注释,注释: The subject of research in this article is the vocal-symphonic concept of the oratorio-trilogy by Hector Berlioz “The Childhood of Christ” Op. 25, which is being viewed as a prime example of creative thought of that era (middle of XIX century), and being examined in form of analysis of musical composition, musical dramaturgy, fundamental plots and characters of Christianity, as well as emotional-psychological side of the musical content. Based on examination of the letters and Mémoires of Hector Berlioz the article presents a hypothesis on the genesis of the creative concept of the oeuvre, and offers facts from the history of its creation and performance. The plot motifs of Berlioz’s poetic libretto presented as units of the overall structure of the creative text. The author analyzes the particular aspects of the oratorio-theatrical embodiment of the space-time spiritual concept of eternity of Christian love, examines the fusion of spiritual and secular elements within the semantics of the creative text, gives attention to the specificity of the composition, musical dramaturgy, principles of polyphonic thought of the composer, synthesis of genre elements (oratorio, symphony, mystery play, and others), and reveals the correlation between Berlioz’s innovative musical thinking and the creative practice of the psychological realism within the French art and literature of 1850’s. Research methodology:- Musical-philosophical hermeneutical reconstruction of the process of structuring the creative idea and the aspects of its realization within the programmatic vocal-symphonic concept of the oratorio-trilogy.- Analysis pertaining to the musical philosophy of the score of “The Childhood of Christ” as a creative canon, which reflected the phenomenon of the topology of the path- Analysis of the musical and aesthetical aspects of the psychological realism within intonation-dramaturgical development of the work.Scientific novelty of the research consists in:- Discovery of Berlioz’s individual approach towards the critical perception of Christianity in France during 1850’s- Analytical justification of the position that composer’s interpretation of the Christian spiritual values, including the eternity of Christian love, presented in the oratorio-trilogy of “The Childhood of Christ” is relevant in the XXI century- Determination of the musical and aesthetical phenomenon of realistic vocal intonation, which is in a state of development of psychological and critical realism in the French art and literature of 1850’s- Musical and philosophical understanding of the functionality of spiritual and semantical concepts of the Christian “storge” and Christian “agape” in the musical dramaturgy of these parts of the work: “Herod’s Dream”, “Flight into Egypt”, and “The Arrival at Sais”.Main conclusions:1. The specificity of composer’s individual understanding of the psychological mystery of communication between human soul and God is reflected in the deep structure of the oratorio-trilogy “The Childhood of Christ” – the concept of eternity of Christian love2. The perception on this concept is relevant for the modern Christian world, and prompts us to change our attitude towards the life and creative heritage of Berlioz3. “The Childhood of Christ” is a great example for the French composers of the XIX-XX centuries, who created oratorio-theatrical works and significant forms of vocal-symphonic music based on the synthesis of arts and genres; among them are works by Charles Gounod, Jules Massenet, César Franck, Claude Debussy, Vincent d'Indy, Arthur Honegger, Francis Poulenc, and Olivier Messiaen.

关键词: Berlioz, oratorio-trilogy, vocal-symphonic concept, Childhood of Christ, Christian love, genre synthesis, agape, storge, Narrator, musical dramaturgy

注释,注释: 本文的研究对象是赫克托*柏辽兹的清唱剧三部曲《基督的童年》Op.25的声乐交响概念，它被认为是时代（十九世纪中叶）艺术思维的一种特殊现象，在音乐构成、音乐戏剧、基督教的基本情节和形象以及音乐内容的情感和心理方面进行了分析。 基于柏辽兹的信件和回忆录的研究，这篇文章提出了一个关于作品的艺术思想起源的假设，从其创作和执行的历史提供事实。 柏辽兹诗集的情节主题作为艺术文本的一般结构的单位呈现;柏辽兹作品的文学节目的图像方面与十四至十六世纪西欧绘画大师的绘画中相同主题的图像的对话被指出。 文章的作者分析了基督教爱情永恒时空精神概念的清唱剧-戏剧体现的特点，考察了文学文本语义中精神和世俗元素的联系，提请注意作曲、音乐剧、作曲家复调思想原则、流派元素（清唱剧、交响乐、古代神秘等）的综合。），揭示了创新柏辽兹的音乐思维与19世纪50年代法国文学艺术中心理现实主义的艺术实践的比例。研究方法：音乐和哲学解释学重建形成艺术思想的过程及其在清唱三部曲的声乐-交响乐概念中实施的特点。 -有关音乐哲学的音乐文本（乐谱）的分析"基督的童年"作为反映路径拓扑现象的艺术经典，以及空间诗学的范畴。 -分析心理现实主义在语调中的音乐和美学方面-作品的戏剧性发展。这项研究的新颖之处在于发现柏辽兹对19世纪50年代法国基督教批判性理解的个人态度--对这一立场的分析证实：作曲家对基督教精神价值的解释，特别是对基督教爱情的永恒的解释，在演说三部曲"基督的童年"中提出，与二十一世纪有关。 –在确定现实声乐语调的音乐和美学现象，这符合19世纪50年代法国文学和艺术中心理和批判现实主义的发展。 -在音乐和哲学上理解基督教"storge"和基督教"agape"的精神，语义概念的功能，在作品的部分音乐剧中："希律王的梦想"，"飞往埃及"和"来到塞斯"的主要结论： 1。 个人作曲家对人类灵魂与上帝沟通的心理奥秘的理解的特殊性反映在演说三部曲"基督的童年"的深层结构中–基督教爱情永恒的概念2。 对这一概念的看法与现代基督教世界有关，导致对柏辽兹命运和创造性遗产的态度发生变化。3. "基督的童年"是十九至二十世纪法国作曲家的一个很好的例子，他们创造了清唱剧作品和基于艺术综合，流派特征的大型声乐交响音乐形式;其中包括s.Gounod，J.Massenet，S.Frank，K.Debussy，V.d'endi，A.Honegger，F.Poulenc，O.Messiaen的作品。

关键词: 柏辽兹, 柏辽兹, 演说三部曲, 演说三部曲, 声乐-交响概念, 声乐-交响概念, 基督的童年, 基督的童年, 基督教爱的永恒, 基督教爱的永恒, 体裁的综合, 体裁的综合, 阿加比, 阿加比, 斯托奇, 斯托奇, 旁白, 旁白, 音乐剧, 音乐剧

注释,注释: 本文试图通过对音乐作品的分析来确定其谐波结构的原型，并提出产生这种原型的主要思想。 文章的第一部分致力于阐明"作曲家思想"概念的现象学地位。 参考a.F.Losev的哲学着作，作者建立了概念"想法"，"eidos"，"已经成为的物体的真实物质形象"的相关性，并将这个三合会比作初始想法（在作曲家的脑海中），想法和完 文章第二部分的研究对象是莫扎特的合唱《阿本德鲁赫》、舒曼的合唱《古特*纳赫特》和米亚斯科夫斯基的钢琴曲《泛黄的书页》（作品31号）。 在对音乐的分析中，作者采用了G.Schenker的方法论，辅以泛函理论和量化指数理论，也描述了单一区间内基础的平衡。 在建立了谐波结构模型之后，作者提出了其背后的主要思想，然后得出了所得公式对谐波设计的充分程度的结论。 这项研究的新颖之处在于澄清了"作曲家思想"概念的内容,将思想与分析模型联系起来,并证实了从作品结构过渡到印有其思想的可能性。

关键词: 作曲家的想法, 创意与eidos, A.F.洛塞夫, G.申克, 线性谐波分析, 还原法, 模型, 结构和意义, 泛函理论, 昆特指数

注释,注释: The subject of the research is the problem of time in the new music, considered in the context of philosophical reflection. The category of time is considered through a prism of philosophy and new music. Two readings of time - time Chronos and Eon's time, according to the statement of the French philosopher G. Deleuze, are opposite. Music is defined substantially by the ordered current of time.Research method is based on a comparative analysis of philosophical concept and aesthetic-philosophical aims composers of the second half of the twentieth century. These settings are decisive in the spatial organization of the musical fabric. Structuring musical time and its various concepts is considered in a context of musical ideas of the Italian composer S. Sciarrino. Among compositions S. Sciarrino of analyzed in article, "Vanitas" - a huge paraphrase of a canzone of Stardust where the author addresses to emptiness Eon's metaphor. Opposing to Chronos and Eon as two forms of time, properties of the first is that it is limited and infinite. Eon is also boundless as the future and the past, but as an instant. S. Sciarrino's aspiration to the musical forms, adequate processes of activity of consciousness, and memory the Theory of duration of A.Bergson becomes one of the corresponding conclusions of article, is also connected with his theory of memory. By means of properties of memory the past and the present aren't mutually, they unite unity of knowledge.Scientific novelty of the paper is that for the first time analyzed the works of Sciarrino in the context of space and time, and for the first time carried out a comparative analysis of the music of the second half of the twentieth century, from the standpoint of philosophical categories.

关键词: Eon, Husserl, Bergson, Sciarrino, New music, space and time, Deleuze, musical - philosophical, emptiness, musical time

注释,注释: 研究的主题是对新音乐中时间问题的哲学理解。 音乐作为时间的艺术，给作曲家带来了个体对时空类别的理解问题。 在XX-XXI世纪，当音乐时间的概念和时间连续体中的声音事件的组织，通过密度的程度相关，构成了作者对他内心世界的反映时，它的哲学解释似乎比相关 文章的作者从法国哲学家吉勒斯*德勒兹（Gilles Deleuze）的解释中的时间和永旺（Aeon）的概念出发，将它们与B.-A.Zimmerman和K.Stockhausen的时间概念进行比较，指的是E.Husserl的"意识地平线"和A.Bergson的时间概念，后者在意大利作曲家Salvatore Sharrino的音乐中找到了他的创造性体现。 作者以实证方法为研究工具，就时间哲学和音乐概念的共性得出结论。 参考作曲家自己解释哲学和声音概念的陈述，包括O.Messiaen，B.-A.Zimmerman，K.Stockhausen，S.Sharrino，作者提出了一个假设，即新音乐不再是"时间的艺术"，而是时间的反映。 以前的传统假设存在时空坐标的统一，现代的艺术反映了作曲家时空表现的完全个性化的过程。

关键词: , , , , , , , , ,

注释,注释: Performance represents one of the major genres of art of the XX century. Its manifestation can be seen in literature, artwork, music, and theater. This article examines the historical roots of performance as a genre, which sprung in the syncretic ritual of ancient world, street theater, as well as art of Renaissance and Baroque eras. The author reviews the prolonged process of the ritual, commedia dell'arte, theatrical plays of da Vinci and D. Bernini in performances of the XX century. As an example, the author uses works of K. Stockhausen, I. Xenakis, J. Cage, L. Lipkis, and M. Dessi. Performance is being examined as a phenomenon of synthesis of arts, using the method of holistic analysis. Towards the end of the work, the author formulates a unified system for classifying performance that as it exists at the present time. An accent is made that all performances, in one way or another, in their implementation are based on intentional or unintentional epatage (element of shock), becoming the prerogative of a great number of works of art in the XX century.

关键词: Synthesis of arts, postmodernism, synthesizing, performance, performance art, art history, genre, theatricality, ritual, music

注释,注释: 表演是二十世纪艺术的主要流派之一。 它的表现在文学，绘画，音乐和戏剧中都很明显。 这篇文章探讨了表演作为一种流派的历史根源，这种流派表现在古代世界的融合仪式，地区剧院，文艺复兴和巴洛克时代的艺术中。 仪式，喜剧dell'arte，l.达芬奇，D.Bernini在二十世纪表演中的戏剧表演的长期行动被考虑在内。 作为例子，给出了K.Stockhausen，J.Xenakis，D.Cage，M.Dessi，L.Lipkis的作品。 表现被认为是一种艺术综合的现象，与之相关的是整体分析的方法。 在文章的最后，表现的主要特征，拟人化的流派在目前的时间，形成一个单一的系统。 强调的事实是，所有的表演，这种或那种方式，以其体现的形式，依赖于有意或无意的愤怒，这是二十世纪大量艺术作品的特权。

关键词: 艺术综合, 后现代主义, 联觉,联觉, 工作表现, 行动主义, 艺术史, 类型, 戏剧化, 仪式, 音乐

注释,注释: This article is dedicated to the opera of the most produced modern Finnish composer Kaija Saariaho “L’amour de loin”. This work is recognized as the masterpiece of the musical theatre of the XXI century, and received multiple awards, including Grammy in 2011. Libretto of the opera is based on the biography of a troubadour named Jaufre Rude, his fiery passion for the Countess of Tripoli of whom he has only heard, and his journey to meet the woman of his dreams. It encompasses such pages of history of world culture as the era of the Crusades in the XII century, Persian love poetry, and Biblical texts. The music in “L’amour de loin” is also an intertextual organism, with organically intertwined beauty of the orchestra fabric, thin scales of vocal intonations, and exquisite composing technique.

关键词: L’amour de loin, libretto, Kaija Saariaho, Finnish opera, Jaufre Rudel, Clé, mence, love, medieval poetry, troubadour, dramaturgy

注释,注释: 文章主题是芬兰作曲家Kaia Saariaho的歌剧《来自远方的爱》，该歌剧已成为现代音乐剧的杰作。 这位作曲家的作品引起了欧洲音乐学家和评论家的注意，近年来，他们对她的作品的每一次首映式都做出了回应。 在俄罗斯，Saariaho的工作研究很少。 在这方面，还有更多的方面需要分析和反思。 其中之一是研究作曲家的歌剧创造力，音乐剧的特点和歌剧语言，决定了音乐剧史上的地位。 文章试图根据对剧本和作品乐谱的分析，将萨里亚霍最着名的歌剧《远方的爱》融入欧洲一般的音乐和戏剧语境中。 在作品中使用了系统和历史方法，比较和风格分析，文学和音乐来源的作品。 歌剧是对瓦格纳的音乐剧和德彪西歌剧的一种艺术反应，也包含了许多不同的联系--与其他一些作品的接触点。 在"远道而来的爱"的音乐中，跨越了几条"联想线"，来自各种风格和流派：具有其特征性的游吟诗人歌曲，德国音乐浪漫主义，法国歌剧。

关键词: Kaia Saariaho, 远方的爱, 现代歌剧, 二十一世纪, 吟游诗人J.鲁德尔, 伊尔卡姆, 芬兰作文学校, 阿明*马鲁夫, 特里斯坦和伊索尔德, 佩利亚斯和梅利桑德