Papers by Lera Nedlin
International journal of environmental and science education, 2016
The research is devoted to a particular genre of Kazakh classical music Symphonic kuy. This artic... more The research is devoted to a particular genre of Kazakh classical music Symphonic kuy. This article is the first attempt to understand not the phenomenon of kuy itself, but its belonging to a certain historical era and culture, therefore reflecting their characteristic properties. The area of Kazakh ethnic music is little studied yet, as is the issue of specific historical origins of the interaction between European and Kazakh traditions. Particular attention is paid to a number of controversial issues, such as the ambiguity of the genre of kuy, cultural complexity, the variety of forms of “Symphonic kuy”. Still, the comparative analysis is of great scientific interestconcerning the ways of development of the Kazakh traditional music. The appearance of kuy as a cultural phenomenon of musical and linguistic canons determined the “language” character of this study. It means it is not aimed at the search for individual uniqueness of music, but at the principles and code of kuy’s musica...
Bookmarks Related papers MentionsView impact
13 апреля 2021 года научно-редакционный отдел Казахской национальной академии искусств им. Т. К. ... more 13 апреля 2021 года научно-редакционный отдел Казахской национальной академии искусств им. Т. К. Жургенова организовал международный круглый стол на тему «Человек в современном искусстве в контексте гуманитарных наук». Целью круглого стола являлось обсуждение вопросов, которые определили методологические и теоретические вопросы для новых выпусков Central Asian Journal of Art Studies. В круглом столе приняли участие международные эксперты Анна Олдфилд из США, Нигора Ахмедова из Узбекистана, Рауза Султанова из Татарстана, а также Альмира Наурзбаева, Акмарал Сыргакбаева, Кабыл Халыков, Валерия Недлина, Алия Алимжанова, Ольга Батурина, Евфрат Момбеков, Асия Нурдубаева из Казахстана. Среди обсужденных задач можно выделить определение роли и состояния искусства в условиях пандемии во всем мире (в искусстве Америки и Центральной Азии), выявление новых горизонтов видов искусств и направлений с точки зрения истории и теории критики искусства; осознание реакции и адаптации искусства в эпоху п...
Bookmarks Related papers MentionsView impact
Observatory of Culture
Addresses the new approaches to the study of folk music, revival of ethnic traditions, intensific... more Addresses the new approaches to the study of folk music, revival of ethnic traditions, intensification of exchange with foreign countries, updating academic music, and dissemination of mass culture with specific ethnic components that characterise the process. That type of reinterpretation produces a more complicated structure of musical culture in Kazakhstan and a new evaluation of the place of Kazakh music in world culture.
Bookmarks Related papers MentionsView impact
Искусство звука и света. История, теория, практика. Вып. 1 / Российский институт истории искусств; ред.-сост. О. В. Колганова. СПб.: 2021. Вып. 1. 346 с. , 2021
RESEARCH
Svetlana Konanchuk (Saint Petersburg).
Synesthesia as an Interspecific Artistic Universa... more RESEARCH
Svetlana Konanchuk (Saint Petersburg).
Synesthesia as an Interspecific Artistic Universal and Aesthetic Category.
Keywords: aesthetics, aesthetic consciousness, aesthetic experience, neuroesthetics, musical synesthetics, synesthesia, synthesis of arts.
Anton Sidoroff-Dorso (Moscow).
Anthropology of Synaesthesia. A Neurophenomenological Paradigm as a Natural Science Framework for Researching Cross-Modal Cognitive Processes.
Keywords: cognitive synaesthesia, cross-modal metaphor, neurophenomenology, neuroanthropology, normative emergence, perceptual symbol system, anthropology of synaesthesia.
Denis Mylnikov (Saint Petersburg).
Color as an Expressive Element in S. M. Eisenstein’ Concept of «Synaesthetics» (on the Example of the «Feast in Alexandrovskaya Sloboda» from the Film «Ivan the Terribl»).
Keywords: motion picture, conventionality, color, emotions, «Ivan the Terrible», S. M. Eisenstein.
Larisa Berezovchuk (Saint Petersburg).
The Functions of a Color and Music in Film Narration: the “Discourse’ Plan” (on an Example on a Krzysztof Kieslowski’ Trilogy “Three Colors”).
Keywords: film narration, color, movie image, “the story plan”, “the discourse plan”, Krzysztof Kieslowski’ trilogy “Three Colors”.
Viktoriia Antipova (Saratov).
Indonesian Theater of Flat Images: a Symbolic of Shadow and Light.
Keywords: Indonesia, wayang kulit, dalang, gamelan.
Mikhail Zalivadny (Saint Petersburg).
Musical Sets of Variative Structure: from Louis-Bertrand Castel to Bulat Galeyev.
Keywords: general theory of systems, theory of the variable system, music and mathematics, history of music theory, synaesthesia, interrelation of the arts, Louis-Bertrand Castel, Bulat Galeyev.
Irina Viskova (Moscow).
The World of Musical Metaphors in the Creations of Polish Painter Jacek Malczewski.
Keywords: Jacek Malczewski, metaphor in music, Polish painting at the turn of the XIX–XX centuries, Symbolism, Vielle, Lute, Torban, Hurdy-gurdy.
Elena Shakhmatova (Moscow).
M. Matyushin’s Color Philosophy in the Aspect of the Cosmic Worldview.
Keywords: “Victory over the sun”, “extended watching”, avant-garde, futurism, color theory.
Kirill Smolkin (Moscow).
«Music Follows the Light». To the M. K. Čiurlionis’ Idea on the Opera «Jūratė».
Keywords: Mikalojus Čiurlionis, opera «Jūratė», synthesis of arts, music and painting, light-music.
Olga Kolganova (Saint Petersburg).
The Model of the Light-Monument for the October Revolution: The History of Creation and Reconstruction (1927 — 1987 — 2017).
Keywords: Light Monument of the October Revolution, Grigory Gidoni, Naum Mogilevsky, light-architecture, light-sculpture, light-orchestra, light-theater, Art of Light and Color.
PRACTICE
Irina Evteeva (Saint Petersburg).
The interaction of light, pictorial art and sound in the imaginative solution of the motion picture (examples from personal practice).
Keywords: animation, glass painting, directing, author’s layer, light-pictorial scumbling glaze, plastic dramaturgy, internal conflict, texture of the image, dramaturgy of sound.
Vladimir Persov (Saint Petersburg).
Cinematography — the Art for is not a Sound-made, but Sonorical: Specificity for the Sonour Space Formation in I. Evteeva’ Animated-game Motion Pictures.
Keywords: sound fabric, intonation, phonogram, visual space, acoustic space, counterpoint, speech, author's music, animation, sound-visual image.
Olesya Rostovskaya (Moscow — Saint Petersburg).
The ANS Synthesizer: Potential Uses and Development Illustrated by Various Compositions Between 2009 and 2018.
Keywords: ANS synthesizer, electro-acoustic, E. Murzin, new music for ANS, O. Rostovskaya.
Anastasia Maximova (Kazan, Republic of Tatarstan).
From the History of Light-Music Performances in Kazan (1962–2019).
Keywords: group “Prometheus”, Bulat Galeev, synaesthesia, light-music, light-music devices, light-music performances.
Valeriya Nedlina (Almaty, Kazakhstan), Yekaterina Demiterko (Yekaterinburg, Russia).
Sound, Color and Action of a Composition Concept of R. Begenov’s Play “Medea. Material”.
Keywords: spectacle “Medea. Material”, pop-mechanical ballet, Rustem Begenov, biculturalism, intertextual analysis.
LABORATORY.
Dilyara Galiakberova (Republic of Tatarstan).
Infographics as an Object for a Demonstrating Kazan Kremlin Territory Soundscape.
Keywords: sound landscape, sound walk, acoustic ecology, synaesthesia, infographics, architectural environment, museum-reserve “Kazan Kremlin”.
Yaroslav Bezokov (Novosibirsk).
Synthesizer as Light Controller in Interactive Light-Music.
Keywords: interactive light-music, create and programming keyboard light-musical instruments.
Aqnar Sharipbaeva (Atyrau, Republic of Kazakhstan).
The Unique Musical Timbre of the Kazakh Kylkobyz and the Association of Light and Color.
Keywords: ethnomusicology, Kazakh musical instrument, folk instruments, kobyz, kobyz art.
Sergey Zorin (Moscow).
Musical Light Painting and the Optical Theater as an Attempt to Mitigate XXIst Century Audiovisual Pressure.
Keywords: Optical theater, musical light painting, S. Zorin.
Alexey Goltykhov (Moscow).
Light Music — a New Kind of Art for Collective Perception (on the Example of the Moscow “Theater of Light”).
Keywords: Moscow “Theater of Light”, light-music, definition, synthesis of arts, historical phenomenon, technology.
Bookmarks Related papers MentionsView impact
Genres that are not found in European art (kuy-poem, kuy-fantasy, tolgau) has become an important... more Genres that are not found in European art (kuy-poem, kuy-fantasy, tolgau) has become an important part of the modern genre system of Kazakh music. Their appearance is conditioned by the disclosure of
the organic connection of contemporary composer creativity and centuries-old traditions. The contradistinction of written and oral national traditions adopted in musicology does not fully reflect the
essence of modern processes. The theory of isomorphism of traditions, proposed by I. Zemtsovsky, proved on traditional music system, finds application in the study of compositional and ethnic traditions
dialogue. Through the concept of genre ‘doubles’ by A. Kunanbeva, the article shows the interrelation between the epic folk song, the genre of narrators-zhyrau tradition, instrumental kuys of the 19 – early
20 th centuries and the compositions of Kazakhstani composers of the 20th century second half with the common name “tolgau”. There are many contemporary authors who appeal to the tolgau: N. Tlendiev
(“Ata tolgau”), K. Duysekeev (Poem-Fantasy “Tolgau”), A. Raimkulova (Symphonic poem “Tolgau”), A. Bestybaev (orchestral kuy “Tolgau”), B. Amanzhol (transcription of the traditional kuy “Oi tolgau”) and others. Similar phenomena can be noted in Azerbaijani music (symphonic mugham) and in Kyrgyz music (symphonic kuu).
Bookmarks Related papers MentionsView impact
The art of kuy (traditional piece for Kazakh musical instruments, mainly for lute
chordophone dom... more The art of kuy (traditional piece for Kazakh musical instruments, mainly for lute
chordophone dombra) is important part of intangible national heritage and mean of
national identity. The transformation of kuy in 20th century in westernized Kazakh music
was examined to defi ne the role of it in modern national art. Kuy in oral tradition and
in composers’ creativity was studied from the views of music endangerment approach,
ethnomusicological genre theory, cultural interaction theory and musical nationalism
theory.
Bookmarks Related papers MentionsView impact
One of the Kazakhstani music's features in contemporary period is introducing national art on Wes... more One of the Kazakhstani music's features in contemporary period is introducing national art on Western stages. In the long raw of events and phenomenons it can also be shown through attention of foreign composers to traditional music of Kazakhstan. The article describes the methods of creative process with Kazakh material in pieces of P.Child (USA), Y.Avital (Israel – Italy), W.Linden (Germany), K.Jenkins (UK), A. LeBaron (USA). Special attention is paid to synthesis of ancient genres like joqtau (funeral song) with modern multimedia composing technologies.
Bookmarks Related papers MentionsView impact
The object of research is the reinterpretation of cultural heritage in the last decades. In the K... more The object of research is the reinterpretation of cultural heritage in the last decades. In the Kazakh musical art this process expressed in the formation of new approaches to the study of folklore; revival of traditions; activating the creative exchange with foreign countries; updating of academic music; formation of national specific mass culture. The result is a new vision of the role and place of Kazakh music in world culture and complication of structure of the Kazakhstani musical culture. |
Объектом исследования выступает реинтерпретация культурного наследия в последние десятилетия. В казахском музыкальном искусстве этот процесс выразился в формировании новых подходов к изучению фольклора; возрождении традиций; активизации творческого обмена с зарубежьем; обновлении академической музыки; формировании национально специфической массовой культуры. В результате возникает новое видение места и роли казахстанской музыки в мировой культуре, усложняется структура музыкальной культуры республики.
Bookmarks Related papers MentionsView impact
The article provides a picture of the stylistic trends in Kazakhstani academic music of modern pe... more The article provides a picture of the stylistic trends in Kazakhstani academic music of modern period, including universally-oriented, traditionally-oriented and artificially-sincretic. These trends appear as in main stylistic direction which continues the classic-romantic traditions of first decades’ of existing of national school of composition, as well as in the emerging neofolk-avangard direction. The very notion of the avant-garde is applied to Kazakhstani music conventionally, reflecting the characteristic avant-garde-type searches. Surge of interest in the achievements of the avant-garde in the mid-1980s caused by profound historical changes. Creative searches of composers reflect (and sometimes anticipate) the processes in the culture of the country as a whole: reinterpretation of the cultural heritage, revival of traditions, deepening and widening of the scope of national art and it’s outgoing to the world level.
National avant-garde has specific features such as close links with religious and philosophical systems (shamanism, Tengriism), reliance on archaic sound-ideals, experimental character (and hence the fewness of works). Selectivity of Kazakh composers in respect of the technical innovations of the modern avant-garde, as well as the range of its themes and images, explained by the desire to preserve national identity. New creative realms become neoarhacs and World music. Stylistic and genre variety of modern Kazakh music signifies completion of the formation stage of national classics.
Common to all stylistic directions are attraction to the program music and dialogic in a broad semiotic sense, as well as reliance on the traditions of national art of professional oral traditions and academic school of the European type (1930-1970's).
Keywords: music of Kazakhstan, Kazakhstani composers, national avant-garde, stylistic trends, type of composition.
Bookmarks Related papers MentionsView impact
Conference Presentations by Lera Nedlin
From voice to instrument: sound phenomenon in traditional cultural heritage of the Turkic speaking world (ICTM, world conference)
The object of research is the reinterpretation of cultural heritage in the last decades. In the K... more The object of research is the reinterpretation of cultural heritage in the last decades. In the Kazakh musical art this process expressed in the formation of new approaches to the study of folklore; revival of traditions; activating the creative exchange with foreign countries; updating of academic music; formation of national specific mass culture. The result is a new vision of the role and place of Kazakh music in world culture and complication of structure of the Kazakhstani musical culture.
Аннотация Объектом исследования выступает реинтерпретация культурного наследия в последние десятилетия. В казахском музыкальном искусстве этот процесс выразился в формировании новых подходов к изучению фольклора; возрождении традиций; активизации творческого обмена с зарубежьем; обновлении академической музыки; формировании национально специфической массовой культуры. В результате возникает новое видение места и роли казахстанской музыки в мировой культуре, усложняется структура музыкальной культуры республики.
Bookmarks Related papers MentionsView impact
Uploads
Papers by Lera Nedlin
Svetlana Konanchuk (Saint Petersburg).
Synesthesia as an Interspecific Artistic Universal and Aesthetic Category.
Keywords: aesthetics, aesthetic consciousness, aesthetic experience, neuroesthetics, musical synesthetics, synesthesia, synthesis of arts.
Anton Sidoroff-Dorso (Moscow).
Anthropology of Synaesthesia. A Neurophenomenological Paradigm as a Natural Science Framework for Researching Cross-Modal Cognitive Processes.
Keywords: cognitive synaesthesia, cross-modal metaphor, neurophenomenology, neuroanthropology, normative emergence, perceptual symbol system, anthropology of synaesthesia.
Denis Mylnikov (Saint Petersburg).
Color as an Expressive Element in S. M. Eisenstein’ Concept of «Synaesthetics» (on the Example of the «Feast in Alexandrovskaya Sloboda» from the Film «Ivan the Terribl»).
Keywords: motion picture, conventionality, color, emotions, «Ivan the Terrible», S. M. Eisenstein.
Larisa Berezovchuk (Saint Petersburg).
The Functions of a Color and Music in Film Narration: the “Discourse’ Plan” (on an Example on a Krzysztof Kieslowski’ Trilogy “Three Colors”).
Keywords: film narration, color, movie image, “the story plan”, “the discourse plan”, Krzysztof Kieslowski’ trilogy “Three Colors”.
Viktoriia Antipova (Saratov).
Indonesian Theater of Flat Images: a Symbolic of Shadow and Light.
Keywords: Indonesia, wayang kulit, dalang, gamelan.
Mikhail Zalivadny (Saint Petersburg).
Musical Sets of Variative Structure: from Louis-Bertrand Castel to Bulat Galeyev.
Keywords: general theory of systems, theory of the variable system, music and mathematics, history of music theory, synaesthesia, interrelation of the arts, Louis-Bertrand Castel, Bulat Galeyev.
Irina Viskova (Moscow).
The World of Musical Metaphors in the Creations of Polish Painter Jacek Malczewski.
Keywords: Jacek Malczewski, metaphor in music, Polish painting at the turn of the XIX–XX centuries, Symbolism, Vielle, Lute, Torban, Hurdy-gurdy.
Elena Shakhmatova (Moscow).
M. Matyushin’s Color Philosophy in the Aspect of the Cosmic Worldview.
Keywords: “Victory over the sun”, “extended watching”, avant-garde, futurism, color theory.
Kirill Smolkin (Moscow).
«Music Follows the Light». To the M. K. Čiurlionis’ Idea on the Opera «Jūratė».
Keywords: Mikalojus Čiurlionis, opera «Jūratė», synthesis of arts, music and painting, light-music.
Olga Kolganova (Saint Petersburg).
The Model of the Light-Monument for the October Revolution: The History of Creation and Reconstruction (1927 — 1987 — 2017).
Keywords: Light Monument of the October Revolution, Grigory Gidoni, Naum Mogilevsky, light-architecture, light-sculpture, light-orchestra, light-theater, Art of Light and Color.
PRACTICE
Irina Evteeva (Saint Petersburg).
The interaction of light, pictorial art and sound in the imaginative solution of the motion picture (examples from personal practice).
Keywords: animation, glass painting, directing, author’s layer, light-pictorial scumbling glaze, plastic dramaturgy, internal conflict, texture of the image, dramaturgy of sound.
Vladimir Persov (Saint Petersburg).
Cinematography — the Art for is not a Sound-made, but Sonorical: Specificity for the Sonour Space Formation in I. Evteeva’ Animated-game Motion Pictures.
Keywords: sound fabric, intonation, phonogram, visual space, acoustic space, counterpoint, speech, author's music, animation, sound-visual image.
Olesya Rostovskaya (Moscow — Saint Petersburg).
The ANS Synthesizer: Potential Uses and Development Illustrated by Various Compositions Between 2009 and 2018.
Keywords: ANS synthesizer, electro-acoustic, E. Murzin, new music for ANS, O. Rostovskaya.
Anastasia Maximova (Kazan, Republic of Tatarstan).
From the History of Light-Music Performances in Kazan (1962–2019).
Keywords: group “Prometheus”, Bulat Galeev, synaesthesia, light-music, light-music devices, light-music performances.
Valeriya Nedlina (Almaty, Kazakhstan), Yekaterina Demiterko (Yekaterinburg, Russia).
Sound, Color and Action of a Composition Concept of R. Begenov’s Play “Medea. Material”.
Keywords: spectacle “Medea. Material”, pop-mechanical ballet, Rustem Begenov, biculturalism, intertextual analysis.
LABORATORY.
Dilyara Galiakberova (Republic of Tatarstan).
Infographics as an Object for a Demonstrating Kazan Kremlin Territory Soundscape.
Keywords: sound landscape, sound walk, acoustic ecology, synaesthesia, infographics, architectural environment, museum-reserve “Kazan Kremlin”.
Yaroslav Bezokov (Novosibirsk).
Synthesizer as Light Controller in Interactive Light-Music.
Keywords: interactive light-music, create and programming keyboard light-musical instruments.
Aqnar Sharipbaeva (Atyrau, Republic of Kazakhstan).
The Unique Musical Timbre of the Kazakh Kylkobyz and the Association of Light and Color.
Keywords: ethnomusicology, Kazakh musical instrument, folk instruments, kobyz, kobyz art.
Sergey Zorin (Moscow).
Musical Light Painting and the Optical Theater as an Attempt to Mitigate XXIst Century Audiovisual Pressure.
Keywords: Optical theater, musical light painting, S. Zorin.
Alexey Goltykhov (Moscow).
Light Music — a New Kind of Art for Collective Perception (on the Example of the Moscow “Theater of Light”).
Keywords: Moscow “Theater of Light”, light-music, definition, synthesis of arts, historical phenomenon, technology.
the organic connection of contemporary composer creativity and centuries-old traditions. The contradistinction of written and oral national traditions adopted in musicology does not fully reflect the
essence of modern processes. The theory of isomorphism of traditions, proposed by I. Zemtsovsky, proved on traditional music system, finds application in the study of compositional and ethnic traditions
dialogue. Through the concept of genre ‘doubles’ by A. Kunanbeva, the article shows the interrelation between the epic folk song, the genre of narrators-zhyrau tradition, instrumental kuys of the 19 – early
20 th centuries and the compositions of Kazakhstani composers of the 20th century second half with the common name “tolgau”. There are many contemporary authors who appeal to the tolgau: N. Tlendiev
(“Ata tolgau”), K. Duysekeev (Poem-Fantasy “Tolgau”), A. Raimkulova (Symphonic poem “Tolgau”), A. Bestybaev (orchestral kuy “Tolgau”), B. Amanzhol (transcription of the traditional kuy “Oi tolgau”) and others. Similar phenomena can be noted in Azerbaijani music (symphonic mugham) and in Kyrgyz music (symphonic kuu).
chordophone dombra) is important part of intangible national heritage and mean of
national identity. The transformation of kuy in 20th century in westernized Kazakh music
was examined to defi ne the role of it in modern national art. Kuy in oral tradition and
in composers’ creativity was studied from the views of music endangerment approach,
ethnomusicological genre theory, cultural interaction theory and musical nationalism
theory.
Объектом исследования выступает реинтерпретация культурного наследия в последние десятилетия. В казахском музыкальном искусстве этот процесс выразился в формировании новых подходов к изучению фольклора; возрождении традиций; активизации творческого обмена с зарубежьем; обновлении академической музыки; формировании национально специфической массовой культуры. В результате возникает новое видение места и роли казахстанской музыки в мировой культуре, усложняется структура музыкальной культуры республики.
National avant-garde has specific features such as close links with religious and philosophical systems (shamanism, Tengriism), reliance on archaic sound-ideals, experimental character (and hence the fewness of works). Selectivity of Kazakh composers in respect of the technical innovations of the modern avant-garde, as well as the range of its themes and images, explained by the desire to preserve national identity. New creative realms become neoarhacs and World music. Stylistic and genre variety of modern Kazakh music signifies completion of the formation stage of national classics.
Common to all stylistic directions are attraction to the program music and dialogic in a broad semiotic sense, as well as reliance on the traditions of national art of professional oral traditions and academic school of the European type (1930-1970's).
Keywords: music of Kazakhstan, Kazakhstani composers, national avant-garde, stylistic trends, type of composition.
Conference Presentations by Lera Nedlin
Аннотация Объектом исследования выступает реинтерпретация культурного наследия в последние десятилетия. В казахском музыкальном искусстве этот процесс выразился в формировании новых подходов к изучению фольклора; возрождении традиций; активизации творческого обмена с зарубежьем; обновлении академической музыки; формировании национально специфической массовой культуры. В результате возникает новое видение места и роли казахстанской музыки в мировой культуре, усложняется структура музыкальной культуры республики.
Svetlana Konanchuk (Saint Petersburg).
Synesthesia as an Interspecific Artistic Universal and Aesthetic Category.
Keywords: aesthetics, aesthetic consciousness, aesthetic experience, neuroesthetics, musical synesthetics, synesthesia, synthesis of arts.
Anton Sidoroff-Dorso (Moscow).
Anthropology of Synaesthesia. A Neurophenomenological Paradigm as a Natural Science Framework for Researching Cross-Modal Cognitive Processes.
Keywords: cognitive synaesthesia, cross-modal metaphor, neurophenomenology, neuroanthropology, normative emergence, perceptual symbol system, anthropology of synaesthesia.
Denis Mylnikov (Saint Petersburg).
Color as an Expressive Element in S. M. Eisenstein’ Concept of «Synaesthetics» (on the Example of the «Feast in Alexandrovskaya Sloboda» from the Film «Ivan the Terribl»).
Keywords: motion picture, conventionality, color, emotions, «Ivan the Terrible», S. M. Eisenstein.
Larisa Berezovchuk (Saint Petersburg).
The Functions of a Color and Music in Film Narration: the “Discourse’ Plan” (on an Example on a Krzysztof Kieslowski’ Trilogy “Three Colors”).
Keywords: film narration, color, movie image, “the story plan”, “the discourse plan”, Krzysztof Kieslowski’ trilogy “Three Colors”.
Viktoriia Antipova (Saratov).
Indonesian Theater of Flat Images: a Symbolic of Shadow and Light.
Keywords: Indonesia, wayang kulit, dalang, gamelan.
Mikhail Zalivadny (Saint Petersburg).
Musical Sets of Variative Structure: from Louis-Bertrand Castel to Bulat Galeyev.
Keywords: general theory of systems, theory of the variable system, music and mathematics, history of music theory, synaesthesia, interrelation of the arts, Louis-Bertrand Castel, Bulat Galeyev.
Irina Viskova (Moscow).
The World of Musical Metaphors in the Creations of Polish Painter Jacek Malczewski.
Keywords: Jacek Malczewski, metaphor in music, Polish painting at the turn of the XIX–XX centuries, Symbolism, Vielle, Lute, Torban, Hurdy-gurdy.
Elena Shakhmatova (Moscow).
M. Matyushin’s Color Philosophy in the Aspect of the Cosmic Worldview.
Keywords: “Victory over the sun”, “extended watching”, avant-garde, futurism, color theory.
Kirill Smolkin (Moscow).
«Music Follows the Light». To the M. K. Čiurlionis’ Idea on the Opera «Jūratė».
Keywords: Mikalojus Čiurlionis, opera «Jūratė», synthesis of arts, music and painting, light-music.
Olga Kolganova (Saint Petersburg).
The Model of the Light-Monument for the October Revolution: The History of Creation and Reconstruction (1927 — 1987 — 2017).
Keywords: Light Monument of the October Revolution, Grigory Gidoni, Naum Mogilevsky, light-architecture, light-sculpture, light-orchestra, light-theater, Art of Light and Color.
PRACTICE
Irina Evteeva (Saint Petersburg).
The interaction of light, pictorial art and sound in the imaginative solution of the motion picture (examples from personal practice).
Keywords: animation, glass painting, directing, author’s layer, light-pictorial scumbling glaze, plastic dramaturgy, internal conflict, texture of the image, dramaturgy of sound.
Vladimir Persov (Saint Petersburg).
Cinematography — the Art for is not a Sound-made, but Sonorical: Specificity for the Sonour Space Formation in I. Evteeva’ Animated-game Motion Pictures.
Keywords: sound fabric, intonation, phonogram, visual space, acoustic space, counterpoint, speech, author's music, animation, sound-visual image.
Olesya Rostovskaya (Moscow — Saint Petersburg).
The ANS Synthesizer: Potential Uses and Development Illustrated by Various Compositions Between 2009 and 2018.
Keywords: ANS synthesizer, electro-acoustic, E. Murzin, new music for ANS, O. Rostovskaya.
Anastasia Maximova (Kazan, Republic of Tatarstan).
From the History of Light-Music Performances in Kazan (1962–2019).
Keywords: group “Prometheus”, Bulat Galeev, synaesthesia, light-music, light-music devices, light-music performances.
Valeriya Nedlina (Almaty, Kazakhstan), Yekaterina Demiterko (Yekaterinburg, Russia).
Sound, Color and Action of a Composition Concept of R. Begenov’s Play “Medea. Material”.
Keywords: spectacle “Medea. Material”, pop-mechanical ballet, Rustem Begenov, biculturalism, intertextual analysis.
LABORATORY.
Dilyara Galiakberova (Republic of Tatarstan).
Infographics as an Object for a Demonstrating Kazan Kremlin Territory Soundscape.
Keywords: sound landscape, sound walk, acoustic ecology, synaesthesia, infographics, architectural environment, museum-reserve “Kazan Kremlin”.
Yaroslav Bezokov (Novosibirsk).
Synthesizer as Light Controller in Interactive Light-Music.
Keywords: interactive light-music, create and programming keyboard light-musical instruments.
Aqnar Sharipbaeva (Atyrau, Republic of Kazakhstan).
The Unique Musical Timbre of the Kazakh Kylkobyz and the Association of Light and Color.
Keywords: ethnomusicology, Kazakh musical instrument, folk instruments, kobyz, kobyz art.
Sergey Zorin (Moscow).
Musical Light Painting and the Optical Theater as an Attempt to Mitigate XXIst Century Audiovisual Pressure.
Keywords: Optical theater, musical light painting, S. Zorin.
Alexey Goltykhov (Moscow).
Light Music — a New Kind of Art for Collective Perception (on the Example of the Moscow “Theater of Light”).
Keywords: Moscow “Theater of Light”, light-music, definition, synthesis of arts, historical phenomenon, technology.
the organic connection of contemporary composer creativity and centuries-old traditions. The contradistinction of written and oral national traditions adopted in musicology does not fully reflect the
essence of modern processes. The theory of isomorphism of traditions, proposed by I. Zemtsovsky, proved on traditional music system, finds application in the study of compositional and ethnic traditions
dialogue. Through the concept of genre ‘doubles’ by A. Kunanbeva, the article shows the interrelation between the epic folk song, the genre of narrators-zhyrau tradition, instrumental kuys of the 19 – early
20 th centuries and the compositions of Kazakhstani composers of the 20th century second half with the common name “tolgau”. There are many contemporary authors who appeal to the tolgau: N. Tlendiev
(“Ata tolgau”), K. Duysekeev (Poem-Fantasy “Tolgau”), A. Raimkulova (Symphonic poem “Tolgau”), A. Bestybaev (orchestral kuy “Tolgau”), B. Amanzhol (transcription of the traditional kuy “Oi tolgau”) and others. Similar phenomena can be noted in Azerbaijani music (symphonic mugham) and in Kyrgyz music (symphonic kuu).
chordophone dombra) is important part of intangible national heritage and mean of
national identity. The transformation of kuy in 20th century in westernized Kazakh music
was examined to defi ne the role of it in modern national art. Kuy in oral tradition and
in composers’ creativity was studied from the views of music endangerment approach,
ethnomusicological genre theory, cultural interaction theory and musical nationalism
theory.
Объектом исследования выступает реинтерпретация культурного наследия в последние десятилетия. В казахском музыкальном искусстве этот процесс выразился в формировании новых подходов к изучению фольклора; возрождении традиций; активизации творческого обмена с зарубежьем; обновлении академической музыки; формировании национально специфической массовой культуры. В результате возникает новое видение места и роли казахстанской музыки в мировой культуре, усложняется структура музыкальной культуры республики.
National avant-garde has specific features such as close links with religious and philosophical systems (shamanism, Tengriism), reliance on archaic sound-ideals, experimental character (and hence the fewness of works). Selectivity of Kazakh composers in respect of the technical innovations of the modern avant-garde, as well as the range of its themes and images, explained by the desire to preserve national identity. New creative realms become neoarhacs and World music. Stylistic and genre variety of modern Kazakh music signifies completion of the formation stage of national classics.
Common to all stylistic directions are attraction to the program music and dialogic in a broad semiotic sense, as well as reliance on the traditions of national art of professional oral traditions and academic school of the European type (1930-1970's).
Keywords: music of Kazakhstan, Kazakhstani composers, national avant-garde, stylistic trends, type of composition.
Аннотация Объектом исследования выступает реинтерпретация культурного наследия в последние десятилетия. В казахском музыкальном искусстве этот процесс выразился в формировании новых подходов к изучению фольклора; возрождении традиций; активизации творческого обмена с зарубежьем; обновлении академической музыки; формировании национально специфической массовой культуры. В результате возникает новое видение места и роли казахстанской музыки в мировой культуре, усложняется структура музыкальной культуры республики.