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Mdivani . G. Is a representative of Russian-Belarusian scientific and pedagogical musical school. As a theoretician of music, she is a disciple of Shkolnikov Leonid Efimovich and Kholopov Yuri Nikolaevich graduates of the Moscow conservatoire, as a music historian of Kuleshova Galina Grigorievna (under her tutorship, the diploma work Songs of Edward Merike by Hugo Wolf was written at graduation from the conservatoire). The bases of the profession of musicologist were provided by Shkolnikov L. E., the skills of scientific research by Kholopov Y. N.
In the candidates thesis, the following was discovered and described 1. specific tonality states (types of tonal structures, forms of tonality floating (the term of . Shenberg), fluctuating, multi-valued and withdrawn (the term of . Shenberg), which, forming a system of atonicality, prepared dodecaphony and related non-classic style of musical thinking; 2. new principles of form-building, type of form (varied tonal, varied tonical, etc.); 3. new quality of elements of musical language (ambivalence, ambiguity, latency), as well as the following was done for first time 4. existing methods of European harmony analysis classified and characterized, and 5. special wider tonal method of analysis of late-romantic harmony created. Later these results were referred to by Y. Kholopov (1), Y. Moskva (2) and others.
The doctors thesis revealed the essence of avant-gardist musical thinking rationalism, which was demonstrated in the form of non-classic rationalism (music of composers of the 1st half of the 20th century, or New music) and new non-classic (wider) rationality (music of composers of the 2nd half of the 20th century, or Newest music). Using synergy methodology (E. M. Soroko is the leading expert in the area) the possibility was proved to explain and understand such radical phenomena of Western musical avant-gardism (Bulez, Berio, Kage, Nono, Penderetski, Stockhausen), as paramusical or paramusical-theatrical genre (into paragenre system) happening, action, installation, performance, instrumental theatre, graphical and special music, as well as intentions to incorporate in music the subconscious, intuitive, and piety to the East, which demonstrated a crisis of Western rationalistic concepts. The crisis was revealed by the uncertainty (Indeterminacy by Kage and Xi by Stockhausen) which symbolizes the bifurcation state of the musical civilization and the progress music, and movement towards restoration of integrity calocagation of music in its initial numerical (as per Plato . Losev) meaning (3).
The sphere of scientific interests of . G. Mdivani includes the philosophy of music, theory and history of European and wider, i.e. Western (including American) music, culturology, as well as musical theory systems, genres and styles, composing techniques, textology, methods of study and understanding of the essence of the New and Newest music, music teaching problems (innovation aspect).
1 The idea of tonality states was developed <> in the thesis by . G. Mdivani Problems of late-romantic harmony in the music of Austrian-German composers, and of 19th to beginning of 20th centuries (. Brukner, H. Wolf, G. Maler, . Regher), Minsk, 1983 see in: Y. N. KHOLOPOV. Harmony. Theoretical course. .: Muzyka, 1988, P. 383-384.
2 We use the term modus states on the analogy with the known term tonality states the integral notion was developed by . G. Mdivani (candidates thesis Problems of late-romantic harmony in the music of Austrian-German composers, and of 19th to beginning of 20th centuries (. Brukner, H. Wolf, G. Maler, . Regher), Minsk, 1983) and Y. N. Kholopov (Harmony. Theoretical course. .: Muzyka, 1988, P. 383399) See in: MOSKVA Yuliya Viktorovna. Modality of Gregorian choral on the example of the Franciscan tradition mass Abstract of doctor of arts thesis.- Moscow, 2007, P. 16.
3 Especially important is the fact that it is such fragments that testify to the unusual topicality in our time of the philosophy of .F. Losev based on the so-called Supreme synthesis and integral knowledge. It is not by accident that .F. Losev brought together music, mathematics and aesthetics. As is known, the philosophers idea is that music and mathematics have a common initial basis, i.e. numbers. Hence, the discoveries which, at first glance, may seen paradoxical but their thorough examination proves complete justification of Losevs ideas which, incidentally, are confirmed in practice by the modern-time avant-gardist composers. Prof. T. G. Mdivani, a well-known specialist in the sphere, vividly and groundedly demonstrates it in her book Western rationalism in musical thinking of 20th century (Minsk, 2004). See in: WORK WITH ARCHIVES OF .F. LOSEV losevaf@narod.ru
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