THE SOUNDSCAPE OF MUSIC IN POST-INDUSTRIAL CULTURE
UDC index:
УДК 781
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Article ID in the RSCI:
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Information about authors: Demeshko Galina Andreevna, Dr of Art History, Professor of the Department of Music Theory, Novosibirsk State Glinka Conservatoire (Novosibirsk, Russian Federation). E-mail: demeshkoga@mail.ru
Annotation: Changes in the nature of sound and a tendency to “synthesize” music art with new technologies are typical signs of modern art, and spirit of the post-industrial era. Filling an environment with sounds has long been one of the most ancient human intentions, and the change of cultural paradigms has always been accompanied by changes in musical phonoscape. However, modern experiments of avant-gardists have become a challenge for traditional sound concept. The author shows how subtle is the line between music and non-music at the turn of the 21st century. The article outlines a general solution, which is related to the meaning and artistic efficiency of the musical material. The article underlines that globalization and cyberculture tend to oppose the laws of music art and evaluates their interaction in Western and Russian science. It also notes that a civilized approach prevails in the West that determines a new creative environment, which combines technological progress with arts and transforms sound into a complex acoustic phenomenon. The estimates provided by the Russian scientists employ another – cultural and humanitarian – approach that prevents music from developing like an “American cauldron,” which dissolves the living “body” of the music formed by sounds and intonations. An analysis of the first wave of music avant-garde shows that the new system can interact with traditional principles of music with the latter moving towards sound innovations of the 20th century (urban soundscape in works of A. Honegger, A. Mosolov, etc.). We might also be able to make a rough estimate of the situation in the newest music. Summary: the sound is a historically relative concept rather than an aesthetic absolute. The soundscape of music allows introduction of new components. However, the process should lead to natural introduction of non-sound material into common context of intonational and meaningful development, with the Music being its principal director.
Keywords: sound, sound environment, phonoscape, globalization, technological progress, non-sound components, musical material, cyberculture.
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Demeshko Galina Andreevna, Dr of Art History, Professor of the Department of Music Theory, Novosibirsk State Glinka Conservatoire (Novosibirsk, Russian Federation). E-mail: demeshkoga@mail.ru
Annotation: Changes in the nature of sound and a tendency to “synthesize” music art with new technologies are typical signs of modern art, and spirit of the post-industrial era. Filling an environment with sounds has long been one of the most ancient human intentions, and the change of cultural paradigms has always been accompanied by changes in musical phonoscape. However, modern experiments of avant-gardists have become a challenge for traditional sound concept. The author shows how subtle is the line between music and non-music at the turn of the 21st century. The article outlines a general solution, which is related to the meaning and artistic efficiency of the musical material. The article underlines that globalization and cyberculture tend to oppose the laws of music art and evaluates their interaction in Western and Russian science. It also notes that a civilized approach prevails in the West that determines a new creative environment, which combines technological progress with arts and transforms sound into a complex acoustic phenomenon. The estimates provided by the Russian scientists employ another – cultural and humanitarian – approach that prevents music from developing like an “American cauldron,” which dissolves the living “body” of the music formed by sounds and intonations. An analysis of the first wave of music avant-garde shows that the new system can interact with traditional principles of music with the latter moving towards sound innovations of the 20th century (urban soundscape in works of A. Honegger, A. Mosolov, etc.). We might also be able to make a rough estimate of the situation in the newest music. Summary: the sound is a historically relative concept rather than an aesthetic absolute. The soundscape of music allows introduction of new components. However, the process should lead to natural introduction of non-sound material into common context of intonational and meaningful development, with the Music being its principal director.
Keywords: sound, sound environment, phonoscape, globalization, technological progress, non-sound components, musical material, cyberculture.
