Матеріальна форма музичного тезауруса в образотворчому мистецтві
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Дата
2019
Назва журналу
ISSN журналу
Назва тому
Видавець
Харківська державна академія дизайну і мистецтв
Анотація
У статті розглядаються матеріальні форми музичного тезауруса, пов’язані з науковим розумінням феномена музики та способу реалізації ідеї музичного твору. Вони відображають в історичному аспекті шлях їх пізнання, аналітичний досвід, а також узагальнення отриманих знань за допомогою категоризації. Окремий твір у такому контексті розкривається множинними сторонами, осмислення яких передбачає різні підходи й відповідні результати, що доповнюють один одного в межах єдиної наукової дисципліни, і, в кінцевому рахунку, забезпечує цілісність її тезауруса. Зазначається, що знання музики змикається зі знанням про неї і виражається за допомогою галузевої мови, що включає спеціальні терміни й нетермінологічну повсякденну лексику. Матеріальні форми музичного тезауруса охоплюють колосальний запас знань, які об’єднують різні сфери людської діяльності: художньо-естетичну в її різних іпостасях, науково-теоретичну, власне інформаційну, освітньо-педагогічну. Тим самим, він пронизує всі шари духовної культури і одночасно сприяє формуванню у свідомості суспільства культурних смислів. Background. The introduction of new information into using the aesthetic interests of our time turns the knowledge of music into a fact of musical reality, expanding the boundaries of memory and enriching its fund. This increases the volume of the musical thesaurus, which corresponds to its dynamic nature. Due to the specifi city of music as a sounding phenomenon and the need for it to convey to the listener an intermediary source – the performance, even the author’s one, its conservation is not limited to written means, but is effectively carried out orally. Just as in the preliterate period of the development of literature, information was captured in epic genres that had an oral mode of existence, musical samples were transmitted “from the voice” or partially recorded. Objectives. The tangible form of the musical thesaurus is not limited to the recording of specifi c works and the tradition of their reproduction, but covers all multi-genre literature that reveals various aspects of music, creativity, stylistic, philosophical and personal qualities of its creators, etc. The idea of music, which, as it is known, originated in remote ages, has always accompanied musical practice and interacted with it. The virtual music library that has developed over the centuries forms the most important part of the external memory of humankind, its global thesaurus, which stores not only versatile knowledge about music, but also the experience of its creation and comprehension. This includes philosophical, aesthetic, musical-theoretical and musical-historical works, documentary and archival tangibles, music-critical and memoir literature, memorabilia stored in museum houses, epistolary pieces, reference-encyclopedic and educational publications. Methods. A special group of tangible objects that carry information about music is composed of works of related arts, where the depiction of musical instruments, the recreation of scenes of playing music, the reference to the constructive patterns of sound compositions invade the spatial world of painting, and conversations about music, its descriptions, characterizing with it the internal states of the heroes and their relationships, appealing to it in various subject-situational contexts serve as the meaning-forming source of the literary narrative or poetical lines. It is enough to name the paintings by Mikalojus Čiurlionis, The Kreutzer Sonata by Leo Tolstoy, The Garnet Bracelet by Alexander Kuprin, The Northern Symphony by Andrei Bely, Kreisleriana and The Life and Opinions of the Tomcat Murr by E. T. A. Hoffmann, Doctor Faustus by Thomas Mann, The Glass Bead Game by Hermann Hesse, the novellas The Last Quartet by Beethoven and Sebastian Bach by Vladimir Odoyevsky, the poems by Innokentiy Annensky and León de Greiff, etc. In these and other similar works, the music lives as if a double life: in the form of a tangible image and implied sound, unveiling at the same time its self and inseparability from the world of representations, revealing its mediation between the reality of art and the reality of existence. Thus, as in the previous hypostasis of the tangible form of the musical thesaurus, the essential properties of music are comprehended here, however, the knowledge about it is imprinted in the language of fi ction and painting. Results. Let us summarize. The musical thesaurus is a multidimensional concept, which is due to the nature of musical knowledge and this type of art. In the most general sense, the musical knowledge covers two blocks of information. The fi rst of them is formed through direct communication with music, generalizing the ideas of its phenomenon as the art of intonable meaning, which has intra-musical and extra-musical semantics, on the one hand, and embodiment in visual and sound tests, on the other. From the point of view of storage and presentation, the musical information appears here in two forms: virtually sound and actually sound. In contrast to the fi rst block of musical knowledge, where musical information is stored inside the music itself, in the second block, the music appears to be the subject of study and evaluation, that is, it is comprehended “outside”, on the observer’s side and in accordance with the experience of its cognition, the results of which are recorded in the musical thesaurus of the collective and individual. Special groups form: the world of objects; tangibles and documents “around” the music and on its essence; the interweaving of musical realities in the artistic fabric of paintings and literary works. The following methods of storing music in tangible form are distinguished. The written method is subdivided into “book”, which includes signs prior to the introduction of linear notation (pneumas, banners, hooks, etc.); note-and-line, accompanied or not accompanied by conditional fi gures of a performing nature (author’s or editorial origin); verbal instructions of the tempo and expressive aspects; genre and program warnings (up to epigraphs); overtones of musical notation. Special groups form: the world of objects; tangibles and documents “around” the music and on its essence; the interweaving of musical realities in the artistic fabric of paintings and literary works. All these storage methods can be arbitrarily defi ned as “tangible”, that is, carrying the message of music.
Опис
Ключові слова
музичний тезаурус, естетизований звук, художній твір, писемність, способи зберігання музики, musical thesaurus, aesthetized sound, artwork, writing, ways of storing music
Цитування
Калашник М. П. Матеріальна форма музичного тезауруса в образотворчому мистецтві / М. П. Калашник, Л. А. Сухорукова, А. О. Генкін // Традиції та новації у вищій архітектурно-художній освіті : зб. наук. пр. – Харків : ХДАДМ, 2019. – Вип. 6. – С. 11–18.