Interpreting Dante's code in art

The purpose of the article is to study the interpretational possibilities of Dante's code in artistic samples of various types of art. Methodology. Methods of observation, modeling, comparison, analysis, and synthesis were used in the methodology of the work. The scientific novelty of the work lies in the fact that the analysis of interpretations of Dante's code on the example of fine art, computer games, cartoons, musical arrangement in a ballet performance is carried out. Conclusions. Dante's code is a kind of cultural code that contains common information. The observation method was applied to fix the perception of works of art in order to study Dante's code. Modeling and comparison methods allowed us to determine the features of Dante's code in different genres and types of art. In the history of the visual arts, Dante's code is interpreted both in the works of artists and becomes a creative process with a generalized content of D. Alighieri's works, but with the exact use of the code name (S. Dali). Comparing the use of Dante's code in computer games, cartoons, we state that in the visual arts and modern video series, Dante's code is reproduced in accordance with the content of D. Alighieri's works. In the history of music, in the musical design of a ballet performance, Dante's code is reproduced in a generalized form, where the reference to the name and title of D. Alighieri's works dominates. In the libretto of the Kyiv ballet of the same name, Dante's code is embodied in two appeals: to a love story and fragmentarily and generally to the work "The Divine Comedy". The musical series of the ballet "Dante" is not directly related to Dante's code, but there are attempts by the authors to find allusions, reminiscences in the music of composers (A. Dvořák, R. Wagner, Ezio Bosso). Keywords: Dante's code, interpretation, ballet, fine arts, musical arrangement of a ballet performance, computer game, cartoon.

The Musical Arrangement of a Live-Action Film

The purpose of the study is to analyze the characteristics of a live-action film’s musical arrangement; to identify the impact of musical arrangement on the audience’s perception, on the example of the film composer Eric Serra’s works. The research methodology is to apply the following methods: theoretical – analysis of the music functions in making a film and the implementation of the director’s vision, generalizing the influence of musical arrangement on the viewer. Scientific novelty. The functions of film music that help in creating a live-action film were analyzed for the first time, a detailed analysis of the interdependence of music and visuals was made, by theoretical analysis of music functions; it has been found out how it affects the perception of the audience. Conclusions. In the article, we analyzed the functions of musical arrangement in a live-action film. Through the analysis of the influence of music on the audience’s perception, it has been established how the musical arrangement helps to realize the author’s vision. The role of music in making a live-action film has been researched. Through theoretical and practical research of various cinematography aspects that are relevant at the moment (in particular, the problem of the sound space in a movie), it becomes possible to reach a new aesthetic level of design, creation, perception and understanding of cinematic works.

Proses Awal dalam Penghasilan Komposisi “Kelampan Bajang” dengan Mengadaptasi Struktur Musik Pop Suku Sasak Lombok

The musical composition, entitled Kelampan Bajang, is the main narrative of the composition theme about the story of the journey of the young Sasak tribe which is semiotically depicted in three different times, namely morning, afternoon, and night. This composition emerged due to several phenomena found, including 1) there are no complete Sasak songs in transcripts and arrangements, 2) many musicians arrange songs in Sasak but often cause controversy in lyrics and music, 3) many talented young musicians cover repeating noname songs on several songs performed by many pop singers in Lombok, 4) many sasak pop songs but most of them do not represent local culture in terms of lyrics and music. This paper aims to explain the initial process of musical composition with the theme Kelampan Bajang including 1) Bekuliq, 2) Bekayaq, 3) Matur Tampiasih, 4) Sepi Alam Dese, 5) Lalo Midang, and 6) Merariq. All song lyrics are written in the Sasak language. The research uses the autoethnographic method to discuss the problem, how the idea of ​​creating musical compositions can be aligned with the diversity of musical culture in Lombok. After conducting an in-depth study, the author concluded that in order to create a compositional work that could represent regional culture and not cause controversy among the public, namely 1) the author inserted an exploration of the pelog and slendro melodic motifs in the vocal melody section as regional identity, 2) the author inserted the motif the melodies of pelog and slendro in the musical arrangement section, and 3) the author uses good and correct local language lyrics that are in accordance with the regional culture in Lombok.

THE GOD-AWFUL SMALL AFFAIR OF THE INVISIBLE ORGANIST: DAVID BOWIE TRANSLATED

Following the sudden death of David Bowie in January 2016, perhaps the least expected tributes were the various organ renditions of his 1973 single ‘Life On Mars’ played by the organists of St Albans Cathedral, Kelvingrove Art Gallery in Glasgow and Dublin’s St Joseph’s Church. Becoming instant social media sensations, what are we to make of these different versions of Bowie’s song played on the pipe organ, the so-called ‘King of Instruments’, and why did the organists choose ‘Life On Mars’ over any other Bowie song? In this essay, I consider these and other related questions from a range of theoretical perspectives, initially drawing on philosopher and musicologist Peter Szendy’s notion of the musical arrangement as translation, whilst also conceding that as a translation, something in the process of arrangement is lost. What might that ‘something’ be? Understanding him to be one of the most conspicuous musical artists of our time, I go on to employ media philosopher Sybille Kramer’s transmission theory of communication, positing Bowie as a messenger-translator who is also a powerful cultural interferer. As such, he is the antithesis of the church organist who, like the person of the textual translator as outlined by translation theorist Lawrence Venuti, has occupied a marginal if not abject space within musical history. Given this relegated position, how does Bowie’s own use of the organ sit with its use as an instrument of elegy in the various renditions referred to above, and can it tell us anything else about translation?

The artistic space of a choreographic performance and its hermeneutics

The purpose of the article is to identify the features of the artistic space of a choreographic performance based on the vocabulary of ballroom dance. Methodology. A systematic method was applied, which helped to consider the choreographic performance as an integral artistic system; a philosophical and aesthetic method - for considering and comprehending a choreographic performance in the context of a new stage concept of the 21st century; the typological method used to identify and analyze the components of the artistic space; the method of interpretive analysis of the ways of creating the artistic space of the choreographic performance and the hermeneutic-phenomenological method, which helped to study the possibilities of understanding the meanings of the text of the choreographic performance and methods of their formation. Scientific novelty. The significance of the auditory and visual non-plastic elements of a choreographic performance (scenography, musical arrangement, and dramatic basis) in the context of the development of a holistic image of stage work is considered. The preconditions for the harmonious combination of movement, sound, light, and color are analyzed, and their importance in the process of creating a single artistic image of a choreographic performance is revealed. It has been established that in accordance with the basic principles of interaction and mutual influence of these components, as well as the specifics of their relationship with choreographic vocabulary, a process of qualitative transformation of figurative characteristics occurs while maintaining their inherent aesthetic nature. Conclusions. Choreographic art specifically transforms the features of the artistic space – the artistically reflected and transformed space of reality, endowed with aesthetic meaning and content. Despite the originality of each specific choreographic performance, created on the basis of the vocabulary of ballroom dance, the specifics of the staging solution, etc., a stage choreographic work is an integral artistic phenomenon. The study revealed that the radical transformation of the story sources of stage ballroom dance does not imply violation of their figurative and poetic concept. But the use of specific techniques and methods by choreographers-producers contributes to the creation of a multi-layered artistic space of the performance, the organic interaction of many subtexts, the emergence of innovative semantic perspectives, the generation of semantic potential, and the production of new meanings. It is stated that the multi-layered artistic space of a choreographic performance is due to the specifics of their plot basis, artistic principles, and the individual vision of the director.

The Social Science Music of Terri Lyne Carrington

This chapter explores the music, life, and institutional building of drummer, feminist, and artistic director for the Berklee Institute for Jazz and Gender Justice, Terri Lyne Carrington. Through and examination of her cultural work, this chapter discusses Carrington’s attack on patriarchy in jazz culture through Black feminist thought reflected in her musical practices. Her work exposes the irony of the Black aesthetic values of inclusion at the foundation of African American improvised music in contrast with the patriarchal practice of marginalizing women improvisers. Carrington’s musical arrangement of Bernice Johnson Reagon’s composition “Echo” on The Mosaic Project (2011) is analyzed as linked critique of anti-blackness over and several compositions on Terri Lyne Carrington and Social Science (2019) are analyzed as an intersectional critique of police brutality, gay conversion therapy, celebration of Black feminism, and gender inequity represented respectively in “Bells (Ring Loudly),” “Pray the Gay Away,” “Anthem,” and “Purple Mountains.”

Introduction

This chapter offers an overview of the book’s content, terms, and the author’s methods of research and analysis. Central to this research is an examination of “Latin” performance aesthetics using the Cuban charanga format (flute, violins, timbales, congas, güiro, piano, bass, and vocals), as the main case study. Here the concept of sabor in performance is explored and interrogated and the book’s main themes are therefore sabor, cubanía, and Cuban dance music performance aesthetics in the context of New York. The introduction concludes with a chapter outline. Some chapters in the book provide historical and ethnographic detail and a focus on musical arrangement, style, and performance aesthetics; others draw on these contextual and stylistic matters to inform more detailed musical analysis of improvised solos.

Toward a Feminist Ethics of Nonviolence

This volume forms a tribute to Adriana Cavarero’s extraordinary contribution to feminist philosophy. Responding to Cavarero’s provocative style the text presents an engagement between Cavarero, Judith Butler, Bonnie Honig, and seven other interlocutors, engaging with the themes of horrorism, sex, maternity, inclination, and the body to develop her feminist ethics of nonviolence. Presented as a musical arrangement that demonstrates Cavarero’s theory of pluriphony, this volume captures the collaborative yet diverse mood of much contemporary feminism, and particularly the inspirational, scholarly friendship between Butler, Honig, and Cavarero.

“Computer Arrangement”. Program of the Discipline for Visually Impaired Students

The article is devoted to the issues of instruction of computer arrangement to students with strong vision impairment. The author of the publication has developed the original methodology discussed in the article which refl ects the content-based and practical elements of the process of instructing music students with vision impairment the discipline of “Computer Musical Arrangement” at the Kursk Musical Boarding College for the Blind. The special conditions for realizing the process of instruction of the course of “Computer Musical Arrangement” adapted for blind and partially sighted, as well as the methodological recommendations compiled for the instructors who carry out the educational process in the specialized musical boarding college comprise the crucial moments of the research carried out by the author. The results of the work expounded in the article elucidate the paths for solving the problem connected with the search for new educational methodologies conducive to the process of rehabilitating invalid students with serious vision impairments, as well as the problems of their social adaptation in the cotemporary highly technological educational and artistic musical space.

Figuracja disco polo: ilustracja muzyczna polskiej transformacji

This article attempts a sociological analysis of a specific musical trend – disco polo – through the prism of the figuration theory proposed by Norbert Elias. Street music of the 1990s was an extremely accurate musical illustration of the period of systemic transformations in Poland, because disco polo’s characteristic elements (e.g., kitsch, impermanence, and banality, as well as optimism, a sense of community, and freshness) were combined with social feelings and attitudes toward the rapidly changing reality. Disco polo documented the social life of the time, as is visible in its symbolic layer as well as in its purely musical arrangement: it was the hallmark of a generation.