Studia Culturae最新文献

{"title":"Современное состояние и тенденции развития музыкального образования в Китае","authors":"H. Feng, V. Zheleznyak","doi":"10.31312/2310-1245-2022-54-138-156","DOIUrl":"https://doi.org/10.31312/2310-1245-2022-54-138-156","url":null,"abstract":"Music is an integral part of a culture. In China, music appeared about 8000 years ago and developed under the influence of different ethnic groups. There are 56 ethnic groups in China. Due to the geographical environment, customs and other reasons, the music of Chinese ethnic minorities has different characteristics. Ethnic music includes traditional music as well as contemporary music; it includes both Han music and ethnic music. Together with the Han people, ethnic minorities in China have created a rich and colorful musical culture; their folk songs are varied and beautiful. Throughout history, music has been very diverse and has absorbed the musical traditions of the ethnic minorities living around. At the same time, it also integrated into the musical culture of ethnic minorities, gradually forming a rich and colorful Chinese national music. However, under the influence of globalization and the unification of learning processes, traditional music is forgotten, fewer people are interested in it. The issue of the importance of preserving traditional and ethnic music, as well as the current state and development trends of music education in China, will be analyzed in this article. In modern times, however, in order to preserve all the diversity, it needs the support of the state. In the international arena, the need to preserve and develop national music in music education is of great practical importance. Music is also one of the important ways in which China enters the world stage. Therefore, the training of students, schoolchildren and even children is extremely necessary. It is especially important for music teachers themselves, as heirs of culture, to orient students to the rich and colorful folk music of China, to form in the minds of students an understanding of the need to protect the intangible heritage of national culture, and to maintain their enthusiasm for studying national musical culture. The preservation and development of ancient musical traditions is of great historical and practical importance. Secondly, for this, it is necessary to train professionals who could become worthy teachers. Thirdly, at the state level it is necessary to encourage interest in studying the music of different ethnic groups and minorities. One way to increase knowledge about music, as well as interest in it, is through integrated learning. For example, integrating children's literature into music teaching can enrich the curriculum in China, improve students' musical and literary skills, and help children participate more actively in large-capacity music classes.","PeriodicalId":224299,"journal":{"name":"Studia Culturae","volume":"134 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":"123234023","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":"Современные независимые (DIY) лейблы экспериментальной музыки в культурном пространстве Москвы и Санкт-Петербурга","authors":"G. Orlov-Davyddovsky","doi":"10.31312/2310-1245-2022-54-162-163","DOIUrl":"https://doi.org/10.31312/2310-1245-2022-54-162-163","url":null,"abstract":"","PeriodicalId":224299,"journal":{"name":"Studia Culturae","volume":"13 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":"114910377","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":"Волшебная опера-балет «Млада» Н.А. Римского-Корсакова. Опыт анализа в контексте коммуникативной теории","authors":"M. S. Lyutaeva","doi":"10.31312/2310-1245-2022-54-66-79","DOIUrl":"https://doi.org/10.31312/2310-1245-2022-54-66-79","url":null,"abstract":"The opera “Mlada” occupies a special place in the work of the Russian “composer-storyteller” N. A. Rimsky-Korsakov. According to him, it is a “study” for a more successful opera “Sadko”. Despite the fact that the composer himself and critics noted the dramatic weakness of the libretto, the artificiality of intrigue and the absence of lively characters, the opera-ballet “Mlada” is unique in its genre, requiring the use of musical and choreographic means, stands out for its orchestral coloring in the depiction of the fantastic, magical and folk, “the world of the Slavs” and the world of other cultures, the picturesque music, the system of leitmotifs. B. V. Asafiev considered “Mlada” “undeservedly forgotten”, full of pictorialism, enchanting, valuable for its spectacular and musical side and unique symphony. Within the framework of the festival “Rimsky-Korsakov–175” (2019), “Mlada” was characterized by V. A. Gergiev as “a very expensive project”, the actualization of which is due to the fact that \"we have gaps in the national repertoire\". This study offers an attempt to apply modern philosophical approaches to the analysis of this work. It is proposed to understand this work as communication in the interpretation of N. Luhmann (the unity of information, message, understanding), which is encoded in accordance with the goals of success within the subsystem of art. The method of analysis of differences (i.e. forms, techniques used by the author) within the opera is used, as well as comparison with the cultural context of the historical period. The opera-ballet “Mlada” is considered in the context of the network of communications and memory of the system of musical art during its creation, the reception of the original idea of 1872, the theoretical and actual conditions of its composition, which influenced the semantic connotations in it. The involvement of “Mlada” in the system of art, which testifies to its communicative success, is analyzed. Semantic distinctions are revealed: antiquity / modernity; fantasy (fabulous, mythological) / reality; expressibility in language, singing / silence, inexpressibility; Slavic culture (“Rusinism”) / other cultures; realm of light / realm of darkness; world with gods / transcendent Christian God (audience discrimination); loyalty to one's gods / morality; individual / society. U. Eco's method of semiotic analysis is used, which makes it possible to interpret musical forms (leitmotifs, melodies, harmonic solutions) as signs associated with a certain meaning that can be decoded and interpreted.","PeriodicalId":224299,"journal":{"name":"Studia Culturae","volume":"8 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":"127971865","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":"Музыка и язык: мышление–восприятие–практика","authors":"G. K. Zhukova, M. Zhukova","doi":"10.31312/2310-1245-2022-54-25-35","DOIUrl":"https://doi.org/10.31312/2310-1245-2022-54-25-35","url":null,"abstract":"The article aims to shed light on some recent empirical neuroscience and psychology researches, which target music perception and cognition. The explosive growth of data collected and the measurement preciseness should correlate with the clarity of conclusions made on their basis. However, for the skilled music practitioners, such correlation is not obvious. The author propose a definition of the term musician, based on the concept of musical cognitive status. The purpose is to provide the adequate support and refinement of the experiment design procedures for the cross-disciplinary researches, dealing with selection of music stimuli material, conceptual theoretical foundations, and cultural-dependent cognitive backgrounds of the participants. The author considers that music cognition of performers is framed by the specific music idea, represented in the acoustically certain sound image, transformed to the appropriate gesture. This clear image is generated successfully when the performer has a clear artistic idea of musical sense and content. The specific types of perception determine the content-consuming habits. The degree of perceptual accessibility of sounding musical phenomena is also determined by the peculiarities of both musical and linguistic perception matrix, rooted in culture. In order to avoid the waste of research resources, author considers several investigation paths, coming from the methodology of philosophic anthropology, focused on the cultural and language-dependent dimension of music discourse.","PeriodicalId":224299,"journal":{"name":"Studia Culturae","volume":"28 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":"129311241","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":"Утраченные и обретённые музыкальные жанры, формы и образы, как наследие замечательного композитора Эдуарда Николаевича Артемьева","authors":"I. I. Plotnikov","doi":"10.31312/2310-1245-2022-54-128-137","DOIUrl":"https://doi.org/10.31312/2310-1245-2022-54-128-137","url":null,"abstract":"This article discusses listening to music suitable for sound perception and the associated changes in paradigms or ways of thinking that so often occur when we move from visual to auditory perception. The distinction between historically accepted and rejected sounds is used to show how the placement of sounds in our subconscious has shaped the form of listening in life. The experimental music of the 20th century, especially the music and reflections of Eduard Artemyev, opened the doors to our subconsciousness with the synthetics of sound, and at the same time weakened the visual paradigm of intellectual knowledge. In this article, sound perception is considered as a place where artistic practices coincide with certain theoretical problems centered on sound. First, the centrality of sound is considered, and music and sound art are discussed in relation to space. This perception is extracted by looking at contrasting pairs of examples. Pairs consist of an analytical and visual presentation of the main issue of sound-perception. It is an excellent tool for exploring the relationship between philosophy, science, psychology and human cognition. Next, the sound track of the work while listening to outstanding sequences, sound-perception focuses on the specific relationship of the image and the picture. It embodies the state of sounds, when the smallest impact can lead to a radical change in the established order, overcoming the bifurcation point. Non-traditional materials and approaches in music give a new round of development and understanding in contemporary art, prompting a rethinking of what an artistic image could be. Regardless of the artistic picture, which, in turn, the author wanted to convey. This is the key to sound-perception as a tool of knowledge. The article ends with a statement about the need for aesthetic reflection, taking into account the consequences of these profound transformations.","PeriodicalId":224299,"journal":{"name":"Studia Culturae","volume":"125 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":"133662523","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":"Диалоги Бергмана: Стриндберг, Мунк и средневековые фрески","authors":"E. A. Shikulya","doi":"10.31312/2310-1245-2022-53-56-79","DOIUrl":"https://doi.org/10.31312/2310-1245-2022-53-56-79","url":null,"abstract":"The article deals with Bergman's dramatic search in addressing the theater through the figures of August Strindberg and Henrik Ibsen, the dialogue between Bergman's cinematic style and Edvard Munch's canvases, as well as the influence of medieval and Renaissance motifs on the creation of the film «The Seventh Seal» and its visual solution. Remaining the last modernist in the history of cinema, Ingmar Bergman demonstrates in his films the vast marginalities of intertext, wandering in their diversity from theater productions to monumental painting. This study has a strong tendency to combine art forms into integral complexes, at the intersection of which an additional semantic context arises, expanding and deepening the understanding of each element. Its basis was the search for interconnections and parallel comparison of Bergman's cinema with other art forms. The extensive illustrative content of the article makes it possible to analyze and compare not only emerging thought forms, but also specific compositional, stylistic, and artistic decisions in Bergman's filmography. Thus, the possibility of a horizontal reading of motives makes it possible to place the emphasis not on Bergman himself, but on what is around him, in the semantic field of his idea and the content of the embodiment of this idea.","PeriodicalId":224299,"journal":{"name":"Studia Culturae","volume":"121 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127602082","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":"Лятиф Керимов в изображениях художников по коврам и гобелену","authors":"F. Mir-Bagirzade","doi":"10.31312/2310-1245-2022-53-21-30","DOIUrl":"https://doi.org/10.31312/2310-1245-2022-53-21-30","url":null,"abstract":"On the example of types of samples of decorative and applied art of Azerbaijan (carpet and tapestry), the author studied the images of the portrait of the artist, scientist and theorist Latif Kerimov in the works of carpet and tapestry artists. As students of L. Karimov, each of the Azerbaijani artists who created his portrait, having passed his creative path, created an inimitable portrait of the artist in his own style. These portraits were created in tribute to the gratitude of their mentor, who paved the way for them and left an indelible mark on the history of the decorative and applied arts of Azerbaijan. The portraits of these artists will remain in the legacy of the young generation of Azerbaijan.","PeriodicalId":224299,"journal":{"name":"Studia Culturae","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114649640","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":"Спронк В. Испытание параметров музыки: Хальберштадтское исполнение ORGAN2/ASLSP Джона Кейджа как экспериментальная система","authors":"A. Lipov","doi":"10.31312/2310-1245-2022-53-81-109","DOIUrl":"https://doi.org/10.31312/2310-1245-2022-53-81-109","url":null,"abstract":"Is being performed at Halberstadt, Germany, by ORGAN2/ASL SP (1987), an organ piece by the American avant-garde composer, John Milton Cage (1912–1992), music theorist and pioneer in aleatorics, electronic music and the non-standard use of musical instruments, whom music critics have called one of the most influential American composers of the 20th, known for his radical attempts to subvert listeners’ conventional ideas of what music is and should be. With this performance, with a running time of 639 years and being the world’s longest performance of a piece of music that will reach its finale at 2640, with a break at 2319, the initiators of the ORGAN2/ASLSP organ piece at Halberstadt seek to explore in practice the direction of the musical movement set by the composer — “as slowly as possible” that Cage laid out for the work. ORGAN2/ASLSP invites listeners to reconsider what we mean by music: is something still music if the length of performance exceeds the length of human life? In essence, Organ2/ASLSP contains the idea of a paradigm shift stemming from the transformation of musical technology, presented by the composer as a transition from linear to complex thinking, from determinism to indeterminism, to the creation, instead of static art objects, of moving and changing artistic processes that predetermine a new technique and aesthetics of music performance. ORGAN2/ASLSP’s performance questions the boundaries of musical performance, from the role of the performer to the role of the listener, the material and temporal conditions of music, to articulate how slow is “as slow as possible”, prompting us to essentially reconsider the fundamental parameters of music.","PeriodicalId":224299,"journal":{"name":"Studia Culturae","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123617832","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":"Первазивность как неотъемлемое свойство социокультурного пространства","authors":"D. E. Prokudin","doi":"10.31312/2310-1245-2022-53-07-20","DOIUrl":"https://doi.org/10.31312/2310-1245-2022-53-07-20","url":null,"abstract":"The socio-cultural space in the information society is subject to the so-called \"digital transformations\", the basis of which is the large-scale use of information and communication technologies. This space is fully informational, it is permeated with information streams between elements and actors. At the same time, streams exist both in the traditional \"analog\" form and in digital. The digital existence of socio-cultural information is based on the widespread use of information systems, which are based on the principles of decentralization and distribution. The socio-cultural environment is saturated with cultural objects that exist both in real and digital form. They can be either an addition to real culture or \"digital doubles\" of real cultural objects, or they can be independent cultural phenomena that have no analogues in the real cultural space. Digital data is not stored in one information system, but is distributed among all digital components of the socio-cultural space. These data are both generated by systems and come from various sensors that saturate the physical environment of the socio-cultural space. In the world scientific discourse, the term \"pervasiveness\" is used to refer to such systems, which refers both to the computing systems themselves and to processes. The concepts of \"pervasive computing\", \"pervasive systems\" and \"pervasive environments\" are used as stable. Based on their analysis of these concepts, it is proposed to use the term \"pervasiveness\" to designate as one of the main characteristics of the socio-cultural space itself, the development of which in the information age is based on the widespread use of information and communication technologies.","PeriodicalId":224299,"journal":{"name":"Studia Culturae","volume":"95 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125402226","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":"Неогегельянство Александра Кожева и его влияние на постмодернизм","authors":"E. V. Boruta, A. E. Shabalina","doi":"10.31312/2310-1245-2022-53-31-44","DOIUrl":"https://doi.org/10.31312/2310-1245-2022-53-31-44","url":null,"abstract":"The article discusses the main aspects of Alexandre Kojève's philosophy as well as the reception of his ideas in the philosophy of \"Low materialism\" (G. Bataille) and Postmodernism (M. Foucault, R. Barthes, B. Groys).The most important moments of Kojève's biography are noted and analyzed, especially his reinterpretation of Hegel’s dialectics, which had become one of the leading concepts of French philosophy of XX century. Moreover, there is a classification of the concepts of Hegelian dialectics, which Kojève uses as his Neohegelian language: Negative dialectics, Lord–bondsman dialectics, The End of History. Apart from this, there are some themes of Postmodern philosophy (The death of the subject) that are analyzed in comparative way with Kojève's ideas. The authors come to the conclusion that Kojève's innovative interpretation of \"Phänomenologie des Geistes\" had become one of the most important bases of Postmodernism.","PeriodicalId":224299,"journal":{"name":"Studia Culturae","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114300942","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}