PHILHARMONICA. International Music Journal - rubric Forms and genres
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PHILHARMONICA. International Music Journal
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MAIN PAGE > Journal "PHILHARMONICA. International Music Journal" > Rubric "Forms and genres"
Forms and genres
Azarova V.V. -

DOI:
10.7256/2453-613X.2014.1.11990

Abstract:
Azarova V.V. -

DOI:
10.7256/2453-613X.2014.1.12527

Abstract:
Petrov V.O. - Instrumental theatre of Karlheinz Stockhausen: varieties and means of realization pp. 112-137

DOI:
10.7256/2453-613X.2015.3.15432

Abstract: This article examines one of the most unique and widely known musical genres of the second half of XX century – instrumental theatre, which saw its bright implementation in the work on the renowned German avant-gardist Karlheinz Stockhausen. The author analyzes Stockhausen’s instrumental theatre – from using simple relocation of musicians and specific placement of instruments on the stage, to creating full-blown instrumental-theatrical spectacles. A special attention is given to the issue of interpretation and scenic re-creation of the instrumental-theatrical compositions. An attempt is made at a comprehensive study of Stockhausen’s instrumental theatre: the analysis of his oeuvres is aimed at determining the general regularities of the manifestation of this genre in composer’s work. The scientific novelty consists in the fact that until today they instrumental theatre of Stockhausen has not become the object of e dedicated close attention of art scholars. As the conducted analysis of his works demonstrates, his methods of creation of the instrumental-theatrical composition have significantly affected the evolution of the instrumental theatre as a genre, and broadened its genre aspects.  
Petrov V.O. - Genesis and Evolution of Performance Art pp. 265-292

DOI:
10.7256/2453-613X.2015.2.17166

Abstract: Performance represents one of the major genres of art of the XX century. Its manifestation can be seen in literature, artwork, music, and theater. This article examines the historical roots of performance as a genre, which sprung in the syncretic ritual of ancient world, street theater, as well as art of Renaissance and Baroque eras. The author reviews the prolonged process of the ritual, commedia dell'arte, theatrical plays of da Vinci and D. Bernini in performances of the XX century. As an example, the author uses works of K. Stockhausen, I. Xenakis, J. Cage, L. Lipkis, and M. Dessi. Performance is being examined as a phenomenon of synthesis of arts, using the method of holistic analysis. Towards the end of the work, the author formulates a unified system for classifying performance that as it exists at the present time. An accent is made that all performances, in one way or another, in their implementation are based on intentional or unintentional epatage (element of shock), becoming the prerogative of a great number of works of art in the XX century.
Petrov V.O. - Genesis and Evolution of Performance Art pp. 293-321

DOI:
10.7256/2453-613X.2015.2.17144

Abstract: Performance represents one of the major genres of art of the XX century. Its manifestation can be seen in literature, artwork, music, and theater. This article examines the historical roots of performance as a genre, which sprung in the syncretic ritual of ancient world, street theater, as well as art of Renaissance and Baroque eras. The author reviews the prolonged process of the ritual, commedia dell'arte, theatrical plays of da Vinci and D. Bernini in performances of the XX century. As an example, the author uses works of K. Stockhausen, I. Xenakis, J. Cage, L. Lipkis, and M. Dessi. Performance is being examined as a phenomenon of synthesis of arts, using the method of holistic analysis. Towards the end of the work, the author formulates a unified system for classifying performance that as it exists at the present time. An accent is made that all performances, in one way or another, in their implementation are based on intentional or unintentional epatage (element of shock), becoming the prerogative of a great number of works of art in the XX century.
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