Temporal Arts Research Articles

Becoming an image in the cinema: from Lessing and Hegel to S. Eisenstein

The object of the study is the formation of an image in cinema. S.M. Eisenstein defined cinema as a comparison of two methods: the method of image and the method of figurative formation. The image in the cinema is the "image of becoming". The purpose of the study is to trace the evolution of views on the "image of becoming" from G. E. Lessing to G. V. F. Hegel and S. M. Eisenstein. The author refers to the origins of the formation of the "image of becoming", the teachings of G.E. Lessing and G.V.F. Hegel, who had a great influence on S.M. Eisenstein. G.E. Lessing determined that the methods of studying spatial and temporal arts are different. The method of image is a method inherent in spatial arts, the method of becoming is inherent in poetry as a temporary art. G.E. Lessing gave primacy to the method of becoming. G.V.F. Hegel dealt with a similar problem, he formed the doctrine of the "image of becoming" that arises in time. The research is based on the principle of image birth, developed by S.M. Eisenstein, according to whose teaching, an image is born in a montage. Comparative and semiotic methods are used in the study. The scientific novelty of this study lies in the research of the continuity of the doctrine of the "image of becoming", in the study of S. M. Eisenstein's innovation in this matter. According to S. Eisenstein, cinema is a synthetic, space-time art. It is associated with spatial arts, fine arts, architecture, sculpture, as well as with temporary ones: music, poetry. Cinematography is based on the "Dionysus method", which makes cinema related to other forms of play. According to S. Eisenstein, a movie frame is an assembly complex, it has its own design and composition, which makes it related to spatial types of art, as well as rhythm, which makes it related to the arts. Cinema is a complex system of images and signs. S.M. Eisenstein defines cinema as a field of language. The formation of an image in a movie takes place in time.

Трансдисциплинарный подход к изучению музыкальных явлений: теория информации и её воздействие на различные области музыкознания

At the present time, the application of mathematical methods in musicology, as well as the examination of the entailing facts of indeterminacy in the system of musical thinking are some of the most actively developing directions in the sphere of humanitarian disciplines, becoming important tools of cognition and interpretation of the semantic structures of all temporal arts, including the art of music. This article presents a continuation of the multicomponent complex research carried out by its authors, aimed at identifying the issues related to the use of a transdisciplinary approach, comprising an effectual foundation for a qualitative and quantitative evaluation of musical phenomena with the use of the resources of present-day musical computer technology, including the factors of indeterminacy in music researched with the aid of these technologies. Special attention in the article is devoted to the mathematical theory of information and its impact on various spheres of musicology. Musical computer technology, the use of which stipulates the possibilities of creation of new technological and experimental-practical means of music studies, may also be used upon the construction of music theory systems applicable to the sphere of musical education. It becomes an active instrument of research devoted to the problem range of trans-disciplinarity as a principle of organization of academic knowledge, presuming the interaction of many directions of scholarly research upon the solution of complex problems of musicology. The present-day level of development of musical computer technology makes it possible to examine use as an effective basis fo the creation of multicomponent complexes of hardware-software programs, which may be applied in the process of construction of intellectual systems of analysis and cataloguing of the music of the peoples of Russia and the whole world. The authors of the article illuminate the project of development of a Russian Electronic Musical Instrument undertaken by the associates of the scholarly-methodological laboratory “Musical computer technology” of the Herzen State Pedagogical University of Russia, relying on materials created with the participation of specialists who possess various methods and tools of a transdisciplinary approach towards the study of musical phenomena and endowed with the experience of developing contemporary musically directed programmatic means in both the sphere of the technology of their application for carrying out scholarly research and in the process of the realization of new professional directions in musical education.

Temporal and spatial accounts of sound perception. An overview of the main historical sources and theoretical problems

Summary Music has been primarily conceived as a temporal art. However, over the last two centuries or so, researchers across different disciplines including musicology, psychology, and philosophy, have been intrigued by the spatial nature of music and sounds, using spatial concepts to define music. This paper aims to demonstrate that an understanding of music perception from a temporal perspective inherently implies a certain spatial dimension. To do this, first, I briefly examine some key arguments that lead to conceiving sound perception in temporal terms. At the same time, I highlight some of the limitations of a purely temporal account of sound perception which necessitate the incorporation of spatial considerations into the conceptualization of sound perception. Consequently, I move on to consider prominent spatial accounts of musical sounds that have been elaborated by psychologists, musicologists, and music composers. In conclusion, I discuss some of the challenges arising from the analogy between music and space, whether conceived in perceptual or cognitive terms.

Зонная теория музыкального времени и трансдисциплинарный подход к изучению музыкальных явлений

The study of the factors of uncertainty in the system of musical thought has become a subject of fixed attention on the part of music researchers, partially being in advance of certain analogous results in the spheres of the exact sciences. The synergetic approach, stipulated by processes of development of contemporary science, is determined by the substantiation of its application towards their studies, not only in the natural sciences, but also in the humanitarian disciplines and becomes an important instrument of cognition and interpretation of the semantic structures of all the temporal arts, including the art of music. the article examines a number of endeavors to study the probabilistic-statistic natural laws of music presented in Ludwik Bielawski’s book The Zonal Theory of Time and its Meanings for Musical Anthropology: The Endeavor of Definition of the Place and the Role in the History of Theoretic Musicology (Krakow, 1976), in which the natural laws of the functioning of musical levels on various levels and in the various forms of its manifestation. The authors of the article give attention to the use in scholarly research works devoted to this problem range of music computer technologies which has served as a basis for the possibility of creating new theoretic and experimental-practical means of studying music, including the factors of indeterminacy in music applied to the sphere of musical education researched with the means of music computer technologies. In this connection, the article elucidates a number of new educational directions and programs developed by the members of the learning and teaching laboratory “Music Computer Technologies” of the Herzen State Pedagogical University of Russia called to provide the preparation of specialists who possessed various forms and means of the transdisciplinary approach to studies of musical phenomena and processes.

대중음악 시장의 2세대 NFT 활용 연구

The first-generation of NFTs, which gives originality and ownership to digital data, is mainly used for artwork and has exploded the scope of the digital art market. In the popular music market, attempts have been made to utilize the technology of the first-generation NFTs, but the representative features of the 2nd generation NFT, such as 'membership', 'fandom', 'intellectual property (IP)' and 'world view', can be applied independently of the characteristic gap between temporal art and spatial art. In particular, it was confirmed that the popular music market, which has a 'membership' function and a specific group of music consumers called 'fandom', is advantageous for using the second-generation NFT. In addition, by granting intellectual property rights (IP) to NFT music, it was confirmed that buyers can create a new profit structure by creating secondary creations. Therefore, this study presented cases of use in popular music and additional methods of use, focusing on the four characteristics of second-generation NFTs as above, and predicted possible problems and suggested countermeasures.

Voice, rhythm, and genre in children's early writing

Studies within evolutionary musicology and ontogenetic development propose an intimate relation between the quality of the human voice, the rhythm of interactional patterns (e.g. the alternation between repetition and improvisation), the origins of aesthetics, and the characteristics of performances within the temporal arts. Focusing on the role of auditory perception in children's development of narrative skills, this article similarly proposes an intimate relation between children's voices in interaction, their imitative use of formulaic and genre-specific language, and their creative and aesthetically attuned written compositions. The notion of voice opens up a productive and coherent approach to investigating how children interactionally and imitatively come to develop a command and reflexive understanding of spoken and written genres. The discussion is based on a full ethnography of children's acquisition of written language during their second school year.

Intermedial Turn in Goethe’s Novel “The Sorrows of Young Werther”: from Sentimental Literary Centrism to the Musicalization of Literature

The relevance of the study The publication in 1774 of the epistolary novel by Johann Wolfgang von Goethe became not only an outstanding fact in the biography of a still very young German genius at that time. The echoes of this event can be felt over the next several years, when this work literally turned the worldview of contemporaries, as well as in the following centuries in numerous artistic paraphrases. Obviously, the meaning of The Sorrows of Young Werther goes far beyond the purely literary sphere; therefore, its research should be approached with the appropriate tools. This key can be intermediality, which explores the processes of interspecific interaction of arts as mediums that do not compete with each other, do not strive for mutual intervention, but, on the contrary, reinforce each other’s action. The study of the mechanisms of intermediality makes it possible to go beyond the narrow professional field and determine the general cultural context of the era, which is an urgent task of modern humanitarian science.
 The purpose of the study is to characterize the mechanisms of interaction between literature and music in Goethe’s epistolary novel The Sorrows of Young Werther and the basic role of these mechanisms in the formation of a sentimentalist worldview.
 The results and conclusions. Consideration of the Goethe’s epistolary novel The Sorrows of Young Werther in the aspect of intermedial connections prompts several thoughts at the same time. First, in this novel, at the declarative level, literature retains its position as an already fully formed social institution. Literature, like art history and philosophy, is not anonymous here, but personified. In this approach, one senses an attempt at an aesthetic discussion with immediate contemporaries, the penetration of a publicistic component into a work of art, which became a powerful part of Herder’s essay sermons in the late 1760s. At the same time, music and painting appear as forms of realizing the ‘true,’ extremely sensual human nature, not reduced by various secular conventions. Werther draws, Charlotte plays the piano and sings, the ball scene is permeated with music. The newfangled hobby for folklore has determined the anonymity of musical toposes in the novel: these are ancient songs that sound accompanied by a piano, as well as popular dances—in this one can also see the influence of J. G. Herder.
 The entire fabric of the novel permeates and defines music as a super-idea: the music of the language and the music of novel drama with its discontinuous fragmentation and temporal fluidity. The presence of music within the story legitimizes its emotional exaltation, unpredictable syntax. The mention of singing or playing music influences the development of the storyline, the music becomes that invisible director who constructs the form of a whole literary work. The intermedial interaction of the two by nature temporal arts serves as an intensified catalyst for the ‘feelings biography’ of the protagonist, which also unfolds in time and directs the reader’s attention to the irrational sphere. The interpenetration of literature and music becomes a tool for overcoming outdated artistic conventions and the formation of a new type of European literature, in which attention to the sensual sphere becomes a way of reflecting the life of the New Age as fluid, subject to constant changes.
 The main conclusion of the study is that The Sorrows of Young Werther marks a turn from the typical for sentimentalist style music ‘literaturezation’ to counter processes, which will be fully revealed already in the era of romanticism.

Tapping to hip-hop: Effects of cognitive load, arousal, and musical meter on time experiences

Experiences of time vary intra- and interindividually, depending on factors such as attentional resource allocation and arousal. Music as a temporal art that is structured by multiple temporal layers is ideal for investigating human time experiences. The current study used examples of hip-hop music that varied in arousal but were constant in tempo. Participants judged the passage of time to be quicker when cognitive load was high in a dual-task condition, and perceived duration to be shorter when performing a concurrent motor task (tapping along with the music). Perceived musical arousal did not affect subjective time. Attending to a higher metrical level by tapping with half notes resulted in shorter duration estimates and a quicker passage of time, compared to tapping with eighth notes of the same music. Results were not influenced by spontaneous motor tempo, musical expertise, preference or familiarity with the music. Taken together, these findings indicate consistent effects of cognitive load and attention to meter on time experiences.

Музыка - ожившая архитектура: готический собор как модель совершенной музыкальной композиции глазами Венсана Д'энди

Vincent d’Indy developed his own understanding of the ideal algorithm of constructing musical forms. In support of his concept, he took a general artistic perspective. His aim, apparently, was to confirm the special status of the suggested compositional strategies as universal for different kinds of art. These strategies are grounded in such categories as rhythm, order, proportionality, and symmetry inherent to any kind of spatial/temporal art with architecture and music representing the extremes of the spatial/temporal continuum. D’Indy established the correlations between the spatial/temporal arts by embracing the ideas of Hegel, Ruskin, and Lévesque. To explore these ideas, the article resorts to the cultural and historical analysis. D’Indy argues that the “cyclic principle” is the most mature historically and the most perfect constructively. The principle applied exclusively to multimovement compositions has its basis in the translational symmetry of the initial pattern-cell together with its variant renewal. The “cyclic principle” finds its supreme realization in the “cyclic sonata” and the Gothic cathedral. The article is the first attempt to analyse how the “cyclic principle” is used per se, while its particular implementation in music has repeatedly been discussed. The latter was initiated by d’Indy himself in his Cours de Composition Musicale. A step-by-step method of putting the cyclic principle into practice, regardless of the artistic material, is derived by applying the comparative analysis, which helps to develop universal models for working with repetitive patterns in spatial and temporal arts. The analysis revealed the following: first, a “cyclic element” is represented by a syntactically articulated structure which may function as an initial compositional unit (from musical cells to sculptural details); second, the elaboration on the artistic material in music and architecture is done through rhythmic transformations of patterns resulting in the new internal structure with the core preserved. The latter ensures the implementation of the aesthetic maxim “unity in diversity”, seen by d’Indy as crucial in constructing the artistic whole.

“Telling in Time” Extended

Temporality has long been recognized as a defining trait of narrative. This article introduces new concepts, methods, and arguments to analyze the relationships between represented and representational timelines for a transmedia narratology with a strong focus on emotions, rethinking such fundamental concepts as complication, resolution, and illustration. Since Gotthold Ephraim Lessing (1766) distinguished the temporal arts like poetry, where signs are consecutive, from the spatial arts like painting, where signs are juxtaposed, the latter have been considered to be limited when it comes to conveying stories autonomously. Opposing this point of view, this article explains how monochronic pictures can convey timelines by relying on the depiction of traces, as well as an appeal to anthropological and cultural knowledge. It then shows how some monochronic pictures intended as illustrations sometimes convey stories autonomously. The author argues based on a choice of photographs that inducing suspense or curiosity is possible even through a monochronic picture. The article also shows how single pictures induce experiences of duration or instantaneity, concluding that single monochronic pictures can convey essential story events in a predetermined order and reliably convey the timeline of these events. This implies that such single pictures can be narratives even according to narrow definitions of the concept.

The spatialized narratives in Alain Robbe-Grillet’s “The secret room” and Wang Anyi’s “The public kitchen”

Whereas Lessing distinguishes painting as a spatial art from poetry as a temporal art, Joseph Frank proposes the increased spatiality in modern poetry and novel, which feature the juxtaposition of images, the fragmented narrative, and the suspended meaning-construction until the entirety is perceived. Although excluded from Frank’s study, modern short story also exemplifies the spatial form to a remarkable degree. Through a comparative reading of French writer Alain Robbe-Grillet’s “The secret room” and Chinese writer Wang Anyi’s “The public kitchen,” this article explores the different means and degrees of spatiality in these two short stories. In contrast with the obliteration of time elements in Robbe-Grillet’s story, time itself is spatialized in Wang’s story, and the space becomes an embodiment of the passing of time. It is then argued that, the time-inherent narrative reveals modern Chinese short story’s “modified correspondence” with its Western counterpart, which can be attributed to the paradoxical yearning for a sense of historical continuity in the path of China’s modernization.

Decolonizing the knowledges of young children through the temporal arts

In this article I take a new materialist and posthuman approach to ask: how can improvisation in the temporal arts reconceptualize and broaden our adult understandings of young children’s communication and knowledge? I draw on two filmed events from the recent SALTmusic project. This filmed event data has been returned to many times to illustrate unique and particular events that took place in the past, but – when re-viewed and retold – constitute a new and particular happening or entanglements between the original event, the video technology that brings the past into the present, and the philosophical thinking that the events inspire. In the first part of this article, I critique the fixation on young children being made to talk as early as possible, and call for improvised music and arts practices as decolonizing pedagogies where children’s own knowledges are able to inform and shape their education. By revisiting Trevarthen and Malloch’s Communicative Musicality and Stern’s ideas on vitality affect and the present moment to see how they entangle and transform within new materialist and posthuman philosophy, I question and critique the developmental discourses that conceptualize young children’s musical behaviours as proto-music and, instead, frame the temporal arts, within a posthumanism, as having the potential to cut through the subject/object binary. I explore children’s porous and entangled subjectivities, through the posthuman idea that human identity and human thought connect and are made and remade beyond the individual, bounded human subject, and that children’s relationship with the present moment is a vital capability or knowledge at the heart of what it means to improvise and much more than a developmental stage.

Dialectical Sculptural Experimentations of Postmodern Sculpture in Ghanaian Context

Commemorative and allegorical sculptures are very important constituents in the spatial, temporal and spatio-temporal art forms of any given community or people. This is because, not only are they symbolic, they also represent important landmarks in the history of the people. Constricting formal configuration of commemorative narratives in Ghana is the neoclassical concept of the monument which is heavily modelled on an “idealist myth” (Krauss , 1981,) However exhuming medieval spatial metaphors, this paper expounds how pole ideologies in history Vis a Vis current thought have informed and thus negotiated and expanded the frontiers of formal aesthetic dialogues. Attention will be drawn to the oversubscribed ‘idealist’ ideals (like frontality, the figure, the pedestal and preference for the noble media like stone, wood, bronze ivory cement etc.) in the expressing of commemorative sculpture in Ghana as if it were the modus- operandi. Finally, a research work which used ‘Fante’ proverbs as its principal reference point is introduced not to only seek a defiance of these academic conventions but also explore the vernacular qualities of found media (ready- made) specifically scrap metals which have had former lives before and thus fraught with in context meaning to a new aesthetic end. Keywords: narratives, readymade, hybridity, dualism, dialectic, idealism, materialism, minimalism. DOI: 10.7176/ADS/83-04 Publication date: July 31 st 2020

Musical Portraits: The Composition of Identity in Contemporary and Experimental Music by Joshua S. Walden

Reviewed by: Musical Portraits: The Composition of Identity in Contemporary and Experimental Music by Joshua S. Walden Elizabeth Hoover Musical Portraits: The Composition of Identity in Contemporary and Experimental Music. By Joshua S. Walden. New York: Oxford University Press, 2018. [xiii, 184 p. ISBN 9780190653507 (hardback), $74; ISBN 9780190653521 (e-book), varies; also available in Oxford Scholarship Online.] Figures, music examples, bibliography, endnotes, index. Musical Portraits: The Composition of Identity in Contemporary and Experimental Music complements literature by Joshua S. Walden on musical representation and identity through the exploration of musical portraiture, "a genre of compositions that operate as musical evocations of aspects of individual identities in the manner of portraits in the visual arts and literature" (p. 2). Walden pioneered the study of musical portraiture by discussing Carl Philipp Emanuel Bach in relation to eighteenth-century theories of portraiture in the visual arts, and correlations between music and painting ("Composing Character in Musical Portraits: Carl Philipp Emanuel Bach and L'Aly Rupalich," Musical Quarterly 91, nos. 3–4 [Fall-Winter 2008]: 379–411; "What's in a Name? C. P. E. Bach and the Genres of the Character Piece and Musical Portrait," in Genre in Eighteenth-Century Music, ed. Anthony R. DelDonna [Ann Arbor, MI: Steglein Publishing, 2008], 111–38). In Musical Portraits, Walden contemporizes the discussion by extending his work on portraiture composed since 1950 initiated in "Representation and Musical Portraiture in the Twentieth Century" (in Representation in Western Music, ed. Joshua S. Walden [Cambridge: Cambridge University Press, 2013], 127–43), which focuses on compositions that challenge traditional modes of representation in parallel to, or inspired by, experiments in literature, painting, and multimedia. In the introduction, four chapters, and epilogue that make up the text, Walden investigates a series of case studies to demonstrate how contemporary musical portraiture constructs human identity and questions formations of the self for both artists and audience. Although quite brief and in no way comprehensive, the introduction, "Portraiture as a Musical Genre," highlights how portraiture has served as metaphor for internal identity. Walden establishes that the nature of twentieth-century portraiture represents this identity apart from mimesis and compares the roles of metaphor in portraiture and music. By calling on select theories of identity construction in postmodern performance, Walden emphasizes the social, performative, and hermeneutic construction of identity in contemporary musical portraiture. Walden explores four main types of musical portraiture, as indicated by the chapter titles: (1) "Musical and Literary Portraiture," (2) "Musical Portraits of Visual Artists," (3) "Listening in on Composers' Self-Portraits," and (4) "Celebrity, Music, and the Multimedia Portrait." To study the complex and multifaceted construction of identity in these types of portraiture, Walden depends on musical, literary, visual, and dramatic texts as evidence. His interpretive, cross-disciplinary analysis is accessible to readers across the humanities and is often enhanced by authoritative artist statements about the works. Mirroring the trajectory of abstract art in the twentieth century and portraiture's break from aesthetic realism outlined in the introduction, Musical Portraits, although often rooted in comparative studies of musical ekphrasis, departs from this approach to question who is represented in musical portraiture and the truthfulness of such representations. The first two chapters compare musical portraits of artists whose styles inspired composers, who name them [End Page 460] in the title. Chapter one analyzes the influence of Gertrude Stein's poetic insistence—gradually varied repetitions of linguistic motifs—on Virgil Thomson's musical portraiture and then turns to Stéphane "Mallarmé's complex ideas about the relationships between poetry and music" as enacted in Pierre Boulez's Pli selon pli: Portrait de Mallarmé (p. 37). Drawing from A. S. Byatt, Walden introduces these case studies by underlining a kinship between music and language that, as Byatt claims, both depend on time and "the unfolding of description" (p. 23) to reveal internal character. Byatt establishes this connection in opposition to the supposed stasis of visual art (painting), but curiously Walden does not probe the aesthetic question of what designates "a temporal art" (or also a "time art"), a much-debated question in the disciplines of music and painting (Jerrold Levinson, Musical Concerns: Essays in Philosophy of Music [Oxford: Oxford University Press, 2015]; Jonathan...

The Genesis of Sculpture Parks in the Evolution of Landscape and Monumental-Decorative Arts Synthesis

«Вестник Санкт-Петербургского университета. Искусствоведение» — научно-теоретический рецензируемый журнал, обобщающий результаты исследований ученых всего мира в различных областях искусства, включая музыковедение, культурологию и художественное образование.

Paul Poet transforms Christoph Schlingensief’s Container Project: Performance into Image

Paul Poet transforms Christoph Schlingensief’s Container Project: Performance into Image Birgit Tautz (bio) An Event, its Effects and Discontents Wiener Festwochen (Viennese Art Festival), June 2000: long considered the enfant terrible among European performance artists, Christoph Schlingensief (1960–2010), is at it again. In a fortress-like compound made of shipping containers and placed next to the opera house, Schlingensief stages a weeklong Aktion (political performance). Formally akin to the then-booming Big Brother television show, the performance stages an “intervention.”1 The “houseguests” have applied for asylum in Austria and several are recent refugees, people displaced by the civil and ethnic wars in former Yugoslavia or forced into migration by famines in Africa. The “show” is (co-)produced by members of the public passing by on their way to and from the city center but also lurking online. To top it all, the happenings in the compound are streamed live, 24/7. Online, the audience votes for their “favorite refugee,” with the vote enabling the foreigner to stay in the country after an arranged marriage to an Austrian, while votes taken over the phone expel a houseguest from the compound. S/he is to be escorted from the premises live, each night at 7 p.m.2 Schlingensief’s Aktion meant to uncover any subtle (and not so subtle) workings of prejudice and xenophobia in the immediate aftermath of right-wing electoral success in Austria in 2000. Beginning with the title, Bitte liebt Österreich! – Erste Österreichische Koalitionswoche (Please love Austria: First Austrian Coalition Week), it invited protests by all those it targeted, from the (anonymous but vocal) public to the (inter-) national and boulevard press, all the while involving them in the production. Public, press and other media organizations, as well as artists, but also accused politicians became co-producers of “factual” declarations, name-shaming, and “misreadings.” While pedestrians’ protests proved to be self-revealing—as they confirmed accusations of xenophobia—and are well documented on film, television, and in newspapers, Kronen-Zeitung, the largest, most populist daily in Austria, feigned protest. It [End Page 50] riled up the public over the originally chosen, but ultimately retracted subtitle “Konzentrationswoche” (concentration week, in allusion to concentration camp), while revealing a performance script that had the layout of the compound but was captioned “Lagerplan” (camp plan) rather than “Lageplan” (location map).3 Ultimately though, Krone only proliferated any and all insults by endlessly repeating them. Xenophobic media slogans, along with actual and fake brand logos, decorated the container walls, emphasizing insult and offensiveness through their loud, in-your-face visual presence. The signs were so omnipresent that leftwing protesters mistook them for xenophobic overreach, climbed the outer walls and tore them down. The project’s message seemed ubiquitous: xenophobia is everywhere, as is latent fascism. Schlingensief’s intent was more complex, though, as he aimed to move beyond exterior signs and expose internalized habitus: “Everybody was meant to read xenophobic Austria as a character, a role or a person that anybody can inhabit and that everybody has internalized.”4 The declared intent aimed to transcend the performance itself, lifting temporal art into a realm of experiencing a human condition, up to and in all its (self-) destructiveness.5 In its volatility and controversy, the performance revealed, as Anna Teresa Scheer observes, that left- and rightwing ideologies (and respective attributions by the other side) may be entirely insufficient to discuss the issues at hand.6 And yet, this snippet-like account can only convey parts of the performance. The project website (with clips from www.freewebTV.com) and an out-of-print book contain elements of the original design, scripts, and media-materials commenting on the weeklong happening.7 They inventory and archive them, presumably, without any editorial intervention or any efforts to organize the visual material. But these media, like any other, fall short of preserving the nature of the performance action. As it had played out live across different spaces, multiplied and augmented in several media, it resisted and undercut any unified message. (The different titles underscore the latter point.) Rather these aspects point to an event that yielded multidirectional...

Музыкальная культура провинциального города в оптике художественной урбанистики. К постановке проблемы

The article is devoted to the issues of a provincial city musical culture, which are considered in the aspect of modern urban studies. The author puts forward the idea of positioning artistic urbanism as a special research area which can enable a researcher to contemplate the various phenomena of artistic creativity in urban culture. Urban art is an important typological, sociological, morphological and cultural feature of urban culture. In general, the object of urban studies is spatial arts — architecture, design, applied and decorative arts, and landscape art. The musical existence of a city sets a new vector for this research area and takes it beyond the sphere of visual analysis into the field of temporal arts. In various Russian regions, extensive collections of musical and local history materials have been accumulated and may now become the subject of artistic urbanism. Such analysis enables the researcher to identify the general trends of the urban musical environment evolution in the past and the present, to trace the development patterns of artistic life in the Russian province as a whole, and to complement the history of Russian music on a national scale. In this article special attention is devoted to the analysis methodology which is based on the “capital — province” dichotomy. The author identifies the factors that determine the specificity of musical culture for provincial Russian cities that may differ in their historical, social and cultural status. Among such factors special meaning is assigned to the spatial-geographical criterion which traditionally defines the musical culture originality of various provincial cities. The article also addresses the phenomenon of “a provincial music centre” — a novel factor in the musical life of modern Russia. Such “centres” stand out against the background of the bulk of the “minor province” cities, whose musical life is based on traditional forms of artistic practice.

Часопростір в образотворчому мистецтві й літературі: експериментувати не можна спростити (контекст doppelbegabungen)

The article deals with the issue of the chronotope distinguishing features both in literature and in fine arts. The artists' attempts to include the category of time into painting and their speculations on the problem have been highlighted in the paper. Such concepts as sujet and rhythm, their relevance to fine arts have been brought into focus. Being a part of a principal study of the writers-artists’ oeuvres, the current paper contains the collected data on the painters’ transition from fine arts as a spatial one to literature. Their conversion to a new artistic field was caused by the desire to create temporal art and experiment with artistic time continuum.

Moments in Music Therapy – A review of different concepts and connotations in music therapy

Several music therapists have studied specific ›moments‹ in music therapy. Since music is a temporal art form, this is often seen as an attempt to grasp and understand phenomena which are primarily unexpected, momentary and short-lived and yet can be considered meaningful within the music therapy context. Conceptualizations of these moments focus on different features varying between the individual process of the client, the therapeutic relationship, and certain musical manifestations. This review presents sixteen concepts in relation to the clinical context in which the moments occurred and the theoretical background from which they were developed. Two main properties as recurring themes are discussed: (i) the relationship between the concepts and change; and (ii) specific therapeutic attitudes and interventions which serve as a facilitator for the moments to occur.

The Human Nature of Music.

Music is at the centre of what it means to be human – it is the sounds of human bodies and minds moving in creative, story-making ways. We argue that music comes from the way in which knowing bodies (Merleau-Ponty) prospectively explore the environment using habitual ‘patterns of action,’ which we have identified as our innate ‘communicative musicality.’ To support our argument, we present short case studies of infant interactions using micro analyses of video and audio recordings to show the timings and shapes of intersubjective vocalizations and body movements of adult and child while they improvise shared narratives of meaning. Following a survey of the history of discoveries of infant abilities, we propose that the gestural narrative structures of voice and body seen as infants communicate with loving caregivers are the building blocks of what become particular cultural instances of the art of music, and of dance, theatre and other temporal arts. Children enter into a musical culture where their innate communicative musicality can be encouraged and strengthened through sensitive, respectful, playful, culturally informed teaching in companionship. The central importance of our abilities for music as part of what sustains our well-being is supported by evidence that communicative musicality strengthens emotions of social resilience to aid recovery from mental stress and illness. Drawing on the experience of the first author as a counsellor, we argue that the strength of one person’s communicative musicality can support the vitality of another’s through the application of skilful techniques that encourage an intimate, supportive, therapeutic, spirited companionship. Turning to brain science, we focus on hemispheric differences and the affective neuroscience of Jaak Panksepp. We emphasize that the psychobiological purpose of our innate musicality grows from the integrated rhythms of energy in the brain for prospective, sensation-seeking affective guidance of vitality of movement. We conclude with a Coda that recalls the philosophy of the Scottish Enlightenment, which built on the work of Heraclitus and Spinoza. This view places the shared experience of sensations of living – our communicative musicality – as inspiration for rules of logic formulated in symbols of language.