyin
21-48
The article analyzes the unique cultural and psychological phenomenon of the 1960s–70s — the heyday of hard rock, characterized by a richness of styles and a high level of performance mastery. A special focus is made on Richard Hugh Blackmore, who stands out among the numerous musicians of that time due to his distinctive personality and creative achievements. The implementation of a multidisciplinary approach in the biographical method of studying personality and creativity can be understood through the lens of Erik Erikson’s psychosocial theory, particularly his concept of life stages development and the conflict of vitality. Erikson identifies eight stages, each involving a contradiction between the internal need for self-realization and external constraints, thus looking into the grounds of forming and realizing creative potential. An important prerequisite for the development of uniqueness and creativity is innate individuality embedded at the genetic level, called childhood vitality — the inner force that determines personality development throughout life. In the case of Blackmore and other talented musicians of this era, the manifestation of a high level of mastery and innovation is associated with an internal readiness to overcome stages of conflict and realize their unique natural ability. Research, analysis, and understanding of the psychological mechanisms of development and inner vitality are important for explaining differences in creative potential and achievements.
Olga V. Komarnitskaya, Margarita A. Goverdovskaya
49-76
Nikolai Sidelnikov’s opera “The Flight” based on Mikhail Bulgakov’s play with the same title was created during the course of four years (1981–1985). In 2011 its premiere took place at the Boris Pokrovsky Chamber Theater, the production was carried out by producer O.T. Ivanova. The opera was performed in a revised version of Sidelnikov’s student Kirill Umansky, who reorchestrated it for a smaller orchestra.
Analogously with the writer’s play, the opera consists of four acts, each of which is comprised of two scenes. Correspondingly, the structure of the opera includes eight scenes or eight “Dreams”. The action of the opera takes place in the 1920s – specifically, during the years 1920–1921. In Russian history, this particular period was marked by a bloody civil war, which in many ways was the consequence of the October Revolution of 1917. The place of action is: Northern Taurus – Crimea – Constantinople – Paris – Constantinople. The first and second acts of the work are devoted to Russia, while the third and fourth act unfold in Turkey, France and then, once again, Turkey.
The aim of the present article is to disclose the peculiarities of the genre and the opera “The Flight”, in which the main qualities of the composer’s artistic manner are reflected quite concisely. Another important goal is also to present to the readers the authors’ discovery of numerous stylistic allusions forming a parallel semantic background and unfathomably deepening and expanding the composition’s musical-scenic dimension. The quotations and allusions not only create a broad associative polystylistic field, – the play of various “types of music” as a certain analogy of “a section of the culture of various epochs”, the sounding sonosphere, – but also possess a symbolic meaning. There appears a deep “basin” of meanings, which stimulates an intellectual comprehension of the musical text.
Elshad V. Aliyev, Victoria S. Kenstavichus
77-94
The article is devoted to a comprehensive analysis of French printed graphics from the 1920s–1930s as a socio-cultural phenomenon of the era. The work examines the theoretical foundations of graphic art in the context of profound socio-political transformations caused by industrialisation, economic crises and the ideological polarisation of society.
The focus is on analysing graphics as an “open structure”, whose form, content and meaning were transformed under the influence of industrialisation, economic crises and ideological polarisation. The scientific novelty of the study lies in the interdisciplinary synthesis of graphics as a unified semantic field that integrates political propaganda, Art Deco aesthetics and avant-garde practices.
The author systematises the factors driving the development of the school — from the integration of the creative heritage of the Russian emigration to the impact of the philosophical concepts of the era. The research methodology is built on a synthesis of classical and modern approaches: source studies and comparative analysis, formal stylistic and iconological methods are complemented by tools of hermeneutics, semiotics and socio-cultural analysis.
The research findings prove that French graphics of the 1920s–1930s reflected historical turning points, shaped the visual codes of society, mirrored the deep societal crisis and, later, the looming threat from Germany, as well as conveyed ideological attitudes in the context of the confrontation between left-wing and right-wing forces.
The practical significance of the study lies in the fact that its results can be useful for examining historical mechanisms of influencing society through images, thus providing an understanding of contemporary strategies of visual impact.
Igor M. Krasilnikov
95-103
Since the 1980s, electronic keyboards have become widespread in everyday music-making worldwide. This has created a demand for instruction, resulting in numerous teaching methods, training courses, and graded skill requirements for beginners.
Many music colleges and universities in Western countries offer electronic keyboard programmes. Both amateur and professional training emphasise jazz, pop, and rock styles, along with interactive features (auto‑accompaniment, arpeggiators, etc.) that rely on the rhythmic ostinato typical of popular music. Professional artists also use these interactive modes, which limits the instrument’s presence on the philharmonic stage.
The dominant Western concept of the electronic keyboard can be described as applied – it aims to involve young people in the music industry, where mass musical culture prevails. Russia, however, has developed a different academic concept, focused on developing music in its highest artistic forms.
Its key features are:
- priority of original sound material of electronic music;
- reliance on three‑part communication (composer → performer → listener);
- pedagogical interpretation of interactive modes;
- emphasis on the musician’s technical mastery;
- use of classical and original repertoire.
While the first concept has made electronic keyboards widely accessible in amateur music‑making and popular genres, the second can turn these instruments into worthy successors of their mechanical predecessors, thereby giving new impetus to the development of musical art.
Tatiana V. Portnova
104-116
The relevance of the research is determined by the increasing intercultural integration in the field of choreographic education and the need for a critical reassessment of national methodological schools in the context of world pedagogical experience. Classical dance, as one of the most refined and technically complex forms of choreographic art, imposes high requirements on teachers and students of creative educational institutions and rehearsal classes in theatres. The findings reveal the necessity to possess knowledge of the history and technique of this dance, the ability to perform movements and their combinations as a single harmonious system, as well as a deep understanding of the basic components and structures they are formed. The morphology of dance considers dance elements as independent units, creating complex forms that develop into a holistic artistic work.
The authors provide the research to study the structural and functional elements of the morphology of classical dance and to conduct a comparative analysis of methodological approaches to teaching presented in textbooks from various countries. Therefor to achieve this goal, comparative analysis and content analysis were used: the former allowed covering various structural elements of the morphology of classical dance, as well as approaches to teaching and techniques presented in textbooks; the latter was applied for the systematic study of the textbooks content. The current study provided identification of the classical dance main elements – positions, steps, turns, jumps – and their interrelation with the general choreographic concept characteristic of various schools. In conclusion, the author points out that a comparative analysis of foreign textbooks with Russian ones opens up the possibility of familiarisation with alternative methods and practices used in the educational systems of different countries.