The 20th century is marked by colossal progress not only in science and technology, but also in art. Since the first half of 20th century there has been a gap observed between traditional and modern art. Modern art includes a variety of forums, biennale, museums of contemporary art, art space, etc. To date, performance is called all sorts of shows taking part in front of viewers. This can include the newfangled music shows, and various installations in museums, DJs sets in clubs and music festivals. Today, this art does not lag behind the rapidly developing communication industry, and at the same time resists the impact of technologies that help to distance people from each other. Performance, in spite of insufficient knowledge, is a popular type of contemporary art. Thus, the performance is introduced into the modern society, leaving behind itself food for reflection. The paper is of interest to researchers of contemporary art and the evolution of cultural phenomena in the 20th century. The work is based on a combination of historical methods, including historical-genetic and historical-comparative.

This article discusses the difficult period of the XVII - XIX century in China's development. As a result of Manchu taking over China, the Qing empire was formed, and historiographers differ in evaluating the results of its rule. On the one hand, the Qing dynasty inherited the sinocentric view of the world from its predecessors - China was declared as the center of the universe, and all other states as sidelined vassals, who should not be subject to equal treatment. Manchu attempted to apply this doctrine in practice, which resulted in a significant expansion of the state, the annexation of Mongolia, Tibet and Xinjiang, and border wars with Russia, Vietnam and Burma. The self-isolation policy led to economic stagnation while the population was growing strongly. These problems could not have been resolved within the bounds of the traditional society.

The article is devoted to the development and formation of the Italian vocal schools in the era of the New Age. The most important aspects of the development of the Italian vocal school are the domination of castrate singers in the 18th century and their gradual ousting in the era of the romantic opera formation. During the 20th century, the internationalization of Italian opera and vocal teaching methods take place. The study is based on a complex of historical methods. The materials are of interest to researchers of vocal technology and cultural history.

This article is devoted to justification of a periodization in music history education in Kazan and TACCP from revolutionary events of 1917 to foundation of high special music school at the Kazan State Conservatory in 1960. The research implements historical & genetic and historical & comparative methods. Justification of specifics of historical and cultural processes in the region during the declared period and about applicability of a three-part periodization, the bases for which will be cultures of the decision of the political and party management, external for the sphere, is presented. Characteristic of Kazan was the fact that till 1960 the musical school was the only educational institution in TASSR providing secondary vocational music education. Conclusions are drawn that formation of new system of musical education began at the beginning of the 20th century, and local features were considered fully. The policy for the non-Russian population pursued by the Soviet power promoted further development of music education. The conducted research also showed that in Kazan synthesis of capital cultural tradition and regional features was carried out. Materials of article can be of interest to researchers of the USSR during the specified period, experts in history and culture of the Volga region people and history of music education in Eastern Europe.