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The article is devoted to the play «Ruslan and Lyudmila», shown on the stage of the Mariinsky Theatre on November 27, 1917. The performance was timed to coincide with the 75th anniversary of the first production and was distinguished by its outstanding artistic significance. However, in the late autumn of 1917, Glinka's fairy-tale opera became deeply involved in the political context. The revolutionary era powerfully asserted itself in the auditorium, on stage, and behind the scenes.

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The article traces the influence of J. Cage on the aesthetic and philosophical views and works of the contemporary Chinese composer Tan Dun. The connection with Eastern philosophy, primarily Chan or Zen Buddhism, is reflected in the ideas of the unity of the sound world and sounding silence, noise music, indeterminism, and related aleatory music. Despite the inherently different views and approaches, Cage and Tan Dun come at similar ideas from different angles in their work.

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The article discusses the functions of repetition in the compositional process. Purposeful self-reproduction of repetitions forms a specific type of ostinato — a repeating technique. Its use served a wide variety of artistic purposes, without often claiming to become an end in itself. But when this did happen, it was always associated with a deep rethinking of the semantic and structural functions of repetition.

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The memories of the 1970s and 1980s are based on the events surrounding the premiere of Schnittke's First Symphony, Alfred Garrievich's dialogues with his conservatory professor Evgeny Kirillovich Golubev, and the reaction of the musical student community to this work over the past half-century. The author attempts to comprehend the significance of this event for Russian music and trace the further fate of this work.

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А. G. Schnittke, Schnittke's First Symphony, E. K. Golubev, G. N. Rozhdestvensky