PHILHARMONICA. International Music Journal - rubric Philosophy of Music
PHILHARMONICA. International Music Journal
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Philosophy of Music
Rozin V.M. - The persona of Georgy Sviridov in the mirrors of a polylogue pp. 1-29

DOI:
10.7256/2453-613X.2015.3.17343

Abstract: The article raises a question of whether we need to know the personality of the brilliant artist, in order to judge his works, as well as what to do when we find out from articles or the Internet the  aspects of this persona that contradict the crystalline image, which we have unwittingly created. The author gives the voice to the participants of a forum dedicated to Sviridov, as well as to Sviridov himself, and based on the constructed polylogue offers his commentary and thoughts, and proposes solution to the raised issues. He describes Sviridov as a genius composer and a regular human being, demonstrating that within the culture and art the question of their interconnection is resolved differently. As the result of the conducted analysis, the author successfully reconstructs the personality of Sviridov and the situation that has currently formed within the communication of popular art; to demonstrate that it is necessary to distinguish the different personalities of great artists, forms of understanding of their own relations between these personalities, and finally, our own approach and interest.
Soboleva E.A. - Philosophy of Female Love in Dmitry Shostakovich' Creative Life pp. 1-5

DOI:
10.7256/2453-613X.2017.2.25011

Abstract: The article is devoted to the phenomenon of female love from the point of view of female images typical for the Russian literature of the 19th century. As a result of her analysis. Soboleva concludes that all these images have one common feature which is their tragic fate as a result of fatal love that enslaves women and brings them to death. The basis for such understanding of female nature is the stereotypes about women that still exist in many cultures. As an example, the author of the article analyzes the image of Katerina from The Thunderstorm by N. Ostrovsky, Anna Karenina in L. Tolstoy's novel, and Katerina from N. Leskov's Lady Macbeth of the Mtsensk District. The author pays special attention to the image of Katerina from the former novella as it combines not only stereotyped 'female features' but also their fatality, incompleteness and disharmony. The author underlines that the 20th century changed the attitude of the society towards women and their abilities and life goals. At the same time, the philosophy of female love was also reviewed which was expressed in the most famous interpretations of literary images in other arts such as cinematograph and music. The author analyzes how the image of the Lady Macbeth was interpreted in D. Shostakovich' opera 'Katerina Izmaylova'. By analysing changes in the plot and narration, free interpretation of male images in N. Leskov's novella, new messages that were created in the opera, Shostakovich' attitude to the heroine, the author evaluates the composer's contribution to the philosophy of female love and reveals the new depth of the composer's idea of the female beginning as a predetermined service to love that became the main meaning of the woman's life. 
Petrova Y.S. - Types of Music: Light Music and Solemn Music (Exploring the Conception of Theodor Adorno) pp. 1-6

DOI:
10.7256/2453-613X.2017.4.25544

Abstract: The object of this article is the research of sociology of music  made by the famous German philosopher and musical expert Theodor Adorno. The article considers the views of the scientist on the phenomenon of music and its division into two types (two forms) - the mass and the elite one. According to Adorno, the said division lies at the heart of all music, which affects the genre, language and content conceptions of each individual piece of music. The article traces the statements and theories of Adorno; a typology of kinds of music is produced. The main method used in the article is a method of complex analysis that allows the author to encompass Adorno’s works and studies of different years within the scope of one work in order to trace the evolution of his views. The novelty of the work lies in the fact that specificity of music classification introduced by Adorno has not been adequately covered in musicology yet. And, despite its remoteness in time, the classification of the scientist is still highly relevant and requires more generalization and application in science.
Pereverzeva M.V. - Aleatoric Forms and... Traditional Principles of Organization pp. 1-17

DOI:
10.7256/2453-613X.2018.2.25788

Abstract: The subject of the study is aleatoric forms (including indeterminacy in the process of musical thought writing and development) which, in spite of individual author's development, are based on traditional principles of organization, such as repetition, variation, presentation of thematism and its development, main body and development, sonata form, etc. The object of the study are the works by composers of the twentieth century that are based on the aleatoric principle and at the same time inherit the tradition of classical-romantic forms. Mobile aleatoric forms, as a rule, have a clear material disposition (sequence of themes, sections, fragments or episodes), and the order of presentation of thought through them does not change considerably despite the uncertainty of some parameters. The study is based on the method of analysis of modern musical forms developed by the “Kholopov” school of musicology, the work’s text analysis of which starts from the material and methods of its development end ends up with the principles of texture and development of musical thought in general. The main conclusions of the study are the following theses: mobility of the aleatoric form at the text level (not the order of its writing) represents the measure of mobility that is acceptable for composition on the basis of traditional principles of organization. Thus such incongruous categories as aleatoric music and traditional forms can also be combined: composers of the twentieth century turned to classical forms as stability of the works’ structure allowed them to preserve traditional forms even in a mobile text.
Markina Y.V. - G. Crumbs Makrokkosmos III: contemplating the nature of space
pp. 1-7

DOI:
10.7256/2453-613X.2018.4.28927

Abstract: The article considers the peculiarities of the content of the Makrokosmos III series by American avant-garde composer George Crumb. The author reveals its semantic properties, the peculiarities of correlation between the image and the form; substantiates flagship epigraphs and draws parallels with other opuses of the composer. The author emphasizes that the image of Space, used by Crumps as a background, is revealed logically enough both of the level of content and of the musical language. The main object of the study - Makrokosmos III - is devoted to contemplating the outer nature of Space, thence comes the title - Music for a summer evening. Space for Crumb is a ubiquitous phenomenon existing at all levels of entity. It is considered as the world as a whole - everything around us. Space is understood not only as outer space with different objects which can be thought of as an unseen reality (owing to scientific discoveries, now we can judge about its structure and spheres), and as a perceptible reality (Space which is perceptible to the human’s eye), but also as a particular human’s life.  
Lavrova S.V. - Kafkian theme in modern musical theater: Salvatore Sciarrinos opera Before the law, Philippe Manourys opera K, and Michael Levinass opera "Metamorphosis"
pp. 1-23

DOI:
10.7256/2453-613X.2019.1.29024

Abstract: The article contains the analysis of modern operas based on the works by Franz Kafka. The article studies the list of 24 operas based on Kafka’s plots. The works most frequently used for  opera interpretations are “The Trial”, “The Castle” and “The Metamorphosis”. The genre range is also immense: from academic interpretations of the opera genre and avant-garde renditions to jazz opera and musicals. The author focuses on the three operas: Salvatore Sciarrino’s “Before the Law”, Philippe Manoury’s “K…”, and Michael Levinas’s "Metamorphosis". The subject scope of Kafka’s prose is very diverse; he refers to the problem of bureaucratization of the society in “The trial”, analyzes the essence of totalitarianism (“In the Penal Colony”), poetics and psychoanalytical essence of dreamings in “The Metamorphosis”. The author concludes that, in the Kafkian world, each composer finds not only themes close to their creative ideas, such as exterminative absolute power of bureaucracy, solitude and demolition of human relations, “body rebellion”, impossibility to find the answer to the fundamental questions of existence, but also a starting point of bright spatial-sound images. 
Soboleva E.A. - Metaphysics of Yu. Gontsovs music (the experience of philosophical analysis) pp. 1-7

DOI:
10.7256/2453-613X.2019.2.29318

Abstract: The research subject is the work of a modern composer from Astrakhan Yu.P. Popov; the research object is the music culture of the 20th century. The author studies the scope of the composer’s works containing his metaphysical ideas commonly found in the Russian philosophical doctrine - unitotality, communal spirit, and the idea of Sophia. Analysing the composer’s works, the author manages to describe his views on the world order. The author uses the following methods: analytical (when analysing the form, music style and language), philosophical-hermeneutical (when analysing the content of the pieces of music). The author detects the key constants of the metaphysical strivings of the composer. Special attention is given to the composer’s reference to the program character which includes not only the title of a piece of music and its parts, but also text epigraphs and the method of instrumental intoning of a text. The most significant author’s contribution is the use of the philosophical-hermeneutical method for the analysis of the content of the pieces of music. The scientific novelty consists in the fact that this music material hasn’t been studied before.
Denisova Z.M. - Montage organization of a verbal text of a piece of music
pp. 1-7

DOI:
10.7256/2453-613X.2019.6.31165

Abstract: The research subject is music texts with montage organization of a verbal text. The study covers a range of works of Russian composers of the late 20th century, including The Fourteenth Symphony by D. Shostakovich, Light Sorrow and Styx by G. Kancheli, requiems by V. Silvestrov, V. Artemov, A. Popov, V. Platonov. Analyzing the 20th century composers’ work with texts, the author gives special attention to the western composer Luciano Berio’s attitude to a text. The author formulates the main principles of montage organization of a verbal text on the base of the research of Yu. Lotman, M. Yampolsky, R. Bart and C. Levi-Strauss. These works serve as a methodological background which helps reveal the specificity of a montage-oriented verbal text. As a result, such a text is interpreted not as a bearer of an integral semantic code, but as a crossing of the plurality of codes which, in its turn, defines its characteristic features - fractionality, laconicism, associativity, and paradoxicality of correlation of verbal phrases. The scientific novelty of the research consists in the consideration of a poorly studied issue, in the choice of research methodology, and in the revelation of specific features of a verbal text functioning in the context of montage dramaturgy. The author systematizes and generalizes the results of the analysis of music texts with montage organization of a verbal text.  
Kameko E.M. - P.A. Serebryakovs performance art pp. 1-8

DOI:
10.7256/2453-613X.2020.6.34518

Abstract: The research subject of the article is the piano art of Pavel Alekseevich Serebryakov, an outstanding Leningrad pianist, pedagogue, artist and director. The research object is the mani-sided activity of this person. The author considers such aspects of the topic and the performer’s individual style, his repertoire preferences, concert, music and social activity. The author gives special attention to particular facts of the great artist’s biography which had influenced his performance path. The author refers to the reviews of various musical critics, colleagues and students, as well as Serebryakov’s own performance views drawn from autobiographical notes and interviews. Based on the author’s conversation with P. Serebruakov’s grandson P.V. Dmitriev, the author reveals the methods of the pianist’s individual work with the repertoire and some peculiarities of his performance thinking. The scientific novelty of the research consists in the fact that it uses rare previously unpublished archive materials covering performance and music and social activity of P.A. Serebryakov, including:The Serebryakovs family archive documents provided by Serebryakov’s grandson P.V. DmitrievMaterials, reviews and newspaper articles kept at the Central State Archive of Literature and Arts (fund 214)Audio recordings from the sound library of St.Petersburg ConservatoryMaterials of Serebryakov’s conversations with studentsThe research material can be used by young musicians, as well as the pedagogues of special music schools for illustrative and educational purposes.  
Soboleva E.A. - A System Approach to the Study of Music Culture pp. 4-9

DOI:
10.7256/2453-613X.2018.1.25759

Abstract: The object of this article is musical culture. The subject is musical culture as a system. The author closely considers such aspects of the matter as the concept of musical culture, the study of musical culture within the framework of the system approach including domestic practice. Particular attention is paid to the analysis of musical culture elements which the author suggest to collect in a single categorical list — three main elements called "categorical triad block" consisting of three common elements — "Creation/Re-Creation", "Conservation", "Translation". The capacity of the model elements allows the author to encompass all the components of the music system. The system approach is applied as the main method of study of musical culture. This approach correlates with the concept of musical culture as a special form of systemic activity reflecting the cultural state of society, where the coherence of all elements of the system indicates a certain state of culture as a whole. The scientific novelty of the study lies in an attempt to determine the general  model of musical culture which includes all the elements of the system - the categorical triad block. All the elements of musical culture can be combined into the "categorical triad block" which includes three main elements: "Creation/Re-Creation", "Conservation", "Translation". The absence of one or the availability of all three elements of the block indicates that musical culture as a system can evolve "completing" itself by inclusion either of new aspects of already existing elements, or of a new blockthat provides the necessary level of music consumption by society. The scheme of the categorical triad block applied to study of the history of musical culture of any level provides insights into the rate of its development at one time or another. 
Rykunin V.V. - The first jazz gramophone record: the music of the moment which became timeless pp. 14-22

DOI:
10.7256/2453-613X.2021.1.35023

Abstract: Jazz is the first type of music art the earliest stage of development of which had been recorded. A single play recorded in 1917 by the quintet Original Dixieland “Jass” Band from New Orleans is known in history as the first jazz record. There’s a perception in the academic community that the musical material on this record can hardly be considered as a typical representative of jazz music of that period. The music was performed by the white musicians, though most first jazz bands were black, and the music was far from a real solo improvisation. However, it was not typical in the first place because it had been recorded. The research subject of the article is the influence of sound recording technology on jazz culture at the stage of its foundation.In those years, if jazz musicians wanted to make a recording they had to bear in mind numerous peculiarities of sound recording technology. The author gives special attention to the analysis of the consequences of reproducibility of a recording for jazz musicians, and for the audience’s perception. As a research methodology, the author uses the comprehensive approach which includes the study of historical sources and jazz musicians’ memoirs related to the sound recording industry. The research proves that audio recordings are not sufficient as a source for critical research of the first jazz gramophone record, and suggests alternative approaches to its interpretation.  
Denisova Z.M. - On the issue of interpreting the intertextuality category pp. 19-27

DOI:
10.7256/2453-613X.2020.1.31174

Abstract: The research object is intertextuality in a scientific context. The research subject is the bulk of scientific works studying the intertextuality category within the system of general fiction. The topicality of the issue is determined by the fact that it helps estimate the scientific status of this category. The author delves into the study of intertextuality in the humanities and addresses the analysis of the general provisions of this category formulated in the works of A. Veselovsky, Yu.Tynyanov, Yu. Kristeva, M.Bakhtin, H.Bloom and others. The author uses general scientific research methods within comparative and logical analysis including observation, generalization and comparison. The research is comprehensive and interdisciplinary, and is also based on the analytical method. The author comes to the conclusion that intertextuality as an artistic category is thoroughly studied in scientific works. Despite the variety of interpretations of this category, in the scientific field it appears as a certain mechanism representing a scientific text as a system operating according to particular laws and acting as a theoretical and practical basis for the modern methodology of musicology as a science revealing the content of a composer’s canvas and its connection with the cultural texts of previous epochs.  
Dombrauskene G.N., Bolotin D.N. - Philosophical and astronomical image of space in E. Artemievs music for A. Tarkovskys Solaris
pp. 20-44

DOI:
10.7256/2453-613X.2020.6.33661

Abstract: The authors attempt to reveal the internal interconnection of a traditional mythologem of space with the ideas of a modern astronomical reality in the music by E. Artemiev written for A. Tarkovsky’s movie “Solaris”. The mythologem of space gained its features back within the ancient worldview and formed a sort of a semiotic complex which can be considered as a combination of various symbols connected with basic natural forces, basic forms and numbers. This mythologem was embodied in various art forms, including the music of various historical epochs. Surprisingly, in contemporary culture, which has much wider knowledge of physical (astronomical) space, the ancient ideas of microcosm and macrocosm are still functioning, along with the medieval religious ideas of eternity, metaphysical searches for new spirituality, the divine-humanity of cosmism adherents, etc. Based on M.M. Bakhtin’s concept of chronotope, the authors develop the model of chronotope analysis represented in the form of a table (G. N. Dombruaskene) which allows considering the movie within a vector space, in which the main vectors - the two basic directions - are the chronometry and the chronotope. The table format demonstrates the semantic moments related to space which emerge at the crossing of the three key parameters of the movie: verbal, visual and musical. The full chronotropic, semiotic and computer-based analysis with the sonograms of music examples (D.N. Bolotin) helps to reveal in each space-related fragment of the movie the music and artistic means of expression of its philosophical and astronomical characteristics.
Kekova S.V., Pankova A.I. - A literary work as a motive: The Sealed Angel by N.Leskov and the Russian liturgy The Sealed Angel by R. Shchedrin
pp. 24-30

DOI:
10.7256/2453-613X.2019.5.30723

Abstract: The research subject is the problem of correlation between the story “The sealed angel” by N.Leskov and the Russian liturgy “The sealed angel” by R. Shchedrin. The authors analyze the peculiarities of the creative method of the composer who creates a piece of music based on a literary work using a “typological exegesis” which is the main creative method of Medieval and canonical art. According to this method, an artist follows the truth of a “foreshadow” which appeared in the Holy Scriptures and Holy Tradition. The original piece of art should be “typologically” and “iconically” connected with this “foreshadow”. The research methodology contains the set of approaches of the study of art to spiritual and aesthetic phenomena of the Russian art. The authors come to the conclusion that R.Shchedrin creates a kind of a “music icon” showing the way to the truth through penance and junction with the Truth. The scientific novelty of the study consists in the fact that the authors reveal Shchedrin’s method which he uses as a composer while creating a part song “The sealed angel”.  
Gurevich P.S., . -

DOI:
10.7256/2453-613X.2014.1.12189

Abstract:
Orlov V. - Music novations in Aristotles philosophy pp. 28-35

DOI:
10.7256/2453-613X.2020.2.32366

Abstract: The article studies music novations in Aristotle’s philosophy. The object of research is Aristotle’s philosophical and aesthetical views. The research subject is music novations in Aristotle’s philosophy. The purpose of the research is to detect music novations in Aristotle’s philosophy. To achieve this purpose, the author performs the following tasks: to study Aristotle’s essays and to define his philosophic and aesthetical attitude to music resulting in music novations which had appeared in his philosophy. The author gives attention to Aristotle’s theoretical views on music art. The main research methods are the analytical and hermeneutical ones. The article contains the analysis of the main ideas about music in Aristotle’s essays and characterizes music innovations typical for his aesthetics. The author concludes that Aristotle’s philosophy and aesthetics contain the following novations: a music composition is the key jewel of a tragedy, one of its components; music is divided into practical and theoretical (music art and music science); the “composer-performer” system appears in which a composer is the author of the music, and a performer is the one who plays or teaches the music; the formation of a comprehensive concept of a piece of music; music is a melodic and harmonic reflection of life and an expression of spiritual and moral values and properties of humanity.  
Panaiotidi E.G. - On the issue of precision of musical expression pp. 30-63

DOI:
10.7256/2453-613X.2015.3.15127

Abstract: This article focuses on the concept of the American scholar Aaron Ridley, which in his opinion offers a convincing substantiation of the thesis that music is capable of expressing emotions with precision greater than that of words. The article analyzes the explication of the mechanism of musical expression of emotions that comprises the foundation of Ridley’s “weak” version of arousalism, in which the emotional response of the audience represents the constituting element of the emotional expression of the musical work. The examination of Ridley’s concept is preceded by a brief historical image of philosophical concepts, which contain implications for solution of the problem of precision of musical expression. The main method f research is the analysis and explication of the key notions and argumentative strategy lying at the foundation of Ridley’s concept. The issue of precision of musical expression is being examined using materials that are introduced for the first time into the Russian philosophy of art. The author draws a conclusion on the vulnerability of the approach proposed by Aaron Ridley within the framework of his concept of “weak” arousalism, according to which the precision of musical expression of emotion is achieved by particularization of the typical emotion expressed in music through the compassionate response from the recipient.
Gurevich P.S., . -

DOI:
10.7256/2453-613X.2014.1.12399

Abstract:
Rozin V.M. -

DOI:
10.7256/2453-613X.2014.2.13587

Abstract:
Zakharov Y. - Individual harmonic design of a musical oeuvre pp. 189-229

DOI:
10.7256/2453-613X.2015.2.16969

Abstract: In this article, based on the analysis of musical oeuvre, the author attempts to determine the concept of its harmonic structure and formulate the leading idea that gave rise to this concept. The first part is dedicated to the elucidation of the phenomenological status of the notion “composer’s design”. Referring to the philosophical works of Aleksei Losev, the author defines the correlation between the notions “idea”, “eidos”, “realistic-material image of the final product”, and compares this triad with the correlation of initial idea (in composer’s mind), concept, and finished oeuvre. The object of research in the second part of the article is the Mozart’s chorus “Abendruhe”, Schumann’s chorus “Gute Nacht”, and piano play of Nikolai Myaskovsky from the cycle “Yellowed Pages” (Op. 31, No. 1). Having built the models of harmonic structures, the author formulates the leading ideas behind them, after which he makes the conclusions on the level of adequacy of the acquired formulations with the harmonic design. The novelty of this research consists in the elucidation of the content of the notion “composer’s design”, in comparison of the design with the analytical model, and in substantiation of the possibility of transition from the structure of the work towards the idea within it.
Rozin V.M. -

DOI:
10.7256/2453-613X.2014.2.13588

Abstract:
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