The Composition Model in Music: To the Issue of Evolution of Concept

10.34690/208 ◽  
2021 ◽  
pp. 152-165
Author(s):  
Марианна Сергеевна Высоцкая
Keyword(s):  
Creative Process ◽  
Composite Model ◽  
Logical Thinking ◽  
Musical Form ◽  
Artistic Creation ◽  
Concerto Grosso ◽  
Compositional Model ◽  
Fundamental Categories ◽  
The Way

Понятие композиционной модели как структурносемантического прототипа музыкальной формы развивалось и эволюционировало вместе с понятием композиции как эстетической категории и одной из основополагающих категорий художественного творчества. В роли композиционной модели выступает художественный канон или авторский текст; она задается извне или выстраивается по индивидуально разработанному алгоритму; способом ее представления может быть вербализованная система правил, графическая схема или объективированный в звуковой форме образец. С возрастанием значимости в творческом процессе абстрактно-логического мышления область моделируемого внемузыкального неуклонно расширяется: от следования стратегическим законам ораторской речи - к расчетам на основе математических формул, от «биоморфизма» - к «техноморфизму». В статье рассмотрена эволюция понятия композиционной модели на материале сочинений, принадлежащих разным эпохам и стилям: Токкаты из органного триптиха И. С. Баха BWV 564, органной Сонаты № 6 d-moLL из цикла ор. 65 Ф. Мендельсона, Симфонии in C И. Стравинского, Concerto grosso памяти Веберна Ф. Караева и «VOI(REX)» Ф. Леру. The concept of a composite modeL as a structuraLLy semantic prototype of a musicaL form deveLoped and evoLved aLong with the concept of composition as an aesthetic category and one of the fundamentaL categories of artistic creation. The compositionaL modeL is an artistic canon or author's text, it is given from outside or is buiLt according to an individuaLLy deveLoped algorithm, the way in which it is presented can be a verbatim system of ruLes, a graphicaL diagram or an audibLe specimen. With increasing importance in the creative process of abstract and LogicaL thinking, the area of modeLLed extramusicaL is steadiLy expanding: from foLLowing the strategic Laws of oratory speech to caLcuLating on the basis of mathematicaL formuLae, from “bio-morphism” to “techno-morphism.” The articLe considers the evoLution of the concept of the composition modeL on the materiaL of works beLonging to different epochs and styLes: Toccata from the organ triptych I. S. Bach BWV 564, Sonata 6 d-moLL from op. 65 F. MendeLssohn, Symphony in C I. Stravinsky, Concerto grosso in the memory of Webern F. Karaev and “VOI(REX)” F. Leroux.

George Amabile on War, Trauma, the Creative Process, and His Latest Collection Martial Music

2021 ◽  
Vol 34 ◽  
pp. 175-179
Author(s):  
Liana Cusmano
Keyword(s):  
Creative Process ◽  
Daily Life ◽  
War Trauma ◽  
The Subject ◽  
The Way

Liana Cusmano’s interview with poet George Amabile focuses on his prize-winning 2018 collection Martial Music and the art of writing in general. He offers insights on the poetic process, how to research and produce a collection of poems. Amabile’s poetry is inspired by what he has experienced or witnessed. He talks about dealing with war and trauma. He shares his frustration with daily life getting in the way of the creative process. “Life is the subject and the inspirational/ motivational source of our work, but it also sucks up our time and frustrates our ability to give our unstinted attention to our creative efforts,” says George Amabile.

Entre Reforma e Contra-Reforma

1999 ◽  
Vol 7 (14) ◽  
pp. 99-116
Author(s):  
António Moreira Teixeira ◽  
Keyword(s):  
Creative Process ◽  
Major Change ◽  
Important Change ◽  
Artistic Expression ◽  
Divine Inspiration ◽  
History Of ◽  
The Way

By 1576, in order to obtain the censor’s permission to publish his two last treatises, the artist and philosopher Francisco de Holanda was forced to produce a major change in his conception of art. In an anticipation of the trend that was going to spread all over Europe some decades later, he agreed to replace his neo-platonic notion of an art of divine inspiration for a new conception of the artistic expression centred on the aristotelic caracterization of the human creative process. However, in doing that, Holanda paved the way for the development of a true methaphysics of art. In this article, the author intends to establish the network of philosophical influences that made possible this important change of course in the history of european aesthetics, as well as determine its implications.

scholarly journals KARYA MUSIK YOUTH KELOMPOK MUSIK SOLOENSIS (Kajian Proses Penciptaan Dan Makna Teks Lagu)

2019 ◽  
Vol 11 (2) ◽  
Author(s):  
Bekti Setyo Utomo
Keyword(s):  
Creative Process ◽  
Musical Composition ◽  
Musical Form ◽  
Major Scale

ABSTRACT This paper focuses on the creative process of the song entitled Youth, and also the meaning of the lyrics. The lyrics and the structure of the music presented is a contradiction between the lyrics and the musical form. The song Youth created by the Soloensis music group used the major scales. Then, the character of their musical composition is cheerful and uses instruments that are not normally played in their works. The song Youth is a song with a message about the anxiety of the creator's youth. In the end, the content of the message is transformed into a song with a contrasting musical composition. This music constructs an atmosphere of anxiety and sadness using the diatonic major scale which is usually cheerful. Kata kunci : musik youth, soloensis, makna teks lagu

scholarly journals Creativity and ownership: Protection of rights in musical works in the European Union from digitisation to artificial intelligence

Muzikologija ◽  
2020 ◽  
pp. 149-162
Author(s):  
Uros Cemalovic
Keyword(s):  
Artificial Intelligence ◽  
Creative Process ◽  
Service Providers ◽  
Technological Development ◽  
The European Union ◽  
Artistic Creation ◽  
Content Sharing ◽  
Eu Directive ◽  
Musical Works ◽  
Ownership Protection

Even more than intelligence, creativity is considered as a quintessentially human capacity. The same conclusion is fully applicable to the artistic creation in music sector. However, rapid technological development is constantly challenging not only the creative process as such, but also the legal instruments intended to protect the results of intellectual and artistic work. The first part of this article examines the provisions of the new EU Directive 2019/790 dedicated to online content-sharing service providers and fair remuneration of authors/performers, while its second part maps the main challenges the development of artificial intelligence imposes to the protection of rights in musical works.

METAPHORIC REPRESENTATION OF THE CONCEPT “CREATIVE PROCESS” IN V. NABOKOV’S NOVEL “THE GIFT”

2020 ◽  
Author(s):  
Yuliya Golovnyova ◽  
Albina Novikova
Keyword(s):  
Creative Process ◽  
Theoretical Basis ◽  
The Novel ◽  
Artistic Creation ◽  
The Gift

Descriptions of the process of artistic creation take an outstanding place in V. Nabokov’s works and abound both in conventional and creative metaphors. In this article we analyze metaphoric representation of the concept “creative process” in V. Nabokov’s novel “The Gift”. The theoretical basis of research is the descriptor theory of metaphor by A.N. Baranov. The article reveals the most frequent metaphorical models of creative process in the novel and the areas of its metaphoric conceptualization.

Creative Process as Labor

2021 ◽  
Author(s):  
Pierre-Michel Menger
Keyword(s):  
Nineteenth Century ◽  
Creative Process ◽  
Large Body ◽  
Special Focus ◽  
Sociological Research ◽  
Aesthetic Value ◽  
Artistic Creation ◽  
Self Actualization ◽  
Uncertainty Of Results

This chapter synthesizes a large body of sociological research dedicated to artistic creation as a labor-intensive activity. Questioning the nineteenth-century expressivist ideal of self-actualization, contemporary ontologies—whether defined by artists, scholars, or various professional assessors—function within two opposing regimes: elite egalitarianism and competing differentiation. Adopting a processual perspective, the chapter first turns to creation as a sequence of choices and tests realized under strict uncertainty of results, with an extreme discrepancy between accumulated efforts and reputational as well as monetary outcomes. Second, the chapter follows the downstream production of aesthetic value, turning to scores and performances and the reallocation of creative roles they rest upon. Third, the chapter sketches a genealogy of finishedness, from Romantic idealization to modern relativization, with a special focus on the completion of uncompleted works. Finally, the chapter outlines several caveats regarding the study of the creative process and their consequence for the sociology of labor, work, and innovation.

Understanding the Concert for Piano and Orchestra

2020 ◽  
pp. 402-436
Author(s):  
Martin Iddon ◽  
Philip Thomas
Keyword(s):  
Significant Part ◽  
Musical Form ◽  
Musical Work ◽  
The Way

This chapter considers the way in which the Concert for Piano and Orchestra has been interpreted by commentators, from musicologists and other composers to professional philosophical thinkers. It shows the way in which these interpretations played a part in the initial receptions of the piece, especially in Europe, made a major contribution to discussion of the nature of musical form in the context of openness, and became a significant part of later discussions regarding the nature and limits of the musical work.

Conclusion

2018 ◽  
pp. 221-232
Author(s):  
Laura Kounine
Keyword(s):  
Visual Culture ◽  
Free Will ◽  
The Body ◽  
Popular Media ◽  
Trial Process ◽  
The Witch ◽  
Fundamental Categories ◽  
The Way

The process of identifying the witch brought questions about emotions, gender, and selfhood to the fore. As witchcraft was a crime largely without evidence, legal and religious authorities had to employ their expertise in their attempts to uncover the truth about a person. The trial process reveals the overlapping and at times contradictory individual, communal, legal, and religious understandings of not only witchcraft, but more fundamental categories of sin, morality, free will, guilt, and innocence. The trial process further reveals how individual and communal narratives took on, and themselves shaped, understandings of witchcraft, gender, and emotions in popular media, visual culture, and intellectual treatises. The way in which people attempted to make sense of themselves and each other, how the body and emotions were ‘read’, and how this was gendered, was thus at the very heart of the struggle to identify the witch.

Creative Process II

2019 ◽  
pp. 117-136
Author(s):  
Stephen A. Crist
Keyword(s):  
Creative Process ◽  
Full Length ◽  
Time Out ◽  
Audio Recordings ◽  
History Of ◽  
Shed Light ◽  
Surprising Discovery ◽  
The Way

Among Dave Brubeck’s personal audio recordings are about two dozen takes of “Take Five,” which preceded the full-length version on Time Out and the shorter single release version. This chapter discusses first the familiar versions from July 1959, and then considers how the Quartet’s efforts at the end of June paved the way for those iconic recordings. A surprising discovery from the original session recordings of “Kathy’s Waltz” and “Strange Meadow Lark” is that both cuts were spliced from supplemental takes. The recording history of “Everybody’s Jumpin’ ” includes the unexpected fact that a portion of the tune originated in 1950, nine years before the Time Out sessions. The chapter also examines the original recordings of “Three to Get Ready” and “Blue Rondo à la Turk,” as well as two tracks that shed light on the origins of “Pick Up Sticks.”

The Philosophy of Artistic Creation: Phidias, the Ideas, and Cicero

Apeiron ◽  
2018 ◽  
Vol 51 (3) ◽  
pp. 325-344 ◽  
Author(s):  
Anna Motta
Keyword(s):  
Point Of View ◽  
Artistic Creation ◽  
Platonic Theory ◽  
Human Eyes ◽  
Human Hands ◽  
The Way

Abstract Since Antiquity Phidias seems to be the best sculptor of Gods, because he carved great statues with his human hands and succeeded in giving a physical look to that which is not visible to human eyes. This paper is devoted to Cicero’s attention on the imaginative creation of the artist and on the philosophical features of that demiurgical activity which the Roman philosopher links to his interpretation of the Platonic theory of the Forms. The survey led on some Ciceronian texts shows, from a philosophical and philological point of view, the way in which Cicero reconsiders the role of the phantasia, offering a revalution of the art.

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