注释,注释: The subject of this research is the issue of musical time within music of the XX century. Within the creative practice of this period, this issue is especially pressing. Organization of the sound events in the time continuum, comparable by level of density, comprises the reflection of the author’s inner world. Various philosophical space-time concepts are compared by the author with the examples of their understanding in the modern composing practice. The author mentions various concepts of musical time: “spherical time” of Bernd Alois Zimmermann, the concept of single unity of sound organization through the guidance by time parameter of Karlheinz Stockhausen (theory of “single unified time field”). Italian composer Salvatore Sciarrino did not theorize his time position. But in his oeuvres, this problem is constantly at the forefront, and gets various commentaries. The scientific novelty is defined by the reference to the work of Sciarrino, which has not been thoroughly studied within Russian musicology. Despite this fact, we can assert that he is a living classic of the new music. For the first time the author refers to the descriptions of the individual compositional method with the time-space aspects. The author's creative search in the process of the research enters into a resonance with the modern concepts Gilles Deleuze.  

注释,注释: The subject of this research is the issue of musical time within music of the XX century. Within the creative practice of this period, this issue is especially pressing. Organization of the sound events in the time continuum, comparable by level of density, comprises the reflection of the author’s inner world. Various philosophical space-time concepts are compared by the author with the examples of their understanding in the modern composing practice. The author mentions various concepts of musical time: “spherical time” of Bernd Alois Zimmermann, the concept of single unity of sound organization through the guidance by time parameter of Karlheinz Stockhausen (theory of “single unified time field”). Italian composer Salvatore Sciarrino did not theorize his time position. But in his oeuvres, this problem is constantly at the forefront, and gets various commentaries. The scientific novelty is defined by the reference to the work of Sciarrino, which has not been thoroughly studied within Russian musicology. Despite this fact, we can assert that he is a living classic of the new music. For the first time the author refers to the descriptions of the individual compositional method with the time-space aspects. The author's creative search in the process of the research enters into a resonance with the modern concepts Gilles Deleuze.  

注释,注释: Предметом исследования является философское осмысление проблемы времени в Новой музыке. Музыка как искусство времени с особой остротой ставит перед композитором проблему индивидуального понимания пространственно-временных категорий. В ХХ - ХХI вв., когда концепции музыкального времени и организация звуковых событий во временном континууме, соотносимых по степени плотности, составляют авторское отражение его внутреннего мира, ее философское осмысление представляется более чем актуальным. Обращаясь к различным философским концепциям времени и проецируя их на творческие идеи композиторов Новой музыки, автор статьи, отталкиваясь от понятий Хроноса и Эона в трактовке французского философа Жиля Делёза, сопоставляет их с представлениями о времени Б.-А. Циммермана и К. Штокхаузена, обращается к «горизонту сознания» Э. Гуссерля и концепции времени А. Бергсона, нашедшим свое творческое воплощение в музыке итальянского композитора Сальваторе Шаррино. Используя в качестве инструмента исследования эмпирический метод, автор приходит к выводу относительно общности философских и музыкальных концепций времени. Обращаясь к высказываниям самих композиторов, объясняющих философско-звуковые концепции, среди которых О. Мессиан, Б.-А. Циммерман, К. Штокхаузен, С. Шаррино, автор выдвигает гипотезу относительно того, что новая музыка представляет собой – уже не «искусство времени», а рефлексия времени. Предшествующая традиция предполагала существование единство пространственно-временных координат, искусство нового времени отразило процесс полнейшей индивидуализации пространственно-временных представлений композиторов.

Abstract: The subject of the research is a philosophical understanding of the problem of time in the new music. Music as an art of time particularly acute problem confronts composer individual understanding of space-time categories. In the XX - XXI centuries. When the concept of musical time and the organization of sound events in the time continuum, correlated to the degree of density, constitute the author's reflection of his inner world, its philosophical understanding is more than relevant. Referring to the various philosophical concepts of time and projecting them on the creative ideas of composers of new music, author, building on the concepts of Chronos and Aeon in the interpretation of the French philosopher Gilles Deleuze, compares them with the concepts of time B.-A. Zimmermann and K. Stockhausen, refers to "the horizon of consciousness" Husserl and Bergson's conception of time, found their creative expression in music of Italian composer Salvatore Sciarrino. Using as a tool for investigating the empirical method, the author comes to the conclusion regarding the generality of philosophical and musical concepts of time. Referring to the statements of the composers, explains his philosophical and sound concept, including O. Messiaen, B.-A. Zimmerman, K. Stockhausen, S. Sciarrino, the author puts forward a hypothesis as to what new music - it is not "art time", and reflection time.