注释,注释: 这篇文章提出了一个问题，即我们是否需要知道一位才华横溢的艺术家的个性才能判断他的作品，以及当我们从研究或互联网上了解到这种个性的特征与我们无意中创造的水晶形象相矛盾时该怎么做。 作者向致力于斯维里多夫的论坛的参与者和斯维里多夫本人提供声音，并在构建的polylogue的基础上提出他的评论和思考，并为所提出的问题提供解决方案。 与此同时，他培育斯维里多夫作为一个杰出的作曲家和一个普通人，表明在文化和艺术中，他们之间的联系问题以不同的方式解决。 在这项工作中，实施了比较分析，polylogue构建，问题化的方法，使用了作者对类似主题的研究。 作为所进行的研究的结果，有可能重建斯维里多夫的个性和大众艺术传播的现状。 为了表明，有必要区分杰出艺术家的不同个性，他们对这些个性之间关系的认识形式，最后是我们自己的方法和兴趣。

关键词: , , , , , , , , ,

注释,注释: 本文的重点是美国科学家亚伦*里德利（Aaron Ridley）的概念，据其作者称，这为音乐能够以超出言语控制的准确性表达情感的论文提供了令人信服的理由。 分析了音乐情感表达机制的解释，这构成了里德利"弱"版本的erausalism的基础，其中听众的情绪反应是音乐作品情感表达的构成要素。 考虑里德利的概念之前是哲学概念的简要历史概述，其中包含解决音乐表达准确性问题的含义。 研究的主要方法是分析和解释Aaron Ridley概念背后的关键概念和论证策略。 文章还采用了历史和比较方法。 在俄罗斯艺术哲学中首次引入科学流通的材料上，考虑了音乐表达准确性的问题。 作者得出结论，关于Aaron Ridley在他的"弱"时代主义概念框架内提出的方法的脆弱性，根据该方法，音乐表达情感的准确性是通过音乐中表达的典型情感的特殊

关键词: 音乐表达的准确性, 音乐表达的准确性, 艾伦*里德利, 弱erausalism, 艾伦*里德利, 弱erausalism, 意向性, 意向性, 梅利兹马, 同情反应, 梅利兹马, 情感表达能力, 同情反应, 情感表达能力, 情感的特殊化, 情感的特殊化, 情感社区, 情感社区, 表现力的感知, 表现力的感知

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.  

关键词: New Music, Sciarrino, Musical time, Bergson, Deleuze, Musical Composition, Philosophy of Music, Contemporary composer creativity, Musical concept of time, Chronos and Aeon

注释,注释: The object of this research is the issues of overcoming the psychological stress in professional music career. Bolin’s music is exquisite and embodies strength and refined beauty. Being a sound innovator, he attained recognition among jazz and rock musicians at a very early age. It was Tommy Bolin that was able to fully refresh the creative atmosphere of DEEP PURPLE, who by that time sort of regressed due to stubborn self-imitation, even though he could not prevent the break-up of the band. His death a void in a definitely unique sector of rock music, which represented the musical cocktail mixing jazz, hard rock, and vintage blues. The article substantiates the position that the notable musician, possibly one of the most fruitful and underappreciated guitarists of all time – Tommy Bolin, became a hostage of the brand, created to embody the initially different ideas of another fantastic musician Ritchie Blackmore. The author presents a version, according to which this and some other circumstances became the main psychological determinants of the crisis of development of professional music career, which serves as the subject of the philosophical-culturological research. The novelty consists in the scientific substantiation of the causes of the crises in the professional musical career of Tommy Bolin, which in the end led to a real tragedy – death of the great guitarist.  Over the last year and a half of Bolin’s life, four mistakes were made – branding (first); communicative (second); psychological (third);and tactical (fourth), the totality of which played the fatal role.

关键词: Tommy Bolin, DEEP PURPLE, Rock Musician, Guitarist, Live Performance, Album, Record Company, Brand, Music Industry, Version of Events

注释,注释: This article examines one of the most unique and widely known musical genres of the second half of XX century – instrumental theatre, which saw its bright implementation in the work on the renowned German avant-gardist Karlheinz Stockhausen. The author analyzes Stockhausen’s instrumental theatre – from using simple relocation of musicians and specific placement of instruments on the stage, to creating full-blown instrumental-theatrical spectacles. A special attention is given to the issue of interpretation and scenic re-creation of the instrumental-theatrical compositions. An attempt is made at a comprehensive study of Stockhausen’s instrumental theatre: the analysis of his oeuvres is aimed at determining the general regularities of the manifestation of this genre in composer’s work. The scientific novelty consists in the fact that until today they instrumental theatre of Stockhausen has not become the object of e dedicated close attention of art scholars. As the conducted analysis of his works demonstrates, his methods of creation of the instrumental-theatrical composition have significantly affected the evolution of the instrumental theatre as a genre, and broadened its genre aspects.  

关键词: art, musicology, synthesis of the arts, instrumental theater, Stockhausen, performance, syncretism, synesthesia, postmodernism, musical genre