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3 comments:
close it music bad taste to specialists, but music for the heart
the masses of people. As possible topics he also makes a study of
transition household musical intonations in the material art of music.
In General, we see that the formal method the musical material
constantly loses its "formal protection", it absorbs phenomena
the music of everyday life, psychophysiology and under. Study as a purely "dead"
design art body is not enough: "for
clarify the logic of its design you have to "spice up" the design, i.e.
inevitably to hold it through the prism of the human psyche -- in other cases
even through the double prism (music, theatre, plastic, i.e. all of the art,
in need of interpretation) -- and in any case be based on data
direct perception; moreover, the formalist will not only
to "revive" the object of observation, but try to understand -- if you wish to end
to interpret this design -- in terms of its origin --
individually creative, social, historical, word to attract
all psihofiziologicheskie and social environment that
formalist deliberately left out of surveillance" (Gruber R.On
"formal method," in musicology. P.45).
And music with the peculiarities of their language as if he wins method
least some of its features. On the other hand B. Asafievin
this plan makes in first place the creative process, leaving the form more
secondary position. "The study of the forms, as deposits, as
some kristallizatsiya environment (and not in the anatomical direction
analysis), is a subsidiary discipline in relation to the study
in the process, the result of which they represent. But in this case we will
to deal not only with naked charts and structural plans, and with
the structure of the sounding tissue, i.e. approximately with what can be called
morphology of musical forms" (Glebov I. Theory
the musical-historical process as the basis of musical-historical
knowledge. P.74).
a formal method like "the second kind",
where we are talking about learning the material base of music. Under him, he realizes
methods that are contiguous with the scientific method of cognition, where it is
perhaps the use of mathematics.
His own value cannot be determined accurately and
definitely, it is possible to convey metaphorically, poetically, sometimes the connection
logically incompatible concepts, i.e., antinomies, contradictions, nonsense.
Character can be understood as addressed to me indirect or reported speech
immaterial, i.e. spiritual or extrasensory, using material
or sensual" (op. CIT. according to Gerasimova, the decree. Op.P.54).
That was done by the oberiuts, you can see the type of behavior which in
historical perspective existed in Russia as foolishness. Ivanov
the following recounts "the life" fools: "They are the heroes of the day running around in
rags or completely naked; begging and then distribute it; they are everywhere
chase, the boys throw stones at them; sometimes rich people care about them
but fools do not recognize satiety and grooming: they tear their clean
clothes, sit in the dirt, etc.; some "pohyby" never speak,
other continuously repeat any one word or even saying
neumatico, which, of course, full of deep hidden meaning,
drop-down only subsequently" (Ivanov S. A.Byzantine
foolishness. -- M., 1994. P. 144).
The oberiuty, as fools, are in a completely different "grammar
behavior." The only question is, how to recognize its surrounding. In the case
foolish this question was resolved, they were even the one who had the right
to criticize the Church. You can see in this "carnivalesque" Mikhail Bakhtin,
moreover, he was put in the novel of K. Vaginov"Goat
the song" the image of the philosopher. By the way, in their conversations, M. Bakhtinoften
mentions K. Vaginov. "One of the most interesting and outstanding
representatives of the Leningrad school of poets was Konstantin Konstantinovich
Of lived. He was then very young, just graduated from the Leningrad
University, was a philologist, a man very well read, passionate
bibliophile. He had a very interesting library which he had collected, --
main Italian poets of the XVII century" (Conversation with V. D. Duvakin
M. M. Bakhtin. - M, 1996. P.188).
He and the other approach leads us to a generalized third presentation
- the oberiuts cast adopted a semiotic model of life and try
to build
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