Sound objects in creativity and theoretical works by Pierre Schaeffer

The purpose of the article is to study the specifics of the sound object as a central element of creativity and the theoretical concept of P. Schaeffer. The methodological basis of the work is a structural-functional methods that helps to identify the elements of sound matter and trace the features of their deployment and mutual location. The scientific novelty lies in the fact that for the first time in Ukrainian musicology the provisions of P. Schaeffer's theory of sound objects are systematized, the specifics of the functioning of electronic complexes in «Railway Etude», which is one of the representative works of concrete music. Conclusions. Analysis of P. Schaeffer's «Railway Etude», based on the terminological apparatus proposed by the composer, showed the presence of two groups of sound objects united by a common source: for the first group such a source is a locomotive horn, and for the second – a train. According to the spectral characteristics, these objects are differentiated into noise and sound bands concentrated in a certain area of ​​the frequency range. It was found that a sound object, the specificity of which is determined by the set of physical characteristics of the acoustic signal, in a certain musical context can acquire the properties of the thematic or structural element of the composition. The sound object is considered in terms of pitch, duration and intensity, their location outside the generally accepted discrete scales is indicated. It was found that the disclosure of the creative potential of a sound object is inextricably linked with the specific conditions of perception of concrete music (acousmatic situation and reduced listening).

Developing functional literacy by means of contemporary art

Problem and objective. The level of functional literacy is checked by the Programme for International Student Assessment, where Russian students demonstrate their weak positions. As one of the ways to improve the results of international testing, it is proposed to study works of contemporary art and to construct, on their basis, tasks of a wide range of scientific fields aimed at forming functional literacy, involving students in creative tasks of a project type. The purpose of the article is to show ways to develop functional literacy through educational-cognitive and educational-practical tasks developed in the process of comprehending the work by French composers Pierre Henri Marie Schaeffer and Pierre Henry Symphonie pour un homme seul, which has wide pedagogical capabilities. Methods. Developing functional literacy by means of contemporary art is based on the system-activity, person-centred, and multi-artistic approaches. The analysis of theoretical sources in pedagogy and art history was used. Results. The pedagogical potential of contemporary art, in particular, works of concrete music, opens up significant prospects for students to create their own creative products that combine different types of arts. This requires the development of educational-practical skills with the involvement of a wide range of information to obtain a creative result. The educational orientation consists in the implementation of a conceptual idea in a literary-musical composition and its visualisation with the involvement of personal computers connected to the Internet, sound speakers, a USB microphone, and computer programmes. Conclusion. The knowledge, skills, and abilities obtained in the study of contemporary art are effective in forming functional literacy in general and additional education, lesson and extracurricular activities while integrating the content of art lessons and school subjects of basic school.

AESTHETICS OF GLITCH ART: ORIGINS AND MEANINGS

The relevance of the article is associated with the rapid development of various forms of digital art, due to the increasing role of information technologies, which have caused fundamental transformation processes in the modern cultural environment. The article is devoted to the origin and value-semantic foundations of such a direction of modern digital art as glitch art. The origins of this direction, which lies in the aesthetics of Futurism, experiments in concrete music, as well as in the technique of deconstruction and recombination of parts of the original image in Cubism, are considered. Examples of glitch art are given — "Tali Hinkus" by Paul Hertz, "Glitch Diva" by Elena Romenkova, "White" (from the "Utopia" series) by Viktor Makurin, parallels with cinema works ("The Matrix" directed by Wachowski) are drawn. An important property of digital art is its ability to fill the global information space with new meanings and values: it is both a protest against total technocracy and digitalization, and a fixed gap in collective techno-hypnosis, and a display of the processes of the human subconscious. The study of this phenomenon allows to take a critical look at the interaction of the physical and digital world within modern culture, to identify the prospects for this interaction.

Dancing with Empty Water Bottles at L’ Afrique a un incroyable talent, Brought to You by Nestlé

Departing from a close reading of a particular performance to examplify localisation processes of the global Reality TV talent show format, this paper offers an analysis of the relationship between talent shows and patronage. Based on a concrete music and dance performance analysis, it further contributes to the more general discussion of transnational format trade and format adaptation by putting a focus on the entanglement of patronage, intervention and transformation. The analysis of the performance in question addresses how the musicians and dancers approached a concrete problem by creating a sense of belonging, involvement and disorientation through aesthetic means. With their critical stance, they position themselves in a specific local performing arts tradition, which itself is connected to earlier theatre and TV talent contests. Referring to the concept of glocalisation, I suggest that local topics of critique and intervention are part of the localising effect of the Reality TV talent show format.

Nine Modes of Listening to Music

Listening has become a major issue of musical composition from the middle of last century on, since Pierre Schaeffer inaugurated with concrete music one of the trends of what would be established under the name of electroacoustic music. The classification of the modes of listening to music that will be presented in this paper is not concerned with the chronological study of listening by means of musical examples from historical periods and their respective social context. As my classification aims at the processes of reception and in a broad sense, I found its foundation in the different interpretative levels formulated by Peirce in his classification of the interpretants.

Musique Concrète

Musique Concrète (concrete music) is a music genre that developed from the technology of radio broadcasting. The inventor of Musique Concrète, the Frenchman Pierre Schaeffer (1910–1995), realized the significance of hearing sounds over the radio where any visual reference to a source is removed. This is known as the acousmatic situation. Standard radio dramas contain dialogue, sound effects and music that support the unfolding of the narrative; these are usually sounds that are recognized by listeners without difficulty.

Krótki wykład o muzyce XX wieku. Kompendium dydaktyczne / A Short Lecture on Twentieth-Century Music. A Teaching Compendium

The article is a comprehensive presentation of the history of music in the twentieth century, taking into account the main trends and phenomena of this period, inter alia impressionism, expressionism, neoclassicism, dodecaphony, punctualism, and total serialism, then avant-garde solutions and pluralism after World War Two (inter alia electronic music, concrete music (musique concrète), graphic music, aleatoric music, open forms, instrumental theater, minimal music), and finally the most recent trends (e.g. spectral music, new complexity, polystylistics), including a clearly marked return to the Romantic tradition. The chronologically presented discourse includes opinions that concisely explain some compositional solutions, as well as the list of composers and the titles of their works that exemplifi ed the problems discussed. The paper ends with the thoughts on the future of music in the new, twenty-first century.The article is meant as teaching material for the arts and humanities programs.