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Особенности музыкального мышления Иоганнеса Брамса

100%
Zaytseva M.
Path of Science
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2016
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vol. 2
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issue 9(14)
1.1-1.9
RU
В статье научно обоснованы особенности музыкального мышления И. Брамса. Выявлены стилевые координаты творчества И. Брамса. Обоснованы основные факторы, которые оказали суще-ственное влияние на становление творческой личности композитора. Доказано воздействие эстетики классицизма и романтизма на творчество И. Брамса. В музыкальном языке И. Брамса преобладают романтические мотивы и узнаваемые интонации автора. Психологизм и лиризм музыки И. Брамса актуальны для современной культуры. Это объясняет частое обращение современных исполнителей и слушателей к творческому наследию композитора.
EN
The article scientifically substantiates the peculiarities of Brahms’s musical thinking. Stylistic coordinates of I. Brahms’s creativity are revealed. The main factors that had a significant impact on the formation of the creative personality of the composer have been substantiated. The impact of the aesthetics of classicism and romanticism on the works of J. Brahms have been proven. Romantic motifs and recognizable intonation of the author dominated in Brahms’s musical language. Psychology and lyricism of Brahms’s music are relevant to contemporary culture. This explains the frequent use of the creative heritage of the composer by modern performers and listeners.
2
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Эксперименты в области музыкального звучания в камерно-инструментальном творчестве Родиона Щедрина

100%
Zaytseva M.
Path of Science
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2016
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vol. 2
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issue 10(15)
2.1-2.16
RU
В статье научно обоснованы особенности музыкального мышления Р. Щедрина. На примере анализа фортепианных сочинений Р. Щедрина «В подражание Альбенису», «Юмореска», переложен-ных для скрипки и фортепиано Д. М. Цыгановым, «Балалайка» для скрипки соло без смычка выявлены новации композитора в области скрипичного звучания. Обосновано, что поиск новых выразительно-колористических ресурсов скрипки обусловлен стремлением композитора открыть новые звуковые миры, создать оригинальное произведение, в котором мастерски реализуются сложнейшие творческие задачи.
EN
The article scientifically proves the peculiarities of Rodion Shchedrin’s musical thinking. Having analysed such piano works by Rodion Shchedrin as "Imitating Albéniz", "Humoresque", arranged for violin and piano by D. M. Tsyganov, "Balalaika" for solo violin without a bow, there have been identified composer’s innovations in the field of violin sound. It has been proved that the search for new expressive violin-coloristic resources was due to the desire of the composer to discover the new worlds of sound, create an original work, which would masterfully implement the most complex creative tasks.
3
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Ультрахроматизм как звукосозерцание

100%
Zaytseva M.
Path of Science
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2016
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vol. 2
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issue 8(13)
2.1-2.19
RU
В статье научно обоснованы выводы по теории и практике использования микрохроматики в современном музыкальном искусстве, определены композиционные и выразительные возможности микрохроматики в сочинениях композиторов XXI века. Обосновано авторское понимание «ультрахроматизма» как принципа музыкального мышления, связанного с представлениями о звуковом пространстве как пространственно-временном континууме. В работе выявлено соотношение понятий «микрохроматизм» и «ультрахроматизм». Если под микрохроматизмом понимается, прежде всего, техника деления звука на микрочастицы, то ультрахроматизм трактуется как принцип музыкально-художественного сознания, как направленность музыкального сознания на формирование особой модели звукосозерцания и миропонимания.
EN
The article scientifically substantiates the insights on the theory and the practice of using microchromatic in modern musical art, defines compositional and expressive possibilities of microtonal system in the works of composers of XXI century. It justifies the author's interpretation of the concept of “ultrahromatizm”, as a principle of musical thinking, which is connected with the sound space conception as the space-time continuum. The paper identifies the correlation of the notions “microchromatism” and “ultrahromatizm”. If microchromosome is understood, first and for most, as the technique of dividing the sound into microparticles, ultrahromatizm is interpreted as the principle of musical and artistic consciousness, as the musical focus of consciousness on the formation of the specific model of sound meditation and understanding of the world.
4
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ПСИХОФИЗИОЛОГИЧЕСКИЕ ОСОБЕННОСТИ РЕАЛИЗАЦИИ ИСПОЛНИТЕЛЬСКИХ ФУНКЦИЙ МУЗЫКАНТОМ САКСОФОНИСТОМ В УСЛОВИЯХ ПЕРЕДАЧИ ОРИГИНАЛЬНОЙ АВТОРСКОЙ ИДЕИ

80%
Зотов Д. И.
Ars inter Culturas
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2017
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issue 6
155-166
EN
The specificity of the study is to reveal the properties of the solo saxophonist psychophysiological activity, which is a symbiosis of many factors, from the stamina of the organism to the thoughtful lability, aimed at solving executive issues. It manifests first and foremost in solving problems of performing practice, aimed at expanding the possibilities of the instrument in the field of evolution of expressive capabilities, techniques of performance and acoustic qualities. This direction of artistic and psychological science sets the theoretical basis for understanding the deep physiological mechanisms aimed at the implementation of the mental processes of the development of performing arts. The conducted research is based on the analytical comparative and cognitive method of the artistic direction aimed at revealing the specifics of the creative process, which is a complex combination of physiognomic and psychic functions of the human body representing a unique symbiotic system aimed at fulfilling the set artistic tasks. The performance of the musical work as one of the most complex forms of manifestation of creative thought puts musicians with multistage tasks of creative interpretively, the quality of which depends on the degree of transmission of the artistic design of the author of the work, and the limit of perception by his audience. The scientific novelty of this work consists in an attempt to adapt existing theoretical postulates concerning psychophysiological activity of the musician to the conditions of practically-performing development of a professional saxophonist aimed at revealing the original author’s idea. Setting the task for revealing a certain work, the saxophonist raises several guidance goals in front of him and adheres to the process of artistic analysis, in particular: reopening the author's context of the work by filling it with new emotions and even changing partly or completely the general concept of the composition; Transferring to the content of the work his/her life-professional experience and personal experiences; If necessary, changes the technical and expressive composition plan. The result of this activity is the phenomenon of interpretation, which is one of the options for interpreting the author’s content of a musical work, based on the subjective relation of the performer to the artistic material.
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