Studia Culturae最新文献

{"title":"Музыкальность эстетики М. М. Бахтина в создании актуальной образовательной модели","authors":"I. V. Sazina","doi":"10.31312/2310-1245-2022-54-96-113","DOIUrl":"https://doi.org/10.31312/2310-1245-2022-54-96-113","url":null,"abstract":"New educational models will have to respond to the need for a person to preserve himself as a living holistic being and as a person with an “inner Logos” growing spiritually. When there are no “pattern” like the “musical ethos” and “paideia” that are philosophically meaningful in ancient culture, it becomes a matter of theory to create an actual educational model and determine in its space the corresponding “value center” related to the “infinity of the universal culture-creative task”. The article argues that a productive step in this way can be the understanding of the experience in the history of the national school of creating educational models with a pronounced «value center». This is, first of all, the project of the “school of the dialogue of cultures”, defined by the authors (V. S. Bibler) in relation to the ideas of M. M. Bakhtin, and carried out at the end of the 20th century by a circle of humanities scholars and domestic school practices. The author believes the quality of M. M. Bakhtin’s aesthetic terminology is its “musicality” that will help to preserve the practical (project) potential and the ability to inspire the creation of relevant educational models in the new Russian conditions. The corresponding conclusion is drawn from M. M. Bakhtin’s explanation of the “speech genre of lyrics”, based on its musical basis (from the “spirit of music”) and consideration of the concept of “architectonics” in the analysis of music as an art form. The main “value center” in Bakhtin’s textes is a person in the “uniqueness” of his being; and the definition finds its resolution in the “musicality” of thought in the essay “On the Philosophy of Act” when M. M. Bakhtin talks about the “architectonic center of aesthetic vision”. The project of an educational model with such a “value center” (while retaining all the practical significance of real educational procedures, including, as today, in the form of digital educational platforms) appears as a “unity” that affirms: integrity, creativity, authenticity, dialogue, understanding, “participativeness”, “principles of humanitarian thinking” (opening, among other things, opportunities for a better understanding of the terminology by the project executors). The musicality of thinking in the design of an educational model means not only an appeal to human feeling, it implies not only “musical education” in an elementary and formal educational sense, but also refers to one of the key conditions for education and “educationality”, the formation in school everyday life of what Bakhtin formulated as “the architectonic center of aesthetic vision”.","PeriodicalId":224299,"journal":{"name":"Studia Culturae","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131074234","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":"Амбивалентность социальных ролей итальянских musico","authors":"S. G. Kolenko","doi":"10.31312/2310-1245-2022-54-35-56","DOIUrl":"https://doi.org/10.31312/2310-1245-2022-54-35-56","url":null,"abstract":"The rich history of Italian opera, which marked the beginning of the triumphant spread of this musical genre around the world, contains a phenomenon little studied in the history of music — these are castrato singers. The paradox is that these singers — whom few people know about today — were not only indispensable performers of the first operas, but did not leave the Italian stage for two centuries. Moreover, many of them enjoyed great success, were known in many European cities. The author of the article makes an attempt at a sociological study, which to some extent answers the question of why they were forgotten.","PeriodicalId":224299,"journal":{"name":"Studia Culturae","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116669062","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":"Анатолийский рок: диалог культур","authors":"E. V. Kosilova","doi":"10.31312/2310-1245-2022-54-159-160","DOIUrl":"https://doi.org/10.31312/2310-1245-2022-54-159-160","url":null,"abstract":"","PeriodicalId":224299,"journal":{"name":"Studia Culturae","volume":"167 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115324515","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":"Сравнение музыкальных характеристик русских народных песен и китайских народных песен. Особенности развития музыкальной культуры России","authors":"Zh. Yanzhan, G. Jingyu, Zh. Shanju","doi":"10.31312/2310-1245-2022-54-164-165","DOIUrl":"https://doi.org/10.31312/2310-1245-2022-54-164-165","url":null,"abstract":"","PeriodicalId":224299,"journal":{"name":"Studia Culturae","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128286131","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":"Звук как категория имагинативной эстетики","authors":"K. V. Krincius","doi":"10.31312/2310-1245-2022-54-161","DOIUrl":"https://doi.org/10.31312/2310-1245-2022-54-161","url":null,"abstract":"","PeriodicalId":224299,"journal":{"name":"Studia Culturae","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130988362","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":"Прессинг как излюбленный формат музыкального решения постановок пьесы «Ромео и Джульетта» в ХХI веке","authors":"N. I. Lesakova","doi":"10.31312/2310-1245-2022-54-57-65","DOIUrl":"https://doi.org/10.31312/2310-1245-2022-54-57-65","url":null,"abstract":"For more than four centuries, Shakespeare's tragedy «Romeo and Juliet» has been staged on theater stages around the world. The directors of different times presented the tragedy, emphasizing different meanings. The twentieth century most often considered history in a realistic aesthetic. Directors (both foreign and domestic) have always paid special attention to the musical solution of productions based on the famous tragedy, creating an incredibly organic fusion of poetic and musical lines, action and music. The musical design of the performances «Romeo and Juliet» in the domestic theater of the XXI century is a mixture of styles from opera to rock, the music of the famous ballet of the same name and ethno-music, pop and club compositions. This trend is inherent not only for the capital, but also for the peripheral scenes of the country. Critics and viewers note the excessively loud sound of the permanent and therefore intrusive sound score in the productions of the tragedy, while the all-conquering feeling of the heroes turned out to be behind the brackets.","PeriodicalId":224299,"journal":{"name":"Studia Culturae","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123976620","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":"Эволюция коллективов в металлической музыке: между творчеством и коммерцией","authors":"D. E. Prokudin","doi":"10.31312/2310-1245-2022-54-80-95","DOIUrl":"https://doi.org/10.31312/2310-1245-2022-54-80-95","url":null,"abstract":"In the consumer society, music turns into an entire industry that brings a lot of money. Having originated as an underground and being a cultural phenomenon of the last quarter of the XX century, heavy metal music finaly joined the music industry and was fully commercialized. However, metal groups are the most creative groups that compose and perform their own works themselves. The emerging contradictions between creativity and commercial success affect the fate of these groups, their creative development. At the same time, they can both maintain popularity, that is, the commitment of their fans, and lose it. In this study, based on the analysis of the commercial success of albums of some representatives of the direction of heavy metal music, I identified the main trends in the development of the creative path of these collectives, and I proposed the main archetypes of metal groups. I was taken as empirical data the most authoritative charts of the Billboard Top 200 (USA) and UK Albums Chart (UK) sales of music albums.","PeriodicalId":224299,"journal":{"name":"Studia Culturae","volume":"110 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121158603","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":"Русская философия музыки и опыт феноменологического восприятия: синестезия и психоделика","authors":"E. V. Boruta","doi":"10.31312/2310-1245-2022-54-115-127","DOIUrl":"https://doi.org/10.31312/2310-1245-2022-54-115-127","url":null,"abstract":"The main object of the article is a philosophical interpretation of the phenomenon of musical synesthesia from the point of view of the philosophy of music by N. O. Lossky and the phenomenology of M. Merleau-Ponty. The original experience of listening to music by S. A. Kuryokhin is taken as an example. The first part of the work describes the tradition and formation of the Russian philosophy of music, and as a further research instrument, the main aspects of the philosophy of music by N. O. Lossky and the phenomenology of M. Merleau-Ponty are considered. Special attention is paid to three modes of intuitive knowledge: sensual, intellectual and mystical. Lossky writes that the first two modes are located and work in the world, while the mystical intuitive mode transgresses into the Superworld. A similar scheme of perception can be traced in the existential phenomenology of M. Merleau-Ponty. The state of this transgression, transsubjectivity, musical synesthesia can be traced in the theurgic synesthesiс music of A. N. Scriabin. In this context, the musical phenomenon of S. A. Kuryokhin is considered, especially his album “Sparrow Oratorium”, which, inherits the traditions of synesthesia, transgresses it to another level — the level of psychedelia, metanoia, schizophrenic psychosis. Kuryokhin's music evokes an experience where emptiness becomes the center of being, where, due to the death of the ego and rebirth, a person finds his true essence.","PeriodicalId":224299,"journal":{"name":"Studia Culturae","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127205047","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":"Утопические дискурсы на российской оперной сцене","authors":"","doi":"10.31312/2310-1245-2022-54-158","DOIUrl":"https://doi.org/10.31312/2310-1245-2022-54-158","url":null,"abstract":"","PeriodicalId":224299,"journal":{"name":"Studia Culturae","volume":"169 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121214105","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":"Интернет как особая сфера бытования современного исполнителя классической музыки","authors":"K. S. Bakirova","doi":"10.31312/2310-1245-2022-54-11-24","DOIUrl":"https://doi.org/10.31312/2310-1245-2022-54-11-24","url":null,"abstract":"The article is devoted to the influence of the technical revolution on the development and functioning of classical music. The professional activity of modern classical music performers is strongly dependent on technical devices that became widespread in the twentieth century, when audio and video recordings became an integral part of society. The audience of the XXI century was replenished with generations of millennials and centinials who grew up surrounded by digital technologies, for whom the digitization of culture is a natural phenomenon, and acquaintance with samples of musical art on electronic platforms is comfortable. The principles of replication and transformation of unique works of art into mass production, the technical simplicity of creating and distributing amateur works on the Internet, have formed a special alternative virtual music environment. It operates according to its own rules, laws, algorithms and business models. The audience's interest in performers is measured by new categories — the number of likes and views. With the development of the Internet, Internet bloggers began to play a significant role in shaping public opinion, broadcasting their opinions to subscribers. Any technological revolution leads to changes in the social plan and the emergence of new values, as well as the necessity and inevitability of external and internal modernization of culture.","PeriodicalId":224299,"journal":{"name":"Studia Culturae","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128775587","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}