Transformation of Sound Cipher Complexes in the History of Musical Art and Their Specific Manifestations in the Work of Composers of the 17th - 21st Centuries

Authors

  • Yevheniia Cherniak Bogdan Khmelnytsky Melitopol State Pedagogical University
  • Irina Barantsova Bogdan Khmelnytsky Melitopol State Pedagogical University
  • Maryna Biletska Bogdan Khmelnytsky Melitopol State Pedagogical University
  • Viktoriia Mitlytska Bogdan Khmelnytsky Melitopol State Pedagogical University
  • Tetyana Pidvarko Bogdan Khmelnytsky Melitopol State Pedagogical University

DOI:

https://doi.org/10.7596/taksad.v8i2.2001

Keywords:

Onamophony, Musical monogram, Symbolic overtones, Musical lexemes, Music monointonation, Postmodernism, Polystylistics.

Abstract

The article discusses the features of sound cipher complexes in the works of famous composers-representatives of different styles and trends. The phenomenon of monograms in the baroque art of J.S. Bach, the semantics of musical anagrams revealed in the works of R. Schumann and the peculiarities of the manifestation of onamophony in postmodernism also considered. The transformation of separate sound cipher complexes in the historical development and the development of musical art is traced. It is emphasized that when studying musical material containing onamophony, the performer traces the patterns of stylistic changes in composer's thinking, analyzes the semantic features of the musical language, and reveals the author's idea in the process of creating the original interpretation of the work.

References

Bakhtin, M. M. (1994). Problems in the works by Dostoevsky. Problems of poetics of Dostoevsky. Kiev: Next. ISBN 5-88316-018-X.

Berchenko, R. E. (2005). In search of lost meaning. Boleslav Jaworski on the “Well-Tempered Clavier”. Moscow: Classic-XXI.

Chernyak, E. B. (ed.). (2018). Peculiarities of gender perceptions of instrumental players in the process of musical and performing behavior. Pedagogical education: theory and practice: Collected scientific works of Kam’yanets-Podolsk National University named after Ivan Ohienko, 24, 63-69. ISSN 2309–9763.

Chernyak, E. B. (ed.). (2018). Forming gender competence of students in the process of preparation to the conditions of performing activity. Herald of the Alfred Nobel University: Pedagogy and Psychology. Pedagogical sciences, 2(16), 102-109. DOI 10.32342 / 2522-4115-2-16.

Chershintseva, M. A. (2010). The phenomenon of ciphering in culture and its specific manifestations in the works of J.S. Bach. Abstract of Candidate’s thesis. Moscow.

Ivashkin, A. V. (1994). Conversations with Alfred Schnittke. Moscow: Culture.

Kholopov, Yu. N. (2006). Introduction to musical form. Moscow: Moscow State Conservatory named after P.I. Tchaikovsky. ISBN 5-89598-170-4.

Kudryashov, A. Yu. (2010). Theory of musical content. Artistic ideas of European music of the XVII – XX centuries. [Textbook for musical universities and universities of art], (2nd ed.). St. Petersburg: The Planet of Music. ISBN 978-5-8114-0600-5. I

Lippman, E. A. (1953). Symbolism in music. The Musical Quarterly. Vol.39, No 4, 554–575. URL: https://doi.org/10.1093/mq/XXXIX.4.554

Merkulov, A. M. (2011). Schumann's piano suite cycles. Moscow: Music. ISBN 5-7140-0223-7.

Nosina, V. B. (2011). Symbolism of music by J.S. Bach. Moscow: Classic - XXI. ISBN 978-5-89817-337-1, 978-5-905102-05-9.

Sams, E. (1965). Did Schumann use ciphers? The Musical Times. London, 8, 584-591.

Schering, A. (1925). Bach und das Symbol. Bach, Jahrbuch, 40-65.

Snitkova, I. I. (2015). Bach-Webern. Richerkar from The Musical Offering: the idea of structural counterpoint. Scientific notes of the Gnesins Russian Academy of Music, 2, 26-38. DOI: 10.7256/2227-9997.2015.2.15944.

Surminova, O. V. (2011). Onomaphonia as a phenomenon of the proper name in the music of the second half of the XX - beginning of the XXI centuries. Abstract of Candidate’s thesis. Kazan

Wellesz, E. (1965). Schumann and the cipher. The Musical Times. London, 10, 767-771.

Yuferova, O. A. (2006). Monogram in the musical art of the XVII – XX centuries. Abstract of Candidate’s thesis. Novosibirsk.

Zhitomirsky, D. V. (1964). Robert Schumann. Moscow: Music.

Downloads

Published

2019-07-01

How to Cite

Cherniak, Y., Barantsova, I., Biletska, M., Mitlytska, V., & Pidvarko, T. (2019). Transformation of Sound Cipher Complexes in the History of Musical Art and Their Specific Manifestations in the Work of Composers of the 17th - 21st Centuries. Journal of History Culture and Art Research, 8(2), 301-309. https://doi.org/10.7596/taksad.v8i2.2001

Issue

Vol. 8 No. 2 (2019): Journal of History Culture and Art Research 8(2)

Section

Articles

License

All papers licensed under Creative Commons 4.0 CC-BY. 
You are free to:
  • Adapt — remix, transform, and build upon the material for any purpose, even commercially.

Under the following terms:

  • No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.