Representation of the genre palette of Russian contemporary music in the journal “Musical Academy”: analysis of publications from the turn of the 20th and 21st centuries

Since the second half of the 20th century, two polar opinions have formed in musicology regarding the fate of the genre. K. Dalhaus predicted the decline of the genre in music history, while M. Lobanova, on the contrary, asserted the onset of a new stage in its development, expressed in genre mixing – the dominant trend of the time. The aim of this study is to analyze the position of the authoritative journal “Musical Academy” regarding the genre in Russian academic music at the turn of the second and third millennia. An analysis of these issues through the lens of the editorial board’s activities appears justified, as every published material underwent stages of selection and editorial processing, allowing it to be interpreted as an element of the overall editorial policy. The article examines the specific features of instrumental genres (concert, symphony) and musical-theatrical genres (ballet, opera), and attempts to typologize them based on V. N. Kholopova’s classification approaches according to performance composition, structure, theme, and titles. The scientific novelty of the work lies in revealing how the genre palette of contemporary music was interpreted, developed, and reflected in the pages of the publication from 1993 to 2003 – the first stage in the history of contemporary Russian music, which F. Sofronov called “the depletion of the generational reserve”. The study found that the publications in “Musical Academy” did not declare the “death” of the genre, but rather postulated its “rebirth”. This trend is directly reflected in the journal’s materials, where genre metamorphoses are realized through genre mixing and reinterpretation.