Концерт для слушателя с оркестром. Пути развития партиципаторного музыкального искусства

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Татьяна Цветковская
https://orcid.org/0000-0001-8395-9820

Abstrakt

The article is devoted to participatory musical works created in collaboration with the public. Listeners act as a composer’s creative partners — co–authors and performers. Comparative analysis of different interpretations of the concepts of “musical participation” and “participatory music” allows us to highlight the key characteristics of this phenomenon. In addition, the author believes that it is important to substantiate the legitimacy of using the term “participatory art” outside of any specific genre, stylistic, or time frames.


The study of participatory works leads to understanding of the various tasks that are achieved in the process of collective creation. The interaction between the composer and the audience strengthens interpersonal relationships. Listeners are meant to receive a role through which they could show their individuality most clearly; and this condition stimulates the search for new expressive means. As a result, peculiar genre forms emerge. At the same time, listeners comprehend the inner logic of musical art themselves.


It is noted that composers retain the traditional genre classification, not deeming it necessary to emphasize audience participation. However, compositions with the participation of the public are becoming a noticeable phenomenon of modern musical life. This generates a pressing challenge — to establish the correspondence of the techniques used in working with the audience to the artistic concept, and to propose a typology of participatory works. Some compositions emerge as an artistic experiment. Others are part of educational projects. Some works are aimed at studying the benefits of cooperation between the composer and the public. Along with the practices considered in the article, there are a number of prospective opportunities that can ensure the fruitful involvement of the public in the creative process. All this allows us to hope that participatory musical art will enjoy further successful development.

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Цветковская, Т. (2020). Концерт для слушателя с оркестром. Пути развития партиципаторного музыкального искусства. ARS INTER CULTURAS, (9), 111-124. https://doi.org/10.34858/AIC.9.2020.361
Dział
Artykuły

Bibliografia

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Transliteration

Bishop, Claire. Iskusstvennyj sad. Participatornoe iskusstvo i politika zritel'stva [Artificial hells: Participatory art and the politics of spectatorship]. Мoscow: V-A-C press, 2018.

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Groys, Boris. “Genealogiya participativnogo iskusstva” [A genealogy of participatory art]. Moscow Art Magazine 67–68 (2007). Access 27.08.2020. moscowartmagazine.com/issue/25/article/394.

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Rzewski, Frederic; Verken, Monique. “Musica Elettronica Viva”. The Drama Review: TDR 14, 1 (1969): 92-97.

Small, Christopher. Musicking: the meanings of performing and listening. Hanover and London: Wesleyan University Press, 1998.

Toelle, Jutta; Sloboda, John. “The audience as artist? The audience’s experience of participatory music”. Musicae
Scientiae Apr. 26, 2019. Access 5.06.2020. journals.sagepub.com/doi/abs/10.1177/1029864919844804.

Tommasini, Anthony. “A ‘Sonic Great Wall’ Breaks Down Musical Barriers”. The New York Times Jan. 8, 2019. Access 5.06.2020. www.nytimes.com/2019/01/08/arts/music/review-huang-ruo-sonic-great-wall-national-sawdust.html.

Turino, Thomas. Music as social life: The politics of participation. Chicago and London: The University of Chicago Press, 2008.

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