Tendencies of Visualization in Modern Instrumental Academic Music in Aspect of Musical Communication

UDC 785 (477) : 316.28 “19-20”

Olena Berehova

Institute for Cultural Research of the National Academy of Arts of Ukraine, Kyiv.

ORCID 0000-0003-4384-9365

Keywords: instrumental academic music, musical visualization.

Abstract. Modern musical practice certifies that music that is the most abstract type of art and has undoubted advantages in the voice recreation of the emotional states and moods today sets many examples of the search of additional artistic means by composers for providing of more close intercommunication with a listener. In the most cases a composer finds these means in the visual types of arts, and they begin to carry out the role of additional visual codes in the system of musical communication: Composer — a Piece of music — Performer — Listener. Visualization on the first stage of the system of musical communication (“Composerˮ) embraces specific synesthetic (that is involving simultaneously auditory and visual) perception by some composers of domestic and artistic phenomena (such were Nikolai Rimsky-Korsakov, Alexander Scriabin, Mikalojus Čiurlionis, Olivier Messiaen and other composers), and also abilities both for musical and graphic arts (M. Čiurlionis, K. Stetsenko, S.Turkevych-Lukiianovych, Lesia Dychko and others).

Visualization at the second stage of the system of musical communication (“Piece of music”) in the genres of instrumental academic music takes place mainly through the application of literary-poetic programme, embodiment of characters of artistic painting, sculpture, architecture and others.

Another case is visualization of musical text of the work — musical graphic notation or musical graphic arts — which is an original direction in modern music, that unites in it different types of art — music, painting, graphic arts, art of small sculptural forms, use of musically-informative computer technologies. This direction testifies to the special gravitation of modern composers to the synthesis of arts, underline visualization of voice characters.

The tendency of visualization of “Performer” and “Listener” appear through the search of new methods ofplaying the musical instruments, development of the so-called instrumental theatre, reinterpretation by composers of the role of performers and listeners in the process of musical communication. Innovations in understanding by the composers of sphere of instrumental music consist inaddition of elements to the staging, namely: in the change of traditional concert clothing, changing of clothes on the stage, bringing in of various essential elements, removal of conventional border between the stage and audience, giving musicians-performers functions unusual to them and others like that. The separate sphere of innovation in modern instrumental music is expansion of limits of gesticulation.

The most radical innovators of this direction among theUkrainian composers are Serhii Zazhytko, Carmella Tsepkolenko, Ivan Nebesnyi, Volodymyr Runchak and others.

Thus, it can be can asserted that visualization in its various displays became one of the most noticeable tendencies in the Ukrainian modern academic instrumental art and visualization of all stages of the system of musical communication became one of the major displays of this tendency.

Author Biography.

Olena Berehova, Dr. hab. in Art Criticism, Leading Researcher, Institute for Cultural Research, National Academy of Arts of Ukraine, Kyiv.

beregova@ukr.net

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PDF (Ukrainian)

Published: June 22, 2017.

Vol 11 No 1 (2017)

Section: THEORY AND HISTORY OF CULTURE.