Scientific herald of Tchaikovsky National Music Academy of Ukraine最新文献

{"title":"Semiological Interpretation of the Electroacoustic Music Phenomenon","authors":"Marius Salynas","doi":"10.31318/2522-4190.2021.132.249964","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.132.249964","url":null,"abstract":"As evolving technologies become more massive and more easily accessible to virtually every user, as the speed of the global Internet grows faster and more, the composer’s relationship with these capabilities takes on new meanings. It was not so much the issues of accessibility and quantity that became relevant, but rather the issues of quality, artistic value, and the uniqueness of creation. This article attempts to review the principles of composing electroacoustic music based on semiological theory. Music, as a message, passes through the various stages of creation, transforming the consciousness of both its sender and receiver. It is important to capture, highlight and define these processes. The identification of oneself as a creator and a clear, unambiguous perception of one’s work provides a clear ideological and esthetic basis for new means of composition. Electroacoustic music opens the way to hear any possible sounds, infinity of sounds — from realistic to surreal. The listener’s traditional connection to physical sound is often severed: electroacoustic sound forms and qualities usually do not reveal the original sound source and cause. Composers face the dilemma of how to ground a new esthetic field in the wide-open world of sounds, how to develop more clearly defined methods of sound creation, how to understand and explain electroacoustic music.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"07 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122658937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Structural-Syntactic Organization of Thematic and Techniques of Composition: Aspects of Interaction","authors":"A. Tikhomirova","doi":"10.31318/2522-4190.2021.132.249971","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.132.249971","url":null,"abstract":"Relevance of the study. The study of thematic in modern musical composition as the most important element of form creation seems relevant and in demand for modern musicology. In the existing scientific works, only certain issues of its research are mentioned (V. and Yu. Kholopov, V. Valkova, N. Ryzhkova, T. Kyuregyan, V. Zaderatsky, G. Grigorieva, E. Ershova, S. Goncharenko etc.), however, there is no special work devoted to this problem. Among the important and topical issues, many remain debatable today. Some of them concern terminology, the use of the concept of “thematiс” in relation to a completely new musical language, others — the multidimensional nature of the study of musical thematiс in terms of semantics, syntax of form in terms of various composition techniques. The study of the thematic organization on the example of the works of modern Belarusian composers makes it possible to include the cultural and stylistic processes taking place in Belarusian music today in the context of the most important trends of Modern music. \u0000The scientific novelty of the study consists in: 1) a systematic approach to the concept of thematic as a category of writing in relation to modern musical composition; 2) consideration of the principles of interaction of macro- and micro-thematic; 3) analytical study of the works of the Belarusian composer E. Gutina in the chosen perspective of analysis. \u0000 The purpose of the research is to consider certain aspects of the interaction of musical thematic and composition techniques in two main types of structural and syntactic organization: macrothematic and microthematic. \u0000The research methodology is based on the interaction of general scientific methods (system method, deduction method, etc.) with methods developed in theoretical musicology. We are talking, first of all, about the method of functional analysis in relation to musical thematic and musical syntax. Also significant for this study are the musical-theoretical works devoted to the problems of the author's style, form and techniques of composition in modern music, as well as the theoretical works of the composers themselves on the problems of compositional technique. \u0000 The practical significance of the research can be reflected in the use of this research in university courses of musical and theoretical orientation related to the study of modern music. \u0000 Conclusions and prospects for further research. The interaction of micro- and macrothematic manifests itself in different ways in various types of composition, an example of which is the compositions of the Belarusian composer E. Gutina “Wind Music” (sonorous composition) and “Majolica” (minimalist composition). At the same time, the interaction of two seemingly opposite large-scale structural and syntactic principles of the organization of thematic reveals their close relationship in the conditions of various composition techniques, both in the aspect of shaping and in the aspect of the specifics of musical","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131816961","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Unfinished Work as Aesthetic and Musical Phenomenon: about Interrelation of Genre, form and Technique of Composition","authors":"Lyudmila Zapevalova","doi":"10.31318/2522-4190.2021.132.249951","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.132.249951","url":null,"abstract":"The relevance of the study is dictated by the interest of contemporary creators and researchers in various fields of science to the problem of unfinished works. The appearance of the latter is associated with the historical situation and philosophical and aesthetic ideas of the time, with the psychological characteristics of the Creator's personality and the peculiarities of his thinking, as well as with the originality of the individual design of the work. In musical art, a productive direction in substantiating the specifics of unfinished works is their consideration both through the “prism” of the philosophical and aesthetic ideas of the time, cultural and historical context surrounding the composer, and based on fundamental theoretical teachings. \u0000 The aim of the research is to establish and substantiate the “zones” of action and mutual influence of categories that are important and system-forming for theoretical musicology — musical genre, musical form and composition technique within the boundaries of unfinished works. \u0000The scientific novelty of the research is reported by: 1) the definition of the artistic and aesthetic phenomenon of “incompleteness”, which is universal for works of art, formulated and proposed for the first time; 2) the classification of unfinished works presented in relation to musical art; 3) analytical observations of the process of interaction of genre, form and technique of composition in conditions of various degrees of manifestation of incompleteness of musical works. \u0000The research methodology is based on the works of various fields of scientific knowledge — philosophical and aesthetic research (U. Eco, J. Gartner, etc.), works on the history and theory of art (S. Stupin, E. Abramovskikh, etc.), research in the field of theoretical and historical musicology (Y. Kholopov, E. Ruchevskaya, M. Pereverzeva). The main research methods are the general scientific observation method and the comparative method, as well as various methods of analyzing a piece of music. \u0000The results of the study reflect the following conclusion. A progressive tendency is clearly visible from work to work, which in music belongs to the category of “unfinished”: from a ghostly “hint” expressed through the genre, through a meaningful idea “underlying” the form, to the assertion of the principles of an “open work” through total interdependence genre, form and technique of composition. \u0000The study is undoubtedly of practical value. It significantly supplements and expands knowledge about some new genres that are little studied in music (fragment, sketch, etc.) and their compositional originality.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133903268","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Compositional Technique as a Tool of Political Statement in the Works of Louis Andriessen","authors":"V. Vyshynskyi","doi":"10.31318/2522-4190.2021.132.249987","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.132.249987","url":null,"abstract":"Relevance of the study. The work of Louis Andriessen, a Dutch composer, is regarded as a significant contribution to the formation of music culture of the second half of the 20th century. Despite his influence, however, there are practically no research papers in domestic musicology that would analyze Andriessen’s work and personality or his professional musical and political activities. One of the main research topics related to Andriessen’s work is the influence of politics on music. The topic itself is quite particular and somewhat controversial because it always leaves a lot of questions that need further clarification, may require a different perspective and a new approach. One of such questions with a controversial view is a discussion of how compositional techniques can be influenced by and formed based upon the composer’s political views. \u0000 Main objective of the study. Taking into consideration Louis Andriessen’s own experiences, analyze how his compositional techniques created political content of his works, and particularly the writing of the cantata “De Staat” (“The Republic”) by Plato. \u0000Methods. The following were used in the research analysis: biographical (in the analyses of the style and work of the composer); historical (in the analyses of the cultural and socio-political context); comparative (in the analyses of the political and aesthetic views and standpoints of artists); analytical (in the analyses of the musical works). \u0000Results/findings and conclusions. There were several reasons that led Louis Andriessen to appeal to minimalism. The main reason was the composer’s desire to respond to his fellow composers that themselves were searching for their own applicable techniques and style to disseminate political ideas. Minimalism was particularly attractive to the composer because it was relevant, easily accessible to the general public, and reflective. At the same time, it was politically appropriate and democratic. The musical and political activism of Andriessen was aimed at creating a new type of communication and relationships between a composer and a performer, a performer and audience, and ultimately at creating a new musical community. This new type of communication and community is reflected in the composer’s work “The Republic”. For performers in particular, “The Republic” became a practical exercise similar to the style of Lehrstück B. Brecht, which allowed performers to adapt to new musical interactions proposed by the composer. Andriessen was able to achieve this goal by using hocket techniques — i. e., by removing the role inequality among performers and emphasizing the expressive importance of each performer in a musical composition. However, Andriessen’s compositional techniques used in “The Republic” to reflect his political views did not support, but rather emphasized the composer’s contradictory political position and in particular his binary position to Plato’s views on the place of music in politics. Neverthele","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116283735","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The concept of “Linguistic structure” as the basis of the Methodic for analyzing Vocal Composition","authors":"I. Ivanova","doi":"10.31318/2522-4190.2021.132.249975","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.132.249975","url":null,"abstract":"Relevance of the study. In the art vocal music of the second half of the 20 th — early 21st centuries the approaches to the selection of verbal texts are changing, they become the fundamental principle of musical works. The variety of verbal lines gives rise to a variety of composer’s work with them. Composers offer different, including previously unused, ways of working with a verbal text. In this regard, it is necessary to find new methods for the analysis of modern compositions, because traditional methods are no longer suitable for such material. \u0000The purpose of the study. The using of the concept of linguistic structure for the analysis of modern vocal scores and its approbation on the example of “Choven” (“Boat”) for three voices a cappella by Alla Zagaykevych is proposed. \u0000 Methods. The article is based on general scientific and especially scientific methods. Among general scientific methods descriptive, comparative, systemic ones are applied. Among special scientific methods structural and functional ones are used. \u0000The results and conclusions. The conception of “language structure” was developed in structural linguistics and is now common in linguistics. It is based on the consideration of verbal language as a holistic system, which is divided into four tiers: phonological, morphological, lexicalsemantic and syntactic. Each tier has a main element, which is the smallest component in its layer. The composer, choosing a specific verbal text, works with it, applying changes at different language levels, which leads to individualization in the interpretation and sound embodiment of the verbal source. Based on the concept of language structure, a method of analysis of a modern vocal work is proposed, which in the article finds approbation on the example by Alla Zagaykevycs work “Choven” [“Boat”] on the text by Mykola Vorobyov’s poetry. It is proved that the composer works only on three language levels: phonological, morphological and lexical-semantic. It was found that when the composer is working at the phonological level it is important to highlight a separate phoneme, presenting its sound color. At the morphological level, the key is the morpheme, which becomes the main expression of the image. If M. Vorobyov works only at the lexical-semantic level, then A. Zagaykevych develops two other levels (phonological and morphological), based on the fact that the lexeme is a combination of smaller quantities. To identify the core of the lexeme, the composer breaks it down into smaller details: from the most important lexeme “choven” the phoneme “ch” stands out, which becomes the core of the whole composition.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125764574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Borrowed and Original Techniques in the Trio by Leonid Hrabovsky","authors":"O. Shchetynsky","doi":"10.31318/2522-4190.2021.132.249978","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.132.249978","url":null,"abstract":"Relevance of the study. During several years that preceded the creation of the Trio (1964), Leonid Hrabovsky wrote many other works in various genres and forms, ranging from suites and a sonata for solo instruments, a song cycle, and a cappella choruses, to large-scale compositions for orchestra and for mixed choir with orchestra, and even two one-act operas (piano scores). The composer’s stylistic priorities had been rapidly and strikingly evolving from “social realism with a human face” as evident in the Four Ukrainian Songs, towards a much more radical “sharp” expressionism and constructivism. This evolution caused the necessary changes in the techniques utilized by the composer. Hrabovsky was deeply impressed by the article Genealogia nowej muzyki (Genealogy of the new music) of the Polish musicologist Tadeusz Zieliński that was published in the magazine Ruch muzyczny, n. 20–21, 1963. Zieliński stated that, after historical periods of monody, polyphony and functional harmony, a new sonoric and timbral era had come. These ideas inspired Hrabovsky to move towards the radical avant-garde. \u0000The object of this research is the Trio by Leonid Hrabovsky. \u0000 The purpose of the study is to reveal the inherent features that differentiate the piece from other avant-garde works of the early 1960s. \u0000Methods of research include technical analysis of the musical form and its dependence upon the pitch organization of the work, as well as comparative analysis. \u0000 The results and conclusions. Being composed during several days in the spring of 1964, Trio became the first piece of Hrabovsky’s written in a definitely avant-garde style. It was premiered in 1966 and since then has become one of the composer’s most frequently performed works. The reason for such a success lies in the original concept of the piece that essentially differs from the other avant-garde works of that time. When discussing Trio, Hrabovsky always stresses the influence of the Polish avant-garde music attracting him during that period. Indeed, he borrowed a lot of devices from Miniatures for violin and piano by Krzysztof Penderecki, a score Hrabovsky knew and studied at that time. However, a comparative analysis of the two works reveals serious differences between them. While Penderecki operated with purely timbral (sonoric) objects and did not pay special attention to the pitch organization, Hrabovsky composed almost a classical three movement suite with the first movement in a ternary form and the last movement in the binary form. The classical principles of the pitch organization and the distribution of the pitch structures in Trio are similar to those in tonal music. These principles have been unusually applied to the sound material that has nothing in common with tonality. A combination of the traditional and new approaches to the form provided Hrabovsky’s Trio with unique qualities which made it not only an interesting artifact of the avant-garde period but one of the most valuable and a","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128157253","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Chilean Guitar Music: Modern Reconstructions of Genre Traditions","authors":"T. Filatova","doi":"10.31318/2522-4190.2021.132.250001","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.132.250001","url":null,"abstract":"The relevance of the article is to deepen the analytical aspect of knowledge about Chilean guitar music of the second half of the 20th — early 21st centuries in the context of the reconstruction of genre traditions on the example of works by Juan Antonio Sanchez, Gustavo Becerra-Schmidt, Javier Contreras. \u0000 Main objective of the study is to identify the leading genre traditions of Chilean guitar music and reveal their modern reconstructions in the works of famous authors. \u0000The methodology includes methods of historical, cultural, comparative, phenomenological, as well as structural and functional analysis (for a contextual consideration of the creative activities of composers, the study of genre and stylistic elements of the Chilean traditions of folk music, professional-academic and non-academic origin in their influence on European genre models). \u0000Results and conclusions. The cultural and historical environment of the formation and development of the Chilean academic guitar repertoire of the second half of the 20th — early 21st centuries is characterized, the links with the performing achievements of domestic virtuosos are determined. The work of composers Juan Antonio Sanchez, Gustavo Becerra-Schmidt, Javier Contreras is considered in the discourse of modern processes of reconstruction of traditions, approbation of innovative methods and techniques of writing of the European avant-garde, use of the resources of American non-academic art. The national genre roots of thematic phenomena have been identified in the process of studying music scores and audio recordings of works, which go back to the primary authentic layers and influence musical vocabulary, creating the foundation of its national identity: Creole cueca, tonada with Iberian origins and hemiole rhythmic archetypes, in particular, in the Sonata for guitar by H. Sanchez; elements of the Araucanian ritual chants of the indigenous Mapuche population in the Fourth Sonata by G. Becerra-Schmidt, as well as the rhythmic formula of the Afro-Brazilian batukada in the finale of the Third Sonata by G. Becerra-Schmidt. It was found that secondary genre and style layers are formed in line with European concert genres: sonatas, concerts, cycles, the compositional and dramatic profile of which changes under the influence of the organic nature of the musical material, its transcultural ethnic ties. Jazz and fusion music-making with elements of the Chilean musical is defined as an equally important genre-style resource. The interferential nature of the inheritance of the authentic cueca tradition through its modern versions created by the legendary Violeta Parra leads to targeted citations, allusions in modern guitar works. Analytically substantiated are the conclusions that thanks to the numerous mosaic carnival contrasts, the abundance of colorful ethno-genre mixtures of Iberian, Indian, African American folklore, to which it is possible to connect the poetics of fusion or experimental percussion te","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134138334","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Verbal-textual polyphonic technique in the Ukrainian choral music (on the example of music on Taras Shevchenko’s poetry)","authors":"Lesia Pivtoratska","doi":"10.31318/2522-4190.2021.132.249998","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.132.249998","url":null,"abstract":"Relevance of the study. In the 20th–21st centuries, searches in the field of sonoristics led to an unconventional interpretation of the sound of musical instruments and the human voice. As a result, contemporary composers are actively experimenting with vocal performance techniques. The timbresonorous quality of speech contributes to the emergence of new polyphonic techniques. The use of verbal-textual polyphonic techniques in the music of modern Ukrainian composers is becoming more and more widespread. This explains the relevance of this study. The scientific basis of the article is the insufficiently studied concept of verbal-textual polyphony by I. B. Pyaskovsky. \u0000 Main objective of the study. The objective of this study is to examine the existing manifestations of verbal-textual polyphonic technique in Ukrainian choral music a cappella on the example of works based on the texts of the poetic cycle “Psalms of David” by T. Shevchenko. The scientific novelty lies in the fact that the work is the first to consider verbal-textual polyphonic techniques in the works of Ukrainian composers on the texts of “Psalms of David” by T. Shevchenko. \u0000Methodology. The following methods of research are used: versioning (analysis of the versification features of the original poetic source), semantic (interpretation of the semantic content of the musical expressiveness means, their correlation with the text), typological (based on classification of the varieties of the studied technique). \u0000Results and conclusions. The main feature of verbal textual polyphony is the phonic interpretation of speech. This type of polyphonic technique is manifested in the work with text phonemes and syntagmas, which, as a rule, have intonation-rhythmic design. The prerequisites for this type of polyphony in musical works based on the texts of T. Shevchenko are the musicality of his poetry, as well as a specific rhythmic organization — the so-called 14-syllabic kolomijka verse. All examples of this writing technique can be divided into two groups, depending on the compositional work at the phonemic or syntagmatic levels. Phonemic compositional work is carried out by segmentation, vocal accentuation and temporal extension of the sound of the syllable. Work at the syntagmatic level is embodied using the following techniques: simultaneous multi-rhythmic presentation of the same text, text imitation, ostinato, polyphonic techniques of vocal intonation on a verbal and extra-musical basis. The analysis carried out indicates that the polyphonic technique in the studied works of Ukrainian composers is formed taking into account the versification features of the Shevchenko's poetry. The results of these observations can be used in the study of the manifestations of verbal textual polyphony in vocal-choral works on a different text basis","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131301240","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Metaphysics of the History of Music in the Scientific Area: Challenges of the Time","authors":"Valeriya Zharkova","doi":"10.31318/2522-4190.2021.132.249956","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.132.249956","url":null,"abstract":"The relevance of the article is determined by the desire to consider the understanding of the scientific discipline “The History of Music” in its metaphysical dimension. “Metaphysics of the History of Music” appears as a modern discipline that opens new layers of meaning. It deals with problems that combine the musical art with philosophy, anthropology, culturology, aesthetics, but its foundation is determined by the musicological view on the musical artifacts. \u0000Scientific novelty. For the first time, the principles of Aristotle's teaching appear as the methodological foundation of the new discipline “Metaphysics of the History of Music”. This allows us to consider the history of music as a special way of understanding existence. The intersections of synchronous and diachronic parameters of understanding musical texts open new horizons of awareness of his “I” to the man of the 21st century. \u0000The purpose of the article is to substantiate the essential characteristics of the metaphysics of the history of music as a new scientific discipline and to determine the peculiarities of the implementation of synchronous and diachronic dimensions of musical texts in a given problem field. \u0000The research methodology includes the use of metaphysical, historical, comparative methods. \u0000Main results and conclusions. The history of music gives man endless opportunities to ask himself about the essential principles of existence, so at the present stage he is looking for ways in a new direction, which could be called “Metaphysics of the History of Music”. \u0000“Metaphysics of the History of Music” establishes the connection of phenomena each time in a new way, which reveals incomprehensible (to the superficial view of) the laws of the musicaltemporal spiral. Then each fact doesn’t remain a part of the information “herbarium” but is clarified by a living perception of “here and now”. \u0000Due to this context, it is necessary to emphasize that the main factor in making such connection is the live reproduction of all possible combinations. The history of music must unfold in such way as to enable modern man not only to feel the true “taste” of musical events, but also to illuminate them by itself, that is, to create an act that M. Mamardashvili calls the “fullness of interaction”. \u0000Such direction of everyone's spiritual efforts corresponds to the acute challenges of the time. It defines a new position of a human being at the intersection of what is fixed in the narrative about what has “already happened” and what is unfolding through the meanings of the “here and now”. So, it’s established when nothing exists in the automatic mode of perception. In a model of linear coupling that is fundamentally not amenable to horizontal configuration, it is important to have a vertical dimension, which creates Homo Metafisicus as a person who asks essential questions.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121932695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Richard Wagner’s Opera “Tannhäuser” in the Director’s Interpretation of Romeo Castellucci","authors":"O. Honchar","doi":"10.31318/2522-4190.2021.131.243226","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.131.243226","url":null,"abstract":"The relevance of the study lies in the systematization of the expressive means of the director’s interpretation of R. Castellucci, who, using the semantic elements of Dionysianism and Appolonism, Pantheism and Christianity — the main pair of oppositions for the European cultural space, has compared not only the forms of expression, but also the concepts of art, Tannhäuser’s inability to make a choice and be successful. He sees positive elements in each of them, but without accepting them as a whole, always remains on the verge, being rejected by the system, unwilling to completely immerse himself in it. R. Castellucci interprets Tannhäuser’s image as a victim of the conventions of these systems.\u0000The novelty of the research lies in the analysis of R. Castellucci’s producing, which is not substantially studied in Ukrainian musicology, although it opens a completely new interpretation of Tannhäuser. The figurative content of the main opposing forces here is fundamentally different from their previous incarnation on the opera stages of the world.\u0000The main objective of the study was to penetrate into the general interpretive vision of the work — its maximum symbolization, the use of figurative and semantic elements and their combinations in the work, which constitute the semantic field of the production, having a wide variance of perception and not directly following the plot, avoiding narrative and at the same time not deviating from the author’s text. The theme of love in its sensual and spiritual, as well as art and its forms of expression — the opposition of these criteria by R. Wagner is significantly complicated through the interpretation of them by R. Castellucci in postmodern discourse, where a set of pre-meanings gains direct meaning.\u0000So Venus and Venusburg, for R. Wagner, are a symbol of sensuality, and the director exaggerates the sensual to the meaning of “indecent”, where “hyper” becomes the primary characteristic, which is inherent in the elements of the production as a whole. The study was done by using semiotic principles of the director’s work and their semantic load determined the main methodological approaches of research in accordance with the works of J. Baudrillard, which were based on the algorithm for the structural analysis of an opera work developed by M. R. Cherkashina-Gubarenko.\u0000Elizabeth is the opposition to this discourse, and the Wartburg society is the personification of excessive rationalization, which makes it mechanized and devoid of humanity, impervious to other points of view, that is, totalitarian. In the end, Tannhäuser and Elizabeth are freed from the irreconcilable tension between discourses, the end of which becomes a deeply symbolic non-existence and stratification of space, time, performer and character. In any case, Tannhäuser does not really renounce his beliefs; the blossom of the bishop’s staff as a sign of divine grace refers not so much to Tannhäuser as to labeling his views as permissible in a variety","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"9 3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131885325","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}