DOI: 10.7256/2454-0625.2019.12.31847

Abstract: The subject of this research is the aesthetic stance of M. F. Gnessin viewed in comparison of the aesthetic perspectives of his contemporaries. The object of this research is the scientific-critical texts of M. F. Gnessin, L. L. Sabaneev, V. G. Karatygin, V. I. Ivanov, H. A. Laroche, A. Schoenberg, B. V. Asafyev and others, which reflect the key aspects of their aesthetic position. Emphasis is made on the questions of the essence of musical art, peculiarities of music creation process, and problem of synthesis of arts. The main method became the analysis of manuscript and printed texts of M. F. Gnessin, as well as the comparative analysis of aesthetic concepts of M. F. Gnessin, L. L. Sabaneev, V. G. Karatygin, V. I. Ivanov, A. Schoenberg, and others. The conclusion is drawn that M. F. Gnessin in one of the most progressive thinkers of his time, who studied the relevant problems of musical aesthetics: the nature of music, interrelation of arts, role of “emotions” and “reason” in the process of composing, The author detect parallels in the views of Gnessin and the ideas of A. N. Skryabin, V. E. Meyerhold. W. W. Kandinsky, A. Schoenberg (in the field of synthesis of arts), L. L. Sabaneed. A. Schoenberg (in the area of musical-vocal communications); as well as certain differences, such as introduction of the original definitions of “primary” and “limit” elements of art, “consubstantiality” of the sound, color, timbre, etc. The novelty consists in the attempt of comprehensive comparative analysis of aesthetic views of Gnessin with the analogous concepts of the contemporary to him artists and thinkers.

DOI: 10.7256/2454-0625.2017.12.25007

Abstract: The subject of the research is the conception of the synthesis of music and painting offered by Mikhail Gnessin. The object of the research is understudied and unknown researches of Mikhail Gnessin that reflect the main provisions of his conception. The author pays special attention to Mikhail Gnessin's unpublished text 'Rimsky-Korsakov and Painting' (1940's) in which Gnessin fully presents his views on the interaction between music and painting and describes techniques of 'sound recording' in orchestra compositions based on Rimsky-Korsakov's studybook 'The Basics of Orchestration'. The main research methods are the analysis of Gnessin's hand-written and published texts as well as comparison of the main provisions of his concept with analogous theories of art synthesis offered by other authors. The main conclusions of the article are the following. Gnessin offers his own conception of the synthesis of music and painting through interaction of their 'ultimate' features (music can be picturesque and spatial and painting can have temporal and constructive parameters), this concept reflecting the most progressive trends in art of the XXth century. 'Rimsky-Korsakov and Painting' is one of the first researches to be devoted to the interaction between music and painting based on the creative work of Rimsky-Korsakov (at the level of the smallest elements 'color - sound', techniques of musical 'sound recording', and musical dramaturgy). The novelty of the research is caused by the fact that the author of the article introduces understudied and unpublished texts by Gnessin including a fundamental research 'Rimsky-Korsakov and Painting' which has never been a subject of particular research before.