The role of the musical-acoustic thesaurus in the process of orientation in a given space-time

https://doi.org/10.21744/lingcure.v5nS4.1568

Authors

  • Mariya P. Kalashnyk H.S. Skovoroda Kharkiv National Pedagogical University, Kharkiv, Ukraine
  • Uriy I. Loshkov Kharkiv State Academy of Culture, Kharkiv, Ukraine
  • Oleksandr V. Yakovlev Kyiv Municipal Academy of Circus and Variety Arts, Kyiv, Ukraine
  • Anton O. Genkin Dnipropetrovsk M. Glinka Academy of Music, Dnipro, Ukraine
  • Hanna S. Savchenko Kharkiv National I.P. Kotlyarevsky University of Arts, Kharkiv, Ukraine

Keywords:

cognitive process, human-made signals, music art, musical memory, spatial dimension

Abstract

Musically-acoustic thesaurus is a complex structure which composition of multiple parts is effectuated by multiple channels of receiving information from the outside and ways of manipulation with it. The manipulation is turning of separate facts into systematic knowledge stored in memory. Musically-acoustic thesaurus of collective and individual consists of two groups with duplex connection which are the knowledge of the world as a sonic phenomenon and of human auditory activity and the experience of absorbing the information received, principles of manipulation with it. They fulfill inherent inclination of individual towards usage of auditory images as a requirement for appearance of musical ones. All the sonorities are bracketed in two groups: extra-musical and musical itself. The latter group consists of musical units of acoustically-sonic environment, having utility, practical significance for a person, allowing orientation in given spacetime. At the same time, they are potentially opened to emotional experiences and aesthetic approach towards them. Acoustically-sonic environment possesses basic traits of organization, being reflected in mind by such characteristics as cyclicity, variability, combinationalism, montage structure, simultaneity, interdependency of shape and background.

Downloads

Download data is not yet available.

References

Asafyev, B. V. (1971). Muzykal’naja forma kak process. Leningrad: Music.

Averintsev, S. (1989). Dva rozhdeniia evropeiskogo ratsionalizma. Chelovek v sisteme nauk [Two births of the European rationalism. The person in system of sciences].

Blaschke, T. (2006). The role of the spatial dimension within the framework of sustainable landscapes and natural capital. Landscape and urban planning, 75(3-4), 198-226. https://doi.org/10.1016/j.landurbplan.2005.02.013

Bonfeld, M. S. (2007). Semantics in musical speech. Music as the form of intellectual activity. MG Aranovskiy (Ed.). Moscow: KomKniga.

Díaz, J. (2016). On the origin of the signals observed across the seismic spectrum. Earth-Science Reviews, 161, 224-232. https://doi.org/10.1016/j.earscirev.2016.07.006

Endler, F. (1985). Musik in Wien-Musik aus Wien. Eine kleine Wiener Musikgeschichte. Vienna: Oesterreichischer Bundesverlag.

Finke, C., Esfahani, N. E., & Ploner, C. J. (2012). Preservation of musical memory in an amnesic professional cellist. Current Biology, 22(15), R591-R592. https://doi.org/10.1016/j.cub.2012.05.041

Gardner, H. E. (2011). Frames of mind: The theory of multiple intelligences. Hachette Uk.

Gede, M. (2021). Neo Nolin “Genre” New Music. International Journal of Linguistics, Literature and Culture, 7(03), 163-171.

Goertz, H. (1993). Musikhandbuch für Österreich: Struktur und Organisation des österreichischen Musikwesens Namen, Adressen, Information; Österreichischer Musikrat: eine Publikation des Österreichischen Musikrates. Doblinger.

Goleman, D. (2005). Emotional intelligence. Bantam.

Hanson, A. M. (1987). Die zensurierte Muse. Musikleben im Wiener Biedermeier, Wien.

Kalashnyk, M. P. (2010). Musical composer thesaurus: Aspects of vivchennya: monograph.

Kholopova, V. N. (2000). Music as an art form. Moscow: Lan.

Kretschmer, H., & Czeike, F. (1988). Wiener Musikergedenkstätten. J & V Edition.

Machado, J. T., Pinto, C. M., & Lopes, A. M. (2015). A review on the characterization of signals and systems by power law distributions. Signal Processing, 107, 246-253. https://doi.org/10.1016/j.sigpro.2014.03.003

Makowski, S. K., & Epstein, R. M. (2012). Turning toward dissonance: Lessons from art, music, and literature. Journal of pain and symptom management, 43(2), 293-298. https://doi.org/10.1016/j.jpainsymman.2011.06.014

Maksimov, V. (1980). Analysis of situation of artistic perception. In: Music Perception (pp. 54 90). Moscow: Muzyka.

Markova, E. N. (1983). Aesthetic aspect of intonational theory and analysis of musical works. Kyiv: Kyiv State Conservatory named after P.I. Tchaikovsky.

Medushevskiy, V. V. (1980). Dvoystvennost ‘muzykal’noi formy i vospriiatie muzyki [Duality of Musical Form and Perception of Music]. Vospriiatie muzyki. Moscow, 178-194.

Mroczka, J. (2013). The cognitive process in metrology. Measurement, 46(8), 2896-2907. https://doi.org/10.1016/j.measurement.2013.04.040

Nazaikinskiy, E. V. (1988). Sonic world of music. Moscow: Muzyka.

Orenstein, A. (1991). Ravel: man and musician. Courier Corporation.

Parrales, E. B. A., Palma, J. K. T., Álava, R. A. Q., & Campuzano, M. F. P. (2020). The Cognitive Process and Influence in Learning. International Journal of Linguistics, Literature and Culture, 6(2), 59-66.

Petruta-Maria, C. (2015). The role of art and music therapy techniques in the educational system of children with special problems. Procedia-Social and Behavioral Sciences, 187, 277-282. https://doi.org/10.1016/j.sbspro.2015.03.052

Rameau, J. P. (1968). 1737. Génération harmonique, 3-148.

Rolinska, H. H. (2021). Using project method for the purpose of educating future music teachers. Linguistics and Culture Review, 5(S2), 387-400.

Saffran, J. R., Loman, M. M., & Robertson, R. R. (2000). Infant memory for musical experiences. Cognition, 77(1), B15-B23. https://doi.org/10.1016/S0010-0277(00)00095-0

Schneider, K. (1994). Thesaurus zur Erschließung von Musik nach Anlaß, Zweck und Inhalt. Dt. Bibliotheksinst.

Suwija, N., Suarta, M., Suparsa, N., Alit Geria, A.A.G., Suryasa, W. (2019). Balinese speech system towards speaker social behavior. Humanities & Social Sciences Reviews, 7(5), 32-40. https://doi.org/10.18510/hssr.2019.754

Uzzell, D. L. (2000). The psycho-spatial dimension of global environmental problems. Journal of environmental psychology, 20(4), 307-318. https://doi.org/10.1006/jevp.2000.0175

Vereshchahina-Biliavska, O. Y., Cherkashyna, O. V., Moskvichova, Y. O., Yakymchuk, O. M., & Lys, O. V. (2021). Anthropological view on the history of musical art. Linguistics and Culture Review, 5(S2), 108-120.

Wang, Y., & Chiew, V. (2010). On the cognitive process of human problem solving. Cognitive systems research, 11(1), 81-92. https://doi.org/10.1016/j.cogsys.2008.08.003

Weinberg, G. (1978). Self creation. New York: St. Martin's, 226, 78-85.

Published

2021-10-23

How to Cite

Kalashnyk, M. P., Loshkov, U. I., Yakovlev, O. V., Genkin, A. O., & Savchenko, H. S. (2021). The role of the musical-acoustic thesaurus in the process of orientation in a given space-time. Linguistics and Culture Review, 5(S4), 139-148. https://doi.org/10.21744/lingcure.v5nS4.1568

Issue

Section

Research Articles