The article briefly presents the history of the formation of a new direction of Russian science — musical Oriental studies, which was formed in the Soviet period and is acquiring new features in modern Russia. Attention is paid to scientific schools: Moscow, Novosibirsk, St. Petersburg, Far East, the specifics of their research approach to the study of musical cultures of the East. Among the prospects, consolidation with Oriental scientists of all specialties is particularly noted.

Keywords: Russian musical Oriental studies, schools of musical Oriental studies, study of Oriental music.

Russian musicology has always shown great interest in studying the music of the East, although it has not declared musical Oriental studies as an independent scientific field. From the very beginning, it was of a complex nature and combined special musical branches of knowledge (theory, history of music, ethnomusicology, ethnoorganology), achievements of philology, ethnography, history, and cultural studies, using the methods and approaches developed in these areas. The formation of Russian musical Oriental studies took place within the framework of the tradition established in Russian science to combine "European scholarship with Asian scholarship" [Smilyanskaya, 1991, p.20].

In the West, the study of Eastern cultures is carried out within the framework of ethnomusicology (comparative musicology in Germany, musical ethnography in Poland). Ethnomusicologists are trained there at universities, which provides a close connection with other humanitarian fields, and in Russia — in conservatories, which has its strengths - a higher level of special musical training, and weaknesses - a certain isolation of musical Oriental studies from its other areas-sides.

As an independent scientific field, musical Oriental studies began to take shape recently. In particular, in the author's doctoral dissertation [Yunusova, 1995], it was stated as a direction born in Western science. For a long time, musical Oriental studies developed within the framework of ethnomusicology, which dealt not only with folklore, but also with professional music of the oral tradition. From ethnomusicology, musical Orientalism borrowed the methods of fieldwork, recording, recording musical material, cataloging melodies, and understanding the music of the oral tradition as an intrinsic phenomenon of world culture that has a long origin, but has not lost its relevance today.1
The question of writing or speaking was fundamentally important. In academic musicology, the cultures of the East were initially considered oral, since they are

1 For details on the correlation between ethnomusicology and musical Orientalism, see: [Yunusova, 2007].

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Until the second half of the 19th century, the European five - line notation was not used, which - in relation to the cultures of the East-today can be divided into four types: research (carried out by an ethnomusicologist), performance for training purposes (fixing both a detailed version of the performance and models), and autonotation of the performer, both in educational and professional contexts. both for research purposes, and automatic notation performed using special computer programs.

Traditional systems of recording eastern music began to be studied only in the last century. One of the most famous works in this area is considered to be the work of Walter Kaufmann [Kaufmann, 1967], which presented some hieroglyphic notations of the Far East. Among the works devoted to the music of other regions, I would like to highlight a detailed study of the non-formal (iconic) notations of India by T. E. Morozova "Notopisnoe nasledie Indii. The sign connection of times "[Morozova, 2006], dissertation SI. Klyuchko on Chinese notations [Klyuchko, 2009] and my article on the systematization of traditional Asian notations [Yunusova, 2008]. These works, as well as a number of other similar studies, represent one of the important lines of musical Oriental studies, for which the study of music notation systems is connected with the study of the deep properties of culture and musical thinking. Unlike the European five-line notation, which usually captures the result of a composer's work, a carefully selected version of the work, traditional notations of the East represent a specific performing version. In the practice of reading it, additional changes are not only allowed, but also assumed, both in the text itself and in its distribution among instruments. Sometimes they are a kind of melody models that take on a full-blooded appearance only in live sound. Deciphering ancient notations is always conditional, since the disappeared musical practice does not allow us to restore those features that were not recorded at the time (for details, see: [Yunusova, 2008]).

Initially, the subject of musical Orientalism, as well as ethnomusicology in general, was all music outside the Western tradition, including popular music. Further, the circle expanded at the expense of oral-professional (oral-written by nature) music of China, Japan, Korea, Indonesia, India, Iran, and Arab countries. In our country, as is well known, a peculiar area of Oriental studies has been formed, designated by the concept of the Soviet East, and in recent decades its place has been taken by the CIS states that have become independent.

Gradually, musical Oriental studies concretized both the field of research and the specifics of methods. One of the first approaches that distinguished musical Orientalism from ethnomusicology was the historical method, stated in the unique work of Roman Ilyich Gruber (1885-1962), published in besieged Leningrad, "History of Musical Culture" (Gruber, 1941), in which the scientist advocated the equal value of all musical cultures, highlighting their uniqueness and originality as valuable quality. He considered the study of the cultures of the ancient and medieval Orient to be an essential component of classical music education and (according to the recollections of my senior colleagues who had studied under Roman Ilyich at the Tchaikovsky Moscow State Conservatory) paid much attention to them in the course "History of Foreign Music". This tradition continues today. Evaluating the research contribution of R. I. Gruber, A. S. Alpatova noted that "relying on the methodology of historical music science, he and his colleagues laid the foundations of Russian comparative musicology" [Alpatova, 2008, p. 33]. I will add from myself: and musical Oriental studies.

Boris Vladimirovich Asafyev (1884-1949), a well-known musicologist and composer, made an equally significant contribution to the development of Russian musical Orientalism, calling for the formation of a broad worldview of the musician and the study of music from different countries.

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tribes, peoples, and civilizations. As a result, according to him, "the idea of European art music as the alpha and omega of all music, as the dominant and only beautiful sphere of sound art, as the measure by which all other diverse manifestations of music around the world should be measured and evaluated" disappears. Asafyev o narodnoy..., 1987, p. 39]. A peculiar response to B. V. Asafyev was the appearance of N. G. Shakhnazarova's methodologically important work " Music of the East and Music of the West. Types of musical professionalism" [Shakhnazarova, 1983]. It not only equalized oral and written professionalism, conducted a comparative study of them and showed the uniqueness of each type, but, more importantly, musical Orientalism was able to move away from the ethnomusicology within which it was traditionally perceived by academic science.

The scientific foundation of musical Oriental studies was formed on the basis of methods and approaches of ethnomusicology and in the process of methodological search within the studied cultures themselves. After the collapse of the USSR, the research centers of the former Soviet republics that concentrated music and Oriental studies (Tashkent, Baku, Yerevan) found themselves in a different cultural space. Ties have weakened, and the exchange of specialized literature has sharply decreased, and sometimes interrupted. At the same time, these factors stimulated the more rapid formation of Russia's own scientific schools. Gradually, schools of Russian musical Oriental studies were formed at the Russian Institute of Art Studies, 2 the Tchaikovsky Moscow State Conservatory, the Russian Institute of Art History (St. Petersburg), the Glinka Novosibirsk State Conservatory,and the Far Eastern Academy of Arts (Vladivostok).3
As a result of the separation of scientific schools in Russia and the former Soviet republics, research interests shifted from the musical cultures of the Soviet East to those of foreign countries that were previously inaccessible to Russian researchers. Some of the scientists have turned their attention to the Eastern traditions within the Russian Federation. There are studies on previously "closed" topics. The field of view includes: musical traditions of Islam in the Volga region, the Urals, Siberia, and the North Caucasus (Imamutdinova, 1997; Imamutdinova, 2003; Sayfullina, 1997; Yunusova, 1997), music of Buddhism in Kalmykia, Tuva, and Buryatia, shamanic rituals of Siberia, and others. In particular, attention was drawn to the peculiarity of the practice of recitation and musical rhetoric of the Koran, which was associated with the influence of local musical culture (especially epic, historical genres of folklore and professional music of the oral tradition) and the national languages of Russian Muslims, and the music of Sufi rituals was studied. It is significant that my report on the music of Russian Muslims at the International Conference "Music in the World of Islam" in Asila (Morocco) in 2007. it was received with great interest and identified by foreign scientists as an interesting and absolutely unknown material.

In Buddhist practice, for the first time, information about the musical component of the local Buddhist cult was systematized, and sometimes described in detail for the first time [Badmaeva, 2001; Karelina, 2010]: types of singing and recitation, musical instruments, their functions in ritual, the musical drama of the Buddhist mystery Tsam, preserved in its full form in our country only in Buryatia, was studied. Many of these traditions are in the process of disappearing, which increases the relevance of their study.

The first historical works in the field of musical Oriental studies appeared in Russia (Badmaeva, 2001; Sheikin, 2002; Karelina, 2010). In many ways, the appearance of

2 Izabella Rubenovna Yeolyan (1928-1996), a student of R. I. Gruber, played a huge role in its development.

3 T. S. Sergeeva identifies only two main schools of music and Oriental studies: Moscow and Novosibirsk, while the rest are classified as groups of scientists [Sergeeva, 2013, p. 1].

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This was due to the fact that "... distant and dissimilar cultures in terms of musical stylistics learned to "hear" and understand each other without using the mechanisms of cultural assimilation, i.e. without adapting other people's acoustic values to the system of their aesthetic and practical norms " [Sheikin, 2002, p. 3]. Along with the generally accepted historical periodization The researchers ' attention was drawn to the processes of historical development of traditional music, which were previously practically not studied. Thus, Yu. I. Sheikin, based on the experience of historical poetics, identifies the following historical sequence of formation of intonation and acoustic norms of folklore: "archaism, tradition, professionalism and innovation" [Sheikin, 2002, p.4]. Exploring the sound picture of the world (A. Alpatova's term) in a historical context, he convincingly shows the transition from one stage to another, draws attention to many factors unusual for historical work and, at first glance, non-musical objects, such as the singing arrows of the peoples of Siberia and China. In particular, he identifies five types of these instruments, emphasizing their hunting, command, sacred and other functions, as well as their connection with numerical symbols: 3 - harmony of the three worlds; 4 - cardinal directions; 5 - world harmony of sounds. The researcher considers them to be archaic, in the framework of which he notes "gradual and partial traditionalization of intonation culture with the predominance of the sonorous sphere of intonation" and the subsequent transition to tubular aerophones (pipes), which makes "the transition from sonorous archaics to the tonal tradition" [Sheikin, 2002, p.96].

It is significant that the Oriental studies material has become an integral part of research on the history of compositional academic music in the republics of the Russian Federation and the history of music in these regions. Thus, emphasizing that until the 20th century only traditional music developed in Tuva (among the genre forms of which throat singing (khoomei) is particularly prominent), E. K. Karelina points out the great importance of these traditions for studying the full picture of the development of Tuvan music and for understanding the deep processes of the formation of the national school of composers [Karelina, 2010, p. 5]. She states that, like the new folklore wave in Soviet music in general, in the 1960s Tuvan composers turned to the ancient layers of national culture. This process is also evident in the environment of the so-called new minstrel movement (termed by E. K. Karelina), i.e. folklore and ethnographic groups( including jazz and rock movements), in whose works a new phenomenon of "ensemble form of throat singing" appears [Karelina, 2010, p. 455].

The appearance of works on the musical cultures of Siberia in the post-Soviet period marked new trends in Russian musical Oriental studies, within which the object of research is expanding - the East, which now includes previously unexplored phenomena, in particular the cultures of North Asia. On this occasion, the largest Russian folklorist I. I. Zemtsovsky wrote:: "The picture of the 'East', which tacitly does not include Siberia, the Far North of Asia and the so-called (ethnographers) Far Eastern Paleoasians, is particularly confusing. Whereas the mountain range from the Middle East to India, and the great cultures of China and Japan are certainly included in one or another Art criticism East "[Zemtsovsky, 2006, p. 33].

Many Oriental studies are carried out both in scientific institutes and in music schools. These works synthesize the scientific approaches of the Russian Western and Eastern (studied traditions) scientific schools, combining the view from within the tradition and from the outside, from the outside. Among the recent works performed in scientific institutes, I will mention the works of T. E. Morozova on the music of India [Morozova, 1993; Morozova, 2003; Morozova, 2006], G. B. Shamilli on the classical music of Iran [Shamilli, 2007], combining the approaches of traditional scientific knowledge of the Near and Middle East and the Western school. The study of classical music in Iran is extremely important, as it is at a practical, theoretical level.-

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At the classical and terminological level, it determined the uniqueness of all classical music in the Middle East, becoming the basis of Arab-Persian, or rather, Persian-Arabic synthesis. In his work, G. B. Shamilli pays special attention to the search for universal foundations of creativity, contained both in the image of a perfect person in his Sufi interpretation, and in the medieval picture of the world, which are reflected in the music of the Iranian classical dastgahs and avaz; interprets the process of musical creativity as the search and witnessing of beauty.

Morozova's works attract not only the deep knowledge of the material obtained over the course of 16 years directly from Indian and Nepalese classical musicians (including Ravi Shankar). Morozova represents the type of researcher of the musicologist-orientalist, who knows both theory and practice. She is well versed in the technique of playing the tanpura (plucked lute with a long neck) and singing in the classical Dhrupad and Khayal styles, and easily reads many of the unintelligible (letter) notation systems of Indian classics. Considering the features of the classical music of India ragsangit, better known here as ragi, the researcher identifies the ancient dhrupad style, which "focused and developed all the best traditions of the past" [Morozova, 2003, p. 31], preserved as an independent style and the basis of traditional education, and also received new development incentives in the last century. She emphasizes the combination in this style of strict rules and complete forms and free improvisational development in sections, "a strict sequence of alternation of which implies the possibility of alternating use of various means of musical expression, and the unifying core for them is a single figurative and emotional sphere of the raga" [Morozova, 2003, p. 31].

Analyzing the three largest (based on the use of signs of local alphabets), non-variable systems of recording music in India: North Indian, Bengali and South Indian, T. E. Morozova notes the importance of their study for the study of "material from different eras and cultures", as well as in terms of historical research, starting from Vedic times (hymns of the holy book "Samaveda") [Morozova, 2007, p. 6-7].

In a separate direction of music and Oriental studies, the works on the theory of monody, performed under the supervision of Professor S. P. Galitskaya and started in the Soviet era at the Tashkent State Conservatory named after Ashrafi, were formed. They were continued in the post-Soviet period at the Novosibirsk Conservatory, where this direction is successfully developing today. The need for a theoretical understanding of monody is explained by the fact that "the overwhelming majority of traditional musical cultures - Western and Eastern - developed and continue to develop as monody" [Galitskaya and Plakhova, 2013, p. 5], and in the compositional practice of our days, monody as a complex type of organization of musical fabric, not reducible to the concept of "one-voice", finds its place in the world of music. application in new compositional techniques. And in the national composer schools of the East, "polyphonic thinking is formed on the basis of the national mono-media culture" [Galitskaya, Plakhova, 2013, p. 6].

Well - known researchers of oriental music work at the Novosibirsk Conservatory: M. Y. Dubrovskaya, a specialist in Japanese music culture, M. N. Drozhzhina, a specialist in Iranian music and young composer schools in Asia, Lantuat Nguyen, an interesting composer himself, and others.

The study of the Eastern traditions of the USSR became at one time the basis for musical Oriental studies. Translation, commentary, and research of treatises on Oriental music as a separate field of Oriental studies were actively developed in the republics of the Soviet East. In modern Russia, this trend is gradually becoming more popular [Shamilli, 2007; Klyuchko, 2009]. However, in its

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However, there are a number of specific difficulties that are characteristic of the training of musicologists. Unlike philologists and historians of Oriental studies who receive fundamental training at universities, the special training of a musicologist who wants to study Eastern cultures is still almost a private matter for researchers. In most cases, enthusiasts themselves find ways to learn Oriental languages, fully understanding their importance in studying the musical cultures of the East. The problem was partially solved in Soviet times, when the conservatories of the Soviet East opened departments of Oriental music (Tashkent, Dushanbe), which trained both traditional performers and researchers. The curriculum of these departments included hours for studying languages, mainly Arabic and Persian. However, the overall level of musicological training of students in the academic conservatory cycle left much to be desired, which created other specific problems for musicological research.

Musicologists-orientalists until recently studied the language on courses or at universities, attending classes as free listeners. Only a few researchers were able to travel abroad and directly learn the language, as well as performing practice on the spot. In recent years, a number of conservatories have introduced elective classes in Oriental languages, including the Tchaikovsky Moscow State Conservatory, and corresponding agreements are being signed with universities and research institutions of Oriental studies. Students also study languages abroad as part of a cultural exchange between conservatories.

Ethnoorganologists have made a significant contribution to musical and Oriental studies. Dozens of dissertations and research papers on the music of the republics of the Soviet East and Asian countries were prepared at LGITMiK (now the Russian Institute of Art History, RIII) under the leadership of leading Russian scientists I. I. Zemtsovsky and I. V. Matsievsky in the 1970s and 1990s [Sadykova (Yunusova), 1981; Subanaliev, 1986; Utegalieva, 1987]. Analyzing the development of ethnoorganology, I. V. Matsievsky, in particular, mentions the works of V. Sisauri (Sisauri, 1975), V. Sadykova (Yunusova), A. Mukhambetova, V. Suzukey, Zh. Rasultaev and others in Oriental studies. [Matsievsky, 2006, p. 10-11]. In the process of preparing their dissertation research, graduate students of the folklore sector of LGITMIK studied the language, culture, and practice of playing national instruments, deeply delving into the specifics of the material 4.

During these years, Lantuat Nguyen's dissertation on the music of the Vietnamese Teo theater was prepared in the theater sector [Nguyen, 1998]. Later, while working at the Novosibirsk Conservatory, he defended his doctoral dissertation on the music of traditional Vietnamese theater. Without naming this area among the main ones (which, in my opinion, undeservedly detracts from the importance of the works created there in the field of musical Oriental studies), RIII remains an important Oriental research base.

Defining the characteristic features of Russian schools of musical Oriental studies, we can note their specific specialization. Thus, the research of Far Eastern and Novosibirsk scientists is dominated by musical and theoretical problems, ethno-instrumental problems are developed in the St. Petersburg school, the historical approach from the archaic to the present day, as well as a wide musical and cultural spectrum of research is typical for researchers of the Moscow school. The famous Russian music culturologist and composer J. K. Mikhailov (1938-1995), who founded an independent scientific direction - musical cultures of the world, played an important role in the formation of the latter. Under his leadership and within the framework of his school, works on Chinese, Arabic, and Arabic literature were defended.-

4 The specifics of training orientalists are analyzed in detail in the author's article: [Yunusova, 2011].

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Ghanaian, Indian, Mongolian and other musical cultures. To a certain extent, continuing the traditions of R. I. Gruber, J. K. Mikhailov considered Eastern cultures not in isolation, but as an integral part of the world system. Dividing the musical globe (the term of J. K. Mikhailov) into certain regions, he proceeded primarily from the phenomena of musical culture, which in his understanding is closely related to geographical parameters, the type of management, religious and linguistic features. Based on these factors, the musical Middle East, for example, included the cultures of North Africa (Egypt, Algeria, Tunisia, Morocco, Libya), which have common musical traditions.

Methodologically important for Oriental studies is the theory of the musical and cultural tradition (MKT) developed by J. K. Mikhailov, as a kind of" musical economy " (B. Asafiev's term), which ensures the functioning and viability of a certain musical phenomenon (Mikhailov, 1986). In the composition of the musical and cultural tradition, the scientist included: a set of musical texts or cliche-stereotypes for their creation; rules for constructing musical texts and criteria for evaluating them; a system for training and selecting musicians; organization of the audience and forms of sound implementation; "material support of the music-making process "[Mikhailov, 1986, p. 7]. Developing the issues of structure, typology of musical and cultural traditions, conditions of their origin, development, and disappearance, he identified a task that is relevant for musical Oriental studies: "The empirical aspect associated with field and ethnographic work still remains relevant today, but issues related to typological generalizations and the development of the theory of musical culture, including - MKT, acquire a predominant meaning" [Mikhailov, 1986, p. 19]. This direction continues to be developed by the Research center "Musical Cultures of the World" at the Moscow State Conservatory, headed by Mikhailov's student, Associate Professor M. I. Karatygina.

Russian music Orientalism today faces a task that can be described as the development of specializations (now, due to the specifics of the educational process, it is difficult to separate sinologists from Arabists), and works on traditional Latin American music also adjoin music Orientalism [Lisovoy, 2008(1); Lisovoy, 2008(2)]. To date, we can distinguish several independent areas of musical Oriental studies: musical Arabic studies (among the latest works I would like to mention the dissertation and monograph of T. S. Sergeeva [Sergeeva, 2008]), musical indology (among the latter-the works of T. E. Morozova, T. V. Kartashova [Kartashova, 2010], N. V. Savina [Savina,2008]). 2008]). Musical sinology and Japanese studies are actively developing. In this area, we should mention the works of V. I. Sisauri [Sisauri, 2008], M. Y. Dubrovskaya [Dubrovskaya, 1985; Dubrovskaya, 2004], S. B. Lupinos, U. Gen-Ir, M. V. Esipova [Esipova, 1988; Esipova, 2001]. Special mention should be made of S. P.'s work. Volkova, devoted to the reflection of the peculiarities of musical thinking in Chinese musical terminology, which for the first time provides a musicological analysis of many specific Chinese musical terms [Volkova, 1990] and others.

Often, according to the established tradition in musical Oriental studies, researchers do not confine themselves to one culture, but touch on many cultures of the Far East and East Asia [Lupinos, 1985; Alkon, 1999; U Gen-Il, 1985; U Gen-Il, 2011; Alyabyeva, 2009]. Such a context is necessary when it comes to mixed musical traditions that were formed under the influence of several cultures. A vivid example of this is the Indonesian Gamelan orchestra (Bali), whose culture synthesizes Chinese, Indian and local archaic traditions. Musicologist A. G. Alyabyeva, studying the gamelan through its connection with a special ritual timespace, which is manifested in the Balinese cyclic theory of time, reveals special properties of timbre, which acts as a deep structure of traditional music.-

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instrumental music. In the analyzed Indonesian material, she rightly notes the predominance of timbre in relation to pitch characteristic of archaic practices and the combination of the concepts of timbre and register, suggests a new concept of timbre form [Alyabyeva, 2009, p. 70], which includes a number of concepts - a qualitative characteristic of sound (timbre, articulation, dynamics, register, pitch, rhythm), synthesizing the beginning - as an" information code of the boundless world " (Yu. M. Lotman) (note that the musical instrument itself also acts in this capacity), an analog of the concept of phonism in professional composer's music, etc. In the broadest sense of the word, this term is interpreted by the author "as a unifying, synthesizing principle that includes, in addition to the means of musical expressiveness, other possible means of influence, for example, the color parameter" [Alyabyeva, 2009, p. 70]. This helps the researcher to make a complete description of the trance performance of Reyog Ponorogo in the context of twin mythology, analyze the role of music in this ritual, and identify the principles of modeling using music and orchestra.gamelan is a special ritual space-time, the creation of which is one of the main goals of this practice.

The second task facing musical Oriental studies is to restore the scientific ties with Russian academic Oriental studies that were partially lost in the post-Soviet period, and to implement joint projects. These ties were partially renewed at the international Symposium of Orientalists ICANAS-38 in Ankara, where the section of musicologists-Orientalists was actively working, where 68 scientists from nine countries of the world, including Russia, were represented by T. E. Morozova, Z. A. Imamutdinova and the author of the article [Yunusova, 2007]. This tradition was continued by the VIII Congress of Russian Orientalists held in Kazan in 2012, where Russian musical Orientalism was also presented for the first time. The congress was attended by T. S. Sergeeva and A. G. Alyabyeva.

A certain analysis of the development of certain areas of musical Oriental studies is already being conducted by Russian scientists. Thus, the development of Russian musical Arabic studies is highlighted in the works of A. Y. Plakhova [Plakhova, 2000 (1); Plakhova, 2000 (2)], who identifies a number of promising areas of research in Arabic music. A special place among them is given to the issues of monodic fret thinking, theoretical research of Arabic frets and genres within the boundaries of Muslim musical culture [Plakhova, 2000(2), p. 23].

The time is coming to reflect on the achievements of Russian musical Oriental studies in other areas: sinology, Iranian studies and other areas. This will help to consolidate the efforts of scientists, as well as make permanent scientific contacts between musicologists, philologists, historians and other specialists in the culture of the East.

LIST OF LITERATURE COURSES

Alkon E. M. Musical thinking of the East and West: Continuum and discrete. Vladivostok: Publishing House of the Far Eastern University, 1999.

Alpatova A. S. Archaic musical traditions in ancient and modern culture as a subject of the Universal history of music: the search for a cultural context in the domestic musicology of the XX century. Articles. Researches. Memories. Issue I. M.: Publishing Center of the Moscow Conservatory, 2008.

Alyabyeva A. G. Traditional instrumental music of Indonesia in the context of mythopoetic representations. Krasnodar: KSUKI Publ., 2009.

B. Asafyev on folk music / Comp., intro. articles and comments by I. I. Zeltsovsky and A. B. Kunanbasva, L.: Muzyka, 1987.

Badmasva G. Y. Traditional music of Kalmyks in the context of Central Asian Cultures. Authorsf. diss.cand. Moscow: Moscow State Conservatory Publ., 2001.

Budaeva T. B. Music of the Chinese traditional theater jinju (Peking Opera). Diss.cand. Moscow: Moscow State Conservatory Publ., 2011.

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Volkova SP. Reflection of the peculiarities of Chinese musical thinking in special terminology. Dis. kand. Moscow: Moscow State Conservatory Publ., 1990.

Galitskaya S. P., Plakhova A. Yu. Monody: problemy teorii [Monody: Problems of Theory]. Moscow: Acadcmia, 2013.

Gruber R. I. Istoriya muzykal'noi kul'tury s drevneyshikh vremeni do kontsa XVI veka [History of musical culture from ancient times to the end of the XVI century].
Music in the Traditional Theater of Japan (based on the material of Noh and Kabuki). Diss.cand. Moscow: All-Union Research Institute of Art Studies, 1985.

M. Y. Dubrovskaya Yamada Kosaku and the formation of the Japanese school of Composition. Novosibirsk: Nauka Publ., 2004.

Esipova M. V. Essential features of Japanese traditional music. Diss.cand. art history. Tashkent: Khamza Hakim-Zade Niyazi Institute of Art Studies, 1988.

Esipova M. V. Muzyka Yapanii v istoricheskikh vzaimodeystviyakh [Music of Japan in Historical Interactions]. 2001. № 2.

Zsmtsovsky I. I. Iskusstvoznanie na rubezhe millennii [Art studies at the turn of the millennium]. To the 70th anniversary of I. I. Zemtsovsky, St. Petersburg: RIII Publ., 2006.
Imamutdinova Z. A. Razvitie kul'tury bashkirskogo naroda i ego ustnye muzykalnye traditsii [Development of culture of the Bashkir people and its oral musical traditions]. Diss.cand. Moscow: State Institute of Art Studies, 1997.

Imamutdinova Z. A. Koranic Word and religious and cult ritual of Muslims (Ural-Volga Region) / / Religious experience of folk culture: Images. Customs. Artistic practice. Collection of Articles, Moscow: State Institute of Art Studies, 2003.

Karelina E. K. History of Tuvan music from the fall of the Qing dynasty to the present day. Moscow: Composer, 2010.

Kartashova T. V. Up-shastriya as an integral phenomenon of musical culture in North and South India. Diss. doct. Moscow: Moscow State Conservatory Publ., 2010.

Klyuchko SI. Specifics of traditional musical writing in East Asia: on the example of China and Korea. Dissertation of the Candidate of Art History: 17.00.09. Vladivostok: Dalnsvost. gosudarstvenny teh. un-t Publ., 2009.

Lisovoy V. I. Sound world of deities, spirits and people in music of the Indians of North and Central America XIX - early XX century // Memory of the Novel Ilyich Gruber. Articles. Researches. Memories. Issue 1, Moscow: Publishing Center of the Moscow Conservatory, 2008 (1).

Lisovoy V. I. Curative songs in the rituals of Indian healers: at the origins of the interaction of music, religion and medicine. Issue 1. Moscow: Publishing Center Moscow Conservatory, 2008 (2).

Lupinos S. B. Ways of development of Japanese instrumental music in the gagaku (kangen) system. Authorsf. diss.cand. Moscow: State Institute of Art Studies, 1985.

Matsisvsky I. V. K. A. Vsrtkov i sektor instrumentovedsniya Rossiiskogo instituta istorii iskusstvov [Vstrtkov i sektor instrumentovedsnia Rossiiskogo instituta istorii iskusstv]. Collection of abstracts and abstracts of the International Scientific Conference dedicated to the 100th anniversary of K. A. Vsrtkov. SPb.: RIII, 2006.

Mikhailov J. K. K probleme teorii muzykalno-kul'turnoi traditsii [On the problem of the theory of musical and cultural traditions]. Collection of scientific works, Moscow: Moscow State Conservatory, 1986.

Morozova T. E. Rabindoroshongit. Music of Rabindranath Tagore, Moscow: Russian Institute of Art Studies, 1993.
Morozova T. E. Raga in Hindustani music. Modern Period, Moscow: Ikar Publ., 2003.
Morozova T. E. Notopisnoe nasledie Indii [Notopisnoe nasledie Indii]. Sign Connection of Times, Moscow: Ikar Publ., 2006.

Ngusn Lantuat. Music of the Vietnamese Teo Theater. Diss. cand. L.: LGITMiK Publ., 1998.

Muvashshahat: problems of lada. Authorsf. diss.cand. art history. Novosibirsk: NGK named after Glinka, 2000 (1).

Domestic musical Arabic studies: Results and prospects // Theoretical concepts of the XX century. Results and prospects of Russian music science. Novosibirsk: NGK named after M. I. Glinka, 2000(2).

Savina N. V. Raga in the North Indian tradition of Khayal (on the problem of the text). Authorsf. diss.cand. art history. Novosibirsk: NGK named after Glinka, 2008.

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