Musical Consciousness Research Articles

PRINCIPLES OF TEACHING IN THE FORMATION OF ACADEMIC CULTURE OF FUTURE PIANISTS

The principles play an essential role in solving the problem of musicians’ training. It is proved that the implementation of the principle of humanistic orientation requires the recognition of the intrinsic value of the personality of music; adherence to the principle of academic knowledge helps to form a deep understanding of musical aspects and a responsible approach to music performance; the involvement of the principle of integration allows to take into account the diverse professional activities of future pianists; the principle of musical consciousness forms the value of music.

Aurel Stroe: Morphogenetic Conception on Music (The Entropic Uncertainty and the “Death” of Musical Structures)

Aurel Stroe is one of the greatest composers and thinkers of the Romanian musical art in the post-Enescu period. Shaper of musical consciousness, author of great originality, he can be placed – in music and thinking – at the border between science and art, between art and music, between philosophy and mathematics. His art is infused by concepts taken over from all of these fields, out of which we will deal here with the ones connected to uncertainty, entropy and poeticism.

Aurel Stroe - Morphogenetic conception on music (dissipative structures)

Aurel Stroe is one of the greatest composers and thinkers of Romanian musical art in the post-Enescu period. Shaper of musical consciousness, author of great originality, he can be placed – in music and thinking – at the border between science and art, between art and music, between philosophy and mathematics. His art is infused with concepts taken over from all of these fields, out of which we will deal here with the ones connected to dissipative and morphogenetic structures.

The Soul in Sound: The Nature of Musical Consciousness / Norms and Realism

The Soul in Sound: The Nature of Musical Consciousness / Norms and Realism

Introduction to New Book on Stravinsky

A new book is devoted to the work of Stravinsky follows and expands upon the tradition of Boris Asafyev’s 1929 monograph. The central analytical object of the new book is the sound fabric unfolding over time in the works of the Russian master. Content-related and semantic interpretations of this object are intended to expand upon, refine, and in some cases correct ideas about Stravinsky’s work that exist in the modern musical consciousness. The book relies on four methodological premises. The historiographical premise stems from an interpretation of Stravinsky’s artistic legacy as a musical universe resting on proto-elements formed during the early stage of his creative development. The methodological premise is based on emphasizing the differences between the dynamic-procedural creative method, which is characteristic of the classical and romantic branch of Western European music, and Stravinsky’s object-descriptive polymorphism, which is rooted in the traditions of 19th-century Russian music. The musical-imagery premise is conditioned on the expressive spheres within Stravinsky’s oeuvre which were new to the world of early-20th-century music. In these areas, the composer operates masterfully in realms of the human emotional universe which were previously unrepresented in music. Finally, the cultural and worldview-related premise originates with Stravinsky’s unique role in 20th-century musical culture as the most brilliant representative of a new, essentially dialogic, cultural type. The dialogical mental apparatus, the diverse forms of intercultural dialogue in his life and art, and the harmonization of European and non-European strategies for perceiving the world around us — a characteristic feature of Stravinsky’s life and work.

Https://www.elibrary.ru/item.asp?id=54101819

The article is devoted to understanding the essence and specifi city of the ethnic identity of the musical consciousness of the Don Cossacks, which is viewed through the prism of its archetypal prototypes. Musical consciousness is interpreted as a special internal mental activity of consciousness aimed at the formation of intonation-symbolic connections through frequently repeated internal subjective experiences (emotions, feelings) of a person/ ethnic group in the context of the peculiarities of traditional culture. As a fundamental criterion of the ethnic identity of musical consciousness, the special conditions of the Cossacks’ life associated with military service and military type of culture were determined, which made it possible to consider the specifi city of the manifested musical consciousness through the identifi cation and analysis of its archetypal foundations. As the musical material of the study, the song genres of the Don Cossacks of the 18th - early 20th centuries were studied. As a result of the research, the author reveals the archetypal foundations of the musical consciousness of the Don Cossacks, which have deep semantic guidelines of the collective unconscious: the archetype of the Warrior (Hero), the archetype of the Circle (Meditation, Petition, Anima) (in the context of song genres of external life).

AESTHETIC FOUNDATIONS AND VALUE CRITERIA OF MODERN MUSIC STUDIES

The purpose of this study is to analyze and theoretically substantiate the complex multidimensional value communicative system inherent in musical art in its dynamic movement and holistic form, to clarify its structure and functional formations, its main internal and external relationships, as well as to establish some ways of influencing the course of artistic processes in society, and, to a certain extent, clarifying the ability to manage them without invading them. It is shown that, for all the subjectivity of perception in the art of music, style favors the formation of conditions for objective value judgments and conclusions. The latter, in turn, form an informational thesaurus that influences the historical dynamics of public musical consciousness.

Role of Blogs in the Representation of Modern Ukrainian Song

The purpose of the article is to determine the role of blogs in the spread of the modern Ukrainian song as a cultural phenomenon (the case study of the song "Stefania" by "Kalush Orchestra" band). The research methodology involves the use of methods of observation, comparison, analysis, and synthesis. The scientific novelty of the work is that for the first time an attempt was made to determine the role of blogs in the promotion of the modern Ukrainian song culture. Conclusions. Modern Ukrainian song is of scientific interest as a phenomenon of national mass culture and is relevant as a culturological phenomenon of the Ukrainian society, which affects not only the Ukrainian consumer, but also representatives of other nations. Today, the Internet environment itself contributes to its dissemination, in particular, blogs of various kinds, which are a means of establishing intercultural communication in the modern global world, conveying important moral and ethical messages to the world community.
 Key words: blog, blogosphere, mass musical consciousness, modern Ukrainian song, Eurovision Song Contest, "Stefania" song by "Kalush Orchestra" band.

Composing Bolivia: The Politics and Perspectives of Mestizaje and Indigenismo in Atiliano Auza León’s Historia de la Música Boliviana

Historia de la Música Boliviana (History of Bolivian Music) was published by composer, violinist, and musicologist Atiliano Auza León in 1985, detailing the music and musicians of the country in what was considered the first Bolivian musical history of its kind. In this paper, I bring Auza León’s Historia de la Música Boliviana to an English-speaking audience for the first time, critically engaging with his portrayal of Indigenous music in the context of 20th century mestizaje and Indigenismo among Bolivian composers and institutions. By interrogating his position in the creation of musical authority and cultural development in Bolivia at the time, I engage with Auza León’s stature as a national composer. I explore the state’s sponsorship of his music and scholarship while situating his productions within Bolivia’s political and musical consciousness of mestizaje, or racial mixing. Then, I analyze a key chapter from his Historia de la Música Boliviana, placing his text within this trajectory. Auza León’s epistemolization as a musical authority occurs as a result of the mestizo perspectives taken in his compositions and writing, constructing an identity around Bolivian music predicated on mestizaje.

Conscience musicale du français langue parlée : éléments pour son conditionnement didactique

Musical awareness of languages in general and that of the French language in particular in the field of teaching French as a foreign language remains weak today, not generalized and far inferior to linguistic and cultural awareness. By placing oneself within the framework of the didactology-didactics of the music of the French language-culture, it appears that modes of conditioning of this spontaneous, intuitive and reflected musical consciousness can logically take their place in accordance with the fundamental existence of the music of the French language produced in the spoken mode and of the need for the learner to master it.

ОСОБЕННОСТИ ПОДГОТОВКИ ПРЕПОДАВАТЕЛЕЙ МУЗЫКИ ВО ФРАНЦУЗСКИХ УНИВЕРСИТЕТАХ: МУЗЫКАНТ-ИНТЕРВЕНАНТ

The study attempts to comprehend the foundations of an effective metamorphosis in one of the branches of the modern system of music teacher training in French universities. The versatility of the new relevant specialty “musicien-intervenant”, comparable to the concept of universalism, calls for a holistic study of all aspects determining its evolution. Without resorting to the profound social basis of the commitment of contemporary society in general and music education in particular to a revival of the phenomenon of universalism (which, according to some philosophers and futurologists, is to some extent a sign of the so-called New Middle Ages), we examine the organization of the profession and its implementation. We take into account two pragmatic arguments of the relevance of the universal musician profession, which arose, on the one hand, as a response to public demand for a teacher-educator, versed in all musical styles, capable to build broad intercultural and interpersonal relationships, ultimately breaking conservative stereotypes of mass musical and pedagogical consciousness; and on the other hand, as the desire of French music universities to solidarize with the European strategy of music and pedagogical education aimed at the free movement of students from one university to another thanks to a common system of credit units, expanding educational opportunities and employment prospects.

THE STYLE OF SECESSION IN WESTERN UKRAINIAN MUSIC CULTURE OF THE EARLY TWENTIETH CENTURY

The article considers the peculiarities of the manifestation of the Secession style in the Ukrainian musical culture of the early twentieth century. It is noted that secession, as a phenomenon of pre-modernism, had the greatest development in painting and architecture, and its centers in the Austro-Hungarian Empire were Vienna and Prague. Attempts to get closer to new trends and directions of art were also characteristic of the generation of Western Ukrainian composers, whose creative activity began in the first two decades of the twentieth century. It is claimed that, in contrast to the Austro- German, Polish or Russian versions, secession in the Ukrainian musical culture is associated with the active search for national style and the formation of a compositional school of European standard. The purpose of the proposed article is to consider the characteristics of the Secession style in the works of two of the most prominent representatives of Western Ukrainian musical culture of the first half of the twentieth century. - S. Lyudkevych and V. Barvinsky, as evidence of the maturity of Ukrainian musical art of the early twentieth century. and its inclusion in the pan-European cultural context. The methodology of the article is based on the use of the musicological historical approach in the study of historical patterns of development of Western Ukrainian professional music culture; comparative method, which reveals the individual features of the work of S. Lyudkevych and V. Barvinsky; semiological, as a tool for interpreting musical texts. The scientific novelty of the article is to identify the dichotomy of secession in Ukrainian musical art on the European and national trends. Conclusions. The influence of the Viennese secession with its aesthetic component gives grounds to speak of the return of Ukrainian culture to its dominant aesthetic component, lost in the previous stage of development. S. Lyudkevych and V. Barvinsky made a breakthrough in the then Ukrainian musical consciousness, demonstrating in their early works distinct modern thinking.

Central Europe in the Sixteenth Century: A Musical Melting Pot

After briefly reviewing the problems arising from attempts to dentify precise geographical outlines of Central Europe in the course of time, the author opts to use the limitations existing in the sixteenth century, the time frame of the presentation. This means, essentially, the borders of the Habsburg homelands, i.e., the southeastern part of the Holy Roman Empire. The paper argues that the roots of Central European musical practices were established through the foundation of regulated institutional entities such as the imperial chapels of Maximilian I (1496) and other rulers (Albrecht V of Bavaria, 1550), their successors and imitators, as well as the transalpine Renaissance church centers. As these institutions were staffed by musicians coming from virtually every corner of Europe – each practitioner bringing his own territorial contribution with him – the emerging musical consciousness of the Central European region had as cosmopolitan a foundation as that of Europe at large. Still, the proximity of the Central European art music scene to the variety of local ethnic traditions may be interpreted as lending a flavor to the musical expression of the area, endowing it with a character of its own. While in its beginnings the recipient of many influences from multinational contributors, in a later, equally cosmopolitan period (the Classicism of the eighteenth century), Central Europe reciprocates in equal measure, its contributions exerting impact upon European music in general.

Features of development of the violin art in the modern theatre

The foundation of the scientific basis for understanding the processes of development of modern violin art is relevant, since it allows discovering the foundations and results of transformations in the musical consciousness. The relevance of the study is determined by the decisive modifications that occur in the space of culture and affect the type of modern theatrical art. The purpose of this study is a comprehensive analysis of specific features of the violin art in the modern theatre. For this purpose, the following research methods were employed in this study: the method of analysis and the method of synthesis, induction and deduction, comparative historical and logical analysis, as well as the positions of scientific objectivity, systematisation in the study of works of violin art. The authors of the study analysed and summarised features of the development of the violin art in the modern theatre of the 21st century. The modern theatrical creativity with the use of violin art is considered from the standpoint of consistency, as a kind of artistic integrity, in which the manner of performance, repertoire, and the choice of the genre of performance play a certain role.

Thoughts on Musical Consciousness

Thoughts on Musical Consciousness

ОСОБЕННОСТИ МУЗЫКАЛЬНОЙ ДРАМАТУРГИИ ДЕТСКИХ КУКОЛЬНЫХ СПЕКТАКЛЕЙ

The musical dramaturgy of a child's puppet show is a unique phenomenon, characterized by brevity, conciseness, minimalism of forms and structures. It relies on the generally accepted laws of theatrical productions, which include the exposition, the outset, the culmination, the denouement, and so on. Specific features of the children's puppet show are manifested in the plot-sense, figurative and genre aspects, as well as in the means of musical and artistic expressiveness. The basis of the puppet show is the genre of the fairy tale, which in the form accessible to the children reveals the main meaning of the artwork. Through the genre of fairy tales, children distinguish good deeds, truth and lies, learn about living and inanimate nature, people, fairy-tale characters, fantasize, ponder, memorize. The imagery that are revealed in the puppet show are actual to the child. The musical side of the performances contributes to his perception. Particular importance is the theater dramaturgy and musical dramaturgy of the children's puppet show. They contribute to the organization of the musical and artistic consciousness of the child, who first gets acquainted with the theater world. The musical dramaturgy of the children's puppet show is based on song and folklore genres. The musical and artistic expressiveness is based on the melody of the word and the structural and rhythmic patterns of verbal speech. The analysis of the integral dramaturgy of the children's puppet show testifies to the birth of original, original genre models – a fairy tale with music, a musical fairy tale and an interactive performance. Children's puppet show is close to the psychology of children's perception. At the same time, it has musical, artistic, teaching and educational significance. Puppet show captivates and helps children enter into real life with the help of artistic-figurative and musical-figurative experiences and impressions. In this process, dramaturgy, as well as various means of musical and artistic expression, a decisive role in the play. Moreover, successful dramaturgic decisions of the play control the perception and consciousness of the audience and lead it to the expected results for the authors of show. With respect to the children's audience, the result should be considered not entertainment, but educational and educational success. It is here that the main meaning of children's puppet shows is concluded, which through the artistic influence form and develop the personality of a small person.

Musical and psychological anthropology: scientific and educational project

The relevance of the article lies in the need to comprehend at a new level the methods of organizing education at a university in order to actualize the professional and personal reflection of students in the context of the analysis of existing artistic anthropopractics, including in the aspect of personal preferences of cultural and stylistic phenomena. The purpose of the author's scientific and educational project – musical and psychological anthropology – was to create a course and organize the learning process at the humanities faculties of a pedagogical university through self-knowledge of young people in the process of getting education. To organize the process of self-knowledge of students and actualize reflection, a complex of methods of musical-psychological anthropology was developed and tested: analysis of ideal and real artifacts of musical consciousness; analysis of types of musical behavior; analysis of intonation archetypes; case analysis "psychological complex of a modal personality – a carrier of a certain musical style"; analysis of precedent texts of musical culture (generational, ethno-cultural and confessional preferences) and other author's methods. The developed methods constitute a methodological toolkit that is studied and used in the course of musical and psychological anthropology at a university for research and self-understanding of university students (learning through research of self). The generalization of the results allows us to speak about the effectiveness of the approach to the study of the mentality of the implicit social groups of the modern metropolis (Moscow) by studying the musical preferences and value orientations of young people. The general significance of the project of musical-psychological anthropology as a scientific field of knowledge and anthropopractic within the educational process is seen in the creation of conditions for students to acquire "living" new knowledge and to satisfy the need for self-understanding and "care for oneself" (M. Foucault) as a subject of an emerging culture.

Interviewing the musical sample

Abstract Digital technologies and Musical Instrument Digital Interface-sampled instruments have emerged as one of the most significant technological shifts in musical consciousness in western society. Digital music has introduced new epistemologies of music as it raises questions of authorship and creativity, while also challenging the ontological presumptions about what it means to be a musician. Through interviewing the sample by applying various posthuman heuristics, I explore my own relationship to digital music samples and sampling technology as a composer and musician. I engage in a phenomenological inquiry that surveys the various ways the sample affects my ecological milieu of music-making, and more broadly, I explore how a musician is at all times enacting an intra/actional relationship as negotiated between themselves and their instrument.

Stylization of Baroque genres in the Ukrainian violin miniature of the early 21st century: specifics of musical consciousness formation

Stylization of Baroque genres in the Ukrainian violin miniature of the early 21st century: specifics of musical consciousness formation

Проекции архетипов в фактуре фортепианных произведений Н. Метнера

The paper aims to identify mechanisms to form timbre character of piano texture in N. Medtner’s compositions, which are for the first time analysed in the aspect of figurative and archetypical integrity. To achieve this research objective, the author identifies internal form-generative intentions in C. Jung’s archetype theory, reveals the basic timber texture types largely determined by existential structures of the performer’s existence. For the first time in musicology, the synesthetic analysis method is applied to reveal deeper auditory-motor associations in the performer’s musical consciousness.