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B. Yavorsky and Boris Asafiev by it defines musical life as a whole
the totality of the manifestations of musical life in this era (p. 49). By the way,
B. Asafiev even deliberately emphasized too exaggerated point
of view on this phenomenon. "Historians, aesthetes very easy to get off from your favorite
the public and popular things of the word corny. But it is only a word. On
reality, that have become popular (sometimes one-fifty) and entrenched
in life essay the "middle" of the composer's always the answer to
living need and contains something vitally valuable for all its
stylistic inconsistencies and inaccuracies" (B. AsafievRussian
music (XIX and beginning of XX century). - A., 1979. P.63).
B. Asafiev always tried not to breed the concepts of form and
content, since the status of the form here is fundamentally different than in the case of
in the literary text. "In music you can not go past the study of the forms, is for
design sounds no music: the material, which is used
composer, primarily designed, i.e. extracted fromdiversity
acoustic 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 therefore
in music, only through the as synthesis, our consciousness goes to the installation
nepremenova, omuzykalennoj content, or rather to his artistic
specification" (Glebov I. Modern Russian musicology and its
historical problem // De musica. - Vol. I. PG., 1925. P.7).
In this work, B. Asafiev protects "household music", and it is very
an important aspect of radolinski of all phenomena, which is hard enough
is always any variant of the theory of art. "As far as at their peaks
music is almost detached from life itself dictates to him the terms perception;
so in the home to use only such music which is easy
subject to any whimsical emotional impact. It
the public really enjoys a few of the usual learned
a lot of people, sound combinations, which, again, because of
the usual associations cause the appropriate experiences"
This refers to the reading and meditation on the reading.Lotman
explains: "the Recipient folklore (and also medieval)
art only be raised in favorable conditions in order
to listen to yourself. He is not only a listener but a Creator. With
this is due to the fact that such a canonical system does not lose the ability to be
information and active" (P. 19). In another work, he separates the two
process as a process of "I
- HE" and the process "I - I". "If communication system
"I -- IT" provides only the transfer of a certain constant volume
information, in the channel "I-I" is its qualitative transformation,
which translates to the restructuring of the "I" (.Lotman YUM. Two
models 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 change
the context of the situation. As an example, he cites the influence of dimensional
sounds (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 of
the ternary system saves certain values, moving them from the periphery
in 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 in
binary systems-their experience of themselves as unique, with nothing
comparable 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 developed
the space of the imaginary realities, in his work on the movie, he rather
tells about restrictions on this kind of reality. So, he
notes that the movie knows only the present (Lotman Yu.Semiotics
movie and problem kinestetike. M., 1973. -- P. 16). Distinguishing between "text,
which can be false and text that cannot be false" he
talking about the pictures as the text of the greatest reliability in the overall system
texts culture of the early XX century. The art of cinema is moving in the discoveries
designed to expel automati-
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