Russian (Soviet) contributions to musical acoustics (original) (raw)
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The brief lapse in time between the 1910s and the 1930s was marked in Russia by a series of cataclysms. During this period, a country which throughout its history had imported its system of values and official culture devised totally original conceptions for the development of various technologies in numerous areas of the arts and sciences.
Revue d'Anthropologie des Connaissances, 2019
In this article, Viktoria Tkaczyk, who leads the research team Epistemes of Modern Acoustics at the Max Plank Institute in Berlin, discusses the ongoing works, the research perspectives and the “sound” turn within history of sciences. She introduces her working team members and their research objects, which encompass a range of several works dealing with the situation of sound and music within the sciences since the Scientific Revolution. As she highlights the importance of some actors who tend to be omitted, she points out how another conception and history of sciences arose. She also shows how sound can be used, like Mach did for example, as a tool of knowledge in order to investigate fieldworks that might not be related to sound at first sight, or to build up laboratories, to produce new objects and so on. She draws a condensed survey of works, very little known in France yet, that combine History of Sciences, Sound Studies and Music Knowledge. Music and sound are addressed from the perspective of the history sciences, including measures and standardization; and simultaneously, the history of sciences is sort of considered through a “re-sonification”.
An attempt to identify the evolutionary stages of any phenomenon in art is a thankless undertaking, and not only due to obvious "blank spots," but also because of the impossibility of determining with any precision which events may be considered points of departure, and which not. For this reason, a number of the reviews dedicated to the sources of contemporary sound art practices in Russia give attention to the division that occurred at the beginning of the twentieth century in the socalled standard literature between the visual and phonetic contents. 1 If the works of visual poetry, in which, as part of a single compositional element, texts, inscriptions, and words appearing sidebyside with visual representation signaled the arrival of transgenre fields combining literature and the visual arts, then the art of sound poets, utilizing among their methods various phoneticintonational elements, offers a point of contact between literature and music.
"Musical Russianness" and its Practical Application
BILT Student Journal, 2022
When it comes to determining how a culture’s musical identity is formed and expressed aesthetically, researchers often find themselves in a difficult situation, required to explain how music embodies national identity without falling epistemically prey to the hand of essentialism or subjective normalization. In Russian music studies, the question of “What makes Russian music Russian,,” encapsulated in the contentious term “musical Russianness,” has prompted many scholars to outright reject the premise of national aesthetics. However, what if the term is not as inhibitory as they claim but is instead being used in ineffective ways, thus obfuscating the term’s advantageousness in analytical processes? This paper will attempt to prove the usage of “musical Russianness” must be reinterpreted in a manner that puts it into conversation with corollary themes such as creative autonomy, practical usage, and wider contextuality. The term, on its own, cannot be considered sufficient in accurately deducing how Russian music does (or does not) embody domestic identity via its aesthetic design. Therefore, by reformulating “musical Russianness” as a dialogic theory of music analysis, its efficacy can be restored. The purpose of this present study is then to foster a potential way forward for Russian music scholars in renegotiating how cultural uniqueness and national identity are detected in musical material. I will first delineate some of the central discourses on the term in past and present research within the field of Russian musicology, followed by three theoretical frameworks on how “musical Russianness” could be better utilized in the process of music analysis. The way forward for Russian music studies cannot be to idealistically eschew “Russianness” as an analytical theory but to cogently reassess its methodological construction and practical application in order to render it useful once again.
A Brief History of the Russian Seven-String Guitar
This is the lecture I gave at the 2011 GFA festival in Columbus, GA, on the occasion of receiving the Hall of Fame Award from the GFA. The lecture included several live musical examples played by myself and by my friends Oleg Timofyeev and John Scheiderman. These performances were not recorded and therefore, all references to them have been deleted here.