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AfterB. Yavorsky and Boris Asafiev by it defines musical life as a wholethe totality of the manifestations of musical life in this era (p. 49). By the way,B. Asafiev even deliberately emphasized too exaggerated pointof view on this phenomenon. "Historians, aesthetes very easy to get off from your favoritethe public and popular things of the word corny. But it is only a word. Onreality, that have become popular (sometimes one-fifty) and entrenchedin life essay the "middle" of the composer's always the answer toliving need and contains something vitally valuable for all itsstylistic inconsistencies and inaccuracies" (B. AsafievRussianmusic (XIX and beginning of XX century). - A., 1979. P.63). B. Asafiev always tried not to breed the concepts of form andcontent, since the status of the form here is fundamentally different than in the case ofin the literary text. "In music you can not go past the study of the forms, is fordesign sounds no music: the material, which is usedcomposer, primarily designed, i.e. extracted fromdiversityacoustic phenomena. It is impossible to oppose in the music of the abstract "form"and "content" because it is the concept of a completely different nature and thereforein music, only through the as synthesis, our consciousness goes to the installationnepremenova, omuzykalennoj content, or rather to his artisticspecification" (Glebov I. Modern Russian musicology and itshistorical problem // De musica. - Vol. I. PG., 1925. P.7). In this work, B. Asafiev protects "household music", and it is veryan important aspect of radolinski of all phenomena, which is hard enoughis always any variant of the theory of art. "As far as at their peaksmusic is almost detached from life itself dictates to him the terms perception;so in the home to use only such music which is easysubject to any whimsical emotional impact. Itthe public really enjoys a few of the usual learneda lot of people, sound combinations, which, again, because ofthe usual associations cause the appropriate experiences"
This refers to the reading and meditation on the reading.Lotmanexplains: "the Recipient folklore (and also medieval)art only be raised in favorable conditions in orderto listen to yourself. He is not only a listener but a Creator. Withthis is due to the fact that such a canonical system does not lose the ability to beinformation and active" (P. 19). In another work, he separates the twoprocess as a process of "I - HE" and the process "I - I". "If communication system"I -- IT" provides only the transfer of a certain constant volumeinformation, in the channel "I-I" is its qualitative transformation,which translates to the restructuring of the "I" (.Lotman YUM. Twomodels of communication in the system of culture // Works on sign systems. Vol.VI. Uch. Zap. Tart. Univ. Vol. 308. Tartu, 1973. P. 229). System "I-I"starts working when the outside includes extra codes that changethe context of the situation. As an example, he cites the influence of dimensionalsounds (the rattle of wheels, the rhythmic music) on the internal monologue of a man. Lotman distinguishes between binary and ternary systems of culture(Lotman Yu. M. Culture and explosion. M., 1992). If the "explosion" in the framework ofthe ternary system saves certain values, moving them from the peripheryin the centre of the system, as part of our binary system this is not happening.The explosion in this case covers all. "The distinctive feature of explosive moments inbinary systems-their experience of themselves as unique, with nothingcomparable moment in the history of mankind" (P. 258). The special status of visual language, namely the language of cinema -- also was the subject of the research of Yuri Lotman. If"Culture and explosion" he said about the art as about the most developedthe space of the imaginary realities, in his work on the movie, he rathertells about restrictions on this kind of reality. So, henotes that the movie knows only the present (Lotman Yu.Semioticsmovie and problem kinestetike. M., 1973. -- P. 16). Distinguishing between "text,which can be false and text that cannot be false" hetalking about the pictures as the text of the greatest reliability in the overall systemtexts culture of the early XX century. The art of cinema is moving in the discoveriesdesigned to expel automati-
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