DOI: 10.7256/2453-613X.2015.1.40185

Abstract: The subject of this work is the article of B. V. Asafiev about the comedy production of Alexander Sergeevich Griboyedov “Woe from Wit” realized by Vsevolod Meyerhold in 1928. Asafiev, a famous Russian and Soviet historian and theoretician of music and renowned composer, also took part in creation of this spectacle: he was selecting music that would illustrate the inner image of the characters. The goal of this article became his argumentation of this selection, especially the forming of the psychological likeness of the main character – Chatsky. The key point became Asafiev’s claim about musical characteristics as most active in manifestation of the essence of the character. The author compares the Sturm und Drang era with the times of Mozart, Beethoven, Shubert, and German Lied. Going analytically deeper into the music of Beethoven, the author highlights its multifacetedness, while turning to Mozart – he underlines in it not brightness, but the opposite, the features of the “world-pain”. In theatrological sense Asafiev counterposes the images of Chatsky and Famusov as irreconcilable, gives attention to the logic of the dialogues and ensembles, and the tempos of development of the play. He demonstrates, for example, the tones of French “happy” songs, to convey the street and drawing room vulgarity. As a result, characterizing Griboyedov’s famous comedy through music, Asafiev unfolds a broad musical panorama that includes in addition to the mentioned composers works of Bach, Field, and Wagner. The publication of this forgotten article sheds light on the collaboration between Asafiev and Meyerhold in both, the theatrical aspect, as well as the stage in development of the Asafiev’s intonation theory.

DOI: 10.7256/2453-613X.2015.1.40186

Abstract: The subject of this work is the article of B. V. Asafiev about the comedy production of Alexander Sergeevich Griboyedov “Woe from Wit” realized by Vsevolod Meyerhold in 1928. Asafiev, a famous Russian and Soviet historian and theoretician of music and renowned composer, also took part in creation of this spectacle: he was selecting music that would illustrate the inner image of the characters. The goal of this article became his argumentation of this selection, especially the forming of the psychological likeness of the main character – Chatsky. The key point became Asafiev’s claim about musical characteristics as most active in manifestation of the essence of the character. The author compares the Sturm und Drang era with the times of Mozart, Beethoven, Shubert, and German Lied. Going analytically deeper into the music of Beethoven, the author highlights its multifacetedness, while turning to Mozart – he underlines in it not brightness, but the opposite, the features of the “world-pain”. In theatrological sense Asafiev counterposes the images of Chatsky and Famusov as irreconcilable, gives attention to the logic of the dialogues and ensembles, and the tempos of development of the play. He demonstrates, for example, the tones of French “happy” songs, to convey the street and drawing room vulgarity. As a result, characterizing Griboyedov’s famous comedy through music, Asafiev unfolds a broad musical panorama that includes in addition to the mentioned composers works of Bach, Field, and Wagner. The publication of this forgotten article sheds light on the collaboration between Asafiev and Meyerhold in both, the theatrical aspect, as well as the stage in development of the Asafiev’s intonation theory.

DOI: 10.7256/2453-613X.2015.1.40184

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.

DOI: 10.7256/2453-613X.2015.1.40183

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.

DOI: 10.7256/2453-613X.2015.1.40178

Abstract:

DOI: 10.7256/2453-613X.2015.1.40176

Abstract:

DOI: 10.7256/2453-613X.2015.1.40181

Abstract: The object of the study are to overcome the problems of psychological stress in a professional music career. Bolin’s Music is elegant and it is characterized by a combination of strength and exquisite beauty. As a pioneer in working with sound, it is still at a young age has won recognition among jazz and rock musicians. It was Tommy Bolin was able to fully refresh the creative atmosphere of DEEP PURPLE, that by the time a kind of stubborn self-copying regressed, although he could not prevent the collapse of the group. His death left a void in certain unique sector of rock music that represents musical cocktail of a mixture of jazz, hard rock and vintage blues. In this arlicle author suggested and tried to justify the assumption that a great musician, perhaps one of the most prolific and underrated guitarists of all time – Tommy Bolin has become hostage to the brand, created originally for the realization of other ideas of another remarkable musician Ritchie Blackmore. Presented version according to which these and other circumstances were the main determinants of psychological crisis of professional musical activities that are the subject of philosophical and cultural urological research. The research based on the phenomenological concept of organizational culture and the theory of social institutions, which are understood as stable complexes of formal and informal rules, principles, norms, attitudes governing the interaction of people in a particular sphere of life and organizes it into a system of roles and statuses. The novelty of the research lies in the scientific substantiation of the reasons for the crises of professional music career, Tommy Bolin, which ultimately led to a life of tragedy – the death of the great guitarist. Over the past year and a half life of Tommy Bolin was four errors – brand (first), communicative (two), psychological (third) and operational (fourth), the totality of which played a fatal role.

DOI: 10.7256/2453-613X.2015.1.40187

Abstract: The object of the study are to overcome the problems of psychological stress in a professional music career. Bolin’s Music is elegant and it is characterized by a combination of strength and exquisite beauty. As a pioneer in working with sound, it is still at a young age has won recognition among jazz and rock musicians. It was Tommy Bolin was able to fully refresh the creative atmosphere of DEEP PURPLE, that by the time a kind of stubborn self-copying regressed, although he could not prevent the collapse of the group. His death left a void in certain unique sector of rock music that represents musical cocktail of a mixture of jazz, hard rock and vintage blues. In this arlicle author suggested and tried to justify the assumption that a great musician, perhaps one of the most prolific and underrated guitarists of all time – Tommy Bolin has become hostage to the brand, created originally for the realization of other ideas of another remarkable musician Ritchie Blackmore. Presented version according to which these and other circumstances were the main determinants of psychological crisis of professional musical activities that are the subject of philosophical and cultural urological research. The research based on the phenomenological concept of organizational culture and the theory of social institutions, which are understood as stable complexes of formal and informal rules, principles, norms, attitudes governing the interaction of people in a particular sphere of life and organizes it into a system of roles and statuses. The novelty of the research lies in the scientific substantiation of the reasons for the crises of professional music career, Tommy Bolin, which ultimately led to a life of tragedy – the death of the great guitarist. Over the past year and a half life of Tommy Bolin was four errors – brand (first), communicative (two), psychological (third) and operational (fourth), the totality of which played a fatal role.

DOI: 10.7256/2453-613X.2015.1.40179

Abstract:

DOI: 10.7256/2453-613X.2015.1.40177

Abstract:

DOI: 10.7256/2453-613X.2015.1.40182

Abstract: The author of the book is Doctor of Arts, Professor at the Moscow State P.I. Tchaikovsky Conservatory, Valentina Nikolayevna Kholopova. The object of the research is serious, classical music in general examined from the most varied sides: the history of the concept of “music,” the functions of music, the musical image, music as a language and musical intonation. A special direction of this work is the content of music, which has set the issues of comparison of “content” with “semantics” and “hermeneutics,” and has examined special concepts of music content – “specialized and non-specialized musical content” and “three sides of musical content.” Content is also examined in the triad of composer, performer and listener. Involving the psychological aspect led to the problems of conscious and subconscious in the perception of music, as well as psychological analysis of musical form. The axiological aspect has also been brought in due to the elaboration of criteria of artistic value in music. The methodology of research, thereby, became complex and interdisciplinary, having connected theoretical and historical musicology, the foundations of aesthetics, philosophy, semiotics, psychology, linguistics and axiology. The novelty of the work consists in the indicated complexity of methodology, making it possible to disclose previously undemonstrated features of the art of music – the correlation of the sides of content in various epochs, among various composers and performers, in various compositions, the differentiation of musical epochs according to the signs of canon and heuristics, the role of emotions in music, the manifestation of musical intonation in the phenomenon of sonority and pitch, the assertion of music as a language, the establishment of the role of the conscious and subconscious, the typology of listeners to music, and introduction of an original system of artistic value in music. This work merits to be translated into other languages, because of its fundamental nature, modernity and lack of precedent in world musicology.

DOI: 10.7256/2453-613X.2015.1.40180

Abstract: Author of the book is Doctor of Arts, Professor of the Moscow State. Conservatory. Tchaikovsky Valentina Kholopova. The subject of the study was to academic art of music in general, considered from various sides: the history of the concept of "music", features music, musical image, music as a language, musical intonation. A particular focus of work was the musical content, making comparisons were set problems "content" with "semantics" and "hermeneutics", discussed the concept of special musical content - "special and non-special musical content", "three sides of the musical content." Contents also considered in the triad: composer, performer, listener. Connecting the psychological aspect summarized the problems of conscious and unconscious perception of music, psychological analysis of musical form. Introduced also axiological aspect, thanks to the development of criteria for the artistic value of music. The research methodology thus became an integrated, interdisciplinary, connected the theoretical and historical musicology, installation aesthetics, philosophy, semiotics, psychology, linguistics, axiology. The novelty of the work lies in the complexity of this methodology, will open a previously not shown properties of musical art - an aspect ratio of content in different eras, different composers and performers in different works, the distinction between musical eras on the basis of the canon and heuristics, the role of emotions in music, musical manifestation of intonation in the phenomena of Sonora and the sound of music as a language statement, establishing the role of the conscious / unconscious, typology of music listeners, the introduction of the original system of the artistic value of the music. Performance deserves translation into foreign languages, thanks to its fundamental nature, and lack of modern analogues in foreign musicology.