Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History最新文献

{"title":"THE HERO’S WAY, IDENTITY AND STAGES OF THE LIFE CYCLE IN CINEMA","authors":"V. Kolotaev","doi":"10.17223/22220836/43/5","DOIUrl":"https://doi.org/10.17223/22220836/43/5","url":null,"abstract":"The relevance of the research is determined by the high social significance of the problems of identity formation in modern society, reflected in cinema, and the insufficient knowledge of the processes of constructing various identity models in the art space of cinema and the connection of the psychological stages of development of this identity with elements of the structure of film narration. A comparison of the structural elements of the hero’s travel map (compositional nodes of the script) with the epigenetic diagram of the stages of identity formation and a description of the formal-substantive unity of the elements of dramaturgy and Erickson’s staged model constitute the scientific novelty of the study. The purpose of the study is to show that the drama of the film, the structural elements of the compositional set of stages of the hero’s way, the transition to new states through passing tests and gaining knowledge correspond to the stages of ego-identity formation, reflecting the person’s ability to overcome problems by transforming himself in the process of interaction with social categories. To achieve this goal, a comparative-typological method is used to solve the following problems: highlight the general structural and substantial characteristics of the initiation rite as a process of formation and development of the hero’s identity and way, built on the basis of the monomith structure; describe the possibilities of reflecting the psychological processes of the formation of ego identity at each stage of the structure of the hero’s path; based on the analysis of individual films show ways to reflect the stages of building the ego-identity of the hero in the meaningful characteristics of the stages of his path as elements of film dramaturgy. The subject of analysis in this article is the relationship of the stages of the way of the hero and level them solve psychological problems with the content of normative crises build ego-identity. The structure of the cinematic in the work relate to the sequences and stages of identity formation. The hero, moving from a state of \"ordinary world\" to the main test encounters problems, the relevant stages of identity formation. The hero of the film stay in the everyday world at the initial stage of the journey to the main test involves going beyond the existing knowledge about yourself and meet new requirements to change yourself, which can be done with varying degrees of success. If the hero has successfully passed the first stage of identity development, at this stage it has no problems and when confronted with the limits of private autonomy, he can hear \"the call to pilgrimage\", and the transition to the next stage of the journey will include a manifestation of the activity of changing yourself in gaining this autonomy. But if the confidence in the world the character was not formed, the call to travel in the form in which it is presented in the film, is seen as a confirmation of the fragility of th","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"65 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80997509","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":"Verbs of emotional state in counter-optative utterances","authors":"A. Wang","doi":"10.17223/18137083/74/21","DOIUrl":"https://doi.org/10.17223/18137083/74/21","url":null,"abstract":"The paper is focused on infinitive utterances (IU) expressing the meaning of undesirability, or counter-optative IU (Ne spuskat’sya by k dvorniku), with verbs of the lexical-semantic group (LSG) of emotional state (according to the classification by L. G. Babenko). Special attention is paid to the verb aspect, the temporal vector of the IU, and the presence of the potential seme of a negative evaluation of the denoted situation in the meaning of the verb. The selectivity of the syntactic model under consideration towards verbs of the LSG of emotional state is investigated. The following prerequisites for a verb of emotional state to be used in a counter-optative IU were determined: the presence of the potential seme of a negative evaluation of the denoted situation in the meaning of the verb, the imperfect aspect of the latter, and the future temporal perspective of the whole utterance. Also, counter-optative infinitive utterances were found to demonstrate quite a high degree of selectivity in using the words of LSG of emotional state. The results show that when selecting verbs to be the main component of counter-optative infinitive utterances, preference is given to imperfective verbs of emotional state. The future temporal perspective (the prospective and prospective-consequent temporal vector) is a condition that enables selecting the verbs of emotional state in counteroptative infinitive utterances. The factors contributing to the use of verbs of the LSG of emotional state in counter-optative infinitive utterances, or conversely, preventing their use, are to be studied further.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"29 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78123711","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":"FORMATION OF CULTURAL VALUES OF STUDENTS IN THE PROCESSING OF RUSSIAN FOLK SONGS","authors":"E. N. Chernysheva, S. Tyaglova","doi":"10.17223/22220836/42/19","DOIUrl":"https://doi.org/10.17223/22220836/42/19","url":null,"abstract":"The article proposes the author's version of the in-depth work with the folk original source, which contributes to the formation of cultural values of students in the course of the Arrangement course of the teaching course Academic Choir at the Tyumen State Institute of Culture. A distinctive feature of the course is the regional component – Russian folk songs of the Tyumen region and the region are used as musical material for student work. As part of the study, we identified the following contradictions: – between the prescription of the State educational standards on interdisciplinary disciplines, the student's ability to navigate in the diversity of culture and the competences offered by the curriculum for the discipline “Arrangement”, which are focused on creating a new creative product; – between the student’s constant need for creative self-realization and the insufficiently high level of his creative skills; – between installations of legislation in the field of education for the education of the individual with a high level of education, morality, and value installations that are incorrectly laid down by the mass culture. Therefore, we position the processing of a folk song not as an end in itself, but as a means of personal involvement of the student in the culture of his people, the transmission of sociocultural experience between generations. The goal of the “Arrangement” course is to create a value attitude of students to Russian culture in the process of creative work with a folk original source (Russian folk song) by expanding the course’s objectives to interdisciplinary and research (problem-searching, creative, heuristic, etc.), activating cognitive and creative activity of students. Formation of students' value attitude to the Russian folk musical culture in the process of creative work with a folk song, we propose to carry out at the following stages: search, motivational-incentive, research, analytical, creative, performing. Through contact with the sample of Russian song and its transformation, a student's interest in his origins, his pedigree, and cultural norms in the way of life and art is awakened. The effectiveness of the formation of cultural values of students through the Russian folk song is determined under the condition of positive motivation and initiative of students to learn cultural values, subject-subject interaction between the teacher and the student, enhancing independent cognitive activity, introducing the student to artistic creativity, creating conditions for self-discovery.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"5 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77135372","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":"Self-identification of people at the age of late adulthood: a comprehensive linguistic study","authors":"L. Butakova, E. Goots, N. Orlova, M. Kharlamova","doi":"10.17223/18137083/74/25","DOIUrl":"https://doi.org/10.17223/18137083/74/25","url":null,"abstract":"For the first time, a linguistic reconstruction of the self-identification of people in late adulthood is proposed. Based on the hypothesis about the sociocultural conditionality of gerontogenesis, groups of informants are delimited by the number of years lived (from 60, from 75), gender, education, and belonging to urban or rural culture. The associative experiment, guided interviews, and participant observations allowed revealing the features of selfidentification in a group of women over 75, with higher and secondary special education, urban dwellers. This group is characterized by both negative (diseases, wrinkles) and positive (rest, freedom, grandmother, assistant) components in the representation of one’s age. More pessimistic is the self-identification of rural women over 75, with a secondary and lower secondary education: in this group, the discourse was studied, but no associative experiment was conducted. Women perceive the experienced age not as a stage of life but as its outcome, with a striking feature being a return to the past. Women and men over 60 years old demonstrate a wide variability of self-identification determined by the state of health, the status of working or non-working, personal characteristics. A study of the self-identification of people in late adulthood showed the effectiveness of the methods selected with regard to the sociocultural characteristics of informants. Social signs – gender, age (elderly / senile), level of education, cultural affiliation (city / village) – affect how people see themselves at their age, that is, determine the higher or lower level of uniformity of self-identification results.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"32 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78639601","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":"POTANIN'S EPISTOLAR HERITAGE IN THE CONTEXT OF ARCHEOGRAPHY","authors":"I. Golev","doi":"10.17223/22220836/42/21","DOIUrl":"https://doi.org/10.17223/22220836/42/21","url":null,"abstract":"The author makes a historical reconstruction of the publishing work of Russian researchers based on historiographic sources. The article contains information about the first experience of publishing a letter from Grigory Potanin to Nikolai Naumov, which was found by the Tomsk local historian I.E. Lyasotsky in 1948. In the mid-1950s, the Leningrad researcher A.G. Grumm-Grzhimailo was working on it. He invited the Siberian researchers Ya.R. Kosheleva, N.N. Yanovsky and S.F. Koval. The work on collecting Potanin's letters, preserved in various museums and archives of the country, lasted more than 30 years. In 1977, the first part of the four-part edition of Potanin's letters was published in Irkutsk. It was made according to all the rules of archeography. The author of the article reports that in 1987 the publishing work resumed. Over the course of five years, five parts of letters by G.N. Potanin. The publication was prepared by the same researchers who worked on the release of the first part in 1977. The article notes the high level of archaeographic preparation of the publication. It includes 731 letters written by Potanin in 1859–1919. The text of all letters is given in compliance with modern spelling rules. All letters are supplemented with comments, they indicate the storage location of the original of each document, information about the people mentioned by Potanin is given, a name index is attached. In the appendix to the fifth part there is a bibliography of the works of G.N. Potanin, corrections of errors and typos made by the Tomsk researcher N.V. Serebrennikov. The article contains information about personal letters of G.N. Potanin in scientific collections and journals that were published in the 1980s–1990s in Tomsk and Barnaul. In addition, the scientists of the Scientific Library of Tomsk State University N.V. Vasenkin and G.I. Kolosov found a correspondence between Grigory Potanin and the Barnaul poetess Maria Vasilyeva. As a result, in 2004, the book was published with 184 letters from Potanin addressed to his future wife. This edition complements the epistolary heritage of G.N. Potanin. In the conclusion of this article, the author notes that unpublished letters of Potanin are kept in the collection of the TSU Scientific Library. The identification, archaeographic processing and publication of these letters help the research of the scientific heritage of G.N. Potanin.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"94 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89091990","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":"Concept of “tash” (stone) in the Karachay-Balkar language picture of the world","authors":"M. A. Akhmatova","doi":"10.17223/18137083/74/18","DOIUrl":"https://doi.org/10.17223/18137083/74/18","url":null,"abstract":"This paper focuses on a multi-aspect study of the concept of “tash” (stone) in the KarachayBalkar language picture of the world. The analysis of the available factual material has shown that for Karachays and Balkars, “tash” is quite an important component of the ethnic culture and reflects one of the relevant segments of the naive national picture of the world, encoded in the Karachay-Balkar literature and works of folklore. This fact is also due to significant functional and semantic features of the “tash” lexeme in the Karachay-Balkar language. This word serves as the basis for the formation of a large number of complex words and phrases, giving rise to the corpus of nominations of objects of the surrounding reality: place names, various rocks, etc. In addition, the word under consideration is highly productive in the sphere of terminology associated primarily with the everyday realities of the Karachay-Balkar ethnic group. “Tash” and related concepts are represented in the phraseological fund of the Karachay-Balkar language and paroemias reflecting various anthropomorphic features, in particular: characteristics, properties, actions, states, etc. The concept under consideration has such cognitive characteristics as support, solidity, eternity, life, death, and others and represents the status and the character of a person. Also, the concept of “tash” is realized in the texts of Karachay-Balkar folklore, myths, and in the works of Karachay-Balkar writers and poets, confirming its relevance for the linguistic consciousness of the Karachay-Balkar ethnic group.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"15 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89351210","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 mythological image of the owner of Altai: functions and semantics","authors":"L. Dampilova, Z. M. Yusha","doi":"10.17223/18137083/74/2","DOIUrl":"https://doi.org/10.17223/18137083/74/2","url":null,"abstract":"The paper describes the mythological image of the owner of Altai in the religious beliefs and ritual culture of the Turkic and Mongolian peoples. It has been revealed that the degree of preservation of the Altai cult is currently undergoing certain changes, depending on the area of residence of a particular people. The image the owner of Altai has similar mythological, symbolic, virtual, and real features in different peoples existing in a single historical and cultural context. In most of the texts, the dominant functions in his character are those that personify the owner of the land and all living things on it, the patron of wealth, the deity of fertility and procreation. He embodies the features of a heavenly divine being and traditional land masters, making him similar to the White Elder from the Mongolian cultural tradition. We have studied the features of the folklore text functioning in ritual practice, considered the ritual text structure, determined the stable motives of ritual texts addressed to the spirit-master of Altai, and characterized the ethnic specifics of the sacralization and deification of the Altai space in the traditions of the Turkic-Mongolian world. It should be noted that ritual and mythological contexts suggest that connotative semantics reveals the ancient origins of the primary denotation with the help of epithets determining the sacred character meaning. The verbal material analysis has revealed that in some cases, the primary denotative sign is lost or acquires a new mythological version over time.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"18 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75303639","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 CULTURE OF THE GAME, THE SOUND PRODUCTION AND THE SOUND OF HARPISTS","authors":"N. Pokrovskaya","doi":"10.17223/22220836/42/16","DOIUrl":"https://doi.org/10.17223/22220836/42/16","url":null,"abstract":"Firmly rooted myths about the harp as an instrument in something exceptional and extraordinarily beautiful it is difficult to correlate with the current practice of playing it. The author tries to explain to composers and the mass of listeners what are the differences between these ideal ideas about the instrument with the game of modern artists and tries to find the possibility of these differences smooth out. The author sees such opportunities first of all in finding the causes of “bad” sound at the time of the game. They can be covered in the advantages or disadvantages of the device and condition of the modern instruments and in defects of statement of hands of the player. The last, in turn, may depend on the peculiarities of the physiological and psycho physiological nature of the player. Based on his teaching experience the author explains the dependence of the difficulties of sound production on the structure of arms, hands, fingers and even the growth of the harpist and offers ways to overcome some of the physical shortcomings. The author emphasizes that a special role in the work on improving the sound has a gradually developing ability of the student to hear himself as without constant critical listening to his game development of the musician is impossible. In addition to defects in sound production, which can also be determined by the low level of teaching, the sound quality is influenced by the harpist’s playing culture the terms of which largely converge with the requirements of the culture of the game on all the instruments. This is a game without errors, smoothness of sound, rhythm, accuracy in the transmission of the author’s text, purity of intonation. But the harpists in addition to these general requirements to the culture of the game when working on a musical text, there are special difficulties that are caused by the structure of the harp itself; continuous buzzing of its strings, imperfection of its pedal and fork mechanisms. To preserve the purity of harmony the harpist must have a high level of technology of clearing of unnecessary (buzzing) strings: separate fingers, separate hands-free or both of hands together. For instant, silent permutation of the pedals and precise coordination of simultaneous movements of the fingers, hands and feet, he must have an excellent vestibular apparatus. To tune the harp desirable absolute pitch. In addition, as each harp has its own acoustic features (ringing or booming, long or short sound) and different menzures, the harpist forced achieving its beautiful sound to fit the manner of sound production to this instrument. We also have to take into account the conditions of the game on the harp: the humidity and the density of the air and the acoustics of the halls.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"197 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72775919","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":"Semantics of the initiation plot in short stories by Yu. Felzen","authors":"I. I. Nazarenko","doi":"10.17223/18137083/74/9","DOIUrl":"https://doi.org/10.17223/18137083/74/9","url":null,"abstract":"The paper examines the plot of initiation in the stories of the young émigré writer Yu. Felzen as a continuation of the story of the hero of his novel trilogy. In the short stories of the late 1930s, the initiation of the hero-emigrant that was reduced in the novels is found to be associated with a situation of death, provoking his personal and literary development. The plot of the story “The changes” allows correlating it with the archetypal plot of initiation: the hero, having survived a severe illness, surgery, and the departure of his beloved, seems to be moving towards gaining new consciousness, towards writing. However, considering the stories following “The changes” allows revealing the reduction of the hero’s initial transformation. The plot of the story “The repetition of the past” shows how “changes” turn out to be a “repetition” of past life situations for the hero, and he evades the existential existence. The stories “The composition” and “The figuration” confirm the conclusion about the failed initiation of the hero. The work of Russian emigrants as extras on the set of the film “The figuration” is the author’s metaphor for the fate of the Russian emigration. The author’s concept of “the repetition of the past” is the repetition of life situations in reality without being able to change anything and follow the geniuses in creative work. According to Felzen, an emigrant is doomed to adapt and repeat in the inauthentic existence of life the situations that happened to him in another culture and at a different age “The composition.” Emigration does not replace a person with another one. Neither does it form his self-sufficiency.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"4 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81960175","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":"VISUAL IMAGING FEATURES OF MUSIC VIDEO ADVERTISEMENT AND ITS EFFECTS ON CONSUMER","authors":"E. A. Golovanova","doi":"10.17223/22220836/43/15","DOIUrl":"https://doi.org/10.17223/22220836/43/15","url":null,"abstract":"Before 1950s, advertising had a reputation as a not entirely reputable business. A fragment from A. Hitchcock’ film may serve as an approval of it, where a hero states that in the world of advertising, there is no such thing as a lie, but there is only the expedient exaggeration. With the advent of the TV, the musical functions of transferring and evoking the emotions are generated. Since 1990s, music in advertising refers to music integrated in the media advertisement in order to enhance its success. The novelty of the research concerns the visual and music-visual modalities in the advertisement video contributing to the commercial interest from the consumers, which have been analyzed based on the aesthetic appeal to the screen images. Music is a crucial part of advertising. Thus, the Race of Parts musical content of the advertisement for 2008 featuring the Renault Megane, accompanied by the music from Vivaldi’s the Four Seasons, Summer, Part 3, is closely associated with formation of a product itself. It is expressed by the attractive interactions between the car parts and the rising tessitura, while the color gamut is in contradiction to the general associative perception. The musical score expressing a product olfactory perception is more rhythmic and airy. Thus, the advertisement of the Giorgio Armani Acqua Di Gioia perfume uses the audio-visual modality of the water element including rain, sea waves, and waterfall. Constructing the visual perception is supported by the dominant in music with a tendency to the gradually developing variation set. Unreasonable music used in advertising can result in decreasing the interest to the made brand. This fact has caused a strong activity in finding the new ways to attract the interest of the audience to the commercial product. Animation is one of them (for instance, the animated Coca-Cola Polar Bears Commercial, 2012). The music is written in the classical style by Glenn Rueger. Music supplements expand the imagery of the main heroes, attracting the potential consumers. In the clip of political advertising, the music may play a significant role. The music sounding as a patriotic call can help the audience perception of the essence of the challenge images in the clip and the opportunities to overcome them. The clip from the I am Shapovalov film (1973) with the Let’s Raise the Cavalry Swords song (Composer E. N. Ptichkin and Lyricist E. E. Karelov) performed by V. Mulerman contains a sustaining calmer rhythm. With respect to the same song performed by A. Chuprin, the constants of the march precise in rhythm sound against the reference history of creating and developing the Armed Forces of the Soviet Union and modern Russia. The musical content in advertising is shown to increase the psychological impact on the audience and its emotional arousal, enhancing the attractiveness of a commercial product. Therefore, careful selection of the music material and the method of its use may contribute to creating th","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"29 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84706831","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}