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Conception of Genre and Problems of Dialogue, written by Elena Sambrish.

Author: Sambriş Elena
Degree:doctor of history and Theory of Arts, Cultorology
Speciality: 17.00.01 - Audio-visual Arts (with specification: Theatrical Art; Musical Art; Cinematography, TV and other form of Audio-Visual Arts)
Scientific adviser: Galina Cocearova
doctor, professor, Academy of Music of the Theatre and Fine Arts
Institution: Institute of Cultural Heritage of the Academy of Sciences of Moldova
Scientific council: D 22-17.00.01-27.03.08
Institute of Cultural Heritage of the Academy of Sciences of Moldova


The thesis was presented on the 3 March, 2011
Approved by NCAA on the 12 May, 2011


Adobe PDF document0.36 Mb / in russian
Adobe PDF document0.32 Mb / in romanian


instrumental concerto, the genre classification of contemporary concertos, princi-ples and methods of concertizing, neofolklorism and neoromanticism in A.Y.Eshpay’s concertos, art-aesthetic laws of a dialogue, dramaturgic concert form, concertizing in the context of the ma-cro- and micro-dialogue, timbre personification, dialogue of poetics, monological concertizing


Conception of Genre and Problems of Dialogue, written by Elena Sambrish. Specialization 17.00.01 - Audio-Visual Arts (Musical Art), Kishinev, 2011. Work structure: Introduction, four chapters, Conclusions, 150 pages with basic text, Bibliography list with 187 sources, Supplement including 84 note examples. The materials of research are reflected in 11 scientific articles.

Area of research. The research area may be appreciated as studying of history of contempo-rary music. The processes of the renovation of genre-and-style model of concerto are selected as the main object of research. The instrumental concertos of the contemporary Russian composer A.Y. Eshpay were used as the materials for analysis.

The purpose and the problems of the work. A research objective is to define processes of the renovation of genre-and-style model of concerto and to reveal the peculiarities of dramatur-gic form of concerto caused by influence of dialogical principles. For achievement this purpose the author have put following aims: to consider the particularities of the genre system of concer-tos created by A.Eshpay and style components of his concertos; to keep track of the processes of the evolution and of the shaping of individual genre-and-style model of instrumental concerto, having accented manifestation of artistic conception of the dialogue in it.

Scientific novelty and originality. The novelty of this research is determined by its range of problems (topics) and by interaction of different scientific methods: both of studying of culture and literature and of the musicological and aesthetic approach. Beside that, the disserta-tion is the first musicology research of all A.Eshpay’s concertos analyzed not only quantitatively but in respect of studying of style components of his creativity, substantiation of laws of evolu-tion and disclosing of art structural principles of genre system. In addition, the major part of the scores of 19 concertos by A.Eshpay, used as materials for this investigation, is unpublished. Among them, the author of the thesis offers her own classification of the genres of contemporary concerto based on various arguments. Dialogue principles as a specific form of art conception are defined; features of a new type of concertizing realized in the context of macro- and micro-dialogue are proved. Implementation of these principles is observed in A.Eshpay’s concertos. This has allowed solving main scientific problem in under investigation area - revealing the specificity of the role and of the genre concept of instrumental concerto in the composer’s creative activity.

Theoretical value of work. The dialogue problems in music are carried out and studied in the thesis as well as its refractions in the contemporary concerto genre.

Applied value of work. Research conclusions can be used in such didactic courses as "His-tory of Music", "Modern Music", "Analysis of the Musical Compositions", "Musical Aesthetics", "Theory and History of the Music Styles". The author’s findings, deductions and the dates of this thesis are of interest not only for musicologists, teachers, performers, but also for specialists of the adjacent branches of knowledge - aesthetics, studying of culture, etc.

Realization of scientific results. Results of research are taken as a material for courses of subjects "History of the Russian Music" and "Analysis of the Musical Compositions" which the author teaches in the Faculty of Arts and Architectures of “T.G.Shevchenko” State University from Tiraspol.