MUSIC COMMUNICATION: WAYS OF REPRODUCTION AND CHANNELS OF PERCEPTION OF MUSIC (historical and analytical view)

2020 ◽  
Vol 1 (1) ◽  
pp. 24-32
Author(s):  
A. N. Yakoupov ◽  
Keyword(s):  
Oral Communication ◽  
Sound Recording ◽  
Communication Tools ◽  
Stage Design ◽  
New Era ◽  
Musical Notation ◽  
Theatrical Performance ◽  
Oral Method ◽  
Musical Communication ◽  
Musical Memory

In the article the means of musical communication and their evolution are considered in the historical and analytical aspect. There are two types of communication tools: acoustic, using the airspace as a channel for transmitting encoded information, and visual, which include stage design, allowing to perceive music as a kind of theatrical performance, and musical notation, graphically fixing all the components of the musical text. As the earliest means of nonwritten communication, the oral method is put forward, a vivid example of which is folklore, often called the musical memory of generations. Other examples of oral communication are cult music, improvisation and musical meditation. It is stated that musical writing, in particular, musical notation, and later printing tools created conditions for overcoming spatial and temporal barriers to the spread of music. The next step is the invention of technical sound recording, which opened a new era in the development of communications. Magnetic recording of the visual series made it possible to create concert films and opera films. The emergence of electronic and mechanical means of music recording contributed significantly to greater involvement of people in the process of musical communication.

MUSIC COMMUNICATION: WAYS OF REPRODUCTION AND CHANNELS OF PERCEPTION OF MUSIC (historical and analytical view)

2020 ◽  
Vol 1 (2) ◽  
pp. 53-61
Author(s):  
A. N. Yakoupov ◽  
Keyword(s):  
Oral Communication ◽  
Recording Equipment ◽  
Professional Musicians ◽  
Stage Design ◽  
New Era ◽  
Musical Notation ◽  
Theatrical Performance ◽  
Musical Thinking ◽  
Oral Method ◽  
Musical Communication

In the article the means of musical communication and their evolution are considered in the historical and analytical aspect. There are two types of communication tools: acoustic, using the airspace as a channel for transmitting encoded information, and visual, which include stage design, allowing to perceive music as a kind of theatrical performance, and musical notation, graphically fixing all the components of the musical text. As the earliest means of nonwritten communication, the oral method is put forward, a vivid example of which is folklore, often called the musical memory of generations. Other examples of oral communication are cult music, improvisation and musical meditation. It is stated that musical writing, in particular, musical notation, and later printing tools have created conditions for overcoming spatial and temporal barriers to the spread of music. The next step is the invention of technical sound recording, which opened a new era in the development of communications. Magnetic recording of the visual series made it possible to create concert films and opera films. Even greater involvement of people in the process of musical communication was facilitated by the appearance of electronic and mechanical means of recording music. The emergence of new opportunities in the field of sound dynamics control, its timbre, influenced the development of musical thinking. A new industry of "production" has emerged with the involvement of professional musicians who own modern recording equipment and specialize in the production of "artificial" musical products. This process was accompanied by the formation of a new audience of listeners who preferred recording to live sound.

scholarly journals Stage design of the modern Ukrainian director theater

2021 ◽  
pp. 127-131
Author(s):  
Oksana Popova
Keyword(s):  
Design Solution ◽  
Emotional Impact ◽  
Stage Design ◽  
Visual Aesthetics ◽  
Literary Source ◽  
Theatrical Performance ◽  
Dramatic Text ◽  
Theater Directors ◽  
Definition Of ◽  
The Individual

The purpose of the article is to identify and analyze the leading directions in the development of stage design in modern domestic director's theater, as well as to explore the problem of director's search in stage design. Methodology. A systematic method was applied, aimed at theoretical and artistic, and practical comprehension of the main aspects of the process of solving a stage work in the complex of organizing stage action and stage space; the method of artistic-critical analysis in the process of studying the modern theatrical repertoire, made it possible to study the stage design of the domestic director's theater in the variety of its forms; the typological method, helped to systematize traditional and innovative approaches to the development and implementation of stage design, as well as to determine its features in modern Ukrainian theater; the method of figurative and stylistic analysis, thanks to which the specifics of the stage design of modern productions of Ukrainian theater directors have been identified and analyzed; the hermeneutic method helped to identify and interpret the meanings laid down by the director in the rhythm-chronotopic configuration of the stage design. Scientific novelty. The directing-staging and scenographic activity of the leading Ukrainian directors (B. Polishchuk, D. Kostyuminsky, S. Masloboyshchikova) has been investigated, the variable variety of approaches to solving stage design in modern Ukrainian drama theater has been revealed and their influence on the artistic structure of the performance has been characterized; the specifics of the design solution for a modern theatrical performance by Ukrainian stage designers, as well as production directors, have been determined. Сonclusions. The transformations of the functions and vocabulary of stage design in Ukrainian directing theater XXI century are directly related to changes in the visual aesthetics of modern theatrical art, the problems of interpretation of the literary source, and its stage embodiment. Taking over the functions of a theatrical artist, stage directors strive to create a unique author's environment for a dramatic situation, visualizing a literary text in the space-time continuum of presentation in accordance with the individual definition of the meaning of the production, in an effort to accurately illuminate their own concept. But in the production, carried out by theatrical artists, the dominant position is occupied by the image - the performance is a series of visual images, and visual symbols exert an emotional impact on the viewer, which is usually stronger than a dramatic text and acting.

Neuroscience Technology and Interfaces for Speech, Language, and Musical Communication

2018 ◽  
pp. 5886-5900
Author(s):  
Dionysios Politis ◽  
Miltiadis Tsalighopoulos ◽  
Georgios Kyriafinis
Keyword(s):  
Hearing Aids ◽  
Brain Activity ◽  
Oral Communication ◽  
Speech Communication ◽  
Learning Potential ◽  
Great Expectations ◽  
Computer Interfaces ◽  
Language Communication ◽  
Audio Communication ◽  
Musical Communication

Medical practice is extensively using monitoring devices that are more or less invasive and immersive. For aural and oral communication these could be hearing aids, prosthetics, cochlear implants or goggles detecting vestibular effects and vertigo. Recently, a wide variety of trendy mobile or wearable devices has been offered to the general public, provoking a frenzy for augmentation alongside the great expectations that the popularization of Brain Computer Interfaces has caused to both the consumer market and the scientific community. The use of bionic devices clinched with synapses of the nerves does not merely mingle input activity to brain activity, but also it provides a virtual channel for augmenting and manipulating speech communication, language communication and even further musical communication. The electromechanical parameters, the medical practices and the learning potential for this new world of augmented Human Computer Interaction platforms and devices are examined under the prism of audio communication.

Neuroscience Technology and Interfaces for Speech, Language, and Musical Communication

2019 ◽  
pp. 403-419
Author(s):  
Dionysios Politis ◽  
Miltiadis Tsalighopoulos ◽  
Georgios Kyriafinis
Keyword(s):  
Hearing Aids ◽  
Brain Activity ◽  
Oral Communication ◽  
Speech Communication ◽  
Learning Potential ◽  
Great Expectations ◽  
Computer Interfaces ◽  
Language Communication ◽  
Audio Communication ◽  
Musical Communication

Medical practice is extensively using monitoring devices that are more or less invasive and immersive. For aural and oral communication these could be hearing aids, prosthetics, cochlear implants, or goggles detecting vestibular effects and vertigo. Recently, a wide variety of trendy mobile or wearable devices has been offered to the general public, provoking a frenzy for augmentation alongside the great expectations that the popularization of brain-computer interfaces has caused to both the consumer market and the scientific community. The use of bionic devices clinched with synapses of the nerves does not merely mingle input activity to brain activity, but also it provides a virtual channel for augmenting and manipulating speech communication, language communication, and even further, musical communication. The electromechanical parameters, the medical practices, and the learning potential for this new world of augmented human-computer interaction platforms and devices are examined under the prism of audio communication.

scholarly journals Music in Northern Khanty Folktales

2020 ◽  
pp. 41-62
Author(s):  
G. E. Soldatova ◽  
Keyword(s):  
Sound Recording ◽  
Musical Notation

The paper describes the musical component in the folktales of the Northern Khanty. The work is based on published and unpublished sources. The author selected eighteen samples of folktales in three formats: sound recording, text transcript, and translation. Three basic types of intonating in the Khanty folktale were identified: singing, speech, rhythmized speech. Singing, in this case, is considered as intonating, intermediate between vocalization and speech. It can be shown in the musical notation indicating the pitch and rhythm. Rhythmized speech can be written without transmitting the sound pitch. Based on segmentation, the author analyzed the structure of folktales, determined the role of musical episodes and the specifics of tunes. As a result, it was established that the Northern Khanty folktale with music has two genre varieties (subgenres): a sung folktale and a folktale with musical (sung) episodes. The first variety is sung from beginning to end, with its tunes correlating with the epic nature of the narration. The second variety includes introductory tunes on the jaw’s harp, episodes with singing, with rhythmized speech, with a clear rhythmic formula in its tunes. The melodies from the group of tales about the greedy mouse are similar to the songs performed in dramatic performances at the Bear-Feast. Music in folktales acts as a differentiating factor within the genre and also shows the ambiguity of the boundaries between genres of the Northern Khanty folklore.

scholarly journals The Origins of the Genre of the English Masque

2020 ◽  
pp. 89-98
Author(s):  
Alla Sokolova
Keyword(s):  
Practical Significance ◽  
Stage Design ◽  
Royal Court ◽  
Folk Traditions ◽  
European Culture ◽  
Theatrical Performance ◽  
History Of ◽  
History Of Culture ◽  
The Times ◽  
Early English

This paper aims to analyze the scientific works of leading British researchers to identify the origins of the stages of the formation of the English Masques genre, the influence of continental culture on the Masques genre, understanding the specific features of the first prototypes of the Masques, as well as the “early” Tudor Masques, including the Masques of the times of Henry VIII and Elizabeth І. Research methodology. Twenty-one publications by leading English scholars on this subject are considered, including archival data and historical choirs. The materials of the scientific literature are studied using logical, historical, chronological, problem-chronological and historical-retrospective methods. Results. It has been revealed that Masque is a musical-theatrical performance, a stylized hybrid, where acting, dancing, chorus, musical interlude, poetry, masquerade costume, and stage design are closely intertwined and interact with each other. The origins of English Masques date back to the folk traditions and customs of England, the traditions of Christmas or seasonal festivals, and the development and formation of Masques was influenced directly by Italian and French culture. However, the English Masques had specific genre peculiarities inherent in the exclusively English version of the musicaltheatrical performance. The masques become a key pastime in the Tudor royal court, where the royal court play an important role. Novelty. In this paper, an attempt has been made to comprehensively investigate the origins of the English Masque genre, as well as to characterize the influence of continental European culture on the development of early English Masques. The practical significance. The materials of this study can be used at lectures and seminars on the history of foreign culture, theory and history of culture in secondary and higher education institutions.

SOUND RECORDING, AUDIO COMMUNICATIONS AND PIANO PERFORMANCE: EVOLUTION OF VIEWS

2020 ◽  
Vol 1 (4) ◽  
pp. 32-38
Author(s):  
T. P. Chvanova ◽  
Keyword(s):  
Social Life ◽  
Sound Recording ◽  
Joint Work ◽  
Piano Performance ◽  
Aesthetic Quality ◽  
Sound Engineer ◽  
Production Practices ◽  
Post Production ◽  
The Aesthetic ◽  
Musical Communication

Sound recording and related audio communication tools are complex and ambiguous phenomena, the potential of which was revealed and implemented gradually, as technology improves and new performing practices are consolidated. Sound recording has become a determining factor in the development of musical culture in the XXth century, creating new forms of musical being, changing the principles of musical communication and distribution of roles in the musical hierarchy. In the field of piano art, recording led to the emergence of "virtual" forms of piano performance and post-production practices, gave a new aesthetic quality to piano art, revived the figure of composer-performer, and raised the value of a pianist-interpreter to a new level. The tradition to consider the evolution of art in the context of scientific and technological progress appeared in the 1970s. Nowadays in musicology, the aesthetic significance of recording for piano art remains undefined, there are no large generalizing studies on this issue. Recording has caused fundamental changes in the social life of music and musical performance, the transformation of the traditional musical communication system — these processes are currently most studied. The issues of musical communication are covered in the works of E. Dukov, E. Nazaikinsky, I. Orlova, A. Sokhor, A. Yakupov. Books by N. Lebrecht, Yu. Strakovich, A. Karabanova, T. Kuzub, Yu. Streglov are devoted to the problems of functioning of musical art and their historical origin. A considerable part of G. Gould's journalism is focused on prospects of sound recording. According to Gould, the participation of the performer-interpreter in the process of sound engineering brings his work closer to the composer, allowing "to establish a contact with a work, which is very similar to the composer's own attitude to it". Sound recording becomes the reason for transformation of the traditional system of "composer — performer — listener" musical communication, historically associated with the functioning of concert halls and the composer's priority role. Researchers note the complication of the communicative chain due to the inclusion of the figure of the sound engineer (Yu. Kapustin, I. Orlova). Feedback of listeners and the performer becomes mediated, it is carried out through other channels — public opinion, press (Yu. Kapustin), the figure of a musicologist critic (A. Yakupov, Yu. Streglov). The authors begin to consider sound recording as a new form of musical existence, different from concert practice, which develops its own means of expression, forms its own listener, creates its own performing personnel. In modern research, recording as a component of innovative progress achievements is included in the periodization of information technologies. Sound recording, being a means of documentary communication, creates a new quality of fixation of a work of art in the actual form of performing interpretation, post-production practices expand the aesthetic experience of the performer and listeners. In the modern musical landscape, sound recording becomes a product of joint work of a performer and sound engineer, art manager, music producer, while the role of the performer is "virtualized".

КОММУНИКАЦИЯНЫН АНЫКТАМАСЫ ЖАНА ТАРЫХЫ

2020 ◽  
pp. 76-80
Author(s):  
Çetin Murat Hazar ◽  
Samara Batabekova
Keyword(s):  
Oral Communication ◽  
Human Being ◽  
Communication Tools ◽  
Communication Method ◽  
History Of ◽  
Basic Communication

Адамдар өздүк жашоосун өнүктүрүү жана улантуу үчүн байланышка муктаж. Жекеликтер байланыштын жардамы аркылуу бири-бири менен, ошондой эле табият менен жакын мамиледе боло алат. Адам жана бүткүл жандуулар үчүн эң зарыл каражат болгон байланыштын тарыхы туңгуч адам менен кошо башталган. Коммуникация - бул байланыш - жеткирүүнү каалаган маалымат, ой жана сезимдерди сим- волдор менен элдештирип, ар түрдүү каражаттарды колдонуу аркылуу каршы тарапка жөнөтүү дегенди түшүндүрөт. Айрыкча, оозеки байланыш жазуунун пайда болушундан мурун негизги байланыш методу (ыкмасы) катары колдонулган. Оозеки байланыш жазуунун пайда болушундан кийин дагы аны менен бирге кеңири колдонулган. Алгач байланыш каражаты катары сүйлөшүү жана сүрөт колдонулса, алфавиттин табылышы менен бирге, байланыш азыркы учурдагы формасын алган. İnsanların kendi varlıklarını geliştirmek ve sürdürmek için iletişime ihtiyaçları bulunmaktadır. Bireyler iletişim sayesinde birbirlerine ve doğaya uyum sağlayabilmektedir. İnsanlar ve bütün canlılılar için vazgeçilmez olan iletişimin tarihi ise ilk insanla birlikte başlamaktadır. İletişim, iletilmek istenen bilgi, düşünce ve duyguların karşı tarafa üzerinde uzlaşmaya varılmış simgelerle çeşitli araçlar kullanılarak gönderilmesi şeklinde tanımlanabilir. Sözlü iletişim özellikle yazının icadından önce temel iletişim yöntemi olarak kullanılmıştır. Yazının icadından sonra da sözlü iletişim, onunla birlikte yine yoğun bir şekilde kullanılmıştır. Önce konuşma ve resim, iletişim aracı olarak kullanılmış, alfabenin bulunması ile birlikte iletişim günümüzdeki şeklini almıştır. People need communication to develop and maintain their own existence. People can adapt to each other and to nature through communication. The history of communication, which is indispensable for humans and all creatures, starts with the first human being. Communication can be defined as sending the information, thoughts and emotions that are wanted to be conveyed by using various means with the symbols that have been agreed on the opposite side. Oral communication has been used as the basic communication method especially before the invention of the writing. First, speech and picture were used as communication tools., and with the discovery of the alphabet, communication has taken the form of today.

Unbiased estimation of particle number and sizes using the new stereological tools: the disector, the fractionator, the selector, and the nucleator — or just point-sampled intercepts

1988 ◽  
Vol 46 ◽  
pp. 428-429
Author(s):  
H.J.G. Gundersen
Keyword(s):  
Particle Number ◽  
Small Distance ◽  
Parallel Plane ◽  
Unbiased Estimation ◽  
Severe Problem ◽  
New Era ◽  
Size And Shape ◽  
Distinct Property ◽  
Sectioned Tissue

Previously, all stereological estimation of particle number and sizes were based on models and notoriously gave biased results, were very inefficient to use and difficult to justify. For all references to old methods and a direct comparison with unbiased methods see recent reviews.The publication in 1984 of the DISECTOR, the first unbiased stereological probe for sampling and counting 3—D objects irrespective of their size and shape, signalled the new era in stereology — and give rise to a number of remarkably simple and efficient techniques based on its distinct property: It is the only known way to obtain an unbiased sample of 3-D objects (cells, organelles, etc). The principle is simple: within a 2-D unbiased frame count or sample only cells which are not hit by a parallel plane at a known, small distance h.The area of the frame and h must be known, which might sometimes in itself be a problem, albeit usually a small one. A more severe problem may arise because these constants are known at the scale of the fixed, embedded and sectioned tissue which is often shrunken considerably.

Drug Induced Changes in Cell Organelles

1968 ◽  
Vol 26 ◽  
pp. 110-111
Author(s):  
Sarah A. Luse
Keyword(s):  
Clinical Medicine ◽  
Cell Organelles ◽  
Riboflavin Deficiency ◽  
Drug Induced ◽  
New Era ◽  
Health And Disease ◽  
In The Beginning ◽  
Cellular Pathology ◽  
Induced Changes ◽  
The Impact

In the mid-nineteenth century Virchow revolutionized pathology by introduction of the concept of “cellular pathology”. Today, a century later, this term has increasing significance in health and disease. We now are in the beginning of a new era in pathology, one which might well be termed “organelle pathology” or “subcellular pathology”. The impact of lysosomal diseases on clinical medicine exemplifies this role of pathology of organelles in elucidation of disease today.Another aspect of cell organelles of prime importance is their pathologic alteration by drugs, toxins, hormones and malnutrition. The sensitivity of cell organelles to minute alterations in their environment offers an accurate evaluation of the site of action of drugs in the study of both function and toxicity. Examples of mitochondrial lesions include the effect of DDD on the adrenal cortex, riboflavin deficiency on liver cells, elevated blood ammonia on the neuron and some 8-aminoquinolines on myocardium.

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