ARTS IN CULTURAL DIALOGUE

16+

Current issue

ACD 2026-1 (1)

View or download the full issue PDF
Start submission
Author Guidelines

The Realization of the Semantic Potential of Music in Human Consciousness

Elena A. Bodina

PDF

4-18

Issues related to the impact of music on humans have been in the research
focus of art historians, psychologists, educators, cultural scholars, neurophysiologists,
and psychiatrists for the recent decades. This interest can be attributed to the modern
trends in the analysis of the music and personality interaction to develop some
conceptual provisions to clarify this process. The article focuses on the hierarchical
structure of music’s impact on human consciousness and activity in the critical
perspective. Four levels of this process are highlighted: emotional synchronization,
meaningful immersion, spiritual objectification, and activity objectification. The
characteristics of each level and their interconnections are outlined as the most
comprehensive structure of music’s impact, ensuring an effective result. This
hierarchical structure is examined in the context of the process of assimilation that
occurs within a person under the influence of music. The multifaceted influence of
musical art on a person’s inner world and activities is highlighted: immersive,
suggestive, spiritual-moral, and other impacts that contribute to the formation and
development of personality. Music develops a person as a biological being by shaping
neural connections, thereby providing new opportunities for the brain, promoting its
plasticity, and endowing a person with the ability to perceive and respond differentially
to various intonations, forms, and styles. Music not only contributes to the evolution of
human personality but also enriches a person’s inner world, expands their horizons,
develops creative potential, and strengthens psychological resilience and health.
However, the positive formative and developmental effect is possible only based on the
full realization of the substantive potential of music; otherwise, it will either remain
misunderstood, as often happens with complex classical and modern academic music,
or evoke only primitive emotions and hypertrophied activity. As a result, the influence
of music on personality will be simplified and substantively inadequate. Relevant
findings conclude the article.

Axiological Priorities of Contemporary University Music Educators

Anna I. Shcherbakova, Irina A. Korsakova, Maria M. Sadritdinova

PDF

19-31

The paper examines the transformation of the fundamental values that serve as a foundation for professional activities of teacher-musicians (i.e. professional performers involved in teaching music) in higher education under the current social and cultural changes in Russia. The paper identifies key axiological shifts: the transition from the canon of normative teaching paradigm to the model based of meaningful values; from frontal monologue of interpersonal interaction to the synthetical dialogue. The paper also specifies the most significant axiological attitudes of contemporary teacher musicians that define their professional identity and professional effectiveness. This approach fosters the development of not only professional competencies but also developed axiological thinking in students, enabling them to analyse musical phenomena within a broad cultural and historical context. The article logically describes the structure of the contemporary pedagogical worldview that integrates universal humanistic principles, a competency-based approach, facilitation strategies in education, and student-centred learning technologies. The authors pay special attention to the missionary role of the teacher musician as a mediator of appropriated cultural values and a mentor to students who acquire a unique/subjective/authorial position and develop professional self-awareness. The paper emphasizes that the success of a contemporary teacher is inextricably linked to developed psychological and pedagogical competence, the ability to provide facilitation support, and constant reflection on one’s own professional «self-concept». The study substantiates the importance of purposeful modelling of the pedagogical process, oriented toward students’ holistic comprehension of the musical space as a continuous, evolutionary, synergistic flow that constitutes the very essence of the existential axiosphere

Perforemer as a Thinker: on the Problem of Interpretation and Reinterpretation

Polina S. Volkova

PDF

32-45

The paper examines the transformation of the fundamental values that serve as a foundation for professional activities of teacher-musicians (i.e. professional performers involved in teaching music) in higher education under the current social and cultural changes in Russia. The paper identifies key axiological shifts: the transition from the canon of normative teaching paradigm to the model based of meaningful values; from frontal monologue of interpersonal interaction to the synthetical dialogue. The paper also specifies the most significant axiological attitudes of contemporary teacher musicians that define their professional identity and professional effectiveness. This approach fosters the development of not only professional competencies but also developed axiological thinking in students, enabling them to analyse musical phenomena within a broad cultural and historical context. The article logically describes the structure of the contemporary pedagogical worldview that integrates universal humanistic principles, a competency-based approach, facilitation strategies in education, and student-centred learning technologies. The authors pay special attention to the missionary role of the teacher musician as a mediator of appropriated cultural values and a mentor to students who acquire a unique/subjective/authorial position and develop professional self-awareness. The paper emphasizes that the success of a contemporary teacher is inextricably linked to developed psychological and pedagogical competence, the ability to provide facilitation support, and constant reflection on one’s own professional «self-concept». The study substantiates the importance of purposeful modelling of the pedagogical process, oriented toward students’ holistic comprehension of the musical space as a continuous, evolutionary, synergistic flow that constitutes the very essence of the existential axiosphere

An Interpretive Approach in the Multicultural Space of Music Education Pedagogy

Mikhail D. Kornoukhov

PDF

46-69

The article analyzes some scientific positions related to the definition of the interpretation phenomenon and its essential anthropological characteristics. The individual’s ability to take a personal view and interpret the accumulated wealth of world culture addressing private goals and values, acquires key significance in the modern multi-space of musical art and education. This involves the «acceptance» of a foreign culture and other artistic meanings, as well as the need and ability to transform them, creating new ones. Furthermore, the actualization of the creative interpretive-personal qualities of future musicians-educators, and the necessity of forming these qualities in the educational process of the higher education system, are increasing. Interpretation brings music pedagogy closer to philosophy and art history, serving as a universal method of human cognition, comprehension of socio-historical phenomena and works of art–a vast area of human spiritual and artistic activity. The subject of music education is likely to appear as a person who invariably interprets, deciphering the deep artistic meanings of art–not only of an individual author but also of national and historical segments of culture. There is a broad agreement among researchers that human communication with musical works can be attributed to as a «system of interacting, expanding semantic circles», therefore the interpretive approach acts as an important institutional mechanism in the intentness «from hypertextuality to intertextuality» as an attribute of the multicultural world and the educational principle of the «polyphony of cultures.»

The Art of Piano Performance and Distance Technologies in the Training of Students of the People’s Republic of China as a Problem of Contemporary Art Studies

Irina B. Gorbunova, Liu Ganfeng

PDF

70-90

Distance learning technologies that enable the management of music university students’ learning processes by using the internet, videoconferencing, and LMS platforms are being actively introduced worldwide. This issue is particularly significant in the context of teaching students in the People’s Republic of China, who have unique culturally conditioned ways of perceiving and mastering musical material. The authors present the results of a study on the methodology to embed distance learning technologies into training piano students in China, based on the active use of contemporary music and computer technologies in teaching stage piano performance. The authors examine specialized software introduced and used in Chinese piano classrooms. The paper discusses methodological approaches to organizing musical and creative events by using mobile applications, video conferencing systems, instant messengers, etc. The authors describe in detail their own methodology including: 1) synchronous lessons via video conferencing platforms using multichannel sound and a viewing angle of the keyboard and the performer’s hands; 2) asynchronous work with recorded video fragments for a detailed analysis of the performance; 3) the use of specialized software (e.g., PiaScore, Simply Piano) to develop sight-reading skills; 4) elements of music information systems that ensure an effective educational process in a distance learning format; 5) the description of contemporary music and computer technologies that ensure a high-quality and effective professionally oriented educational process. The authors analyse problems that teachers may encounter when introducing innovative technologies and give recommendations for solving them. The authors conclude that it is vital to develop a reliable IT support system for music universities to overcome the significant digital divide between students and teachers. The paper may be useful to musicologists and art historians working on the development of a transdisciplinary approach to the study of musical phenomena, as well as to educators working in distance and blended learning contexts

Portraits of Circassians in 19th-Century Russian Graphic Art: On the Issue of Representing the Ethnomentality of the Circassian People in Art

Adilya A. Kiasova, Ekaterina A. Skorobogacheva
Ilya Glazunov

PDF

91-104

Portraits of Circassians in Russian graphic art remain insufficiently studied, with only a few authors addressing them in their articles and no fundamental monographs on the subject currently available. Until the early 19th century, visual representations of Circassians could be found in engravings by European artists. It was only after the first Russian ‘academic expeditions‘ and ’military-strategic surveys’ during the Russo-Caucasian War that graphic images of the inhabitants of Circassia by Russian artists began to appear. The article examines images of Circassians in portrait graphics by Russian artists of the 19th century. It raises issues of authenticity based on ethnographic, historical and cultural materials by European and Russian authors. The attitude of the Circassian people towards sitting for foreign and Russian artists is found in a variety of memoirs. Possible reasons for this behaviour include pagan superstitions, the absence of a ‘guest-host’ relationship, and the increasing Islamisation of the region. The work applies a comprehensive method based on formal-stylistic and cultural-historical analysis. The authors have established that both well-known artists and those who remain in the background turn to depicting the Circassians; the works under study play an important role, but at the same time, they are insufficiently accentuated in art history. For the first time, a historical interpretation of Circassian images in the portraits ‘Fatma, a Kabardian woman from Babukovsky Aul’ by A.V. and A.S. Vysheslavtsev and ‘Prince Nauruzov Tyu-Sultan’ by I.E. Repin is presented. The researchers prove that Russian artists have been interested not only in the general appearance of the Circassian people, but also in individual representatives of this ethnic group since the 1840s; it requires more detailed and lengthy research.
Продолжая использовать наш сайт, Вы соглашаетесь на обработку файлов cookie. Данные обрабатываются для предоставления наших услуг и улучшения качества работы нашего веб-сайта и сервисов.
Принять
Отказаться