Music Aesthetics
Reference:
Solodovnikova A.G. —
Aesthetics of expressionism in Béla Bartók pantomime ballet “The Miraculous Mandarin”
// PHILHARMONICA. International Music Journal.
– 2016. – ¹ 1.
– P. 1 - 8.
DOI: 10.7256/2453-613X.2016.1.18721 URL: https://en. nbpublish.com/library_read_article.php?id=18721
Read the article
Review:
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.
Keywords:
aesthetics, «Golden ratio», atonality, music dramaturgy, Hungarian music, ballet, Béla Bartók, «The Miraculous Mandarin», Menyhért Lengyel, expressionism
References (transliterated):
Lendvai E. Bela Bartok. An analysis of his music. London, 1971. 128 p.
Frigyesi J. Béla Bartók and Turn-of-the-Century. Budapest, Berkeley, Los Angeles, London, 1998. 368 p.
Nest'ev I.V. Bela Bartok. Zhizn' i tvorchestvo. M.: Muzyka, 1969. 800 s.
Tikhonova-Khakimi T.V. Dialog «Vostok – Zapad» v balete B. Bartoka «Chudesnyy mandarin» // Bela Bartok segodnya. Sbornik statey / Red.-sost. M.V. Voinova, E.I. Chigareva. M.: Nauchno-izdatel'skiy tsentr «Moskovskaya konservatoriya», 2012 (nauch. tr. Mos. gos. konservatorii im. P.I. Chaykovskogo, sb. 74). S. 19–31.
Uyfalushi Y.B. Bartok. Zhizn' i tvorchestvo. Budapesht: Korvina, 1971. 408 s.
Chigareva E.I. Bela Bartok: «Vysochayshiy muzykal'nyy sintez epokhi» // Vengerskoe iskusstvo i literatura KhKh veka: sbornik statey rossiyskikh i vengerskikh uchenykh / Red.-sost. V.T. Sereda i I.E. Svetlov. SPb.: Aleteyya, 2005. S. 203-216.
Adorno T. Filosofiya novoy muzyki. M.: Logos, 2001. 352 s.
Bartok B. Izbrannye pis'ma / Per. N.G. Piskunova, V. Pepper, S.A. Makurenkova; r
Hermeneutics, Semantics and Musical Meaning
Reference:
Sobakina O.V. —
Interpretation of myth in the works of Karol Szymanowski: from modernity to neo-folklore
// PHILHARMONICA. International Music Journal.
– 2016. – ¹ 1.
– P. 9 - 16.
DOI: 10.7256/2453-613X.2016.1.18288 URL: https://en. nbpublish.com/library_read_article.php?id=18288
Read the article
Review:
The Polish art of the early XX century sands out overcoming the genre limitations and enriching the techniques thanks to the synthesis of the expressive literary means, painting, and music. Due to reframing the themes of antiquity in the context of modernity and symbolism, their new interpretations have appeared; the other part of this process consisted in the interest towards the ancient layers of the national folklore. The written in 1910-1920’s by Karol Szymanowski compositions, demonstrated the intensive search for the new technical means, as well as characteristic qualities of musical symbolism and modernity, in the end expressing the composer’s idea on the national Polish style. Reconceptualizing the ancient and medieval mythology, Polish artists gravitated towards understanding the eternal problems of the universe, and simultaneously referred to the national themes. Karol Szymanowski ballet “Harnasie” and cantata Stabat Mater expressed not only the artistic trends of its time, but also convincingly realized the national self-consciousness, manifested in the form of customs and legends.
Keywords:
modernity, symbolism, Harnasie, Masks, Metopes, Stanisław Wyspiański, Karol Szymanowski, Podhale music, Goral style, Stabat Mater
References (transliterated):
Radtsig S. Istoriya drevnegrecheskoy literatury. – M.: Vysshaya shkola, 1977. – 551 s.
Szymanowski K. Z listów. Oprac. Teresa Bronowich-Chylińska. Źródła Pamiętnikarsko-Literackie do Dziejów Muzyki Polskiej. T. V. – Kraków: PWM, 1958. – 529 s.
Karol' Shimanovskiy. Vospominaniya, stat'i, publikatsii / Red. i sost. I. Nikol'skoy i Yu. Kreyninoy. – M.: Sov. kompozitor, 1984. – 296 s.
Shimanovskiy K. Izbrannye stat'i i pis'ma / Per., sost. i komment. A. Farbshteyna – L.: Muzgiz, 1963. – 253 s.
A history of musical culture
Reference:
Petrov V.O. —
Performance Art: Genesis and Evolution
// PHILHARMONICA. International Music Journal.
– 2016. – ¹ 1.
– P. 17 - 28.
DOI: 10.7256/2453-613X.2016.1.15649 URL: https://en. nbpublish.com/library_read_article.php?id=15649
Read the article
Review:
This article is devoted to one of the most common phenomena in contemporary art – the actual performance of the work of art. The article deals with the issues of its origin. In this respect, it covers different forms of art of the past, such as syncretic ritual, medieval street theater, commedia dell'arte, and some synthesized works of the Renaissance and the Baroque period, and their modifications in the XXth – early XXIst century. Some common features in the well-known performance pieces of the past and the present are compared. The works by Tan Dun, L. Lipkis, K. Stockhausen, I. Xenakis, J. Cage and others are given as an example. Performance is considered as a single phenomenon of modern culture that reveals the main constant of postmodernism - a synthesis of the arts. In this connection, a method of holistic analysis is used in addition to the analytical method of presentation. The conclusions demonstrate the main genre features of performance, which appeared in the past eras (works by da Vinci, L. Bernini, etc.), and represent performance as a genre in the twentieth century.
Keywords:
music, ritual, theatricality, genre, art history, performance art, performance, synthesizing, postmodernism, Synthesis of arts
References (transliterated):
Goldberg R. Performance Art: From Futurism to the Present. — M.: Ad Marginem Press, 2014. 320 p.
Dubinets, Y.A. Signs of Sounds. About Modern Musical Notation. — Kiev: Gamayun, 1999. 314 p.
Nazaikinskiy, Y.V. Spatial Music // Theory of Modern Composition: Textbook / Ex. Ed. V.S. Tsenova. — M.: Music, 2007. P. 450-464.
Papenina, A.N. Musical Avant-Garde of the Middle XX Century and Issues of Art Perception.-SPb.: Publishing House SPbGUP, 2008. 152 p.
Petrov, V.O. Instrumental Theater: Movement Features of Performers // Current Problems of Higher Music Education: Analytical and Educational Scientific Journal.-2011. – No. 2 (18). P. 40-45
Petrov, V.O. Musical Happening: Phenomenon Aesthetics // Philosophy and Art: Materials of the II International Conference / Ex. Editor T.P. Zaborskikh. — M.: Gnessin Russian Academy of Music, 2013. P. 28-35.
Petrov, V.O Pioneering Art Images in the Twentieth Century: From the Perspective of Epatage // Culture and Art.-2013. – No. 5. P. 562-569.
Petrov, V.O.
A history of musical culture
Reference:
Petrov V.O. —
Performance Art: Genesis and Evolution
// PHILHARMONICA. International Music Journal.
– 2016. – ¹ 1.
– P. 29 - 41.
DOI: 10.7256/2453-613X.2016.1.17073 URL: https://en. nbpublish.com/library_read_article.php?id=17073
Read the article
Review:
This article is devoted to one of the most common phenomena in contemporary
art – the actual performance of the work of art. The article deals with the issues of its
origin. In this respect, it covers different forms of art of the past, such as syncretic
ritual, medieval street theater, commedia dell'arte, and some synthesized works of the
Renaissance and the Baroque period, and their modifications in the XXth – early
XXIst century. Some common features in the well-known performance pieces of the
past and the present are compared. The works by Tan Dun, L. Lipkis, K.
Stockhausen, I. Xenakis, J. Cage and others are given as an example. Performance is
considered as a single phenomenon of modern culture that reveals the main constant
of postmodernism - a synthesis of the arts. In this connection, a method of holistic
analysis is used in addition to the analytical method of presentation. The conclusions
demonstrate the main genre features of performance, which appeared in the past eras
(works by da Vinci, L. Bernini, etc.), and represent performance as a genre in the
twentieth century.
Keywords:
Synthesis of arts, Postmodernism, Synaesthesia, Performance, Actionism, History of art, Genre, Theatricality, Ritual, Music
References (transliterated):
Malinverni L. 13 gennaio 1490: la Festa del Paradiso // http://lauramalinverni.net/pdf/13_GENNAIO_1490_LA_FESTA_DEL_PARADISO.pdf
Goldberg R. Performance Art: From Futurism to the Present (World of Art). Thames & Hudson, 2001.
Lucignani L. Il gran teatro di Bernini // la Repubblica. — 11.04.1992.
Carr C. On Edge: Performance at the End of the Twentieth Century. – Wesleyan Univer-sity Press, 1993.
Carlson M. Performance: A Critical Introduction. London and New York: Routledge, 1996.
Terekhin A.V. Sotsial'no–filosofskiy aspekt kontseptsii narodnoy smekhovoy kul'tury M.M. Bakhtina // Iskusstvo KhKh veka: Paradoksy smekhovoy kul'tury: Sb. statey. — Nizhniy Novgorod, 2001.
Sigida S.Yu. Muzykal'naya kul'tura Evropy. Vtoraya polovina KhKh veka. Velikobri-taniya // Istoriya zarubezhnoy muzyki. KhKh vek: Uchebnoe posobie / Otv. red. N.A. Gavrilova. — M.: Muzyka, 2005.
Petrov V.O. Epatazh v iskusstve KhKh veka // Kul'tura i iskusstvo. — 2013. — ¹ 6.
Petrov V.O. Pod znakom performansa // Muzykal'naya akademiya. — 2012. — ¹
A history of musical culture
Reference:
Sobakina O.V. —
The creative path of Ján Cikker
// PHILHARMONICA. International Music Journal.
– 2016. – ¹ 1.
– P. 42 - 55.
DOI: 10.7256/2453-613X.2016.1.17861 URL: https://en. nbpublish.com/library_read_article.php?id=17861
Read the article
Review:
The subject of this research is the work of Ján Cikker (1911-1989), which remains virtually unknown in Russia, despite the fact that this composer is rightly acknowledged alongside Eugen Suchoňto be the founder of the modern composition school; it is no coincidence that out of his class graduated almost all notable composers of Slovakia. His work is marked by a special interest to opera, which remains a fairly rare phenomenon for the music of the XX century. Moreover, as his task he set the creation of such musical language that would combine modern forms with the national material. The author carefully examines the stages of life and formation of the creative principles of one of the renowned composers of the XX century. The main conclusions of the research consist in the fact that the creative style of Ján Cikker is distinguished by the clarity of idea, bright imagery, and inclination towards lyricism. The main theme of his work is the theme of human personality, developed in many works of various genres. The composer embodied the national theme and realized the national folklore on the highest level of composing mastery, but a special place for the Slovak culture is held by his operas
Keywords:
Ján Cikker , Ján Cikker , Slovak music, XX century, Opera, Mussorgsky, Symphonic poems, Piano art, Václav Talich, Juro Jánošík
References (transliterated):
Palovčik M. Ján Cikker v spomienkach a tvorbe. – Prešov: Matúš music, 1995.
Sukhon' E. Byt' iskrennim // Sovetskaya muzyka. – 1983. – ¹ 12. – S. 118–120.
Polyakova L. Yan Tsikker: «Ya schitayu, chto nado pisat' muzyku o cheloveke, ego dukhovnom razvitii…» // Sovetskaya muzyka. – 1971. – ¹ 9. – S. 133–135.
Polyakova L. Cheshskaya i slovatskaya opera KhKh veka. Kn. vtoraya. – M: Sovetskiy kompozitor, 1983. C. 123.
Šamko J. Ján Cikker. – SVKL, Bratislava, 1955.
A history of musical culture
Reference:
Sobakina O.V. —
The creative path of Ján Cikker
// PHILHARMONICA. International Music Journal.
– 2016. – ¹ 1.
– P. 56 - 68.
DOI: 10.7256/2453-613X.2016.1.18739 URL: https://en. nbpublish.com/library_read_article.php?id=18739
Read the article
Review:
The subject of this research is the work of Ján Cikker (1911-1989), which remains virtually unknown in Russia, despite the fact that this composer is rightly acknowledged alongside Eugen Suchoňto be the founder of the modern composition school; it is no coincidence that out of his class graduated almost all notable composers of Slovakia. His work is marked by a special interest to opera, which remains a fairly rare phenomenon for the music of the XX century. Moreover, as his task he set the creation of such musical language that would combine modern forms with the national material. The author carefully examines the stages of life and formation of the creative principles of one of the renowned composers of the XX century. The main conclusions of the research consist in the fact that the creative style of Ján Cikker is distinguished by the clarity of idea, bright imagery, and inclination towards lyricism. The main theme of his work is the theme of human personality, developed in many works of various genres. The composer embodied the national theme and realized the national folklore on the highest level of composing mastery, but a special place for the Slovak culture is held by his operas.
Keywords:
Václav Talich, piano art, symphonic poems, Mussorgsky, opera, XX century, Slovak music, Ilja Zeljenka, Ján Cikker, Juro Jánošík
References (transliterated):
Šamko J. Ján Cikker. SVKL, Bratislava, 1955.
Sukhon' E. Byt' iskrennim // Sovetskaya muzyka. 1983. ¹ 12. S. 118–120.
Palovčik M. Ján Cikker v spomienkach a tvorbe. Prešov: Matúš music, 1995.
Polyakova L. Cheshskaya i slovatskaya opera KhKh veka. Kn. 2. M: Sovetskiy kompozitor, 1983. C. 123.
Polyakova L. Yan Tsikker: «Ya schitayu, chto nado pisat' muzyku o cheloveke, ego dukhovnom razvitii…» // Sovetskaya muzyka. 1971. ¹ 9. S. 133–135.
Musical Management
Reference:
Synieokyi O.V. —
Rock band as a trademark: the owners of the right to the name (analysis of the practice on resolution of the problems of coincidence in the intellectual law model “trademark a band name”
// PHILHARMONICA. International Music Journal.
– 2016. – ¹ 1.
– P. 69 - 95.
DOI: 10.7256/2453-613X.2016.1.17972 URL: https://en. nbpublish.com/library_read_article.php?id=17972
Read the article
Review:
In this article, the rock band as a trademark is being analyzed from the systemic point of view for the first time in the Russian scientific literature. The author carefully examines the category “right to the band name” as an intrinsic part of the metasystem of musical communications. A special attention is given to the examination of the rock band within the dynamics of the internal and external communications with presentation in form of a special hyperstructure with horizontal and vertical connections within the sociocultural space. The chronological boundaries cover the period from 1965 to 2015 (50 years). As a result of the conducted research, the author concludes that the dynamics of the intellectual law model “trademark a band name” carries not only musical legal characteristics, but also the peculiarities of the historical time and regional-national specificity. All theoretical claims and conclusions are based on and illustrated by the examples from the history of musical industry and the practice of rock music. One of the corner stones of innovations is the statement of the final thesis on the fact that there are various versions and schools on the use of the “right to the band name” that have formed in the musical industry, which can be presented in the form of a “mosaic system” that does not always act according to legal precepts equally understood by all subjects of these legal relations (including the so-called “random coincidental band names”).
Keywords:
Rock band, Pseudoname, Right to name, Musical industry, Recording industry, Communications, Album, Music project, Intellectual property right, Lawsuit
References (transliterated):
Tesakova N. Imya sobstvennoe. Problemy zashchity intellektual'noy sobstvennosti v shou-biznese / N. Tesakova // Laboratoriya reklamy, markeninga i PR: Al'manakh. 2007. [Elektronnyy resurs] – Rezhim dostupa: http://www.advlab.ru/articles/article627.htm.
Vasina V.S. «Rolling Stoun» : ot kontrkul'tury do meynstrima / V.S. Vasina // SShA i Kanada : ekonomika, politika, kul'tura. 2013. ¹ 9. S. 63–80.
Kondrin A. «Chto v imeni tebe moem…» (Pravovaya pomoshch' muzykantam i avtoram) / A. Kondrin, I. Kondrin // Music Box. 2008. ¹ 2 (48). S. 57–60.
Manyakhin A. Drugie “Sabbaty” (ili Zabytye melodii dlya “Khammonda-IX”) / A. Manyakhin // InRock. 2015. ¹ 1. S. 16–18.
Impaler V. KING CRIMSON: Proekt veka / V. Impaler // InRock. 2014. ¹ 1. S. 18–20.
Impaler V. Markus Royter (STICK MEN, CRIMSON PROJEKCT): Retsept muzykal'nogo supa / V. Impaler, E. Savitskaya // InRock. 2014. ¹ 1. S. 32–35.
Barclay S. The Complete & Independent Guide to the Eurovision Song Contest 1956–2015 / Simon Barclay. Publisher: Lulu.com (June 20, 2015). 286
Musical Management
Reference:
Synieokyi O.V. —
Rock band as a trademark: the owners of the right to the name (analysis of the practice on resolution of the problems of coincidence in the intellectual law model “trademark a band name”
// PHILHARMONICA. International Music Journal.
– 2016. – ¹ 1.
– P. 96 - 120.
DOI: 10.7256/2453-613X.2016.1.18740 URL: https://en. nbpublish.com/library_read_article.php?id=18740
Read the article
Review:
In this article, the rock band as a trademark is being analyzed from the systemic point of view for the first time in the Russian scientific literature. The author carefully examines the category “right to the band name” as an intrinsic part of the metasystem of musical communications. A special attention is given to the examination of the rock band within the dynamics of the internal and external communications with presentation in form of a special hyperstructure with horizontal and vertical connections within the sociocultural space. The chronological boundaries cover the period from 1965 to 2015 (50 years). As a result of the conducted research, the author concludes that the dynamics of the intellectual law model “trademark a band name” carries not only musical legal characteristics, but also the peculiarities of the historical time and regional-national specificity. All theoretical claims and conclusions are based on and illustrated by the examples from the history of musical industry and the practice of rock music. One of the corner stones of innovations is the statement of the final thesis on the fact that there are various versions and schools on the use of the “right to the band name” that have formed in the musical industry, which can be presented in the form of a “mosaic system” that does not always act according to legal precepts equally understood by all subjects of these legal relations (including the so-called “random coincidental band names”).
Keywords:
musical project, album, communications, recording industry, music industry, right to the name, stage name, rock band, intellectual right, litigation
References (transliterated):
Sineokii O.V. Tommi Bolin: krizisy razvitiya professional'noi muzykal'noi deyatel'nosti i oborvannyi zhiznennyi put' kak predmet filosofsko-kul'turologicheskogo issledovaniya / O.V. Sineokii // PHILHARMONICA. International Music Journal. 2015. ¹ 1. S. 55-63.
Alistratova M.E. Avtorskoe pravo na muzykal'nye proizvedeniya: dis. … kand. yurid. nauk: 12.00.03 / M.E. Alistratova. M., 2012. 164 s.
Volkov O.Yu. Pravovoi institut zashchity ob''ektov avtorskikh i smezhnykh prav, vyrazhennykh v tsifrovoi forme, v Rossiiskoi Federatsii: dis. … kand. yurid. nauk : 12.00.14 / O.Yu. Volkov. M., 2010. 215 s.
Zvegintseva E.A. Pravovoe regulirovanie otnoshenii, voznikayushchikh v protsesse sozdaniya i ispol'zovaniya fonogrammy: dis. … kand. yurid. nauk : 12.00.03 / E.A. Zvegintseva. M., 2003. 215 s.
Kondakova O.V. Audiovizual'noe proizvedenie kak ob''ekt avtorskogo prava po zakonodatel'stvu Respubliki Belarus': avtoref. dis. … kand. yurid. nauk. : 12.00.03 / O.V. Kondakova ; Belorus. gosud. un-t. Minsk, 2012. 24 s.