The article discusses the ontological aspects of music from the point of view of sublimation psychology, information aesthetics and semiotic ethics, as well as the latest advances in science and information theory. Implemented synergetic approach aims to revive in musicology those high spiritual ideals, values and principles upon which since ancient times rested the most fundamental psychological and philosophical setting of music culture. It prescribes to consider music a manifestation of the Cosmic Harmony and treat it as a theurgic tool with a strong potential of transformative impact not only on emotional and aesthetic levels, but also on deep-ethical one. Through the use of an integrated methodological concept, central and key position in which occupies the basal toolkit of Essence Coding Theory, unprecedented potential of ‘Sympho-electronic music’ essential impact is shown. New definitions are introduced: essential code, essential psychoneuroendocrine status, essential R-E neuroprocessing, essential genome-hormonal reception, essential transmutation, vital information system, ethical levels, passionary-evolutionary ethics, sublimation esthetics, exopsychological control, dormant genomic programs, matrix of essential standards, detector of essential errors, code of spiritual rank, esthetic-sublimation insight, immortalization index, art-humanitarian practice, noematic theurgy, timbreology, emotive timbre typology, class of organs, sympho-electronic organ, sonoristic analysis, sonoristic matrix, sonoristic bench mark, sacral acoustics, coding-numeric score, coding-numeric esthetics, quasi-symphonic music and other. All these elaborations are used in techniques of the theurgic school of personality’s spiritual development known as the ‘Art-humanitarian practice’.
The myths about the structure of the world are conceptual in poetics of an opera libretto. These are cosmogonic myths borrowed from ancient folklore and literary works. The article describes the myths classification in theoretical and historical aspects. The narrative and nonnarrative groups of myths are differentiated. The first group (the creation myths) is presented in the archaic sacred texts. They are based on binary oppositions. In the ordered picture of the Universe each element of the real world corresponds to the element of the unreal, higher, transcendental world. The Universe world order described in non-narrative catalogue type of texts is harmonious and completed. In opera libretto such texts are used sporadically and fragmentarily. However, they are significant for the piece artistic concept (“Sadko” by N. Rimsky-Korsakov). Narrative cosmogonic myths develop from the catalogic texts. They reflect the processes dynamics - the movement of elements on the tiers of the world universe. Repeated movement - the heroes’ journey from one world to another - reflects a natural cycle, reversible and cyclical time (“Persephone” by I. Stravinsky). The author investigates opera plots in which the elements movement completes the worldview: Gods give the earth heroes eternal life in the cosmic space. These stories are presented in the Baroque operas (“Perseus” by J. B. Lully, “Castor and Pollux” by J. F. Rameau, “Callisto” by F. Cavalli). The tendency to remythologization in the culture of the XX-XXI centuries is enhanced by the Baroque Opera return to the theatrical stage. On the one hand, the specifically sensory thinking, characterizing the mythological consciousness, is expressed brightly in a great number of iconic signs in modem interpretation of operas (the stage version of “Callisto” by G. Wernicke). On the other hand, composers actualize cosmogonic myth in newly created operas (“The Moon” by K. Orff, “Andromeda and Perseus” by S. Sciarrino, “Light” by K. Stockhausen).
Fundamentally new possibilities in sound field control have appeared at the present stage of development of digital technologies of audio signal processing. They have opened prospects for musicians, composers, and sound engineers. The author focuses on the mechanical and electro-acoustic methods for changing the sound field parameters that are used in modern music acoustics. The article focuses on electro-acoustic systems with digital processing of audio signals, which allow perfecting sound field of the indoor and outdoor audience spaces. Among the most versatile systems are the hybrid regenerative enhancement acoustic systems. The active field control system AFC-3 (Yamaha) is of a particular interest. The system uses FIR filtering algorithms and EMR for microphone signals, which increases the system’s overall stability to feedback. The article suggests an evaluation by musicians testing a demo version of the AFC-3 system installed in the “Emerald Hall” of Novosibirsk Special Music School.
The article considers stages of implementation of the ‘Development of Methodology and Software of Creation of an “Electronic Notnitsa” - Musical Electronic Library of Scores and Parties of Orchestral Works of Modern Russian Composers’ project. The principles of creation of electronic storages of musical scores and parties are investigated, the main problems connected with formation of similar resources are designated.
The article focuses on the introduction of new learning technologies, including the use of modern information and communication resources in the sphere of musical education. Integration of new forms of the educational process is essential for the creation of an e-information-educational environment. The importance and necessity to train students of musical educational institutes to a high standard poses the problem of optimization of teaching methods with modern technical means. The author clarifies the specifics of electronic educational resources, including multimedia projects. For example, interactive forms of educational work are analyzed in the work of the Far Eastern State Institute of Arts. Special attention is paid to the preparation and using of electronic presentations in the educational process. The author emphasizes that she prepared «Guidelines of the organization of lectures with electronic Microsoft PowerPoint presentations». Practice shows that teachers create unique creative projects of electronic presentations. The author concludes that the integration of the «electronic genre» in the learning process demonstrates the creative potential of modem audiovisual and multimedia learning methods.
Evolutionary computation in interactive music A computer in the interactive music often is not just a system component, but an agent, an actor, even an equal performer. At the same time, its functionality strictly depends on the algorithm and software application, created by a researcher/performer/developer. An attempt to give a machine more creativity and independence involves a huge scientific field of AI into the musical art space. Evolutionary computation, genetic algorithm, and genetic programming as part of AI allow us to discover some decisions in fields of music where a precise answer is not possible. A flexibility of evolutionary computation is an advantage of such approach but creates many problems with genome selection and a fitness function. In particular, the problem appears when we step out of the theoretical area towards the artistic field. Obviously, unless the musical space is controlled by some musical rules, a stochastic nature of genetic processes may lead to a totally chaotic result: sometimes original, but mostly meaningless and superficial.
Functional components of an electronic archive based on oral sources The article is dedicated to functional components of an electronic archive based on oral sources. It discusses a number of issues connected with designing and creation of multimedia archive for storage of technetronic documentation collected as a result of expeditions for the collection of folklore material.
The article considers the process of formation and development of ethnomusicology in Tuva. The available data are supplemented with new materials about earlier unknown works (M. Serin-ol, V. Sapeltsev) and works of the recent years. For the first time the archival materials - samples of Tuvinians’ song folklore of the Tuva national republic period presumably recorded by A. Aksenov or R. Mironovich - are presented. The ethnomusicological tendency has become central for the Tuvinian musicology. Fundamental value was gained hy A. Aksenov’s work ‘The Tuva folk music’ (Moscow, 1964). Nowadays Tuvinian ethnomusicology is presented by researches of song folklore (Z. Kyrgys), national instruments (V. Suzukey), throat singing (Z. Kyrgys, B. Badyrgy), intonational analysis and modus structuring (A. Mongush), regional specificity of song tradition (E. Tiron, A. Kan-ol), cultural study aspects of traditional music (V. Suzukey, Ch. Enik-ol, Ch. Tumat), musical terminology in the Tuvinian language (U. Mongush). The ritual forms of musical culture of Tuvinians, especially those connected with Buddhist cults, remain the least studied. The following musicological schools can be distinguished in the history of the Tuvinian ethnomusicology development: Moscow (connected with the names of E. V. Gippius and I. V. Matsiyevsky), Novosibirsk (pupils of Yu. I. Sheykin, S. P. Galitskaya, G. B. Sychenko) and the Far East (school of E. I. Alkon and S. B. Lupinos).
Being in a competitive environment, the Novosibirsk Conservatoire must position itself in the information space of relevant markets: educational services, research and creative markets associated with concert and competitive activities. Positioning in the information environment is implemented through information and image policies and promotion of the Conservatoire’s brand. This is necessary to ensure the effective implementation of the state order to attract students and trainees. In addition, information and image policy is aimed at attracting the personnel, partnerships, and investment resources for the development of the Conservatoire. A professionally formed list of information, topics and events constituting the Conservatoire’s external and internal information agenda is used to line up the information and image policy. The external agenda of the Conservatoire relies on the idea of leadership in the field of academic music education, performance and research activities in the East and in Asia. The internal information agenda is aimed directly at the professional community, public of the city and the region. In addition to the spread of information about the organization and regulatory documentation, educational programs and products, information on scientific, artistic and other types of activities, in the framework of the internal information agenda there is also a PR-strategy aimed at creating a positive image of the Novosibirsk State Conservatoire.
The article examines the resolution of the problems of outdated learning and teaching base of music education through introduction of information and communication technologies arising from the goals and objectives of the development strategy of the educational system in the Republic of Kazakhstan. The article demonstrates the need for modernisation of the learning and teaching base through introduction of the ICTs, considers the basic requirements for the development of electronic guides; gives recommendations for the developers’ staff with special competence concerning the creation of e-learning products in the field of musical art. It Includes results of activities on development of the innovative electronic multimedia study guides for teachers and students-pianists in the Kazakh National Kurmangazy Conservatory and Children’s Music School No. 12 in Almaty. Advantages of the innovative format of music sheets and performance analysis of musical compositions are shown. The article suggests new piano works of contemporary Kazakhstan composers and piano pieces for children that have not been previously published in Kazakhstan. The experiment for modernisation Project Method in learning activities of musical institutions is described. In summary, there is a conclusion of imminence of development of new infrastructure to ensure scientific and innovative educational activities, continuous updating of the educational-laboratory, scientific and experimental, technological and learning and teaching base of musical education.
Michkov Pavel, Chistyakov Nikolay
In article the perspective directions in the information system “Musical Culture of Siberia” are considered. Based on the statistical analysis of the projects supported by the Russian humanitarian scientific fund, uniqueness of the developed system is defined. The article describes the principles of use of the advanced search service, which is being formed at present time.
Pitch organization of the ritual songs of Western Buryats This article discusses the tonal organization of the ritual song tradition of the Western Buryats. The main purpose was to study the tonal system of traditional music of the Western Buryats, including ahemitonic and hemitonic modal structures. On the example of ritual songs of feasting and dance traditions, peculiarities of the pitch organization of ritual songs have been discovered in three local groups of Western Buryats: Ekhirits, Bulagats and Khongodors.
The materials of the article present the way of life and work of a singer, director and teacher I. I. Bereznegovskiy. The information about the studies of the singer, his work in the operatic theaters of different cities are given. Special attention is paid to the singer’s work in Siberian cities of Tomsk and Novosibirsk. The use of rare archive materials makes it possible to recreate the appearance of the undeservedly forgotten worker of domestic musical culture.
The article gives an overview of the role of Ethnomusicology Departments in Russian institutions of higher musical education. It contains brief historical information about the Ethnomusicology Department at the Novosibirsk State Conservatoire named after M.I. Glinka, about its work, especially scientific.