“The Own-The Borrowed” in Artistic Culture of the 20th-21st Centuries

Svitlana Anfilova, Stanislav Kucherenko, Adilya Mizitova, Kateryna Pidporinova, Igor Sediuk

Özet


The article presents various forms of working with the “borrowed” material in the artistic practice of recent centuries. This phenomenon covers painting, literature, cinema, choreography, and music. The stable nature of this phenomenon, preserved by a tradition, is explained by its ability to identify the author’s position towards the current needs of the time in comparison with another creative consciousness, an understanding of the world order, as well as the artistic and aesthetic priorities. A dialogue with the “borrowed” thought plays a significant role in the art of music. Some special ways of work in the conditions of “the own – the borrowed” concept emerged here, and each of them caused the certain genres to appear. In real practice, the following genres were firmly established: transcription, adaptation, arrangement, and paraphrase. Despite the internal differences, the general reflection of the author’s individual creative approach and, indirectly, self-awareness of the specific historical stage in the cultural development remains their common feature.

“The own – the borrowed” concept, containing two opposing ideas, reveals the inconsistency of artistic and aesthetic processes in the historical development of the ballet genre, the complex interaction of classic dance with inapplicative symphonic music, and the relation of dance and flexibility in choreographic drama. In whatever form of art the “borrowed” material is used, including the genres of a “light” music, the ludic logic inevitably actualizes itself, starting from the choice of an object for a creative “duel” and ending with a combination of language means. The competitive atmosphere explains both the repeated use of the same material by the artists of different generations, as well as the appearance of peculiar “shifters” who, introducing an ironic and comedic element, represent the skillful mastery. Thanks to this, working with a “borrowed” material retains its value regardless of the change in artistic and aesthetic paradigms.


Anahtar Kelimeler


The own–the borrowed, Ludic mode, Intertextuality, Dialogue, Transcription, Remix, Carnival tradition.

Tam Metin:

PDF (English)

Referanslar


Anfilova, S. G. (2013). Soviet Ballet in Context of the Genre’s Situation in the First Half of the Twentieth Century. Aspects of Historical Musicology, 6, 169–183.

Aranovsky, M. (1998). Musical Text. Structure and Properties. Moscow: Kompozitor.

Arinstein, L. M. (1985). Reminiscences and Autoreminiscences in the System Lermontov Poetics. Lermontov compilation, 23–48.

Averintsev, S. S. (1996). Rhetoric and the Origins of European Literary Tradition. Moscow: School «Yazyki russkoy kultury».

Borodin, B. B. (2014). Transcription Parade, or “Why Does Gioconda Need a Mustache”. Music in the System of Culture: Scientific Bulletin of the Ural Conservatory, 8, 60–80.

Hamelin, M.-A. (2009). 12 études in all minor keys [Piano score]. N-Y, London, Frankfurt, Leipzig: Edition Peters.

Kreinin, Y. (2017). Musical Variations on the Ideas of Calder and Klee. Israel Studies in Musicology Online, 14, 76–93. Retrieved from https://www.biu.ac.il/hu/mu/min-ad/index.htm.

Krupowicz, S. (2015). Witold Lutosławski – an Algorithmic Music Composer? Retrieved October 22, 2019, from https://pdfs.semanticscholar.org/34bc/

ff0a468ac7854081d0bcd8d9f832e4561551.pdf.

Kucherenko, S. I. (2019). Manifestation of the “Personal School” Phenomenon in the Creative Activity of an Artist (on the Example of A. Leshchynsky’s Multi-Vector Practice). Aspects of Historical Musicology, 15, 22–43.

Lessig, L. (2008). Remix: Making Art and Commerce Thrive in the Hybrid Economy. New York: The Penguin Press.

Lobanova, M. (1994). Western European Musical Baroque: Problems of Aesthetics and Poetics. Moscow: Muzyka.

Lutosławski, W. (1995). Articles, Conversations, Memories. Moscow: Tantra.

Markow, R. (2012, October 26). Program Notes: Marc-André Hamelin. Vancouver Recital Society. Retrieved October 21, 2019, from https://vanrecital.com/2012/10/program-notes-marc-andre-hamelin/.

Mikhailov, A. (1972). “Own” and “alien” in the art of the past. Decorative art of the USSR, 6, 28–32.

Mizitova, A. (2010). Life Reality and Art Reality: “Treasurer” by B. Asafiev. Aspects of Historical Musicology, 4, 73–94.

Moscow Philharmonic Society. (2016, December 13). Interview with Marc-André Hamelin [Video]. YouTube. https://www.youtube.com/watch?v=9aI8XFNalRI.

O’Brien, D. S., & Fitzgerald, B. F. (2006). Mashups, remixes and copyright law. Internet Law Bulletin, 9(2), 17–19. Retrieved from https://eprints.qut.edu.au/4239/1/4239.pdf.

Paço, A. (2016/17) Tanz mit dem Leben, dem Göttlichen und dem Tod. In M. Schläpfer (Ed.), Programmheft Ballett am Rein – b.32. Petite Messe solennelle. Uraufführung, 12–14.

Pidporinova, K. V. (2019). Laughter as a Direction of Marc-André Hamelin’s Composer Searches. Aspects of Historical Musicology, 15, 158–180.

Raku, M. (1998). The Queen of Spades by the Tchaikovsky Brothers: An Intertextual Analysis Experience. Music Academy, 2, 9–21.

Rust, D. (2010). A Russian Rhetoric of Form in the Music of Witold Lutosławski. In D. C. Berry (Ed.), A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part II), 205–231. Retrieved from http://trace.tennessee.edu/cgi/viewcontent.cgi?

article=1046&context=gamut.

Savenko, S. (1973). To the Question of the Unity of Stravinsky’s Style. In L. S. Dyachkova, B. M. Yarustovsky (Eds.), I. F. Stravinsky. Articles and Materials, 276–301.

Schumann, R. (1975). On Music and Musicians. (D. V. Zhitomirsky, Ed., A. G. Gabrichevsky & L. S. Tovaleva, Trans.). Moscow: Muzyka.

Sediuk, I. О. (2017). W. Lutosławski – N. Paganini: The Dialog in the Playing Context of the Musical Culture. Aspects of Historical Musicology, 9, 426–440.

Skowron, Z. (2016). On Witold Lutosławski’s Artistic Self-Awareness. A Survey of Very Recent Research. Musicology Today, 13(1), 21–31. https://doi.org/10.1515/muso-2016-0005.

Stensæth, K. (2015). ‘Musical dialoguing’: A perspective of Bakhtin’s Dialogue on musical improvisation in asymmetric relations. Nordic Research in Music Education, 16, 209–225. Retrieved from https://nmh.brage.unit.no/nmh-xmlui/handle/11250/2425459.

Stogniy, I. S. (2017). Intertextuality in music. Variations on a Theme. Contemporary Musicology, 3, 85–96.

Tiba, D. (2002). Introduction to Music Intertextual Analysis. Moscow: Moscow State Tchaikovsky Conservatory.




DOI: http://dx.doi.org/10.7596/taksad.v9i1.2361

Refback'ler

  • Şu halde refbacks yoktur.




Telif Hakkı (c) 2020 Journal of History Culture and Art Research

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.