'Musical Theatricalization in the aspect of value communication: on the issue of terminology' PHILHARMONICA. International Music Journal nbpublish.com
Eng Cn Translate this page:
Please select your language to translate the article


You can just close the window to don't translate
Library
Your profile

Back to contents

PHILHARMONICA. International Music Journal
Reference:

Musical Theatricalization in the aspect of value communication: on the issue of terminology

Kireyeva Natalia Yurievna

PhD in Art History

Associate Professor at the Department of History and Theory of Performing Arts and Music Pedagogics of Saratov State Conservatoire

410012, Russia, g. Saratov, Petr Stolypin Avenue, 1.

sanata1004@yandex.ru

 

 

DOI:

10.7256/2453-613X.2022.3.38054

Review date:

12-05-2022


Publish date:

05-06-2022


Abstract: The object of study is musical theatricalization, which is considered from the perspective of value communication. The novelty of the research lies in the theoretical development and introduction into scientific circulation of the generalizing concept of musical theatricalization, which allows combining genre dominants of various aesthetic activities in its field. The concept of musical theatricalization is appropriate and helps to cover all the available variety of musical and theatrical material without being constrained by historical and specifically professional frameworks. Musical theatricalization is based on musical and theatrical creativity as a conscious synthetic (in art) or unconscious syncretic (in folklore) form of expression of a multidimensional human potential. Musical theatricalization includes various forms of musical and theatrical performances and musical and theatrical genres formed during their evolution. Musical theatricalization acts as a genre class in which there are stable and mobile genre features. The musical and theatrical beginnings become axial, which can manifest themselves in different forms, changing the ratio of musical and theatrical means of expression. There is a movement of the theatrical component: from the minimal manifestation of theatricality in a musical work (the inclusion of kinesthetic means of expression) to the stage production of an opera performance and even a mystery. The study of musical theatricalization is carried out from the position of functional relativity, which allows us to determine the degree of importance of the phenomenon of art for individual subjects who are in a communicative situation. The same work can have different degrees of value depending on the historical and communicative context and, accordingly, on the functions that a particular work acquires. The aesthetic and anthropological value of a piece of music is determined by the functional mood of the addressee at a certain moment. The discrepancy between the functional mood of the participants of the communicative act for various reasons leads to a loss of the quality of communication and, as a consequence, to discrepancies in the evaluation of the artwork, the emergence of functional asymmetry.


Keywords:

spiritual values, musical perception, choral theater, value communication, the system of functional relativity, opera, instrumental theater, genre class, genre, musical theatricalization

This article is automatically translated. You can find original text of the article here.


References
1.
Bakhtin M. M. Aesthetics of verbal creativity / M. M. Bakhtin; [note by S. S. Averintseva, S. G. Bocharova]. 2nd ed. Moscow: Art, 1986. 444 p.
2.
Bazhenova I. V. Communication in the modern musical theater / I. V. Bazhenova // Journal of MGUKI. 2018. 3 (83). P. 88-96.
3.
Berezovchuk L. N. Musical genre as a system of functions (psychological and semiotic aspects) / L. N. Berezovchuk // Problems of musicology. Issue 2: Aspects of theoretical musicology: collection of scientific papers. L.: LGITMiK, 1989. P. 95-122.
4.
Berezovchuk L. N. Functional-semiotic approach in the theory of genre (analysis of the composer's work with genre based on the symphonic heritage of D. D. Shostakovich) / L. N. Berezovchuk // Soviet music of the 70s and 80s. Aesthetics. Theory. Practice: collection of scientific articles. L.: LGITMiK, 1989. P. 4-31.
5.
Bondarenko N. B. Ontology of the Mazurka genre in the works of F. Chopin: dis. ... cand. art criticism: 17.00.02 / Nina Borisovna Bondarenko. Saratov: SGK named after L. V. Sobinov, 2017. 214 p.
6.
Wagner R. Public and popularity / R. Wagner; translated from German by O. Smolyan // Selected works. Moscow: Art, 1978. P. 625-652.
7.
Varlamov D. I. Typology of traditions in culture and art / D. I. Varlamov // Ontology of art: Selected articles 2000-2010. Moscow: Composer, 2011. 316 p.
8.
Vasiliev A. Z. Genological problems of artistic culture (to the methodology of studying the genre) / A. Z. Vasiliev // Art culture and art. Methodological problems: collection of scientific papers. L.: LGITMiK, 1987. P. 122-135.
9.
Vyzhletsov G. P. Axiology of culture / G. P. Vyzhletsov. St. Petersburg: St. Petersburg State University, 1996. 150 p.
10.
Gudimov D. B. Formation and development of the Russian cello school in the context of the European tradition: dis. ... cand. art criticism: 17.00.02 / Gudimov Dmitry Borisovich. Moscow, 2015. 290 p.
11.
Evin I. A. Art as a complex self-organizing system: abstract of the dissertation of Dr. Philos. Sciences: 09.00.04 / Evin Igor Alekseevich. Moscow, 2009. 29 p.
12.
Zhurkov M. S. The evolution of the communicative space stage spectator in the history of the national theater: dis. ... cand. culturology: 24.00.01 / Zhurkov Maxim Sergeevich. Krasnodar, 2022. 169 p.
13.
Kazantseva L. P. Fundamentals of the theory of musical content / L. P. Kazantseva. Astrakhan: AGK, 2009. 367 p.
14.
Konetskaya V. P. Sociology of communication / V. P. Konetskaya. M.: International university of Business and Management (Brothers Karich), 1997. 302 p.
15.
Korolevskaya N. V. Word and music: in the spaces of meaning / N. V. Korolevskaya. Saratov: SGK named after L. V. Sobinov, 2020. 218 p.
16.
Kushnarenko Ya. V. Justification of axiology in the context of non-classical rationality: dis. ... candidate of Philos. Sciences: 09.00.01/ Kushnarenko Yana Vladimirovna. Tomsk, 2004. 183 p.
17.
Losev A. F. History of ancient aesthetics. Early Hellenism / A. F. Losev. Kharkiv: Folio; Moscow: ACT, 2000. 960 p.
18.
Loseva-Demidova E. S. Opera art as a factor in the formation of value orientations of the audience: abstract. dis. ... cand. social sciences: 22.00.06 / Loseva-Demidova Ekaterina Sergeevna. Moscow, 2010. 31 p.
19.
Lotman Yu. M. The structure of a literary text / Yu. M. Lotman // About art. SPb.: IskusstvoSPb, 2005. P. 14-288.
20.
Lotman Yu. M. Art ensemble as a household space / Yu. M. Lotman // Decorative art of the USSR. 1974. No. 4. P. 48-50.
21.
Mamardashvili M. K. Classical and non-classical ideals of rationality / M. K. Mamardashvili. Moscow: Labyrinth, 1994. 90 p.
22.
Nazaikinsky E. V. Style and genre in music: studies. Textbook for students of higher educational institutions / E. V. Nazaikinsky. Moscow: VLADOS, 2003. 248 p.
23.
Ogurtsov A. P. Phenomenology / A. P. Ogurtsov // Philosophical Encyclopedic dictionary. Moscow: Soviet Encyclopedia, 1989. P. 687-688.
24.
Petrov V. O. On the concept of musical genre in the context of social communication [Electronic resource] / V. O. Petrov // PHILHARMONICA. International Music Journal. 2018. No. 4. P. 18-23. URL: https://nbpublish.com/library_read_article.php?id=28525
25.
Popova T. V. Musical genres and forms / T. V. Popova. 2nd ed. Moscow: Muzgiz, 1954. 384 p.
26.
Sartre J.-P. Being and nothingness: The experience of phenomenological ontology / J.-P. Sartre; trans. from fr., preface, note V. I. Kolyadko. M.: Republic, 2000. 639 p.
27.
Serov A. N. Selected articles: in 2 vols. Vol. 1. / A. N. Serov. M.; L.: Muzgiz, 1950. 625 p.
28.
Sokolov O. V. On the concept of content in music (in dialogue with E. Ganslik and G. Laroche) / O. V. Sokolov. Nizhny Novgorod: NNGK named after M. I. Glinka, 2013. 40 p.
29.
Sokhor A. N. The aesthetic nature of the genre in music / A. N. Sokhor. M.: Music, 1968. 103 p.
30.
Sokhor A. N. Sociology and musical culture / A. N. Sokhor. M.: Soviet composer, 1975. 202 p.
31.
Stolovich L. N. Beauty. Goodness. Truth: An essay on the history of aesthetic axiology / L. N. Stolovich. M.: Republic, 1994. 463 p.
32.
Toropova A. V. The intonating nature of the psyche: musical and psychological anthropology: monograph / A. V. Toropova. 2nd ed. Moscow: MPSU, 2018. 338 p.
33.
U Liyan. Musical theater in the space of intercultural communication: dis. ... cand. art criticism: 17.00.02 / U Liyan. Novosibirsk, 2022. 218 p.
34.
Fomina Z. V. On the question of methods of comprehending art / Z. V. Fomina // Journal of the Saratov Conservatory. Questions of art history. 2018. No. 19. P. 93-98.
35.
Tsareva E. M. Musical genre / E. M. Tsareva // Musical Encyclopedia / edited by Yu. V. Keldysh. Vol. 2: GondolierKorsov. Moscow: Soviet Encyclopedia: Soviet composer, 1974. P. 383-388.
36.
Zukkerman V. A. Musical genres and fundamentals of musical forms / V. A. Zuckerman. Moscow: Music, 1964. 159 p.
37.
Yakupov A. N. Theoretical problems of musical communication / A. N. Yakupov. Moscow: MGK; Magnitogorsk: Magnitogorsk. state Music.-ped. in-t, 1994. 288 p.
38.
Baroni . Music, musicality, musilanguage / . Baroni // Musicae Scientiae. 2008. 12. . 197218.
39.
Bonnasse‐Gahot L. Efficient Communication in Written and Performed Music / L. Bonnasse‐Gahot // Cognitive Science A Multidisciplinary Journal. 2020. 44 (4). e12826. Doi: 10.1111/cogs.12826.
40.
Craig R. T. Communication Theory as a Field / R. T. Craig // Communication Theory. 1999. Vol. 9. Iss. 2. P. 119161.
41.
Ingarden R. What we do not know about values / R. Ingarden // Man and values. München: Philosophia Verlag, 1983. . 131163.
42.
Miell D., MacDonald R., Hargreaves D. Music Communication / D. Miell, R. MacDonald, D. Hargreaves. Oxford: Oxford University Press, 2002. 250 .
43.
Schubert E. The fundamental function of music / E. Schubert // Musicae Scientiae. 2009. 13. P. 6381.