Временные и пространственные, аудиальные и визуальные искусства в культуре и науке Европы и Азии: тезисы и рефераты докладов Международной научно-практической конференции «Временные и пространственные, аудиальные и визуальные искусства в культуре и науке Европы и Азии» (цикл «Сравнительное искусс..., 2024
The article is devoted to the Experimental Color Music Hall of the Moscow Studio of Electronic Mu... more The article is devoted to the Experimental Color Music Hall of the Moscow Studio of Electronic Music (Spherical Scriabin Hall), designed by E. А. Murzin in the A. N. Scriabin Museum in the mid-1960s. The spherical hall is included in the context of similar architectural projects developed by Russian composers, artists and inventors in 1910–1960. In the year of the 150th anniversary of A. Scriabin, on the initiative of the author of the report, a 3D model, 3D visualization and layout of the Spherical Hall of E. Murzin were performed. The objects were developed on the basis of the author's project, as well as the memories of S. Zorin (1944–2023), who in the 1970s performed his compositions of musical light painting in the hall. Along with other models (the Temple of the Mystery by A. Scriabin, the Temple of the great Utopia by V. Kandinsky, the Light Theater by G. Gidoni, the Light Theater by F. Yuriev, The Hall of Color Music for the Tatar Philharmonic by M. Agishev and B. Galeev, the Temple of the Sun by S. Zorin) Murzin's spherical Hall was presented at the exhibition "From Music to Light (dedication to Alexander Scriabin)" (Moscow, ROSIZO Gallery, December 2022 — March 2023; curator — Elena Semenova). The creative group for the production of the layout included M. Korsi, A. Stupin (architects); S. Zorin, O. Kolganova (scientific consultants).
Электрификация. Свет и ток в искусстве и культуре 1920–1930-х / авт.-сост. К. Л. Гусева, А. Н. Селиванова. М.: Музей Москвы, 2022. С. 230–239., 2022
The article about the artist-inventor G. I. Gidoni was written for the catalog of the exhibition ... more The article about the artist-inventor G. I. Gidoni was written for the catalog of the exhibition "Electrification. 100 years of the GOELRO Plan" (Moscow Museum, August 10, 2021 — October 24, 2021, curators A. Selivanova, K. Telegina). The artist's experiments in the field of Light and color Art are considered in the context of the electrification of the USSR in the 1920s and 1930s.
М. П. Мусоргский: Истоки. Истина. Искусство: коллективное исследование / Российский институт истории искусств; ред.-сост. О. В. Колганова; отв. ред. И. В. Мациевский. — Санкт-Петербург; Великие Луки: РИИИ, 2024. — Вып. 2. Ч. 2. — 382 с. С. 5–8., 2024
From the editor-compiler
The text briefly describes the general concept of the third edition of t... more From the editor-compiler The text briefly describes the general concept of the third edition of the series "M. P. Mussorgsky: Origins. Truth. Art." The basis of the issue was articles written following the results of the International Scientific and Practical Conference dedicated to the 180th anniversary of the birth of M. P. Mussorgsky (Velikiye Luki — D. Naumovo, March 15-17, 2019).
М. П. Мусоргский: Истоки. Истина. Искусство: тезисы и рефераты докладов Международной научно-практической конференции, посвященной 185-летию со дня рождения М. П. Мусоргского (г. Великие Луки — д. Наумово, 12–14 апреля 2024 г.) / Рос. ин-т истории искусств; отв. ред. и сост. О. В. Колганова; ред...., 2024
The material for this publication is the programs and collections of abstracts and articles of co... more The material for this publication is the programs and collections of abstracts and articles of conferences in honor of M. P. Mussorgsky, held in the composer's homeland over the past 35 years. The first of them was called "Modest Mussorgsky. Personality. Creation. Fate" (1989), three subsequent ones: "M. P. Mussorgsky: Origins, Truth, Art" (2014, 2019, 2024). In the issues of the conference dedicated to the 150th anniversary of the composer, seven main directions are identified related to: 1) the epoch and worldview, 2) the origins of creativity; 3) handwritten heritage, 4) historical and theoretical aspects of the study of the composer's work, 5) aesthetic and stylistic parallels and intersections, 6) the implementation of traditions laid down by Mussorgsky in the works of other composers, 7) Christian aspects of the composer's work. In the following years, these scientific directions were continued. New research perspectives have also appeared, including: Mussorgsky and cinematography; problems of performance; pedagogical practice; local history, including works related to the history of the Mussorgsky Estate Museum; There are also topics that could be conditionally combined under the title "In honor of M. P. Mussorgsky".
Искусство звука и света: Галеевские чтения: материалы Международной научно-практической конференции («Прометей-2023»), 30 июня — 4 июля 2023 г. — Казань: Изд-во Академии наук РТ. С. 30–35., 2023
The project of the Temple of Super-Art by I. Wyschnegradsky was intended by the composer for the ... more The project of the Temple of Super-Art by I. Wyschnegradsky was intended by the composer for the performance of his main work — "The Day of Being" (La Journee de l’Existence) (1916–1939). In the article it is considered in the context of similar projects of Temples of synthesis of arts created by composers, artists and inventors in the 1910s — 1960s. Among them: the Temple of the Mystery by A. Scriabin, the Building of the Great Utopia by W. Kandinsky, the Goetheanum by R. Steiner, the Light Theater by G. Gidoni, the Light Theater by F. Yuriev, etc.
Искусство звука и света: Галеевские чтения: материалы Международной научно-практической конференции («Прометей-2023»), 30 июня — 4 июля 2023 г. — Казань: Изд-во Академии наук РТ. С. 35–41., 2023
The article was written in memory of the recently deceased light artist Sergei Zorin. Currently, ... more The article was written in memory of the recently deceased light artist Sergei Zorin. Currently, the Optical Theater, created by him in 1969, continues its work in the village of Vladimirskoye, Nizhny Novgorod region, near Lake Svetloyar. Followers of S. Zorin are also preparing for the opening of the Museum of the History of the Synthesis of Light and Sound, containing unique materials from the archive of the Master.
Учёные записки. Составление и общая редакция доктора искусствоведения, заслуженного деятеля искусств РФ В. В. Рубцовой. Редактор В. В. Листочкина. — М. : Мемориальный музей А. Н. Скрябина , 2022
Conductor and composer Igor Sergeyevich Miklashevsky (1894–1942) was once considered one of the b... more Conductor and composer Igor Sergeyevich Miklashevsky (1894–1942) was once considered one of the best performers of A. Scriabin's orchestral compositions. In the 1920s–1940s, with Scriabin and other programs, he performed with the orchestras of the Experimental Theater, the Leningrad State Philharmonic, the State Symphony Orchestra of the USSR, the choir of the Leningrad State Academic Chapel. Miklashevsky repeatedly wrote that he was a student of Scriabin and, as part of his conducting activities, constantly sought to include his teacher's works in the programs of symphonic concerts. As a conductor, he was appreciated by N. A. Malko, A.V. Ossovsky, D. D. Shostakovich, E. A. Mravinsky, etc.
The article is based on the materials of the composer's personal archive contained in the Cabinet of Manuscripts of the Russian Institute of Art History. Among them: posters, draft programs, letters to various organizations about the inclusion of Scriabin's compositions in concert programs, reviews of concerts, etc. materials.
В статье рассматривается экслибрис ленинградского композитора и дирижера Игоря Миклашевского, вып... more В статье рассматривается экслибрис ленинградского композитора и дирижера Игоря Миклашевского, выполненный художником и изобретателем Григорием Гидони в 1926 году. На основе анализа экслибриса, содержащего фрагменты светоцветовых аранжировок, автор представляет возможные пересечения творческих судеб дирижера и художника. Значительную роль в этом пересечении играет личность Александра Скрябина. Статья основана на архивных документах из Кабинета рукописей Российского института истории искусств, рукописного отдела Библиотеки Академии наук, рукописного отдела библиотеки Вильнюсского университета. The paper deals with the exlibris of Leningradian composer and conductor Igor Miklashevsky, which had been done in 1926 by the artist and inventor Grigory Gidoni. Upon the basis of the analysis of the exlibris, which contains fragments of light and color arrangements, the author shows a possibility of artistic intersections of the conductor and the artist. A significant role in these intersectio...
Галеевские чтения: материалы Международной научно-практической конференции («Прометей-2020»), 2 – 4 октября 2020 г. Казань: Изд-во Академии наук РТ, 2020. С. 34–38.
The report is dedicated to the postcard created by the artist and inventor of the light orchestra... more The report is dedicated to the postcard created by the artist and inventor of the light orchestra G. Gidoni for the 100th anniversary of the death of L. van Beethoven (1927). It focuses on a fragment of the light-color arrangement of the Finale of the Ninth Symphony. Gidoni’s postcard is compared with the card «A colour-light concert by Alexander Lászó» issued in 1925, as well as with graphic works by G. Gidoni himself.
Сравнительное искусствознание — XXI век. Вып. 3: Статьи и материалы III Международной конференции «Орловские чтения», 15–16 октября 2018 г. / Российский институт истории искусств [ред.-сост. О. В. Колганова; отв. ред. И. В. Мациевский]. СПб., 2021. С. 257–273.
The article is devoted to an attempt to create an Institute for the Study of Light and Paint (col... more The article is devoted to an attempt to create an Institute for the Study of Light and Paint (color) at the USSR Academy of Sciences in 1926. The initiators of the project were the artist, inventor G. I. Gidoni (1895–1937) and the physicist, head of the photometric laboratory of the State Optical Institute, Professor S. O. Mayzel (1882–1955). The authors proposed to include two departments in the structure of the institute — artistic and technical. The tasks of the art department included, on the one hand, the study of issues of light and paint (color), on the other — the implementation of light-color, light-music, light-architectural, etc. projects. It was proposed to include several laboratories in the technical department (optical, electrical and laboratory for the study of coloring substances). The auxiliary departments were to be a drawing and design bureau and a mechanical workshop. In addition to S. O. Mayzel, G. Gidoni planned to involve B. V. Asafyev, B. V. Farmakovsky, O. F. Waldhauer, A. A. Sidorov, E. M. Braudo and M. V. Matyushin to work at the Institute. The project of creating the Institute was rejected, but later Gidoni (partly with the participation of S. O. Mayzel) managed to implement a number of light-architectural, light-musical, light-advertising projects, as well as publish a number of books and scores related to the Art of light and color. The article is based on materials from the St. Petersburg branch of the Archive of the Russian Academy of Sciences, as well as the archive of the Russian Institute for the History of Arts.
The article is devoted to W. Baranoff-Rossine’s (1888–1944) optophonic art and the art of light a... more The article is devoted to W. Baranoff-Rossine’s (1888–1944) optophonic art and the art of light and color invented by G. Gidoni (1895–1937). The achievements of the artists in the field of art synthesis are compared on several overlapping levels: concepts of new art forms they created; institutions they managed to partially implement, and projects of institutes they planned to realize; theoretical insights; light and color apparatus (optophone; light orchestra) and patents for the inventions. In her comparative analysis of the artists’ concepts, the author concludes that in their reference points, the ideas of Baranoff-Rossine and Gidoni were very close. The following provisions are common for the artists: contributing rhythm and dynamics to painting; bringing pictural art out of the plane onto a screen/transparent screen or into space; combining light and color with sound; bringing fine art closer to music. However, in their aspiration to bring light and color beyond the limits of ...
The Art and Science of Television / Наука телевидения, 2021
The article is devoted to W. Baranoff-Rossine’s (1888–1944) optophonic art and the art of light a... more The article is devoted to W. Baranoff-Rossine’s (1888–1944) optophonic art and the art of light and color invented by G. Gidoni (1895–1937). The achievements of the artists in the field of art synthesis are compared on several overlapping levels: concepts of new art forms they created; institutions they managed to partially implement, and projects of institutes they planned to realize; theoretical insights; light and color apparatus (optophone; light orchestra) and patents for the inventions. In her comparative analysis of the artists’ concepts, the author concludes that in their reference points, the ideas of Baranoff-Rossine and Gidoni were very close. The following provisions are common for the artists: contributing rhythm and dynamics to painting; bringing pictural art out of the plane onto a screen/transparent screen or into space; combining light and color with sound; bringing fine art closer to music. However, in their aspiration to bring light and color beyond the limits of pictural art (into time and space), they acted in different directions. In its operation principle, Baranoff-Rossine’s instrument was closer to cinematography (all colors and drawings were projected on the screen). Gidoni’s light and color device, which assumed no screen at all (the screen was implied to be transparent), was more of a theatrical thing. The artist dreamed of creating a light theater which would incorporate light music, light architecture, light declamation, and light choreography. Статья посвящена оптофоническому искусству В. Д. Баранова-Россине (1888–1944) и искусству света и цвета Г. И. Гидони (1895–1937). Достижения художников в сфере синтеза искусств сопоставлены на нескольких, пересекающихся между собой, уровнях: концепции создаваемых ими новых видов искусства; институции, которые им удалось частично реализовать, и проекты институтов; теоретические разработки; светоцветовой инструментарий (оптофон; световые декорации / светооркестр / Ph. C. P. P.) и патенты на изобретения. В процессе сравнительного анализа концепций художников сделан вывод о том, что в опорных пунктах идеи Баранова-Россине и Гидони были весьма близки. К общим для художников положениям можно отнести следующие: придание живописи ритма и динамики; выведение изобразительного искусства из плоскости на экран / прозрачный экран или в пространство; объединение света и цвета со звучанием; приближение живописи к музыке. Однако в своем стремлении вывести свет и цвет за пределы изобразительного искусства (во время и пространство) они действовали в разных направлениях. Инструмент Баранова-Россине по способу функционирования был ближе к кинематографу (все цвета и рисунки проецировались на экран). Способ функционирования светоцветового устройства Гидони, как бы не предполагавшего наличие экрана (экран мыслился прозрачным), был ближе к театру. Художник мечтал о создании светотеатра, включавшего в себя светомузыку, светоархитектуру, светодекламацию, светохореографию.
The article is devoted to W. Baranoff-Rossine’s (1888–1944) optophonic art and the art of light a... more The article is devoted to W. Baranoff-Rossine’s (1888–1944) optophonic art and the art of light and color invented by G. Gidoni (1895–1937). The achievements of the artists in the field of art synthesis are compared on several overlapping levels: concepts of new art forms they created; institutions they managed to partially implement, and projects of institutes they planned to realize; theoretical insights; light and color apparatus (optophone; light orchestra) and patents for the inventions. In her comparative analysis of the artists’ concepts, the author concludes that in their reference points, the ideas of Baranoff-Rossine and Gidoni were very close. The following provisions are common for the artists: contributing rhythm and dynamics to painting; bringing pictural art out of the plane onto a screen/transparent screen or into space; combining light and color with sound; bringing fine art closer to music. However, in their aspiration to bring light and color beyond the limits of pictural art (into time and space), they acted in different directions. In its operation principle, Baranoff-Rossine’s instrument was closer to cinematography (all colors and drawings were projected on the screen). Gidoni’s light and color device, which assumed no screen at all (the screen was implied to be transparent), was more of a theatrical thing. The artist dreamed of creating a light theater which would incorporate light music, light architecture, light declamation, and light choreography.
Искусство звука и света: материалы Второй Международной научно-практической конференции (Санкт-Петербург, 18–20 октября 2021 г.) / Российский институт истории искусств; ред.-сост. О. В. Колганова. СПб. С. 222–226., 2021
On June 22, 2021, M. S. Zalivadny turned 75 years old. To date, Zalivadny is the author of more t... more On June 22, 2021, M. S. Zalivadny turned 75 years old. To date, Zalivadny is the author of more than 80 works on theoretical musicology and related scientific disciplines. A considerable part of his bibliography consists of articles and abstracts of reports published in the materials of 19 Kazan' conferences dating back to 1967. The bibliographic data of the articles of 18 of them (including unpublished ones) are reflected in the German edition published in 2019 [3]. According to the number of articles presented in the bibliography — 20 titles — Zalivadny occupies the fifth position among all the authors of Kazan' collections. The report analyzes the topics of his publications from "visual music" to "a complex model of the semantic space of music". Zalivadny is connected with the Prometheans not only by participation in conferences and authorship, starting with the first collection released by them. From 1995 to 1998 and in 2005, he was a researcher/assistant at the Prometheus Research Institute.
Искусство звука и света: материалы Второй Международной научно-практической конференции (Санкт-Петербург, 18–20 октября 2021 г.) / Российский институт истории искусств; ред.-сост. О. В. Колганова. СПб., 2021
Искусство звука и света: материалы Второй Международной научно-практической конференции (Санкт-Петербург, 18–20 октября 2021 г.) / Российский институт истории искусств; ред.-сост. О. В. Колганова. – СПб., 2021
Музыкальное наследие Петербурга : проекты по сохранению и популяризации : материалы XIV научно-практической конференции по информационным ресурсам петербурговедения, 11–12 марта 2021 г. / Центр. гор. публ. б-ка им. В. В. Маяковского. — Санкт-Петербург., 2021
The article is devoted to the project of publishing selected works by I. S. Miklashevsky. The com... more The article is devoted to the project of publishing selected works by I. S. Miklashevsky. The composer's personal archive is preserved in the Manuscript Room of the Russian Institute of Art History. It contains more than 1000 sheets of musical manuscripts. Among them are about 50 compositions of large and small forms: symphonic poems "Sisyphus" and "Incarnations", piano concerto, french horn concerto, Tatar Symphony, piano compositions, works for jazz orchestra, etc. In his youth, Miklashevsky studied with A. N. Scriabin. In the 1930s and 1940s, as a conductor, he was considered one of the best performers of Scriabin's symphonic compositions.
Игорь Мациевский. Польские тетради: Избранные вокальные, хоровые и инструментальные сочинения с комментариями. СПб., 2001. С. 36–43. Pakhomova O. I. Macijewski. Utwory wokalne. Wstęp, 2001
Искусство звука и света. История, теория, практика. Вып. 1 / Российский институт истории искусств; ред.-сост. О. В. Колганова. СПб.: 2021. Вып. 1. 346 с. , 2021
RESEARCH
Svetlana Konanchuk (Saint Petersburg).
Synesthesia as an Interspecific Artistic Universa... more RESEARCH Svetlana Konanchuk (Saint Petersburg). Synesthesia as an Interspecific Artistic Universal and Aesthetic Category. Keywords: aesthetics, aesthetic consciousness, aesthetic experience, neuroesthetics, musical synesthetics, synesthesia, synthesis of arts.
Anton Sidoroff-Dorso (Moscow). Anthropology of Synaesthesia. A Neurophenomenological Paradigm as a Natural Science Framework for Researching Cross-Modal Cognitive Processes. Keywords: cognitive synaesthesia, cross-modal metaphor, neurophenomenology, neuroanthropology, normative emergence, perceptual symbol system, anthropology of synaesthesia.
Denis Mylnikov (Saint Petersburg). Color as an Expressive Element in S. M. Eisenstein’ Concept of «Synaesthetics» (on the Example of the «Feast in Alexandrovskaya Sloboda» from the Film «Ivan the Terribl»). Keywords: motion picture, conventionality, color, emotions, «Ivan the Terrible», S. M. Eisenstein.
Larisa Berezovchuk (Saint Petersburg). The Functions of a Color and Music in Film Narration: the “Discourse’ Plan” (on an Example on a Krzysztof Kieslowski’ Trilogy “Three Colors”). Keywords: film narration, color, movie image, “the story plan”, “the discourse plan”, Krzysztof Kieslowski’ trilogy “Three Colors”.
Viktoriia Antipova (Saratov). Indonesian Theater of Flat Images: a Symbolic of Shadow and Light. Keywords: Indonesia, wayang kulit, dalang, gamelan.
Mikhail Zalivadny (Saint Petersburg). Musical Sets of Variative Structure: from Louis-Bertrand Castel to Bulat Galeyev. Keywords: general theory of systems, theory of the variable system, music and mathematics, history of music theory, synaesthesia, interrelation of the arts, Louis-Bertrand Castel, Bulat Galeyev.
Irina Viskova (Moscow). The World of Musical Metaphors in the Creations of Polish Painter Jacek Malczewski. Keywords: Jacek Malczewski, metaphor in music, Polish painting at the turn of the XIX–XX centuries, Symbolism, Vielle, Lute, Torban, Hurdy-gurdy.
Elena Shakhmatova (Moscow). M. Matyushin’s Color Philosophy in the Aspect of the Cosmic Worldview. Keywords: “Victory over the sun”, “extended watching”, avant-garde, futurism, color theory.
Kirill Smolkin (Moscow). «Music Follows the Light». To the M. K. Čiurlionis’ Idea on the Opera «Jūratė». Keywords: Mikalojus Čiurlionis, opera «Jūratė», synthesis of arts, music and painting, light-music.
Olga Kolganova (Saint Petersburg). The Model of the Light-Monument for the October Revolution: The History of Creation and Reconstruction (1927 — 1987 — 2017). Keywords: Light Monument of the October Revolution, Grigory Gidoni, Naum Mogilevsky, light-architecture, light-sculpture, light-orchestra, light-theater, Art of Light and Color.
PRACTICE Irina Evteeva (Saint Petersburg). The interaction of light, pictorial art and sound in the imaginative solution of the motion picture (examples from personal practice). Keywords: animation, glass painting, directing, author’s layer, light-pictorial scumbling glaze, plastic dramaturgy, internal conflict, texture of the image, dramaturgy of sound.
Vladimir Persov (Saint Petersburg). Cinematography — the Art for is not a Sound-made, but Sonorical: Specificity for the Sonour Space Formation in I. Evteeva’ Animated-game Motion Pictures. Keywords: sound fabric, intonation, phonogram, visual space, acoustic space, counterpoint, speech, author's music, animation, sound-visual image.
Olesya Rostovskaya (Moscow — Saint Petersburg). The ANS Synthesizer: Potential Uses and Development Illustrated by Various Compositions Between 2009 and 2018. Keywords: ANS synthesizer, electro-acoustic, E. Murzin, new music for ANS, O. Rostovskaya.
Anastasia Maximova (Kazan, Republic of Tatarstan). From the History of Light-Music Performances in Kazan (1962–2019). Keywords: group “Prometheus”, Bulat Galeev, synaesthesia, light-music, light-music devices, light-music performances.
Valeriya Nedlina (Almaty, Kazakhstan), Yekaterina Demiterko (Yekaterinburg, Russia). Sound, Color and Action of a Composition Concept of R. Begenov’s Play “Medea. Material”. Keywords: spectacle “Medea. Material”, pop-mechanical ballet, Rustem Begenov, biculturalism, intertextual analysis.
LABORATORY. Dilyara Galiakberova (Republic of Tatarstan). Infographics as an Object for a Demonstrating Kazan Kremlin Territory Soundscape. Keywords: sound landscape, sound walk, acoustic ecology, synaesthesia, infographics, architectural environment, museum-reserve “Kazan Kremlin”.
Yaroslav Bezokov (Novosibirsk). Synthesizer as Light Controller in Interactive Light-Music. Keywords: interactive light-music, create and programming keyboard light-musical instruments.
Aqnar Sharipbaeva (Atyrau, Republic of Kazakhstan). The Unique Musical Timbre of the Kazakh Kylkobyz and the Association of Light and Color. Keywords: ethnomusicology, Kazakh musical instrument, folk instruments, kobyz, kobyz art.
Sergey Zorin (Moscow). Musical Light Painting and the Optical Theater as an Attempt to Mitigate XXIst Century Audiovisual Pressure. Keywords: Optical theater, musical light painting, S. Zorin.
Alexey Goltykhov (Moscow). Light Music — a New Kind of Art for Collective Perception (on the Example of the Moscow “Theater of Light”). Keywords: Moscow “Theater of Light”, light-music, definition, synthesis of arts, historical phenomenon, technology.
Искусство звука и света. История, теория, практика. Вып. 1 / Российский институт истории искусств; ред.-сост. О. В. Колганова. СПб.: 2021. Вып. 1. , 2021
Introductory article to the collection "The art of sound and light. History, theory, practice. Is... more Introductory article to the collection "The art of sound and light. History, theory, practice. Issue 1"
Временные и пространственные, аудиальные и визуальные искусства в культуре и науке Европы и Азии: тезисы и рефераты докладов Международной научно-практической конференции «Временные и пространственные, аудиальные и визуальные искусства в культуре и науке Европы и Азии» (цикл «Сравнительное искусс..., 2024
The article is devoted to the Experimental Color Music Hall of the Moscow Studio of Electronic Mu... more The article is devoted to the Experimental Color Music Hall of the Moscow Studio of Electronic Music (Spherical Scriabin Hall), designed by E. А. Murzin in the A. N. Scriabin Museum in the mid-1960s. The spherical hall is included in the context of similar architectural projects developed by Russian composers, artists and inventors in 1910–1960. In the year of the 150th anniversary of A. Scriabin, on the initiative of the author of the report, a 3D model, 3D visualization and layout of the Spherical Hall of E. Murzin were performed. The objects were developed on the basis of the author's project, as well as the memories of S. Zorin (1944–2023), who in the 1970s performed his compositions of musical light painting in the hall. Along with other models (the Temple of the Mystery by A. Scriabin, the Temple of the great Utopia by V. Kandinsky, the Light Theater by G. Gidoni, the Light Theater by F. Yuriev, The Hall of Color Music for the Tatar Philharmonic by M. Agishev and B. Galeev, the Temple of the Sun by S. Zorin) Murzin's spherical Hall was presented at the exhibition "From Music to Light (dedication to Alexander Scriabin)" (Moscow, ROSIZO Gallery, December 2022 — March 2023; curator — Elena Semenova). The creative group for the production of the layout included M. Korsi, A. Stupin (architects); S. Zorin, O. Kolganova (scientific consultants).
Электрификация. Свет и ток в искусстве и культуре 1920–1930-х / авт.-сост. К. Л. Гусева, А. Н. Селиванова. М.: Музей Москвы, 2022. С. 230–239., 2022
The article about the artist-inventor G. I. Gidoni was written for the catalog of the exhibition ... more The article about the artist-inventor G. I. Gidoni was written for the catalog of the exhibition "Electrification. 100 years of the GOELRO Plan" (Moscow Museum, August 10, 2021 — October 24, 2021, curators A. Selivanova, K. Telegina). The artist's experiments in the field of Light and color Art are considered in the context of the electrification of the USSR in the 1920s and 1930s.
М. П. Мусоргский: Истоки. Истина. Искусство: коллективное исследование / Российский институт истории искусств; ред.-сост. О. В. Колганова; отв. ред. И. В. Мациевский. — Санкт-Петербург; Великие Луки: РИИИ, 2024. — Вып. 2. Ч. 2. — 382 с. С. 5–8., 2024
From the editor-compiler
The text briefly describes the general concept of the third edition of t... more From the editor-compiler The text briefly describes the general concept of the third edition of the series "M. P. Mussorgsky: Origins. Truth. Art." The basis of the issue was articles written following the results of the International Scientific and Practical Conference dedicated to the 180th anniversary of the birth of M. P. Mussorgsky (Velikiye Luki — D. Naumovo, March 15-17, 2019).
М. П. Мусоргский: Истоки. Истина. Искусство: тезисы и рефераты докладов Международной научно-практической конференции, посвященной 185-летию со дня рождения М. П. Мусоргского (г. Великие Луки — д. Наумово, 12–14 апреля 2024 г.) / Рос. ин-т истории искусств; отв. ред. и сост. О. В. Колганова; ред...., 2024
The material for this publication is the programs and collections of abstracts and articles of co... more The material for this publication is the programs and collections of abstracts and articles of conferences in honor of M. P. Mussorgsky, held in the composer's homeland over the past 35 years. The first of them was called "Modest Mussorgsky. Personality. Creation. Fate" (1989), three subsequent ones: "M. P. Mussorgsky: Origins, Truth, Art" (2014, 2019, 2024). In the issues of the conference dedicated to the 150th anniversary of the composer, seven main directions are identified related to: 1) the epoch and worldview, 2) the origins of creativity; 3) handwritten heritage, 4) historical and theoretical aspects of the study of the composer's work, 5) aesthetic and stylistic parallels and intersections, 6) the implementation of traditions laid down by Mussorgsky in the works of other composers, 7) Christian aspects of the composer's work. In the following years, these scientific directions were continued. New research perspectives have also appeared, including: Mussorgsky and cinematography; problems of performance; pedagogical practice; local history, including works related to the history of the Mussorgsky Estate Museum; There are also topics that could be conditionally combined under the title "In honor of M. P. Mussorgsky".
Искусство звука и света: Галеевские чтения: материалы Международной научно-практической конференции («Прометей-2023»), 30 июня — 4 июля 2023 г. — Казань: Изд-во Академии наук РТ. С. 30–35., 2023
The project of the Temple of Super-Art by I. Wyschnegradsky was intended by the composer for the ... more The project of the Temple of Super-Art by I. Wyschnegradsky was intended by the composer for the performance of his main work — "The Day of Being" (La Journee de l’Existence) (1916–1939). In the article it is considered in the context of similar projects of Temples of synthesis of arts created by composers, artists and inventors in the 1910s — 1960s. Among them: the Temple of the Mystery by A. Scriabin, the Building of the Great Utopia by W. Kandinsky, the Goetheanum by R. Steiner, the Light Theater by G. Gidoni, the Light Theater by F. Yuriev, etc.
Искусство звука и света: Галеевские чтения: материалы Международной научно-практической конференции («Прометей-2023»), 30 июня — 4 июля 2023 г. — Казань: Изд-во Академии наук РТ. С. 35–41., 2023
The article was written in memory of the recently deceased light artist Sergei Zorin. Currently, ... more The article was written in memory of the recently deceased light artist Sergei Zorin. Currently, the Optical Theater, created by him in 1969, continues its work in the village of Vladimirskoye, Nizhny Novgorod region, near Lake Svetloyar. Followers of S. Zorin are also preparing for the opening of the Museum of the History of the Synthesis of Light and Sound, containing unique materials from the archive of the Master.
Учёные записки. Составление и общая редакция доктора искусствоведения, заслуженного деятеля искусств РФ В. В. Рубцовой. Редактор В. В. Листочкина. — М. : Мемориальный музей А. Н. Скрябина , 2022
Conductor and composer Igor Sergeyevich Miklashevsky (1894–1942) was once considered one of the b... more Conductor and composer Igor Sergeyevich Miklashevsky (1894–1942) was once considered one of the best performers of A. Scriabin's orchestral compositions. In the 1920s–1940s, with Scriabin and other programs, he performed with the orchestras of the Experimental Theater, the Leningrad State Philharmonic, the State Symphony Orchestra of the USSR, the choir of the Leningrad State Academic Chapel. Miklashevsky repeatedly wrote that he was a student of Scriabin and, as part of his conducting activities, constantly sought to include his teacher's works in the programs of symphonic concerts. As a conductor, he was appreciated by N. A. Malko, A.V. Ossovsky, D. D. Shostakovich, E. A. Mravinsky, etc.
The article is based on the materials of the composer's personal archive contained in the Cabinet of Manuscripts of the Russian Institute of Art History. Among them: posters, draft programs, letters to various organizations about the inclusion of Scriabin's compositions in concert programs, reviews of concerts, etc. materials.
В статье рассматривается экслибрис ленинградского композитора и дирижера Игоря Миклашевского, вып... more В статье рассматривается экслибрис ленинградского композитора и дирижера Игоря Миклашевского, выполненный художником и изобретателем Григорием Гидони в 1926 году. На основе анализа экслибриса, содержащего фрагменты светоцветовых аранжировок, автор представляет возможные пересечения творческих судеб дирижера и художника. Значительную роль в этом пересечении играет личность Александра Скрябина. Статья основана на архивных документах из Кабинета рукописей Российского института истории искусств, рукописного отдела Библиотеки Академии наук, рукописного отдела библиотеки Вильнюсского университета. The paper deals with the exlibris of Leningradian composer and conductor Igor Miklashevsky, which had been done in 1926 by the artist and inventor Grigory Gidoni. Upon the basis of the analysis of the exlibris, which contains fragments of light and color arrangements, the author shows a possibility of artistic intersections of the conductor and the artist. A significant role in these intersectio...
Галеевские чтения: материалы Международной научно-практической конференции («Прометей-2020»), 2 – 4 октября 2020 г. Казань: Изд-во Академии наук РТ, 2020. С. 34–38.
The report is dedicated to the postcard created by the artist and inventor of the light orchestra... more The report is dedicated to the postcard created by the artist and inventor of the light orchestra G. Gidoni for the 100th anniversary of the death of L. van Beethoven (1927). It focuses on a fragment of the light-color arrangement of the Finale of the Ninth Symphony. Gidoni’s postcard is compared with the card «A colour-light concert by Alexander Lászó» issued in 1925, as well as with graphic works by G. Gidoni himself.
Сравнительное искусствознание — XXI век. Вып. 3: Статьи и материалы III Международной конференции «Орловские чтения», 15–16 октября 2018 г. / Российский институт истории искусств [ред.-сост. О. В. Колганова; отв. ред. И. В. Мациевский]. СПб., 2021. С. 257–273.
The article is devoted to an attempt to create an Institute for the Study of Light and Paint (col... more The article is devoted to an attempt to create an Institute for the Study of Light and Paint (color) at the USSR Academy of Sciences in 1926. The initiators of the project were the artist, inventor G. I. Gidoni (1895–1937) and the physicist, head of the photometric laboratory of the State Optical Institute, Professor S. O. Mayzel (1882–1955). The authors proposed to include two departments in the structure of the institute — artistic and technical. The tasks of the art department included, on the one hand, the study of issues of light and paint (color), on the other — the implementation of light-color, light-music, light-architectural, etc. projects. It was proposed to include several laboratories in the technical department (optical, electrical and laboratory for the study of coloring substances). The auxiliary departments were to be a drawing and design bureau and a mechanical workshop. In addition to S. O. Mayzel, G. Gidoni planned to involve B. V. Asafyev, B. V. Farmakovsky, O. F. Waldhauer, A. A. Sidorov, E. M. Braudo and M. V. Matyushin to work at the Institute. The project of creating the Institute was rejected, but later Gidoni (partly with the participation of S. O. Mayzel) managed to implement a number of light-architectural, light-musical, light-advertising projects, as well as publish a number of books and scores related to the Art of light and color. The article is based on materials from the St. Petersburg branch of the Archive of the Russian Academy of Sciences, as well as the archive of the Russian Institute for the History of Arts.
The article is devoted to W. Baranoff-Rossine’s (1888–1944) optophonic art and the art of light a... more The article is devoted to W. Baranoff-Rossine’s (1888–1944) optophonic art and the art of light and color invented by G. Gidoni (1895–1937). The achievements of the artists in the field of art synthesis are compared on several overlapping levels: concepts of new art forms they created; institutions they managed to partially implement, and projects of institutes they planned to realize; theoretical insights; light and color apparatus (optophone; light orchestra) and patents for the inventions. In her comparative analysis of the artists’ concepts, the author concludes that in their reference points, the ideas of Baranoff-Rossine and Gidoni were very close. The following provisions are common for the artists: contributing rhythm and dynamics to painting; bringing pictural art out of the plane onto a screen/transparent screen or into space; combining light and color with sound; bringing fine art closer to music. However, in their aspiration to bring light and color beyond the limits of ...
The Art and Science of Television / Наука телевидения, 2021
The article is devoted to W. Baranoff-Rossine’s (1888–1944) optophonic art and the art of light a... more The article is devoted to W. Baranoff-Rossine’s (1888–1944) optophonic art and the art of light and color invented by G. Gidoni (1895–1937). The achievements of the artists in the field of art synthesis are compared on several overlapping levels: concepts of new art forms they created; institutions they managed to partially implement, and projects of institutes they planned to realize; theoretical insights; light and color apparatus (optophone; light orchestra) and patents for the inventions. In her comparative analysis of the artists’ concepts, the author concludes that in their reference points, the ideas of Baranoff-Rossine and Gidoni were very close. The following provisions are common for the artists: contributing rhythm and dynamics to painting; bringing pictural art out of the plane onto a screen/transparent screen or into space; combining light and color with sound; bringing fine art closer to music. However, in their aspiration to bring light and color beyond the limits of pictural art (into time and space), they acted in different directions. In its operation principle, Baranoff-Rossine’s instrument was closer to cinematography (all colors and drawings were projected on the screen). Gidoni’s light and color device, which assumed no screen at all (the screen was implied to be transparent), was more of a theatrical thing. The artist dreamed of creating a light theater which would incorporate light music, light architecture, light declamation, and light choreography. Статья посвящена оптофоническому искусству В. Д. Баранова-Россине (1888–1944) и искусству света и цвета Г. И. Гидони (1895–1937). Достижения художников в сфере синтеза искусств сопоставлены на нескольких, пересекающихся между собой, уровнях: концепции создаваемых ими новых видов искусства; институции, которые им удалось частично реализовать, и проекты институтов; теоретические разработки; светоцветовой инструментарий (оптофон; световые декорации / светооркестр / Ph. C. P. P.) и патенты на изобретения. В процессе сравнительного анализа концепций художников сделан вывод о том, что в опорных пунктах идеи Баранова-Россине и Гидони были весьма близки. К общим для художников положениям можно отнести следующие: придание живописи ритма и динамики; выведение изобразительного искусства из плоскости на экран / прозрачный экран или в пространство; объединение света и цвета со звучанием; приближение живописи к музыке. Однако в своем стремлении вывести свет и цвет за пределы изобразительного искусства (во время и пространство) они действовали в разных направлениях. Инструмент Баранова-Россине по способу функционирования был ближе к кинематографу (все цвета и рисунки проецировались на экран). Способ функционирования светоцветового устройства Гидони, как бы не предполагавшего наличие экрана (экран мыслился прозрачным), был ближе к театру. Художник мечтал о создании светотеатра, включавшего в себя светомузыку, светоархитектуру, светодекламацию, светохореографию.
The article is devoted to W. Baranoff-Rossine’s (1888–1944) optophonic art and the art of light a... more The article is devoted to W. Baranoff-Rossine’s (1888–1944) optophonic art and the art of light and color invented by G. Gidoni (1895–1937). The achievements of the artists in the field of art synthesis are compared on several overlapping levels: concepts of new art forms they created; institutions they managed to partially implement, and projects of institutes they planned to realize; theoretical insights; light and color apparatus (optophone; light orchestra) and patents for the inventions. In her comparative analysis of the artists’ concepts, the author concludes that in their reference points, the ideas of Baranoff-Rossine and Gidoni were very close. The following provisions are common for the artists: contributing rhythm and dynamics to painting; bringing pictural art out of the plane onto a screen/transparent screen or into space; combining light and color with sound; bringing fine art closer to music. However, in their aspiration to bring light and color beyond the limits of pictural art (into time and space), they acted in different directions. In its operation principle, Baranoff-Rossine’s instrument was closer to cinematography (all colors and drawings were projected on the screen). Gidoni’s light and color device, which assumed no screen at all (the screen was implied to be transparent), was more of a theatrical thing. The artist dreamed of creating a light theater which would incorporate light music, light architecture, light declamation, and light choreography.
Искусство звука и света: материалы Второй Международной научно-практической конференции (Санкт-Петербург, 18–20 октября 2021 г.) / Российский институт истории искусств; ред.-сост. О. В. Колганова. СПб. С. 222–226., 2021
On June 22, 2021, M. S. Zalivadny turned 75 years old. To date, Zalivadny is the author of more t... more On June 22, 2021, M. S. Zalivadny turned 75 years old. To date, Zalivadny is the author of more than 80 works on theoretical musicology and related scientific disciplines. A considerable part of his bibliography consists of articles and abstracts of reports published in the materials of 19 Kazan' conferences dating back to 1967. The bibliographic data of the articles of 18 of them (including unpublished ones) are reflected in the German edition published in 2019 [3]. According to the number of articles presented in the bibliography — 20 titles — Zalivadny occupies the fifth position among all the authors of Kazan' collections. The report analyzes the topics of his publications from "visual music" to "a complex model of the semantic space of music". Zalivadny is connected with the Prometheans not only by participation in conferences and authorship, starting with the first collection released by them. From 1995 to 1998 and in 2005, he was a researcher/assistant at the Prometheus Research Institute.
Искусство звука и света: материалы Второй Международной научно-практической конференции (Санкт-Петербург, 18–20 октября 2021 г.) / Российский институт истории искусств; ред.-сост. О. В. Колганова. СПб., 2021
Искусство звука и света: материалы Второй Международной научно-практической конференции (Санкт-Петербург, 18–20 октября 2021 г.) / Российский институт истории искусств; ред.-сост. О. В. Колганова. – СПб., 2021
Музыкальное наследие Петербурга : проекты по сохранению и популяризации : материалы XIV научно-практической конференции по информационным ресурсам петербурговедения, 11–12 марта 2021 г. / Центр. гор. публ. б-ка им. В. В. Маяковского. — Санкт-Петербург., 2021
The article is devoted to the project of publishing selected works by I. S. Miklashevsky. The com... more The article is devoted to the project of publishing selected works by I. S. Miklashevsky. The composer's personal archive is preserved in the Manuscript Room of the Russian Institute of Art History. It contains more than 1000 sheets of musical manuscripts. Among them are about 50 compositions of large and small forms: symphonic poems "Sisyphus" and "Incarnations", piano concerto, french horn concerto, Tatar Symphony, piano compositions, works for jazz orchestra, etc. In his youth, Miklashevsky studied with A. N. Scriabin. In the 1930s and 1940s, as a conductor, he was considered one of the best performers of Scriabin's symphonic compositions.
Игорь Мациевский. Польские тетради: Избранные вокальные, хоровые и инструментальные сочинения с комментариями. СПб., 2001. С. 36–43. Pakhomova O. I. Macijewski. Utwory wokalne. Wstęp, 2001
Искусство звука и света. История, теория, практика. Вып. 1 / Российский институт истории искусств; ред.-сост. О. В. Колганова. СПб.: 2021. Вып. 1. 346 с. , 2021
RESEARCH
Svetlana Konanchuk (Saint Petersburg).
Synesthesia as an Interspecific Artistic Universa... more RESEARCH Svetlana Konanchuk (Saint Petersburg). Synesthesia as an Interspecific Artistic Universal and Aesthetic Category. Keywords: aesthetics, aesthetic consciousness, aesthetic experience, neuroesthetics, musical synesthetics, synesthesia, synthesis of arts.
Anton Sidoroff-Dorso (Moscow). Anthropology of Synaesthesia. A Neurophenomenological Paradigm as a Natural Science Framework for Researching Cross-Modal Cognitive Processes. Keywords: cognitive synaesthesia, cross-modal metaphor, neurophenomenology, neuroanthropology, normative emergence, perceptual symbol system, anthropology of synaesthesia.
Denis Mylnikov (Saint Petersburg). Color as an Expressive Element in S. M. Eisenstein’ Concept of «Synaesthetics» (on the Example of the «Feast in Alexandrovskaya Sloboda» from the Film «Ivan the Terribl»). Keywords: motion picture, conventionality, color, emotions, «Ivan the Terrible», S. M. Eisenstein.
Larisa Berezovchuk (Saint Petersburg). The Functions of a Color and Music in Film Narration: the “Discourse’ Plan” (on an Example on a Krzysztof Kieslowski’ Trilogy “Three Colors”). Keywords: film narration, color, movie image, “the story plan”, “the discourse plan”, Krzysztof Kieslowski’ trilogy “Three Colors”.
Viktoriia Antipova (Saratov). Indonesian Theater of Flat Images: a Symbolic of Shadow and Light. Keywords: Indonesia, wayang kulit, dalang, gamelan.
Mikhail Zalivadny (Saint Petersburg). Musical Sets of Variative Structure: from Louis-Bertrand Castel to Bulat Galeyev. Keywords: general theory of systems, theory of the variable system, music and mathematics, history of music theory, synaesthesia, interrelation of the arts, Louis-Bertrand Castel, Bulat Galeyev.
Irina Viskova (Moscow). The World of Musical Metaphors in the Creations of Polish Painter Jacek Malczewski. Keywords: Jacek Malczewski, metaphor in music, Polish painting at the turn of the XIX–XX centuries, Symbolism, Vielle, Lute, Torban, Hurdy-gurdy.
Elena Shakhmatova (Moscow). M. Matyushin’s Color Philosophy in the Aspect of the Cosmic Worldview. Keywords: “Victory over the sun”, “extended watching”, avant-garde, futurism, color theory.
Kirill Smolkin (Moscow). «Music Follows the Light». To the M. K. Čiurlionis’ Idea on the Opera «Jūratė». Keywords: Mikalojus Čiurlionis, opera «Jūratė», synthesis of arts, music and painting, light-music.
Olga Kolganova (Saint Petersburg). The Model of the Light-Monument for the October Revolution: The History of Creation and Reconstruction (1927 — 1987 — 2017). Keywords: Light Monument of the October Revolution, Grigory Gidoni, Naum Mogilevsky, light-architecture, light-sculpture, light-orchestra, light-theater, Art of Light and Color.
PRACTICE Irina Evteeva (Saint Petersburg). The interaction of light, pictorial art and sound in the imaginative solution of the motion picture (examples from personal practice). Keywords: animation, glass painting, directing, author’s layer, light-pictorial scumbling glaze, plastic dramaturgy, internal conflict, texture of the image, dramaturgy of sound.
Vladimir Persov (Saint Petersburg). Cinematography — the Art for is not a Sound-made, but Sonorical: Specificity for the Sonour Space Formation in I. Evteeva’ Animated-game Motion Pictures. Keywords: sound fabric, intonation, phonogram, visual space, acoustic space, counterpoint, speech, author's music, animation, sound-visual image.
Olesya Rostovskaya (Moscow — Saint Petersburg). The ANS Synthesizer: Potential Uses and Development Illustrated by Various Compositions Between 2009 and 2018. Keywords: ANS synthesizer, electro-acoustic, E. Murzin, new music for ANS, O. Rostovskaya.
Anastasia Maximova (Kazan, Republic of Tatarstan). From the History of Light-Music Performances in Kazan (1962–2019). Keywords: group “Prometheus”, Bulat Galeev, synaesthesia, light-music, light-music devices, light-music performances.
Valeriya Nedlina (Almaty, Kazakhstan), Yekaterina Demiterko (Yekaterinburg, Russia). Sound, Color and Action of a Composition Concept of R. Begenov’s Play “Medea. Material”. Keywords: spectacle “Medea. Material”, pop-mechanical ballet, Rustem Begenov, biculturalism, intertextual analysis.
LABORATORY. Dilyara Galiakberova (Republic of Tatarstan). Infographics as an Object for a Demonstrating Kazan Kremlin Territory Soundscape. Keywords: sound landscape, sound walk, acoustic ecology, synaesthesia, infographics, architectural environment, museum-reserve “Kazan Kremlin”.
Yaroslav Bezokov (Novosibirsk). Synthesizer as Light Controller in Interactive Light-Music. Keywords: interactive light-music, create and programming keyboard light-musical instruments.
Aqnar Sharipbaeva (Atyrau, Republic of Kazakhstan). The Unique Musical Timbre of the Kazakh Kylkobyz and the Association of Light and Color. Keywords: ethnomusicology, Kazakh musical instrument, folk instruments, kobyz, kobyz art.
Sergey Zorin (Moscow). Musical Light Painting and the Optical Theater as an Attempt to Mitigate XXIst Century Audiovisual Pressure. Keywords: Optical theater, musical light painting, S. Zorin.
Alexey Goltykhov (Moscow). Light Music — a New Kind of Art for Collective Perception (on the Example of the Moscow “Theater of Light”). Keywords: Moscow “Theater of Light”, light-music, definition, synthesis of arts, historical phenomenon, technology.
Искусство звука и света. История, теория, практика. Вып. 1 / Российский институт истории искусств; ред.-сост. О. В. Колганова. СПб.: 2021. Вып. 1. , 2021
Introductory article to the collection "The art of sound and light. History, theory, practice. Is... more Introductory article to the collection "The art of sound and light. History, theory, practice. Issue 1"
М. П. Мусоргский: Истоки. Истина. Искусство: тезисы и рефераты докладов Международной научно-практической конференции, посвященной 185-летию со дня рождения М. П. Мусоргского (г. Великие Луки — д. Наумово, 12–14 апреля 2024 г.) / Рос. ин-т истории искусств; отв. ред. и сост. О. В. Колганова; ред...., 2024
The publication contains abstracts of reports of the International Scientific and Practical Confe... more The publication contains abstracts of reports of the International Scientific and Practical Conference dedicated to the 185th anniversary for the M. P. Mussorgsky. The conference was held in the city of Velikiye Luki and the village of Naumovo in the Kuninsky district of the Pskov region on April 12-14, 2024. The event was organized by the Administration of Velikiye Luki and the Committee of Culture of the Administration of Velikiye Luki, the Russian Institute for the History of Arts, the Memorial Museum-Estate of M. P. Mussorgsky, MBU DO "DSHI "Center". В издании собраны тезисы и рефераты докладов Международной научно-практической конференции, посвященной 185-летию со дня рождения М. П. Мусоргского. Конференция состоялась в городе Великие Луки и деревне Наумово Куньинского района Псковской области 12–14 апреля 2024 г. В организации мероприятия приняли участие Администрация г. Великие Луки и Комитет культуры администрации г. Великие Луки, Российский институт истории искусств, Мемориальный музей-усадьба М. П. Мусоргского, МБУ ДО «ДШИ “Центр”».
М. П. Мусоргский: Истоки. Истина. Искусство: коллективное исследование / Российский институт истории искусств; ред.-сост. О. В. Колганова; отв. ред. И. В. Мациевский. — Санкт-Петербург; Великие Луки: РИИИ, 2024. — Вып. 2. Ч. 2. — 382 с., 2024
The publication continues a series of publications under the general title "M. P. Mussorgsky: Ori... more The publication continues a series of publications under the general title "M. P. Mussorgsky: Origins. Verity. Art", produced by the Russian Institute for the History of Arts with the support of the Administration of Velikiye Luki since 2014. The publication is based on articles written following the results of the International Scientific and Practical Conference dedicated to the 180th anniversary for the M. P. Mussorgsky (Velikiye Luki — Naumovo village, March 15–17, 2019), March 15–17, 2019). The main directions of the collective research were "Aesthetic and style parallels and intersections", "Philosophical and cultural aspects of creativity and issues of campanology", "The performing arts and pedagogical issues". In the final section, novel materials and documents on the work of M. P. Mussorgsky are published. Издание продолжает серию публикаций под общим названием «М. П. Мусоргский: Истоки. Истина. Искусство», выпускаемую Российским институтом истории искусств при поддержке Администрации г. Великие Луки с 2014 г. Основу издания составляют статьи, написанные по итогам Международной научно-практической конференции, посвященной 180-летию со дня рождения М. П. Мусоргского (г. Великие Луки — д. Наумово, 15–17 марта 2019 г.). Основными направлениями коллективного исследования стали «Эстетико-стилевые параллели и пересечения», «Философско-культурологические аспекты творчества и проблемы кампанологии», «Проблемы исполнительства и педагогики». В заключительном разделе публикуются новые материалы и документы о творчестве М. П. Мусоргского.
Искусство звука и света: материалы Второй Международной научно-практической конференции (Санкт-Петербург, 18–20 октября 2021 г.) / Российский институт истории искусств; ред.-сост. О. В. Колганова. – СПб., 2021
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Papers by Olga Kolganova
The text briefly describes the general concept of the third edition of the series "M. P. Mussorgsky: Origins. Truth. Art." The basis of the issue was articles written following the results of the International Scientific and Practical Conference dedicated to the 180th anniversary of the birth of M. P. Mussorgsky (Velikiye Luki — D. Naumovo, March 15-17, 2019).
The article is based on the materials of the composer's personal archive contained in the Cabinet of Manuscripts of the Russian Institute of Art History. Among them: posters, draft programs, letters to various organizations about the inclusion of Scriabin's compositions in concert programs, reviews of concerts, etc. materials.
Статья посвящена оптофоническому искусству В. Д. Баранова-Россине (1888–1944) и искусству света и цвета Г. И. Гидони (1895–1937). Достижения художников в сфере синтеза искусств сопоставлены на нескольких, пересекающихся между собой, уровнях: концепции создаваемых ими новых видов искусства; институции, которые им удалось частично реализовать, и проекты институтов; теоретические разработки; светоцветовой инструментарий (оптофон; световые
декорации / светооркестр / Ph. C. P. P.) и патенты на изобретения. В процессе сравнительного анализа концепций художников сделан вывод о том, что в опорных пунктах идеи Баранова-Россине и Гидони были весьма близки. К общим для художников положениям можно отнести следующие: придание живописи ритма и динамики; выведение изобразительного искусства из плоскости на экран / прозрачный экран или в пространство; объединение света и цвета со звучанием;
приближение живописи к музыке. Однако в своем стремлении вывести свет и цвет за пределы изобразительного искусства (во время и пространство) они действовали в разных направлениях. Инструмент Баранова-Россине по способу функционирования был ближе к кинематографу (все цвета и рисунки проецировались на экран). Способ функционирования светоцветового устройства Гидони, как бы не предполагавшего наличие экрана (экран мыслился прозрачным),
был ближе к театру. Художник мечтал о создании светотеатра, включавшего в себя светомузыку, светоархитектуру, светодекламацию, светохореографию.
In her comparative analysis of the artists’ concepts, the author concludes that in their reference points, the ideas of Baranoff-Rossine and Gidoni were very close. The following provisions are common for the artists: contributing rhythm and dynamics to painting; bringing pictural art out of the plane onto a screen/transparent screen or into space; combining light and color with sound; bringing fine art closer to music. However, in their aspiration to bring light and color beyond the limits of pictural art (into time and space), they acted in different directions. In its operation principle, Baranoff-Rossine’s instrument was closer to cinematography (all colors and drawings were projected on the screen). Gidoni’s light and color device, which assumed no screen at all (the screen was implied to be transparent), was more of a theatrical thing. The artist dreamed of creating a light theater which would incorporate light music, light architecture, light declamation, and light choreography.
Zalivadny is connected with the Prometheans not only by participation in conferences and authorship, starting with the first collection released by them. From 1995 to 1998 and in 2005, he was a researcher/assistant at the Prometheus Research Institute.
Svetlana Konanchuk (Saint Petersburg).
Synesthesia as an Interspecific Artistic Universal and Aesthetic Category.
Keywords: aesthetics, aesthetic consciousness, aesthetic experience, neuroesthetics, musical synesthetics, synesthesia, synthesis of arts.
Anton Sidoroff-Dorso (Moscow).
Anthropology of Synaesthesia. A Neurophenomenological Paradigm as a Natural Science Framework for Researching Cross-Modal Cognitive Processes.
Keywords: cognitive synaesthesia, cross-modal metaphor, neurophenomenology, neuroanthropology, normative emergence, perceptual symbol system, anthropology of synaesthesia.
Denis Mylnikov (Saint Petersburg).
Color as an Expressive Element in S. M. Eisenstein’ Concept of «Synaesthetics» (on the Example of the «Feast in Alexandrovskaya Sloboda» from the Film «Ivan the Terribl»).
Keywords: motion picture, conventionality, color, emotions, «Ivan the Terrible», S. M. Eisenstein.
Larisa Berezovchuk (Saint Petersburg).
The Functions of a Color and Music in Film Narration: the “Discourse’ Plan” (on an Example on a Krzysztof Kieslowski’ Trilogy “Three Colors”).
Keywords: film narration, color, movie image, “the story plan”, “the discourse plan”, Krzysztof Kieslowski’ trilogy “Three Colors”.
Viktoriia Antipova (Saratov).
Indonesian Theater of Flat Images: a Symbolic of Shadow and Light.
Keywords: Indonesia, wayang kulit, dalang, gamelan.
Mikhail Zalivadny (Saint Petersburg).
Musical Sets of Variative Structure: from Louis-Bertrand Castel to Bulat Galeyev.
Keywords: general theory of systems, theory of the variable system, music and mathematics, history of music theory, synaesthesia, interrelation of the arts, Louis-Bertrand Castel, Bulat Galeyev.
Irina Viskova (Moscow).
The World of Musical Metaphors in the Creations of Polish Painter Jacek Malczewski.
Keywords: Jacek Malczewski, metaphor in music, Polish painting at the turn of the XIX–XX centuries, Symbolism, Vielle, Lute, Torban, Hurdy-gurdy.
Elena Shakhmatova (Moscow).
M. Matyushin’s Color Philosophy in the Aspect of the Cosmic Worldview.
Keywords: “Victory over the sun”, “extended watching”, avant-garde, futurism, color theory.
Kirill Smolkin (Moscow).
«Music Follows the Light». To the M. K. Čiurlionis’ Idea on the Opera «Jūratė».
Keywords: Mikalojus Čiurlionis, opera «Jūratė», synthesis of arts, music and painting, light-music.
Olga Kolganova (Saint Petersburg).
The Model of the Light-Monument for the October Revolution: The History of Creation and Reconstruction (1927 — 1987 — 2017).
Keywords: Light Monument of the October Revolution, Grigory Gidoni, Naum Mogilevsky, light-architecture, light-sculpture, light-orchestra, light-theater, Art of Light and Color.
PRACTICE
Irina Evteeva (Saint Petersburg).
The interaction of light, pictorial art and sound in the imaginative solution of the motion picture (examples from personal practice).
Keywords: animation, glass painting, directing, author’s layer, light-pictorial scumbling glaze, plastic dramaturgy, internal conflict, texture of the image, dramaturgy of sound.
Vladimir Persov (Saint Petersburg).
Cinematography — the Art for is not a Sound-made, but Sonorical: Specificity for the Sonour Space Formation in I. Evteeva’ Animated-game Motion Pictures.
Keywords: sound fabric, intonation, phonogram, visual space, acoustic space, counterpoint, speech, author's music, animation, sound-visual image.
Olesya Rostovskaya (Moscow — Saint Petersburg).
The ANS Synthesizer: Potential Uses and Development Illustrated by Various Compositions Between 2009 and 2018.
Keywords: ANS synthesizer, electro-acoustic, E. Murzin, new music for ANS, O. Rostovskaya.
Anastasia Maximova (Kazan, Republic of Tatarstan).
From the History of Light-Music Performances in Kazan (1962–2019).
Keywords: group “Prometheus”, Bulat Galeev, synaesthesia, light-music, light-music devices, light-music performances.
Valeriya Nedlina (Almaty, Kazakhstan), Yekaterina Demiterko (Yekaterinburg, Russia).
Sound, Color and Action of a Composition Concept of R. Begenov’s Play “Medea. Material”.
Keywords: spectacle “Medea. Material”, pop-mechanical ballet, Rustem Begenov, biculturalism, intertextual analysis.
LABORATORY.
Dilyara Galiakberova (Republic of Tatarstan).
Infographics as an Object for a Demonstrating Kazan Kremlin Territory Soundscape.
Keywords: sound landscape, sound walk, acoustic ecology, synaesthesia, infographics, architectural environment, museum-reserve “Kazan Kremlin”.
Yaroslav Bezokov (Novosibirsk).
Synthesizer as Light Controller in Interactive Light-Music.
Keywords: interactive light-music, create and programming keyboard light-musical instruments.
Aqnar Sharipbaeva (Atyrau, Republic of Kazakhstan).
The Unique Musical Timbre of the Kazakh Kylkobyz and the Association of Light and Color.
Keywords: ethnomusicology, Kazakh musical instrument, folk instruments, kobyz, kobyz art.
Sergey Zorin (Moscow).
Musical Light Painting and the Optical Theater as an Attempt to Mitigate XXIst Century Audiovisual Pressure.
Keywords: Optical theater, musical light painting, S. Zorin.
Alexey Goltykhov (Moscow).
Light Music — a New Kind of Art for Collective Perception (on the Example of the Moscow “Theater of Light”).
Keywords: Moscow “Theater of Light”, light-music, definition, synthesis of arts, historical phenomenon, technology.
The text briefly describes the general concept of the third edition of the series "M. P. Mussorgsky: Origins. Truth. Art." The basis of the issue was articles written following the results of the International Scientific and Practical Conference dedicated to the 180th anniversary of the birth of M. P. Mussorgsky (Velikiye Luki — D. Naumovo, March 15-17, 2019).
The article is based on the materials of the composer's personal archive contained in the Cabinet of Manuscripts of the Russian Institute of Art History. Among them: posters, draft programs, letters to various organizations about the inclusion of Scriabin's compositions in concert programs, reviews of concerts, etc. materials.
Статья посвящена оптофоническому искусству В. Д. Баранова-Россине (1888–1944) и искусству света и цвета Г. И. Гидони (1895–1937). Достижения художников в сфере синтеза искусств сопоставлены на нескольких, пересекающихся между собой, уровнях: концепции создаваемых ими новых видов искусства; институции, которые им удалось частично реализовать, и проекты институтов; теоретические разработки; светоцветовой инструментарий (оптофон; световые
декорации / светооркестр / Ph. C. P. P.) и патенты на изобретения. В процессе сравнительного анализа концепций художников сделан вывод о том, что в опорных пунктах идеи Баранова-Россине и Гидони были весьма близки. К общим для художников положениям можно отнести следующие: придание живописи ритма и динамики; выведение изобразительного искусства из плоскости на экран / прозрачный экран или в пространство; объединение света и цвета со звучанием;
приближение живописи к музыке. Однако в своем стремлении вывести свет и цвет за пределы изобразительного искусства (во время и пространство) они действовали в разных направлениях. Инструмент Баранова-Россине по способу функционирования был ближе к кинематографу (все цвета и рисунки проецировались на экран). Способ функционирования светоцветового устройства Гидони, как бы не предполагавшего наличие экрана (экран мыслился прозрачным),
был ближе к театру. Художник мечтал о создании светотеатра, включавшего в себя светомузыку, светоархитектуру, светодекламацию, светохореографию.
In her comparative analysis of the artists’ concepts, the author concludes that in their reference points, the ideas of Baranoff-Rossine and Gidoni were very close. The following provisions are common for the artists: contributing rhythm and dynamics to painting; bringing pictural art out of the plane onto a screen/transparent screen or into space; combining light and color with sound; bringing fine art closer to music. However, in their aspiration to bring light and color beyond the limits of pictural art (into time and space), they acted in different directions. In its operation principle, Baranoff-Rossine’s instrument was closer to cinematography (all colors and drawings were projected on the screen). Gidoni’s light and color device, which assumed no screen at all (the screen was implied to be transparent), was more of a theatrical thing. The artist dreamed of creating a light theater which would incorporate light music, light architecture, light declamation, and light choreography.
Zalivadny is connected with the Prometheans not only by participation in conferences and authorship, starting with the first collection released by them. From 1995 to 1998 and in 2005, he was a researcher/assistant at the Prometheus Research Institute.
Svetlana Konanchuk (Saint Petersburg).
Synesthesia as an Interspecific Artistic Universal and Aesthetic Category.
Keywords: aesthetics, aesthetic consciousness, aesthetic experience, neuroesthetics, musical synesthetics, synesthesia, synthesis of arts.
Anton Sidoroff-Dorso (Moscow).
Anthropology of Synaesthesia. A Neurophenomenological Paradigm as a Natural Science Framework for Researching Cross-Modal Cognitive Processes.
Keywords: cognitive synaesthesia, cross-modal metaphor, neurophenomenology, neuroanthropology, normative emergence, perceptual symbol system, anthropology of synaesthesia.
Denis Mylnikov (Saint Petersburg).
Color as an Expressive Element in S. M. Eisenstein’ Concept of «Synaesthetics» (on the Example of the «Feast in Alexandrovskaya Sloboda» from the Film «Ivan the Terribl»).
Keywords: motion picture, conventionality, color, emotions, «Ivan the Terrible», S. M. Eisenstein.
Larisa Berezovchuk (Saint Petersburg).
The Functions of a Color and Music in Film Narration: the “Discourse’ Plan” (on an Example on a Krzysztof Kieslowski’ Trilogy “Three Colors”).
Keywords: film narration, color, movie image, “the story plan”, “the discourse plan”, Krzysztof Kieslowski’ trilogy “Three Colors”.
Viktoriia Antipova (Saratov).
Indonesian Theater of Flat Images: a Symbolic of Shadow and Light.
Keywords: Indonesia, wayang kulit, dalang, gamelan.
Mikhail Zalivadny (Saint Petersburg).
Musical Sets of Variative Structure: from Louis-Bertrand Castel to Bulat Galeyev.
Keywords: general theory of systems, theory of the variable system, music and mathematics, history of music theory, synaesthesia, interrelation of the arts, Louis-Bertrand Castel, Bulat Galeyev.
Irina Viskova (Moscow).
The World of Musical Metaphors in the Creations of Polish Painter Jacek Malczewski.
Keywords: Jacek Malczewski, metaphor in music, Polish painting at the turn of the XIX–XX centuries, Symbolism, Vielle, Lute, Torban, Hurdy-gurdy.
Elena Shakhmatova (Moscow).
M. Matyushin’s Color Philosophy in the Aspect of the Cosmic Worldview.
Keywords: “Victory over the sun”, “extended watching”, avant-garde, futurism, color theory.
Kirill Smolkin (Moscow).
«Music Follows the Light». To the M. K. Čiurlionis’ Idea on the Opera «Jūratė».
Keywords: Mikalojus Čiurlionis, opera «Jūratė», synthesis of arts, music and painting, light-music.
Olga Kolganova (Saint Petersburg).
The Model of the Light-Monument for the October Revolution: The History of Creation and Reconstruction (1927 — 1987 — 2017).
Keywords: Light Monument of the October Revolution, Grigory Gidoni, Naum Mogilevsky, light-architecture, light-sculpture, light-orchestra, light-theater, Art of Light and Color.
PRACTICE
Irina Evteeva (Saint Petersburg).
The interaction of light, pictorial art and sound in the imaginative solution of the motion picture (examples from personal practice).
Keywords: animation, glass painting, directing, author’s layer, light-pictorial scumbling glaze, plastic dramaturgy, internal conflict, texture of the image, dramaturgy of sound.
Vladimir Persov (Saint Petersburg).
Cinematography — the Art for is not a Sound-made, but Sonorical: Specificity for the Sonour Space Formation in I. Evteeva’ Animated-game Motion Pictures.
Keywords: sound fabric, intonation, phonogram, visual space, acoustic space, counterpoint, speech, author's music, animation, sound-visual image.
Olesya Rostovskaya (Moscow — Saint Petersburg).
The ANS Synthesizer: Potential Uses and Development Illustrated by Various Compositions Between 2009 and 2018.
Keywords: ANS synthesizer, electro-acoustic, E. Murzin, new music for ANS, O. Rostovskaya.
Anastasia Maximova (Kazan, Republic of Tatarstan).
From the History of Light-Music Performances in Kazan (1962–2019).
Keywords: group “Prometheus”, Bulat Galeev, synaesthesia, light-music, light-music devices, light-music performances.
Valeriya Nedlina (Almaty, Kazakhstan), Yekaterina Demiterko (Yekaterinburg, Russia).
Sound, Color and Action of a Composition Concept of R. Begenov’s Play “Medea. Material”.
Keywords: spectacle “Medea. Material”, pop-mechanical ballet, Rustem Begenov, biculturalism, intertextual analysis.
LABORATORY.
Dilyara Galiakberova (Republic of Tatarstan).
Infographics as an Object for a Demonstrating Kazan Kremlin Territory Soundscape.
Keywords: sound landscape, sound walk, acoustic ecology, synaesthesia, infographics, architectural environment, museum-reserve “Kazan Kremlin”.
Yaroslav Bezokov (Novosibirsk).
Synthesizer as Light Controller in Interactive Light-Music.
Keywords: interactive light-music, create and programming keyboard light-musical instruments.
Aqnar Sharipbaeva (Atyrau, Republic of Kazakhstan).
The Unique Musical Timbre of the Kazakh Kylkobyz and the Association of Light and Color.
Keywords: ethnomusicology, Kazakh musical instrument, folk instruments, kobyz, kobyz art.
Sergey Zorin (Moscow).
Musical Light Painting and the Optical Theater as an Attempt to Mitigate XXIst Century Audiovisual Pressure.
Keywords: Optical theater, musical light painting, S. Zorin.
Alexey Goltykhov (Moscow).
Light Music — a New Kind of Art for Collective Perception (on the Example of the Moscow “Theater of Light”).
Keywords: Moscow “Theater of Light”, light-music, definition, synthesis of arts, historical phenomenon, technology.
В издании собраны тезисы и рефераты докладов Международной научно-практической конференции, посвященной 185-летию со дня рождения М. П. Мусоргского. Конференция состоялась в городе Великие Луки и деревне Наумово Куньинского района Псковской области 12–14 апреля 2024 г. В организации мероприятия приняли участие Администрация г. Великие Луки и Комитет культуры администрации г. Великие Луки, Российский институт истории искусств, Мемориальный музей-усадьба М. П. Мусоргского, МБУ ДО «ДШИ “Центр”».
Издание продолжает серию публикаций под общим названием «М. П. Мусоргский: Истоки. Истина. Искусство», выпускаемую Российским институтом истории искусств при поддержке Администрации г. Великие Луки с 2014 г. Основу издания составляют статьи, написанные по итогам Международной научно-практической конференции, посвященной 180-летию со дня рождения М. П. Мусоргского (г. Великие Луки — д. Наумово, 15–17 марта 2019 г.). Основными направлениями коллективного исследования стали «Эстетико-стилевые параллели и пересечения», «Философско-культурологические аспекты творчества и проблемы кампанологии», «Проблемы исполнительства и педагогики». В заключительном разделе публикуются новые материалы и документы о творчестве М. П. Мусоргского.