Sound image as a cultural phenomenon: experience of interdisciplinary synthesis Cover Image

Звуковой образ как феномен культуры: опыт междисциплинарного синтеза
Sound image as a cultural phenomenon: experience of interdisciplinary synthesis

Author(s): Natalia Ryabukha
Subject(s): Education, Music, Sociology of Culture
Published by: Національна академія керівних кадрів культури і мистецтв
Keywords: sound image; sound; sound reproduction; sound-thinking music; the sound image of the world;

Summary/Abstract: This article analyzes the concept of "sound image" as cultural concept in the context of a multidisciplinary approach. The evolution of ideas about it is viewed as a cognitive category, revealing patterns of exposure mindset, sound perception and attitudes towards nature sound music in the context of contemporary attitudes. We revealed the cognitive essence of the category "sound image of the world" as a historical and cultural image of the era, which reflects sound musical consciousness of society. The analysis of sound images in different discourses concludes the universality of this category as a semantic model of the world. In the information society the researchers meet the problem of understanding the integrity of musical sound perception which reflect features modern human relationships with the environment and its sound environment. Each piece of music as a "document of era" is produced by the sound image of the world, reflecting the concept intoned attitude of the author, and the spirit of the time and type of artistic consciousness culture. Multidimensionality and complexity analysis of the concept of "sound image" caused by chosen methodological research perspective. Interdisciplinary synthesis as a methodological tool for studying not only expands the "area studies", but also promotes the integration trends cognitive musicology. The aim of the article is to reveal the specifics of the sound image in the context of interdisciplinary synthesis as cultural concept, reflecting sound era musical consciousness. Despite the extensive using of the notion of the sound image in art, cognitive rationale for its essence, the structure and content are still underrepresented. Specificity of sound images as cultural urological categories related to the analysis of concepts such as "sound environment", "sound space", "sound image of the world". This inevitably involves in the research field well-known scientific philosophical and cultural concepts and categories such as "phonosphere", "picture of the world", "image of the world", which output on a completely different level of understanding of the quality of sound images as a cultural phenomenon. Speaking about the sound space of the world, we have to mention that in the twentieth century the changes took place in the consciousness of man, associated with the development of the concept of the noosphere in the context of general scientific discoveries about the zonal structure of the planet. Similar concepts, such as the technosphere, anthroposphere, sociosphere, gomosfery, fonosfera from different sides characterize modern scientific picture of the world. According to this concept, which was proposed in 1927 by E. Lerua, P. Teilhard de Chardin and V. Vernadsky the noosphere (from the Greek. "Noos" is a mind, a spirit) is the highest stage of development of the Earth's biosphere, reasonably controlled humanity. Consequently, the noosphere is a unique and unified humanity "thinking" environment of the Earth (P. Teyyar de Chardin), "thinking layer" of the planet (V. Vernadsky), energy space, in which the nature of the interaction between society and nature is influenced by human activity and intelligence. Understanding the world of the sound space as a scientific problem is connected with the name of the outstanding musicologist M. E. Tarakanov who creates the concept of "global phonosphere of Earth" which is the sound of the human environment and society and was extended in the 1980s. The phonosphere theory came from the theory of the noosphere and united musicology at different aspects such as theoretical, historical, philosophical, cultural and social. At the end of the twentieth century in the humanities intellectual and spiritual significance "sound world" increased and reflected the characteristics of the cultural environment. Such approach is justified the relation to any audio events (natural and artificial) as part of the "soundscape" (the term N. Wallin, formulated in 1986) in the national and world heritage of culture. The sound is a marker of cultural and natural space because its perception and reproduction is one of the essential components of the cultural landscape of the earth. In this regard, contemporary cultural studies, the term "sound space" found several meanings as an audio space ethnic culture and artistic works. Sound image through an adequate form of expression represents a sound socio-and ethno-cultural heritage, it provides a mechanism for relaying and interpretation. Therefore, sound images have always two sides: internal (substantive) and external (representational). The external side demonstrates sound shape works through the subject's opinion to sound and sounding objects of the world. The internal one of the sound lets you immerse yourself in the atmosphere, creating a complete image of the audible world. Studying music soundscape particular ethnic group we learn not only spiritual, cultural and national values of the people, but also reveal a way of thinking, worldview or personality of the people, form a sound image of musical existence. Unprecedented surge of creative ideas, innovative solutions and a variety of experiments, reflecting hyperindividualism thinking of contemporary composers and performers, suggest creating a new musical world. With the emergence of the avant-garde in art vector expanded opportunities sound reproduction, "hearing world" and its sound production that caused updating of expressive techniques of writing and performing interpretation principles. Many composers have found it possible to use a variety of sounds (music, noise, speech) in any combination and sequence. These arguments about changing artistic consciousness of contemporary culture indicate the formation of a new concept of the sound image of the world as a differentiated unity of diverse sound images transmitted via individual stylistic means sound sensation of modern era. Thus, the sound image as an established (but poorly understood) the category of musical creativity and thinking – this is artistically and information "code" works, which minimized contains the image of man and his historical time and space sounding existence. Each socio-cultural environment formed his sound image as conceptual model of the world, which has historically been a model of artistic representation sound picture of the world (semantic holistic culture), formed under the influence of socio-cultural environment and ways of musical thinking individuals.

  • Issue Year: 2014
  • Issue No: 2
  • Page Range: 112-119
  • Page Count: 8
  • Language: Russian