Теорія діалогу як засіб дослідження концерту для двох фортепіано з оркестром
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Date
2018
Authors
Бурган, Ірина
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Abstract
У сучасному світі в умовах глобалізації, активних міграційних процесів, збільшення інформаційного потоку гостро постає питання комунікації. У наш час особливої значущості набуває діалог,
що постає універсальним типом комунікативної взаємодії на всіх рівнях соціокультурного простору. У статті розглянуто діалогічні концепції в таких галузях наукового знання, як філософія, культурологія, теорія музичної культури. Особливу увагу приділено дослідженню комунікативних особливостей ансамблевої культури на прикладі жанру концерту для двох фортепіано з оркестром.
Розкрито його діалогічну специфіку в контексті її соціальної значущості.
The situation of the modern world can be characterized by intensifying globalization, active migration, increase of the amounts of information that people receive every day. In terms of global informational exchange, people feel the need of the certain way of communication, which will defend the main social values such as humanity, tolerance, personal freedom. Dialogue is based on mutual respect, understanding the equal significance of interlocutors, acceptance of the difference between them. Thus, it becomes the universal and necessary way for interpersonal and intercultural interaction. The modern dialogue theory is developing in the various fields of science. The article analyzes different concepts of dialogue in philosophy, culturology, and theory of musical culture. The special attention focuses on the dialogical features of ensemble culture. As an example, we take an extraordinary genre, which shows the complicated way of its actualization from baroque to modern times – concerto for two pianos and orchestra. Double concerto brings to the genre of concerto the idea of equal importance of soloists from a chamber ensemble. The polyphony of dialogical thinking creates the complicated dialogue, which is organized in the special way. Concerto for two pianos and orchestra transforms the familiar “communicative chain” of instrumental concerto for one soloist and focuses listener’s attention on the “conversation between two”. It contributes to the “modulation of senses” – creates the atmosphere of privacy and sincerity in the heart of the stage event. Additionally, it concentrates on the moment of meeting, the situation when I meet You and a relationship begins. This understanding seems to be rather important in the modern social situation, when people feel the existential loneliness and estrangement. The dialogue in musical culture returns us to the life-important question: how to create the dialogue with Other, understand the specificity of his or her language, accept individuality and uniqueness of every person.
The situation of the modern world can be characterized by intensifying globalization, active migration, increase of the amounts of information that people receive every day. In terms of global informational exchange, people feel the need of the certain way of communication, which will defend the main social values such as humanity, tolerance, personal freedom. Dialogue is based on mutual respect, understanding the equal significance of interlocutors, acceptance of the difference between them. Thus, it becomes the universal and necessary way for interpersonal and intercultural interaction. The modern dialogue theory is developing in the various fields of science. The article analyzes different concepts of dialogue in philosophy, culturology, and theory of musical culture. The special attention focuses on the dialogical features of ensemble culture. As an example, we take an extraordinary genre, which shows the complicated way of its actualization from baroque to modern times – concerto for two pianos and orchestra. Double concerto brings to the genre of concerto the idea of equal importance of soloists from a chamber ensemble. The polyphony of dialogical thinking creates the complicated dialogue, which is organized in the special way. Concerto for two pianos and orchestra transforms the familiar “communicative chain” of instrumental concerto for one soloist and focuses listener’s attention on the “conversation between two”. It contributes to the “modulation of senses” – creates the atmosphere of privacy and sincerity in the heart of the stage event. Additionally, it concentrates on the moment of meeting, the situation when I meet You and a relationship begins. This understanding seems to be rather important in the modern social situation, when people feel the existential loneliness and estrangement. The dialogue in musical culture returns us to the life-important question: how to create the dialogue with Other, understand the specificity of his or her language, accept individuality and uniqueness of every person.
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Keywords
теорія діалогу, концерт для двох фортепіано, ансамбль, діалог, стаття, theory of dialogue, concerto for two pianos, ensemble, dialogue
Citation
Бурган І. О. Теорія діалогу як засіб дослідження концерту для двох фортепіано з оркестром / Бурган І. О. // Магістеріум. Культурологія. - 2018. - Вип. 71. - С. 55-60.