Sushkevich Natalia Stepanovna
The article touches upon the methodological problems of computerization of musical art, discusses the difference between the concepts of computer, electronic, electro-acoustic music. The author stresses the fact that information technology in music mainly focuses on the study of the theory and practice of computer music since the choice of the parameters of the structural and pitch organization, the rhythmic and timbre characteristics of the musical composition to a great extend depend on the capabilities of electronic media. Based on the study of a number of national and foreign sources, various points of view are presented regarding the purposes of composing music using mathematical algorithms. The author points out that for the first time in history successful experiments on melody programming were carried out in 1959 by the Soviet cybernetics Rudolf Zaripov, who also wrote two major works (1971, 1983). He stated that the purpose of his work was to study the mechanism of intuition, the mental processes underlying the compositional and creative activity. Based on the study of modern foreign experience (Bennet, Loy, Jacob), we can conclude that one of the main goals of computer creativity for them is modelling a musical composition with the help of algorithms extracted from real chaos and organized according to the principles of self-similarity and scalable invariants. It was the creators of synergetics that advanced the idea of self-organization of matter on the principle of self-similarity. In music, selfsimilarity is associated with polyphonic techniques (stretts in fugue), serial technique. One of the priority areas in experimental music is the use of the method of formalizing the parameters of the musical composition based on the representation of the fractal model with the aim of further transforming them in accordance with the individual tastes of the composer, intuitive notions of beauty and harmony.
Leonova Natalia Vladimirovna
The research group from the Novosibirsk Conservatoire have completed work on the project supported by the Russian Foundation for Humanities. The aim of the project was the creation of information system “Musical culture of Siberia” (IS MCS). The project was realize with technical assistance of the Laboratory of Information Technologies of the Novosibirsk State Technical University. Currently existing information resources of the music profile are specialized, subject-specific content in them, as a rule,limited either academic or traditional material. A database of mass music have the popular character. IS MCS is anunique integrated resource, it combines all three musical styles, in this lies its uniqueness. The conceptual model, the general principles of the organization and structure of IS MCS reproduce the type of multi-level hierarchical growing database. The structure of the system includes a large number of blocks, which organized in a treelike structure. Basic units (Academic music, Traditional music, Mass music) at the following levels are divided into smaller categories. IS sections contain different types of files: texts and documents, graphic (mostly photographic sources), audio, and video. The network user interface has a large set of service functions that are available on mobile and portable devices too. A functioning multi-level multimedia database “Musical culture of Siberia” with a web-interface and a set of service functions to collective use available on the Internet at: www.media-nsglinka. ru.
Michkov Pavel Alexandrovich
The article discusses the history of the formation of the Novosibirsk Conservatory video fund. Analyzes the stages of formation and development of the structure of the fund, which has a division into two sections: public and private video materials fund. Highlights the technological solutions adopted during the modernization of the library, settle principe select the video format. Selecting video encoding format was implemented in stages. The reason for the transition to the next stage was the need to change the format for technological reasons. With the gradual transition to the principle of access to the fund based on the “client-server” technology, it was decided to switch to a different format for viewing video directly in the browser. The article specifies characteristics of access to the “client-server” videos on technology: the possibility of full access to the fund, regardless of the mode library. Servers operated for 24 hours, 7 days a week. Teachers, students and staff of the conservatory, while in high school building, can carry video viewing at any time, except for the technological periods for maintenance work on equipment during the summer and winter vacations.
Eryomenko Galina Anatolievna
The article presents the attitude of the poetic theater of the absurd in the play which was written by Jean Cocteau “The bride and groom with Eiffel tower”. It premiered in 1921 and it was an important milestone in the search of modern stage forms for the twentieth century. In the preface to the publication of a play Cocteau formed public opinion for theatrical games with the audience to discuss serious topics. Ahead Brecht, Cocteau creates a new aesthetics of theatre conventions and indicates the effectiveness of effects of distancing in the show the real world through the system visual and auditory substitution of certainty, the inclusion of fantasy andthe imagination of the audience. Exploit of all tools of comic art paradoxes from puns to slapstick surrealism, unusual interpretation of functions of the word, plastic arts, music and unexpected combinations, allow the playwright to open the deep essence of phenomena, to return a value the everyday things. There are the characteristics of the characters and situations of plays Cocteau in the article as ways to create new theatricality. There is also given an attempt to describe the features of the appearance of a staged performance, features the spoken scenes with music and dance episodes composers of the “Six”. Cocteau anticipated future French theatre and made the original note.
Stolyar Roman Solomonovich
The material is a Russian translation of the legendary Milton Babbit’s article “Who Cares If You Listen?” originally published in High Fidelity music magazine in 1958. Babbit’s article is focused on status of a contemporary composer whose activity, according to author’s statement, should be considered as an activity equal to a complex scientific research, and his works shouldn’t be jugged by non-specialists. An introduction to Babbit’s original text briefly describes the story of its publishing, polemics around its title, and its significant role in the history of modern music.
Pomorceva Nina Vladimirovna
Using multimedia technologies opens new possibilities in organization of educational process in higher educational establishments. This article discusses the use of multimedia technologies in the theoretical-practical activities of the Institute for music teachers in Kemerovo State Institute of culture, and also notes the positive and negative aspects of the current trends of the computerization of the system of education.
Shtuden Lev Leonidovich
Suggested essay is neither a scientific paper nor a musicological study in pure form. It is a tribute to the love and gratitude of the German musical genius from the man whose life he has affected in the strongest terms. Along the way, in the essay attempts to trace the major milestones of the evolution of the music of Beethoven through the vertex of his creation.
Yaskevich Irina Georgievna
The article stated significant changes in the content and poetics of libretto of contemporary Russian Opera (last 25-30 years) due to the change of cultural paradigm, the spread of trends of postmodernism on all areas of culture and artistic creativity. Identify the main typical features of the new libretto, including: narrative taking the form of monological, divisibility of the structure, breaking the logic of storyline, intertextuality. Important for understanding the modern sense of the opera is the identification of a new type of hero, who is often the anti-hero, deviant, a character with “vague” ethic, the crippled mentality. As the material for observations in the article are taken models national Russian Opera, among which three represented monologues-confessions of madmen are found: “Life with an idiot” by A. Schnitke (from a story by V. Yerofeyev), “Lolita” by R. Shchedrin (based on the novel by V. Nabokov), “The day was not, date too...” by A. Krotov (based on the novel “Notes of a madman” by N. Gogol). As a result, the analysis in the librettology’s aspect of these operas are revealed, on the one hand, since the thrust of the approach to the embodiment of the literary material due to an author attitude, on the other - certain similarities in choice of theme, plot, treatment of the image of the protagonist, also in dramatic composition, the structure, methods of constructing text, the connections of the various discourses. It is suggested that the treatment of the Opera’s librettists and composers to the genre of “Notes of a madman” is not accidental and there is reason to talk about this phenomenon as a particular trend in the development of modern Opera.
Opaley Elena Nikolaevna
The focus of this article - genre features the cantata “Babylon” by I. F. Stravinsky, which combines features of the previous theatrical works and concentrates new ideas, intensive sprouting in the subsequent formation of the spiritual works of the composer. In this cantata was the beginning of the emergence of major vocal-orchestral works of the author related to the religious sphere and became a transitional link, where there has been a process of exploration of the musical language, corresponding to the new thematic direction of the composer. In a multi-stage spiritual works of Stravinsky, this piece occupies a special place: on the one hand it is a continuation of the religious themes placed in the mass, spiritual choirs, “Symphony of Psalms”; with another -that of “Babylon” begins the story of the cantata genre, which became a major in the late works of Stravinsky. As a text source, Stravinsky chose the story of the tower of Babel, linguistic factor in this case had an important impact. The structure of the cantata is due to the fable type question of programness - all the parts are connected to each other as stages in a single stage action. Bible story acts as a canvas, outlining the nature and direction of development of musical images. The famous biblical parable into a work of Stravinsky found the musical-dramatic decision. The composer found in the old Testament text, the combination of different narrative forms, and found the corresponding musical embodiment of each of them. To the fore is the word that brings the cantata “Babylon” to the literary-musical composition. The main narrative is the Narrator and the direct speech of God embodied in the choral sound. The relevance of the spiritual works is responsible for its special situation operation, separate in time and spatially. In the spiritual cantata “Babylon”, created for a concert performance, the removal of the artist from the audience. In this work, a pronounced distance suggests the modeling of the secular genre.
Ivanchenko Ivan Victorovich, Shershov Sergey Yurevich
The article is devoted to an overview and analysis of software products of different manufacturers in the field of musical art. Revealed qualitative differences between software associated with the use of different functions, the presence of certain abilities, ease of operation. In order to somehow organize all of the currently available software in the music industry, we decided to distribute it in several large functional blocks. First, the biggest and the main unit is recording program and sound editing, the second program generating sounds and the third is a helper utility apps and plugins. In this article, we reviewed some well-known programs with a graphic interface, which is popular in the musical environment, determined their purpose, functionality and use. The article also provides a brief overview of the new and modern software in almost every field of application. We hope that all the information given in this article can certainly have a significant impact not only on the creative work of sound designers, but also musicians, performers, arrangers and composers.
Nedospasova Anna Pavlovna
The composer M. Tariverdiev is known, first of all, as the author of music to movies. Its songs and instrumental music from movies became classics of the Soviet music of 60-70 of the 20th century. Author’s style of M. Tariverdiev was in many respects inspired by ideals of preclassical musical art - eras of the Renaissance, baroque, rococo what also the composer spoke about. Not casually at the beginning of the 21st century of his work became a basis of concert programs of ensemble of early music of the Novosibirsk state philharmonic society “Insula Magica”. In article the characteristic of style features of music of M. Tariverdiev, in particular, of the vocal works created by the composer during the so-called period of madrigal is given. The author of article, the participant of the project, describes process of work on creation of the concept of the programs which strongly entered the repertoire of “Insula Magica” ensemble, analyzes their contents, stylistic and semantic interrelations with real samples of compositions of composers of the past.
Khokhlova Angela Leonidovna
Typology of semantic frames in music From the perspective of cognitive interpretation of the characteristic properties of the inner world of works of musical art, the nature of their artistic images particularly important to frame analysis of the musical text. It provides an understanding of the language of music and its voice in the culture space, creates the possibility of in-depth study of style, genre, structure, dramatic, acoustic and other regularities of musical art in the context of the representation of information about the world in human consciousness. Presentation of the semantics of the musical text as a frame hierarchy (gnomic, hermeneutic, symbolic, semiotic, proayretichesky) promotes disclosure laws of its semantic relationship continuum with significant field of culture. Framing the organization of musical-theoretical knowledge in unity with the laws of human life is a kind of mental matrix, through which valued works of art, revealed the links between music and other art forms, made understanding the specifics and the essence of music, reveals the content of a musical work, conceptualized its integrity. The perception of a real acoustic sound works from different eras is carried out primarily through comparison contained in the memory of the semantic elements of the proposed frames, each of which is associated with a particular musical universale like certain conceptual object memory and knowledge derived from the world of reality. As a result, music is interpreted not only in the context of the composer or the listening (executive) of the concept, but also in the context of possible penetration into the depths of human consciousness.