PHILHARMONICA. International Music Journal - rubric Music Aesthetics
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PHILHARMONICA. International Music Journal
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MAIN PAGE > Journal "PHILHARMONICA. International Music Journal" > Rubric "Music Aesthetics"
Music Aesthetics
Solodovnikova A.G. - Aesthetics of expressionism in Béla Bartók pantomime ballet “The Miraculous Mandarin” pp. 1-8

DOI:
10.7256/2453-613X.2016.1.18721

Abstract: The subject of this research is Béla Bartók pantomime ballet “The Miraculous Mandarin”, reviewed as an example of manifestation of the expressionist aesthetics in the composer’s creative work. During the prolonged period of time within the Russian musicology, the composing work of Bartók was being explored through the prism of examination and transformation of the Hungarian folklore; the belonging of his music to the expressionist direction was even out of question. Some scholars very carefully considered “The Miraculous Mandarin” ballet expressionistic. The author makes an attempt to examine this oeuvre from the perspective of its belonging to the expressionistic aesthetics, as well as determine its features in the composer’s musical language. During the course of this research, the author detected certain peculiarities of reconceptualization by composer the used literary storyline, properties of the musical description of the characters, as well as certain specificity of the musical-expressive means, which allows considering the ballet a real example of the expressionistic art. The article illustrates the examples of musical solutions and identifies multiple parameters of dramaturgy: various interpretations of compositional structure of the ballet; characteristic manifestations of the symmetry principles; specific system of dramaturgical culmination, constructively connected with the “golden ratio” proportions.
Lavrova S.V. - The Space of Sound and the Concept of "Gestalt" in New Music pp. 1-11

DOI:
10.7256/2453-613X.2017.3.25012

Abstract: The article focuses on visualization of the sound image in New Music. The visual image is aligned with the concept of gestalt, and the sound perception - with Gestalt psychology. Gestalt belongs to Art even more than to Science.  Each recipient can practice it in his own way which reflects his personality, experience and life philosophy. In the process of research the author considers various examples of sound visualization in New Music (Ya. Xenakis, K. Stockhausen, S. Sciarrino) as well as specific concepts of sound perception, described in works by the composers of New Music. A holistic approach applied to the phenomenon under study involved the use of various analytical methods. The conclusion from the conducted study is importance of the principle of isomorphism as an expression of structural integrity of the physical, physiological and psychological worlds. The article is intended for professional musicians occupied with aesthetics and technique of modern musical composition, as well as for a wide range of readers interested in music art in general.
Denisov A.V. - Poetics of Absurdity in Musical Art of the 20th Century pp. 1-9

DOI:
10.7256/2453-613X.2017.1.24970

Abstract: In his article Denisov demonstrates that the fundamental feature of absurdity is the total desintegration of expected attitudes or relations. Absurdity causes inversion of cause-and-effect relationships and destroys the logical order of such relationships in the general meaning of the word. It also shifts the scale of relevance of events and what events should be expected. The idea to overcome inertion of perceiving such a text is brought to the extreme point, in a word, such a text is being created at the point of structural and semantic break-down as a result of noncoincidence of intra- and inter-text relations. Particular means of absurdity poetics in music can be classifed into three groups: means which actual application opposes to the function they are supposed to perform (for example, hypercollage, or virtual quotation); discordance between different components of the text structure through aleatory composition of the external form and choatic distruction of composition borders; and use of non-artistic material in an artistic context, or vice versa. In consluion, the author of the article analyzes the reasons that determine the role of the absurdity way of thinking in the culture of the last decades. 
Litvinova O.A. - Tristan Murail's 'Revolution of Complex Sounds' pp. 1-6

DOI:
10.7256/2453-613X.2018.3.27832

Abstract: This article is devoted to a fundamental work of a famous French composer, spectral music representative Tristan Murail 'Revolution of Complex Sounds'. In her research Litvinova tries to provide an in-depth review of the composer's aesthetic views and concepts and demonstrate the main principles of his attitude to the sound and sound environment of modern music art in general. These views include the influence of electro-accoustic music on the creation of a new sound, i.e. composition of music using studio equipment; new approach to the sound and new ways of the sound creation, use of overtones, enrichment of composition techniques with new sounds such as noise and percussion instruments. The novelty of the research is caused by the fact that until this moment music researches have not focused on Tristan Murail's compositions as they deserve. For the first time in the literature Murail's aesthetic positions are viewed from the point of view of his creativity and composing. The article will be of interest for music experts, performers and non-specialist audience.
Petrov V.O. - “Death is big!”: the latest works of Dmitri Shostakovich
pp. 1-10

DOI:
10.7256/2453-613X.2019.4.30510

Abstract: The life of Dmitri Shostakovich was disputable and full of, on the one hand, various patriotic explosions, on the other hand, different tragic concepts, full of bitterness of witnessing of global developments. The latter ones become more perceptible in the last years of the composer’s creative work. The article focuses on these developments which characterise the composer as a philosopher, doomed but reconciling reality with dignity. The research subject is determined by the fact that these compositions have been studied poorly in the context of historic events and particular developments in Shostakovich’s life. The author uses a comprehensive approach to study the latest works of the composer. The historical method helps to understand the specificity of writing the author’s works, the peculiarities of their especially tragic figurativeness, their definite structural and conceptual plans. The scientific novelty also consists in the use of literary observations of the composer himself and his personal friends and opponents, which helps to express the context of existence of artistic works in the world of Shostakovich more clearly.  
Lavrova S.V. - The Method of Phonorealism in Peter Ablinger's Composition: Music as an Instrument of Reality Analysis pp. 10-18

DOI:
10.7256/2453-613X.2017.1.24977

Abstract: The article is devoted to the concept of phonorealism that became the basis for the composition style of an Austrian composer Peter Ablinger. The aim of the research is to define analogies in texnological techniques of the digital epoch. Photography and accoustic phonography, 3D modeling and pixelisation used by Ablinger, granular sythesis used by Xenakis - these are the creative techniques of modern technology that are involved in the author's comparative analysis. The author studies compositions of Ablinger that were created using the method of phonorealism, in particular, vocal series 'Voices and Piano', series of sound installations 'Quadraturen', as well as series 'The Book of Songs' and 'Instruments and Phonographs'. Series 'Weiss/Weisslich is taken as an example of Ablinger's special method of working with white noise. As a result of her research, Lavrova concludes that artistic methods are identical in music, literature and fine arts. All of them make us rethink over the reality and see it in a different light. Ablinger believed that music serves as an analyzer of reality and provokes fundamental changes in a recepient's perception based on a completely different relationship between noise and music sound. The article will be of interest to both professional musicians who want to get an insight into musical phenomena of the 20th century and non-specialist audience who are interested in modern music. 
Chebotareva I. - Principles of musical dramaturgy of the violin concerts of Henri Vieuxtemps as a reflection of romantic aesthetics pp. 11-22

DOI:
10.7256/2453-613X.2015.4.16833

Abstract: This article examines the issue of style definition in the work of the renowned XIX century Belgian violinist-virtuoso and composer Henri Vieuxtemps. The subject of this research is Henri Vieuxtemps’ concerts for violin with orchestra, reviewed from the position of determination of the “symphonization” principles of the musical dramaturgy of these oeuvres. The theoretical analysis is conducted on the First, Fourth, and Fifth violin concerts, in which, based upon synthesizing the virtuoso-romantic and symphonic origins, the composer vividly expounds the principles of dramaturgical development that reflect the essence of musical aesthetics of the Romantic era. The scientific novelty is defined by several factors: based on the analysis of his compositions, this article is first to give the typology of style coordinates of the work of Henri Vieuxtemps; the author introduces the details of the peculiarities of the musical dramaturgy of his concepts, which allow substantiating the conclusions about the innovative aspects of the interpretation of the violin concert genre in the work of Henri Vieuxtemps. As a result of the conducted research, the author creates an analytical base, which contains the conclusions on the maneuvers of symphonization of the musical dramaturgy of Vieuxtemps’ violin concerts.  
Lebedeva E.G. - Soul-image and an image in the creation of English pop musicians (70 to 80 years of XX century).

DOI:
10.7256/2453-613X.2015.1.15027

Abstract: The subjects of study in this article are two concepts: soul-image and image. Offers the author's view on understanding the differences and similarities of these concepts. An attempt to explain the motivation of the choice. What meaning lies in them and that mean people who choose specific a soul- image, and creating a particular image. How important is it to have a creative soul-image and creative image for a popular artist, in particular, in English musical culture.The methodology of the study lies in the comparative analysis of these concepts using the known writings on the subject and personal observations of the author.The novelty of this work consists in introducing into the scientific circulation of creative soul-image and creative image, using as an example the images of popular English artists 70-80 years of XX century. However, the problem understanding of image has created a demand for an ongoing philosophical reflection, and the concept of "soul-image" requires further research.
Panaiotidi E.G. - On Difficulties of Musical Arousalism pp. 18-38

DOI:
10.7256/2453-613X.2018.2.26252

Abstract: The article considers one of the most influential music approaches of analytical philosophy to the problem of emotional expressiveness of music – arousalism or evocationism according to which the constitutive moment of music expression of emotions is an affective response generated by music.  The article is focused on the two most vulnerable points of this approach: justification of (1) the link between the audience response generated by music through causal means and the emotion attributed to music and (2) the identity of the emotion evoked/expressed by music. The author analyses the attempts to resolve these issues which are based on the postulation of intentional affective reactions generated by music (Mew, Greenspan, Madell), and the alternative Matravers concept (based on an analogy with the perception of colour) consistently supporting the causal principle. The main method of study is the analysis of concepts and argumentative strategies, reconstruction of positions of individual authors. The article also applies a comparative method. The author introduces and analyzes a collection of writings in the analytical philosophy of music of the last two decades into scientific parlance in the Russian-language literature, which deal with the problem of emotional expressiveness of music in the context of arousalism. The article reveals the explicative potential of alternative versions of this approach with the involvement of modern (mainly English) empirical studies.
Lebedeva E.G. - Soul-image and an image in the creation of English pop musicians (70 to 80 years of XX century).

DOI:
10.7256/2453-613X.2015.1.15018

Abstract: The subjects of study in this article are two concepts: soul-image and image. Offers the author's view on understanding the differences and similarities of these concepts. An attempt to explain the motivation of the choice. What meaning lies in them and that mean people who choose specific a soul- image, and creating a particular image. How important is it to have a creative soul-image and creative image for a popular artist, in particular, in English musical culture.The methodology of the study lies in the comparative analysis of these concepts using the known writings on the subject and personal observations of the author.The novelty of this work consists in introducing into the scientific circulation of creative soul-image and creative image, using as an example the images of popular English artists 70-80 years of XX century. However, the problem understanding of image has created a demand for an ongoing philosophical reflection, and the concept of "soul-image" requires further research.
Polishchuk A. - The manifestation of the instrumental theatre genre in the works of the third stream composers (the case study of the works by G. Schuller, D. Argue, D. Glatzel, T. McKinley)
pp. 28-35

DOI:
10.7256/2453-613X.2020.1.31813

Abstract: The research subject is the types of musical action art - instrumental theatre, director’s action art, instrumental multimedia. The research object is the works of several third stream composers of the late 20th - the early 21st century which contain the distinctive features of musical action art. Based on the typology formulated by the researcher V.O.Petrov, the author studies the issues connected with the synthesis of music, text, theatrical elements and multimedia. Special attention is given to the instrumental theatre genre. The research field contains: the synthetic opus by the third stream theorist G. Schuller ‘Journey into Jazz’; an orchestra cycle by a modern Brooklyn band leader D.Argue ‘Real Enemies’; an orchestra play ‘W.A.Mozart VS Random Generator’ from the creative project Live on Planet Earth by Brooklyn composer and a leader of a big band Andromeda Mega Express Orchestra D. Glatzel; a double concert R.A.P. by Schuller’s follower and junior colleague in New England Conservatory in Boston, American composer T. McKinley. The author analyzes their works and detects the signs of the synthesis of music, text, visual multimedia action and particular theatrical elements. In all the works under study the esthetic principles of the instrumental theatre genre can be identified, which prove its importance and topicality during the development of the musical art of the late 20th - the early 21st century. 
Korolevskaya N.V. - Geometry of sense
pp. 31-42

DOI:
10.7256/2453-613X.2019.5.30777

Abstract:  The meaning of music is the subject of this research. It is represented in a dialogue with the method of immanent analysis of a music text of L.O. Akopian. The purpose of the research is to show that the system of paradigm-syntagmatic relations of F. de Saussure as a basis of “genuine” structural analysis of a music and artistic text can be successfully applied to the processes of music sensemaking as an effective instrument of analysis. Sequential comparison of two methods on the example of Chopin’s Nokturn H-dur op.32 helps the author to see the limiting character of “genuine” structural approach to a music text not only leaving aside the semantic layer of the composition, but even denying its existence, considering the artist’s idea as an impersonalized structure. On the contrary, the sensemaking discourse within which the abstract model of Saussure gains the meaning of a chronotope as an internal form of sense and can be realized only in the unity of the content and the form. In junction with the methodology of sense explosion of Yu.M.Lotman, the analysis of sensemaking gives music experts and performers an instrument, which helps to penetrate into the deep sense layers of the works, correlating with the “texts of consciousness”, and to discover individuality of a music and artistic text as an intimate saying determining an exclusive image of its sense structure. The represented method can be effectively used as an instrument of comprehensive analysis of the works of the 20th and 21st centuries continuing the traditions of classic and romantic music in the context of a dominating type of individual and creative consciousness 
Shapinskaia E.N. - Archetypal plot and its interpretations: “Danse Macabre” in the paintings of Bernt Notke and music of Thomas Adès pp. 37-44

DOI:
10.7256/2453-613X.2016.2.19470

Abstract: The subject of this research is the artistic interpretation of the archetypal plot in various historical-cultural contexts. Based on the work of the medieval painter Bernt Notke “Danse Macabre” (Dance of Death) and oeuvre of the contemporary composer Thomas Adès, the author demonstrates the despite the restrictions imposed by the cultural codes of a specific era, a creative personality finds opportunities for self-expression, as well as revelation of the new essences of the archetypal plot. The author examines the peculiarities of artistic work in various historical-cultural contexts and forms of artistic expressivity. The material of this article is introduced into the academic discourse for the first time. Special attention is given to the problem of creative work during the “post-cultural” era, which is known for depletion of the creative impulse and exhaustion of culture. It is demonstrated that the creative beginning is an anthropologically universal category, which finds opportunities to express the eternal existential problems of a man, particularly perception of death, by means of artistic language. The conclusion is made that various types of interpretation of the archetypal plot contain the creative beginning, which in turn, represents the underlying human need.  
Shapinskaia E.N. - Archetypal Plot and its Interpretations: “Dance Macabre" by painter Bernt Notke and “Totentaz” by composer Thomas Ades pp. 45-52

DOI:
10.7256/2453-613X.2016.2.19472

Abstract: The paper examines the problem of creative interpretation of an archetypal plot in different historical and cultural contexts. Basing on the work by a Mideaval painter Bernt Notke “Danse macabre” and on the work “Totentaz” by a modern composer Thomas Ades the author shows that, despite the limitations imposed by cultural codes of a period, creative personality finds possibilities both for self-expression and for disclosing new meanings of an archetypal plot. Special attention is paid to the problem of creativity in “post-cultural” epoch, which is characterized by diminishing of creative impulse and insistence of exhaustion of culture. It is shown in the paper that creativity is a universal anthropological category which finds possibilities to express by a new artistic language existential problems of mankind, including the attitude to death.With the help of textual analysis, descriptive and comparative methods the author conducts research of the subject on the basis of the material of different cultural forms. The material of the article is new to Russian academic discourse. Special attention is given to the problem of creativity in “post-cultural” epoch which is characterized by diminishing of creative impulse and declaration of exhaustion of culture. It has been shown that creativity is a universal anthropological category which finds possibilities to express eternal existential problems of people, in particular the attitude to death, in a new artistic language. The conclusion is made that different interpretations of an archetypal plot contain creative impulse expressing the deepest necessities of human beings.
Lebedeva E.G. -

DOI:
10.7256/2453-613X.2014.2.13699

Abstract:
Lebedeva E.G. -

DOI:
10.7256/2453-613X.2014.2.13576

Abstract:
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