II Open Russia Culturological and Journalistic Seminar

A Joint Educational Project of the Center for Contemporary Music of the Moscow Conservatory and the portal


The seminar presents a somewhat unusual angle in discussion of music criticism. Its subject range departs from the presently widespread genre of lectures «How to Write an Advertisement”, “How to Take an Interview”, “Ten Names Which it is Impossible Not to Know”, etc. As part of this educational program, we shall examine the discipline of criticism not as writing texts in standard formats, but as an important part of the musical infrastructure.


 Seminar contains 6 thematic parts.


I.                 How to structure a lists of events, how to find a main things and growing tendencies

Andrey Ustinov — principal editor of the newspaper «Review of Music»

Gulyara Sadih-Zade — journalist

Vladislav Tarnopolski — principal editor of the


II.               How to talk to the general public

Larissa Kirillina — musicologist, professor of Moscow Tchaikovsky Conservatory

Roman Berchenko — journalist of the Orpheus-radio

Alexey Munipov — journalist, author of the telegram-channel «Fermata»


III.              How to formulate actual problems and talk about it

Marina Davydova — principal editor of the “Moscow art magazine”

Marina Raku — musicologist, principal researcher of State University of Art History


IV.             Lectures by famous culturologists and art historians about key concept of the modern humanitarian science.

Anatoly Osmolovsky — visual artist and art theorist, founder of the BAZA Institute

Mikhail Velizhev — culturologist, professor of Higher School of Economics

Igor Kondakov — culturologist, professor of Russian State Humanitarian University


V.               Learning foreign experience and exchanging points of view about modern Russian culture with international journalists

Kerstin Holm (Germany) — editor of the culture section in Frankfurter Allgemeine Zeitung

Etienne Bouche (France) — journalist, author of articles in Liberation and another publications


VI.             Practice

Conversation of the texts written by seminar participants

Ekaterina Biryukova — editor of the section «Classical Music» in



History of the Project

The First Seminar took place in 2016 and was scheduled for the 150th anniversary of the Moscow Tchaikovsky Conservatory. Lectures were read by journalists among the graduates and faculty members of the Moscow Conservatory: Piotr Pospelov, Evgenia Krivitskaya, Marina Gaikovich, Tatyana Kurysheva, winners of Russian and international prizes in the sphere of journalism Yaroslav Timofeyev and Vladislav Tarnopolski, faculty member of the Moscow Conservatory and the Journalism Department of the Moscow State University Roman Nasonov, etc.

The listeners of the lectures were the students and graduate students of the Moscow, Kazan and Nizhni-Novgorod Conservatories, the Russian Gnessins’ Academy of Music, the Moscow State Conservatory, the St. Petersburg State Conservatory, the Urals Federal University, the Vyatka State University, GITIS (the State Institute for the Art of Theater), four departments of the Higher School of Economics, the Vaganova Ballet Academy, the University of Print, the Academy of Theater and Music of Estonia, apprentices and members of the Russian National Orchestra, the Moscow Regional Philharmonic Society, the Belgorod Philharmonic Society, the First Television Canal and the State Television and Radio Company Kultura, Associations of Youth Media, the journals Expert, Afisha, TimeOut, Mezhdunarodnaya zhizn’ [International Life], Rossiyskaya gazeta, Moskovskaya nemetskaya gazeta [Moscow German Newspaper], the projects Aktsent, Syurtuk, Rolling Stone Russia, MoveUp, the First Ecological Radio Bud’!, etc.

October 2019
23 | 10 | 2019, we – 12:00
Conference Hall of the Conservatory
Klaus Lang (Austria)


Klaus Lang (*1971 Graz / Austria) lives in Steirisch Lassnitz (Austria). He studied composition and theory of music (with H.M. Preßl, B. Furrer and Y. Pagh-Paan) and organ. Klaus Lang loves tea and dislikes lawnmowers and Richard Wagner. Klaus Lang’s music is not a means to convey extramusical contents, such as emotions, philosophical or religious ideas, political propaganda, advertisement etc… His music is no language used to communicate non-musical content. Music is seen as a free and selfstanding acoustical object. In his work he is not using sound, sound is explored and given the opportunity to unfold its inherent rich beauties. Only when sound is just sound it is percievable as that what it really is: a temporal phenomenon – audible time. Klaus Lang sees time as the genuine material of a composer and at the same time also the fundamental content of music. In his view musical material is time perceived through sound, the object of music is the experience of time through listening. Music is time made audible.

Admission free

Supported by the Austrian Cultural Forum Moscow

24 | 10 | 2019, th – 12:00
Conference Hall of the Conservatory
Carl Dahlhaus. Selected Works on Music History and Music Theory


Carl Dahlhaus. Selected Works on Music History and Music Theory
Translated by Stephan Naumovich (Germany)
Novikov Publishing House, 2019

The festival shall include a presentation of the first compilation of works of one of the most brilliant and authoritative German musicologists of the second half of the 20th century Carl Dahlhaus in Russian. The edition includes 23 articles grouped into several large sections: “Music Theory”, “History and Aesthetics of Music”, “Musical Historiography”, “Opera”. The book is opened with a section devoted to New Music, the study of which comprised a large portion of the scholar’s legacy.
In characterizing the scale of Dahlhaus’ personality, the academic editor of the edition Marina Raku writes: “not only in the German, but in the world community, we shall not find at the present time anyone equal to him in the depth and boldness of comprehension of the broadest and most complex processes, and especially those who, similarly to him, would not wish to rectify their flow in their historical descriptions or theoretical analyses.” In her opinion, the reaction to this book “must become in a certain sense a litmus paper of the condition of Russian musicology”.

The translator of the book Stephan Naumovich notes that the titles of Carl Dahlhaus’ works are often formulated in a polemic manner – in the form of questions: “Has formal analysis become out of date?”, “Does the twelve-tone row serve as a replacement for tonality?”, “Can music criticism be objective?”. Among this same set of materials, we can also classify the famous article of Dahlhaus, which has also been included in the present edition: “Why is it so difficult to understand New Music? A speech in defense of historical understanding”. According to Naumovich, “Dahlhaus, who acted to a certain degree as a “spokesman” for musicology in general, formulated his theme in an individual vein – not a celebratory elevation befitting the occasion, but rather a sense of alarm is sounded in his question. It is true, however, that the acknowledgement of a bitter reality in the first sentence of the heading (New music is difficult to understand) is in part alleviated by the hope expressed in the second sentence (possibly, the “historization” of the interrelations with New Music may yet help save the situation)”.
The book also includes other articles of Dahlhaus about new music – in particular, the “Emancipation of Dissonance”, “Schoenberg’s Aesthetic Theology”, “New Music and the Problem of Musical Genres”.
During the presentation the topics discussed will be the figure of Dahlhaus and its importance for European musicology, the book’s content and the significance of the published articles, as well as a description of how the process of translation was undertaken.

Participants of the Presentation:
Stephan Naumovich, musicologist, translator of the book
Marina Raku, musicologist, academic editor of the publication

25 | 10 | 2019, fr – 14:00
Moscow Conservatory Centre for Electroacoustic Music
Manuel Zurria, flute (Italy)


Manuel Zurria was born in Catania in 1962. Since 1980 he has been living in Rome. He has worked with some of the most important Italian composers such as Francesco Pennisi, Sylvano Bussotti, Aldo Clementi, Adriano Guarnieri, Franco Donatoni, Fabio Vacchi and Luca Francesconi. Particularly significant his long term collaboration with Salvatore Sciarrino and Alvin Lucier.
Zurria recently had the chance to collaborate with Arvo Pärt, Philip Glass, Terry Riley, Gavin Bryars, Giya Kancheli, Kaija Saariaho, György Kurtág, Louis Andriessen, Sofia Gubajdulina, Peter Eötvös a. o.
Zurria performed concerts all around the world at International Festivals such as: Venice Music Biennale, Pacific Music Festival (Sapporo-Japan), Musica (Strasbourg), Beethovenhalle (Bonn), Settembre Musica (Torino), De Yjsbreker (Amsterdam), IRCAM - Festival Agorà (Paris), ULTIMA (Oslo) and many others.
In 1990 he was one of the founders of Alter Ego, a leading group in Italy for contemporary music.
He released almost 40 CDs and vinyls.

Supported by Italian Institute of Culture in Moscow