SOUND IMAGE AS A CULTURAL PHENOMENON: EXPERIENCE OF INTERDISCIPLINARY SYNTHESIS
DOI:
https://doi.org/10.32461/2226-0285.2.2014.147146Keywords:
sound image, sound, sound reproduction, sound-thinking music, the sound image of the worldAbstract
This article analyzes the concept of "sound image" as cultural concept in the context of a multidisciplinary approach. The evolution of ideas about it is viewed as a cognitive category, revealing patterns of exposure mindset, sound perception and attitudes towards nature sound music in the context of contemporary attitudes. We revealed the cognitive essence of the category "sound image of the world" as a historical and cultural image of the era, which reflects sound musical consciousness of society. The analysis of sound images in different discourses concludes the universality of this category as a semantic model of the world.
In the information society the researchers meet the problem of understanding the integrity of musical sound perception which reflect features modern human relationships with the environment and its sound environment. Each piece of music as a "document of era" is produced by the sound image of the world, reflecting the concept intoned attitude of the author, and the spirit of the time and type of artistic consciousness culture. Multidimensionality and complexity analysis of the concept of "sound image" caused by chosen methodological research perspective. Interdisciplinary synthesis as a methodological tool for studying not only expands the "area studies", but also promotes the integration trends cognitive musicology. The aim of the article is to reveal the specifics of the sound image in the context of interdisciplinary synthesis as cultural concept, reflecting sound era musical consciousness.
Despite the extensive using of the notion of the sound image in art, cognitive rationale for its essence, the structure and content are still underrepresented. Specificity of sound images as cultural urological categories related to the analysis of concepts such as "sound environment", "sound space", "sound image of the world". This inevitably involves in the research field well-known scientific philosophical and cultural concepts and categories such as "phonosphere", "picture of the world", "image of the world", which output on a completely different level of understanding of the quality of sound images as a cultural phenomenon.
Speaking about the sound space of the world, we have to mention that in the twentieth century the changes took place in the consciousness of man, associated with the development of the concept of the noosphere in the context of general scientific discoveries about the zonal structure of the planet. Similar concepts, such as the technosphere, anthroposphere, sociosphere, gomosfery, fonosfera from different sides characterize modern scientific picture of the world. According to this concept, which was proposed in 1927 by E.Lerua, P. Teilhard de Chardin and V. Vernadsky the noosphere (from the Greek. "Noos" is a mind, a spirit) is the highest stage of development of the Earth's biosphere, reasonably controlled humanity. Consequently, the noosphere is a unique and unified humanity "thinking" environment of the Earth (P.Teyyar de Chardin), "thinking layer" of the planet (V.Vernadsky), energy space, in which the nature of the interaction between society and nature is influenced by human activity and intelligence.
Understanding the world of the sound space as a scientific problem is connected with the name of the outstanding musicologist M.E.Tarakanov who creates the concept of "global phonosphere of Earth" which is the sound of the human environment and society and was extended in the 1980s. The phonosphere theory came from the theory of the noosphere and united musicology at different aspects such as theoretical, historical, philosophical, cultural and social.
At the end of the twentieth century in the humanities intellectual and spiritual significance "sound world" increased and reflected the characteristics of the cultural environment. Such approach is justified the relation to any audio events (natural and artificial) as part of the "soundscape" (the term N. Wallin, formulated in 1986) in the national and world heritage of culture. The sound is a marker of cultural and natural space because its perception and reproduction is one of the essential components of the cultural landscape of the earth. In this regard, contemporary cultural studies, the term "sound space" found several meanings as an audio space ethnic culture and artistic works. Sound image through an adequate form of expression represents a sound socio-and ethno-cultural heritage, it provides a mechanism for relaying and interpretation. Therefore, sound images have always two sides: internal (substantive) and external (representational). The external side demonstrates sound shape works through the subject's opinion to sound and sounding objects of the world. The internal one of the sound lets you immerse yourself in the atmosphere, creating a complete image of the audible world. Studying music soundscape particular ethnic group we learn not only spiritual, cultural and national values of the people, but also reveal a way of thinking, worldview or personality of the people, form a sound image of musical existence.
Unprecedented surge of creative ideas, innovative solutions and a variety of experiments, reflecting hyper-individualism thinking of contemporary composers and performers, suggest creating a new musical world. With the emergence of the avant-garde in art vector expanded opportunities sound reproduction, "hearing world" and its sound production that caused updating of expressive techniques of writing and performing interpretation principles. Many composers have found it possible to use a variety of sounds (music, noise, speech) in any combination and sequence. These arguments about changing artistic consciousness of contemporary culture indicate the formation of a new concept of the sound image of the world as a differentiated unity of diverse sound images transmitted via individual stylistic means sound sensation of modern era.
Thus, the sound image as an established (but poorly understood) the category of musical creativity and thinking – this is artistically and information "code" works, which minimized contains the image of man and his historical time and space sounding existence. Each socio-cultural environment formed his sound image as conceptual model of the world, which has historically been a model of artistic representation sound picture of the world (semantic holistic culture), formed under the influence of socio-cultural environment and ways of musical thinking individuals.
References
Андреева Е. О звуковом маркировании культурного ландшафта и пространства культуры / Е. Андреева // Культурный ландшафт как объект наследия [под ред. Ю. Веденина, М. Кулешовой]. – М. : Институт Наследия; СПб : Дмитрий Буланин, 2004. – 620 с.
Андреева Е. Звуковой ландшафт как реальный объект и исследовательская проблема / Е. Андреева // Экология культуры : альманах ин-та наследия "Территория". – М., 2000. – С. 76-85.
Булычева А. Звуковые образы готики / А. Булычева. – М. : Квадратон, 2011. – 160 с.
Валин Н.Л. Звуковая среда и шумовое загрязнение / Н. Валин // Курьер ЮНЕСКО. – 1986. – № 5. – С.31–33.
Вернадский В. Несколько слов о ноосфере / В. Вернадский // Успехи современной биологии. – М. : 1944. – Т.18. – Вып. 2. – С. 113-120.
Герасимова-Персидская Н. Звук и знак в музыкальном искусстве / Н. Герасимова-Персидская // Київське музикознавство : Музикознавство у діалозі. – Київ-Дюссельдорф, 2011. – Вип. 37. – С. 12-23.
Дьякова К. Своеобразие звукового пространства художественной прозы Е.И. Замятина : автореферат дис. ... кандидата филологических наук : 10.01.01 / Дьякова Ксения Викторовна; Тамб. гос. ун-т им. Г.Р. Державина. – Тамбов, 2011. – 26 c.
Звуковая среда современности : сб. ст. памяти М. Тараканова (1928-1996) / [отв. ред.-сост. Е. Тараканова]. – М. : ГИИ, 2012. – 520 с.
Кейдж Дж. История экспериментальной музыки в США / Дж. Кейдж // Музыкальная академия. – 1997. – №2. – С. 205-211.
Михайлов Дж. О возможности и необходимости универсальной терминологии в музыке / Дж. Михайлов // Вопросы философии. – 1999. – № 9. – С.109-120.
Ростовцева Т. Пространство и время сознания общества / Т. Ростовцева // Вестник КрасГУ, 2006. – № 3. Серия "Гуманитарные науки" – С. 5-10.
Тараканов М. Музыкальная драматургия Вагнера в зеркале ХХ века / М. Тараканов // Рихард Вагнер : сб. статей. – М., 1987. – С. 122-146 .
Тараканов М. Фольклор и фоносфера / М. Тараканов // Курьер ЮНЕСКО. – 1986. – № 5. – С. 17.
Тараканов М. Человек и Фоносфера. Воспоминания. Статьи / М. Тараканов / сб. ст. [отв. ред. Е. Тараканова]. – М.-СПб. : Алетейя, 2003. – 299 с.
Тараканова Е. Концепция фоносферы на рубеже тысячелетий // Звуковая среда современности : сб. ст. памяти М. Тараканова (1928-1996) [отв. ред.-сост. Е. Тараканова]. – М. : ГИИ, 2012. – С. 27-41.
Тейяр де Шарден П. Феномен человека : сб. очерков и эссе [пер. с фр.] / П.Тейяр де Шарден [сост. и предисл. В.Ю.Кузнецов]. – М. : ООО "Издательство АСТ", 2002. – 553 с.
Холопов Ю. Новые парадигмы музыкальной эстетики / Ю. Холопов [Электронный ресурс]. – Режим доступа: http://www.kholopov.ru/prdgm.html.
Холопова В. Концепция творчества /Холопова В. // Музыкальная академия. – 2001. – №4. – С. 12-19.
Шлыков В. Звуковой образ в современных музыкальных фонограммах: автореферат дис. ... кандидата искусствоведения: специальность 17.00.02 "Музыкальное искусство" / Шлыков Василий Анатольевич; Инт соврем. искусства. – М., 2010. – 16 с.
Andreeva E. O zvukovom markirovanii kul'turnogo landshafta i prostranstva kul'tury / E. Andreeva // Kul'turnyi landshaft kak ob"ekt naslediia [pod red. Iu. Vedenina, M. Kuleshovoi]. – M. : Institut Naslediia; SPb : Dmitrii Bulanin, 2004. – 620 s.
Andreeva E. Zvukovoi landshaft kak real'nyi ob"ekt i issledovatel'skaia problema / E. Andreeva // Ekologiia kul'tury : al'manakh in-ta naslediia "Territoriia". – M., 2000. – S. 76-85.
Bulycheva A. Zvukovye obrazy gotiki / A. Bulycheva. – M. : Kvadraton, 2011. – 160 s.
Valin N.L. Zvukovaia sreda i shumovoe zagriaznenie / N. Valin // Kur'er IuNESKO. – 1986. – № 5. – S.31–33.
Vernadskii V. Neskol'ko slov o noosfere / V. Vernadskii // Uspekhi sovremennoi biologii. – M. : 1944. – T.18. – Vyp. 2. – S. 113-120.
Gerasimova-Persidskaia N. Zvuk i znak v muzykal'nom iskusstve / N. Gerasimova-Persidskaia // Kiїvs'ke muzikoznavstvo : Muzikoznavstvo u dіalozі. – Kiїv-Diussel'dorf, 2011. – Vip. 37. – S. 12-23.
D'iakova K. Svoeobrazie zvukovogo prostranstva khudozhestvennoi prozy E.I. Zamiatina : avtoreferat dis. ... kandidata filologicheskikh nauk : 10.01.01 / D'iakova Kseniia Viktorovna; Tamb. gos. un-t im. G.R. Derzhavina. –Tambov, 2011. – 26 c.
Zvukovaia sreda sovremennosti : sb. st. pamiati M. Tarakanova (1928-1996) / [otv. red.-sost. E. Tarakanova]. – M. : GII, 2012. – 520 s.
Keidzh Dzh. Istoriia eksperimental'noi muzyki v SShA / Dzh. Keidzh // Muzykal'naia akademiia. – 1997. – №2. – S. 205-211.
Mikhailov Dzh. O vozmozhnosti i neobkhodimosti universal'noi terminologii v muzyke / Dzh. Mikhailov // Voprosy filosofii. – 1999. – № 9. – S.109-120.
Rostovtseva T. Prostranstvo i vremia soznaniia obshchestva / T. Rostovtseva // Vestnik KrasGU, 2006. – № 3. Seriia "Gumanitarnye nauki" – S. 5-10.
Tarakanov M. Muzykal'naia dramaturgiia Vagnera v zerkale KhKh veka / M. Tarakanov // Rikhard Vagner : sb. statei. – M., 1987. – S. 122-146 .
Tarakanov M. Fol'klor i fonosfera / M. Tarakanov // Kur'er IuNESKO. – 1986. – № 5. – S. 17.
Tarakanov M. Chelovek i Fonosfera. Vospominaniia. Stat'i / M. Tarakanov / sb. st. [otv. red. E. Tarakanova].
– M.-SPb. : Aleteiia, 2003. – 299 s.
Tarakanova E. Kontseptsiia fonosfery na rubezhe tysiacheletii // Zvukovaia sreda sovremennosti : sb. st. pamiati M. Tarakanova (1928-1996) [otv. red.-sost. E. Tarakanova]. – M. : GII, 2012. – S. 27-41.
Teiiar de Sharden P. Fenomen cheloveka : sb. ocherkov i esse [per. s fr.] / P.Teiiar de Sharden [sost. i predisl. V.Iu.Kuznetsov]. – M. : OOO "Izdatel'stvo AST", 2002. – 553 s.
Kholopov Iu. Novye paradigmy muzykal'noi estetiki / Iu. Kholopov [Elektronnyi resurs]. – Rezhim dostupa: http://www.kholopov.ru/prdgm.html.
Kholopova V. Kontseptsiia tvorchestva // Muzykal'naia akademiia. – 2001. – №4. – S. 12-19.
Shlykov V. Zvukovoi obraz v sovremennykh muzykal'nykh fonogrammakh: avtoreferat dis. ... kandidata iskusstvovedeniia: spetsial'nost' 17.00.02 "Muzykal'noe iskusstvo" / Shlykov Vasilii Anatol'evich; In-t sovrem. iskusstva.– Moskva: 2010. – 16.
Downloads
Issue
Section
License
Copyright (c) 2018 Almanac "Culture and Contemporaneity"
This work is licensed under a Creative Commons Attribution 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
