A RECOMMENDATION FOR AN APPROACH TO TEACHING THE PHENOMENONS WHICH FORM ANALYSIS OF FORM AND PERCEIVED TIME WITH GESTALT THEORY IN WORKS 6 AND 7 OF BELA BARTOK'S DUOS FOR TWO VIOLINS

Even though composing and musical form are one of the most controversial issues of the era, the composer or the instrumentalist has to grasp and examine the structural elements of the musical form correctly in order to grasp the spirit of the music to give what is desired during the performance. The stylistic parts of the music and their relations with each other have been researched on the basis of the motifs, which are the smallest building blocks of the musical form. When the musical form is expressed as "time made sound" (Langer, 1953: 135), it becomes necessary to write the formal unity in a way that appeals to the eye by taking the help of letters and numbers to explain the distribution of temporal elements in the form. Explaining the formal elements in the article with literary language and making them visible will help us to understand the perceptual form of music by helping to explain the temporal setup of Bartok's compositional logic with Gestalt theory. Thus, examining the structures that make up the whole with the principles of Gestalt theory, such as proximity and sameness, and making them visible with shapes will enable the music to be depicted and understood from a holistic perspective, regardless of the structure of the form. The act of schematizing what is heard, based on loudness and lengths, will enable us to see music as an element of perception, not theoretically. The aim of the study is to show the perceived time with the help of Gestalt theory, to make a holistic inference about how the individual perceives music, and to provide a perceptual analysis method to music independent of music theory. Keywords: Composer, Bartok, Music, Form, Form, violin, duet, string, Gestalt

Category of Simplicity is an artist intention and individual-style concepts "New Simplicity" in the creativity of contemporary composers

The purpose of the article is to determine the specifics of stylistic manifestations of the "new simplicity" in the works of contemporary composers in accordance with the meaning of the category of simplicity. The methodology is based on the integrated use of systemic and structural-functional methods, comparative studies, music-historical approach, as well as musicological methods of genre-style analysis. The scientific novelty of the study is due to the theoretical development of genre and style standards of "new simplicity" in terms of their systematic interaction and individual-composer interpretations. Conclusions. The main factor in the formation of a new stylistic vector of composition in the last third of the twentieth century, which was formally defined as "new simplicity", was the recognition of the crisis of musical art, which developed within the avant-garde artistic and aesthetic paradigm. The conceptual foundations of individual composer's versions of the "new simplicity" are connected with the idea of simplifying musical language as the direction of development of musical art, which was called to return music to lost meanings – beauty, clarity, harmony. The concept of simplicity in this context has become one that combines these leading artistic landmarks and acquired in the creative consciousness of composers-representatives of the "new simplicity" the status of aesthetic and ethical categories, which acted as a common artistic intention of variouscompositional versions of "simple" style. Simplicity as an objective condition for the clarity of musical meaning has led to specific types of figurative content of a musical work and its compositional logic. The melodiousness and clarity of musical expression are the semantic impulses of the composer's work to which all the structural elements of the musical text and the "levers" of sound influence on the listener are subordinated.

The Function of Timbre in Music (1966)

Adorno’s purpose in these lectures, presented at the Darmstadt International Summer Courses for New Music in the fall of 1966, was to address the relationship between what he called “sound” and “structure.” At the heart of his thinking is the notion of “structural instrumentation”—the ideal of organizing timbre in a manner commensurate to the compositional logic (Satz) of a given work. Following a historical survey of orchestration and instrumentation in the music of Bach, Viennese Classicism, and the New German School, Adorno turns at length to the “new music,” and above all the work of the Second Viennese School. Ending with a brief consideration of the experiments in Klangkomposition undertaken by composers such as Stockhausen and Ligeti, Adorno challenges the younger generation of composers who held court at Darmstadt by calling into question the equality of timbre with other musical parameters.

On the Theory of Instrumentation

In this essay, originally published in 1985, Carl Dahlhaus addresses the problem of how to integrate timbre into our understanding of music while honoring its resistance to description and quantification. In particular, he explores the history of orchestration in terms of an opposition between “coloristic” and “structural instrumentation,” the latter defined as that which “actively intervenes in the compositional logic [Tonsatz] of the music, rather than being merely dependent on it.” Dahlhaus’ essay is grounded squarely in the common-practice era: his compositional points of reference span from Haydn to Richard Strauss, and he is particularly concerned with how instrumentation can reveal structural patterns that stand athwart the formal trajectories suggested by tonal analyses.

Conceptual Systems: The Dances, Music, and Drawings of Laura Dean

Laura Dean's creative output in minimalist art spans interconnected work in dance, music, and drawing. Throughout the early 1970s, Dean represented her compositional structures as works on paper, which present an expanded visualization of her artistic experimentation with color, symmetry, repetition, and form. Dean rejects the reconstruction of her performance works, instead she advances a notion of dances as impermanent. Situating Dean in the context of serial and conceptual art in which the material art object is deemphasized in favor of communicating compositional logic, I argue that Dean presents a choreographic legacy premised on the intentional disappearance of her work in favor of perpetuating ideation and concept.

ARCHITECTURAL MEMORY AND FORMS OF ITS EXISTENCE

The article attempts to highlight the traces of memory in the theory, history and practice of architecture. The subject of research is the existing forms of memory in architecture. It is traditionally accepted that the “history of architecture” as a science is the main repository of knowledge about the evolution of architecture. Facts and artifacts, descriptions of monuments and cities are retained in it. The article emphasizes that the traditional “history of architectural objects” is not the only form of memory. Another equally important and complicated aspect of the architectural memory is detected during the decoding of the evolution of project activity and its language. Analysis of the evolution of architecture allowed us to differentiate the epochs in which historical thinking prevails: the Renaissance, Romanticism, Eclecticism, Art Deco, Postmodernism. They are characterized by such ways of thinking as dialogical, historical and typological, historical and associative. They are opposed to design approaches in which abstract thinking dominates (Art Nouveau and Modernism). The article shows that the concept of architectural memory has many shades and manifests itself in a variety of different forms of professional consciousness. As historical knowledge, memory exists in such forms as: a chronological description, science of history, evolutionary studies, catalog of styles, museum, archive. In designing and its language, memory is represented in such forms as canon, dialogue with bygone era, norm, architectural fantasy, remembrance, historical association, reconstruction, restoration and others. It is shown that the most important way of storing and transferring information is the architectural language and compositional logic. Postmodern consciousness raised the problem of loss of memory and the development of architectural language and communication of culture.

Losing the Ground

This chapter centers on the relationships between acoustic projection and cinematic space. I start with Cage’s rhetoric on the medium of magnetic tape as the second transformation of sound materiality. Building on Julia Robinson’s notion of “symbolic investiture,” I survey the divided interpretations of Cage’s platform between musicologists that decode his music according to style analysis that established a compositional logic for his move to indeterminacy and the larger debate among art historians on the split between Neo-Avant-Garde and Abstract Expressionist aesthetics. I argue that Cage’s interaction with film and filmmakers provides a meeting ground for these debates within cinematic space in two films: Cage’s score for the Herbert Matter documentary on sculptor Alexander Calder and colleague Morton Feldman’s score for the Hans Namuth and Paul Falkenberg documentary on Abstract Expressionist painter Jackson Pollock. Both artists saw these commissions as opportunities to formalize connections between their compositional approaches to sound and the visual approach to space, kinetic movement, and ground revealed in the time-based poetics of the moving image. Last, I examine a film collaboration I discovered with the sculptor Richard Lippold that documented his monumental wire sculpture, “The Sun,” in which Cage and Lippold applied chance procedures to the editing process. Lippold’s commission came about as a result of his split with the so-called Irascible 18 collective of New York artists, and the history of its commission and reception reflects both an ideological divide on the materiality of sculpture and larger postwar McCarthy-era politics of passivity and resistance.

Self-Made Spectacles

During the same period when American-made maps began to circulate in the public and private spheres, much of the impetus for recognizing maps as a form of spectacle was generated internally from within the maps’ signs, symbols, and inscriptions. Drawing on several hundred American maps, in particular wall maps, this chapter delineates design choices made by successive generations of commercial mapmakers who transformed maps into unique communication platforms intended for the simultaneous transmission of cartographic and noncartographic information. It shows that maps freely borrowed from a visual stock of signs, images, and graphic designs available in a media landscape that included small paintings, large street signs, and the decorative arts. Contending that American mapmakers constructed large and small maps by tapping a common visual literacy, this chapter offers a comprehensive morphology of American map designs, in the course of which it demonstrates a compositional logic linking maps as unique media platforms to nascent expectations about image legibility and commercial visual culture.

The Structure of Matthew’s Antitheses in Light of Early Jewish, Christian and Rabbinic Sources

In this article I seek to advance our understanding of the compositional logic behind the Matthean antitheses by arguing that the juxtaposition of themes underlying the last three antitheses parallels a related grouping of topics in the Dead Sea Scrolls, the Testament of Gad and rabbinic sources. I suggest that just as Mt. 5.33-48 links a discussion of oaths to a reworked interpretative tradition on Lev. 19.17-18, the Damascus Document, Testament of Gad and later rabbinic works juxtapose the topic of oaths and these biblical verses. Although the various sources employ divergent rationales for linking these topics, the persistent presence of a connection between them speaks to a shared tradition that may have informed the order and organization of the Matthean antitheses.

(Arm) Wrestling with Masculinity: Television, Toughness, and the Touch of Another Man’s Hand

For decades, dating back to the medium’s origins as a commercially viable form of mass communication in the postwar years, US television programs have contributed to the many paradoxes of masculinity, revealing but also obscuring the normativizing function of cultural representations through the use of generic encoding and the compositional “logic” of male (visual) dominance. One visual motif in particular—the shot of two men sitting at a table, their hands temporarily locked as part of an arm wrestling contest—is noteworthy, given the frequency of its recurrence in a variety of fictional programming ( All in the Family, The Odd Couple, The Mary Tyler Moore Show, Taxi, etc.) as well as for its literal staging of masculinity as spectacle, as an object of spectatorial contemplation vis-à-vis the televisual construction of “toughness” as an inherently male attribute. If television and toughness can be said to go “hand in hand,” then the actual sight of two men joined together in a physical contest hints at the idea that intimacy is at much a part of such ritualized representations as intimidation is. Indeed, what several of the episodes discussed in this article (selected from representative television programs of the 1960s, 1970s, and 1980s) reveal is that a man is sometimes at his most unguarded—his most forthcoming and honest—when seated opposite another man during an arm wrestling match, a moment that is deserving of consideration as a symptomatic illustration of masculinity’s paradoxes. Inspired by the early writings of Roland Barthes, in particular the French philosopher’s essay “The World of Wrestling” (published as part of his 1957 book Mythologies), I ultimately hope to reveal how seemingly innocuous images are “invested with ideological meanings,” unwittingly revealing what they often seek to conceal.